A common characteristic of the theoretical developments within the field of social media marketing is that activities to which consumers devote themselves in social media settings shift power from firms to consumers. Extant literature has therefore analysed the practices of consumers within social media and their potential implications for marketing. The current state of social media, however, suggests that these settings are undergoing a process of transformation. Although social media were initially characterised as non-commercial in nature, firms have started to manage interactions within these digital landscapes. From initially being characterised by its social base, this development implies that social media have become increasingly commercialised. The aim of this dissertation is to expand the literature on social media by describing the process through which they evolve from their initially social character to a commercial utility. More specifically, it seeks to develop a conceptual framework that captures the role of marketing processes that lead to the commercialisation of these spheres. This is done mainly through a netnographic study of the Swedish fashion blogosphere in order to explain how and why consumers and professionals interact, organise, create and appropriate commercial values in the fashion blogosphere. Drawing on theory of spheres, this dissertation proposes a sphereological understanding of social media that expands the role of marketing. It is suggested that social media may be understood as a collection of micro-spheres that, together, comprise a densely connected foam of spatiality and place. In these spheres, consumers, together with commercial actors, take part in practices that become increasingly commercial. In that sense, marketing takes the roles of navigating social media in search of symbolic meanings of value, and of affecting, negotiating and redefining atmospheres of places in the social media landscape. / <p>At the time of the doctoral defense the following paper was unpublished and had the status as follows. Paper 2: Accepted.</p>

Thesis advisor: Michael Malec / My motivation for this research study comes from my own experience with and observations of body image issues among female students on the Boston College campus, as well as my observations of and research into the homogenization of beauty in the high-end fashion industry. Through various social institutions, namely high-end fashion media, our society supports an extremely narrow definition of beauty for women (read: White and thin/ultra-thin). There is an overwhelming lack of representation of women of color and women who do not fall in line with the thin body standard. I aim to contribute where there are holes in the conversation regarding diversity and exclusionary practices in the high-end fashion industry. Chiefly, I seek to contribute to an understanding of how fashion industry producers might continue to engage in the homogenization of beauty while evading liability with intermittent diversification effort. I conduct a content analysis of 11 issues (past and contemporary) of the high-end fashion magazine, U.S. Vogue. The units of measurement for my data collection are images, articles, and text produced by Vogue, as well as featured advertisements produced by other industry players. My data consists of recorded frequencies and two major codes (Race and Body Type) with various sub codes. I ultimately conclude that: (1) despite our society’s supposed increased sensitivity to diversity and diversification effort, we have made little progress on this front in the fashion industry (especially body type representation); and (2) U.S. Vogue does in fact continue to engage in racial exclusion while concealing its liability via the practice of racial capitalism. / Thesis (BA) — Boston College, 2016. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: Sociology.

A presente pesquisa estuda arte e moda buscando relacionar as duas áreas de conhecimento por meio das teorias interdisciplinares. A parte principal da pesquisa se concentra no estudo de três atos interdisciplinares ocorridos entre os artistas contemporâneos Stephen Sprouse, Takashi Murakami e Vanessa Beecroft produzidos em parceria com Marc Jacobs, diretor criativo da Louis Vuitton. Esses casos de estudo foram selecionados levando em conta o encontro entre moda e arte que busca enfatizar a ação benéfica da arte no produto de moda e da moda no campo da arte. A partir desses casos são levantadas questões pertinentes aos campos da arte, do design e da moda, evidenciando a troca entre eles, em que permeiam a complexidade que demanda um processo integrativo. Há interesse em investigar a qual tipo de interdisciplinaridade cada ato interdisciplinar atende, bem como estudá-los sob um olhar filosófico, sociológico e também sob algumas teorias da arte. Entende-se que o estudo interdisciplinar da moda relacionado a outras áreas concorre para formalizar a pesquisa neste campo. / This research studied art and fashion trying to relate the two areas of knowledge through interdisciplinary theories. The main part of the research focuses on the interdisciplinary study of three acts occurring among contemporary artists Stephen Sprouse, Takashi Murakami and Vanessa Beecroft produced in collaboration with Marc Jacobs, creative director of Louis Vuitton. These cases were selected taking into account the encounter between fashion and art that emphasizes the beneficial action of the art in fashion product and fashion in art. From these cases are raised issues pertaining to the fields of art, design and fashion, showing the exchange between them, in which permeate the complexity that demands an integrative process. There is interest in investigating which type of interdisciplinarity meets every act and study them under a philosophical, sociological look and also under some theories of art. It is understood that the interdisciplinary study of fashion related to other areas contributes to formalize research in this field.

Este trabalho científico refere-se à pesquisa e ao levantamento de informações de caráter bibliográfico sobre aspectos interdisciplinares de cunho social que interagem com a moda, aborda então parte da multiplicidade de assuntos relacionados à mesma, como a relação social existente por meio da mesma: identidade, pertencimento, imitação/diferenciação, comunicação existente na moda, a importância da marca como ferramenta social. Partindo deste contexto da relação moda sociedade - indivíduo, inicia-se uma reflexão sobre a influência que a moda possui sobre a sociedade, ao atingir diretamente o gosto individual. Oferecendo sentidos psicológicos, culturais e comportamentais ante ao coletivo, ao ponto de carnificar o design ao imposto pelo ambiente em questão, por um impulso adaptativo a fim de obter a socialização. Desta feita, a moda também está atrelada a constante insatisfação, uma vez que o mundo vive repentinas alterações, em todo o tempo, até muitas vezes mútuas alterações. Sendo assim, apresenta-se como um forte e importante meio de comunicação, que transmite significados pessoais e sociais adicionados a aspectos funcionais, por meio, então, da presente revisão bibliográfica pautada na temática referente à moda como ferramenta de socialização, comunicação, identidade e pertencimento. / This work refers to scientific research and information gathering bibliographical interdisciplinary aspects of social interacting with fashion, then part addresses the multiplicity of issues related to it, such as social relationship existing by same: identity , belonging, imitation / differentiation, communication existing in fashion, the importance of branding as a social tool. From this context of relative fashion - society - individual, begins to reflect on the influence that fashion has on society, to directly reach individual taste. Offering senses psychological, cultural and behavioral compared to the collective, to the point carnificar design imposed by the environment in question, by an impulse to obtain adaptive socialization. This time, fashion is also linked to constant dissatisfaction, since the world is experiencing sudden changes, all the time, often to mutual changes. Thus, presents itself as a strong and important means of communication that transmits personal and social meanings added to functional aspects, by then, this literature review guided by the thematic stylish as a tool of socialization, communication, and identity belonging.

A atualidade é marcada pela velocidade de informações e maior contato social promovido pela facilidade e acessibilidade das mídias digitais e pela influência considerável na criatividade dos alunos de cursos superiores em moda. A construção do conjunto de conhecimentos para o processo criativo na área de moda é o tema abordado nesta pesquisa e objetiva colher dados de quais informações os estudantes acessam e como lidam com esse processo a fim de construírem seu repertório para a pesquisa. Para isso foram feitas análises bibliográficas dos processos de criação em artes, design e moda; da influência das mídias digitais; e do estudo de caso dos alunos de Design de Moda da UTFPR-Apucarana. Este trabalho visa contribuir para o processo de criação e consequentemente o desenvolvimento de produto de moda inovador. / Today is considerably marked by the speed of information and greater social contact promoted by the facility and accessibility of the digital media and the considerable influence on the creativity of students of higher education courses in fashion. The construction of the set of knowledge for the creative process in fashion, is the topic of this research and aims to collect data from which students access information and how to deal with this process in order to build their repertoire for research. Through bibliographic analysis of the creation processes in arts, design and fashion, the influence of digital media and the case study of students of Fashion Design UTFPR-of Apucarana. This work aims to contribute to the process of creation and consequently the product development of innovative fashion.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-05T12:10:14Z No. of bitstreams: 1 Nathália Cristina Brunini.pdf: 2472684 bytes, checksum: e6e9b52adf05886e07d6ad834f99c3ea (MD5) / Made available in DSpace on 2018-09-05T12:10:14Z (GMT). No. of bitstreams: 1 Nathália Cristina Brunini.pdf: 2472684 bytes, checksum: e6e9b52adf05886e07d6ad834f99c3ea (MD5) Previous issue date: 2018-08-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The theme of this research is the fashion market model known as fast fashion, characterized by its rapid production and marketing speed. The study seeks to understand this model as an ambivalent system, in other words, on the one hand, the "democratization" of fashion. On the other hand, a predatory and exploitative circuit, since it increases the access of the general public to the latest trends due to the affordable price, but at the same time expands the political, economic and social cracks, explained by the precarious conditions of work in which it is manufactured part of the fast fashion products. The central hypothesis is that the partnerships made between renowned designers and sizeable fast fashion retailers are a symptom of the new modes of communication, in an era marked by the generalization of aesthetic strategies, with a commercial purpose, under the discourse of accessibility to the general public. As a corpus of the research, we opted for the case study of the Riachuelo retail chain, especially the partnerships signed between the Brazilian company and four renowned designers: Oskar Metsavaht (2010), Osklen, Donatella Versace (2014), Versace, Karl Lagerfeld (2016), Chanel and Fendi, and one of the most recent, Paula Raia (2017), self-styled slow fashion. As methodological strategies, we follow the proposal to broadly contextualize the incidence of fast fashion in the major European fashion centres and at Brazil; to analyse the growth and repositioning of Riachuelo, which, from a small fabric store in Pernambuco (the 1940s), became a Brazilian fashion retail giant; and to discuss, conceptually, the fragility of this democratization within the framework of fast fashion, based on the explication of Riachuelo's communicational strategies, present in materials for the partnerships as mentioned above / O tema desta pesquisa é o modelo mercadológico de moda conhecido como fast fashion, caracterizado pela sua rápida velocidade de produção e comercialização. O estudo busca entender este modelo como um sistema ambivalente, ou seja, por um lado “democratizador” de moda, mas, por outro, um circuito predador e exploratório, uma vez que aumenta o acesso do grande público às últimas tendências, devido ao preço acessível, mas, ao mesmo tempo, amplia as fissuras políticas, econômicas e sociais, explicitadas pelas condições precárias de trabalho em que é fabricada grande parte dos produtos de moda rápida. A principal hipótese é que as parcerias feitas entre renomados estilistas e grandes redes de lojas populares adeptas ao fast fashion são um sintoma dos novos modos de comunicação, em uma era marcada pela generalização das estratégias estéticas, com finalidade mercantil, sob o discurso de acessibilidade ao grande público. Como corpus da pesquisa, optamos pelo estudo de caso da rede de varejo Riachuelo, especialmente as parcerias firmadas entre a empresa brasileira e quatro estilistas renomados: Oskar Metsavaht (2010), da marca carioca Osklen, Donatella Versace (2014), da Versace, Karl Lagerfeld (2016), da Chanel e da Fendi, e, uma das mais recentes, Paula Raia (2017), autointitulada slow fashion. Como estratégias metodológicas, propõe-se contextualizar, de forma ampla, a incidência do fast fashion nos grandes centros europeus de moda e no Brasil; analisar o crescimento e reposicionamento da Riachuelo que, de pequena loja de tecidos pernambucana (década de 1940), tornou-se a gigante do varejo de moda brasileira; e discutir, conceitualmente, a fragilidade dessa democratização dentro dos moldes do fast fashion, a partir da explicitação de estratégias comunicacionais da Riachuelo, presentes em materiais de divulgação das parcerias citadas

A presente pesquisa realiza uma crítica acerca das contradições entre discurso e prática da cadeia de moda brasileira à luz da teoria da sustentabilidade. Em particular, avalia-se se as ações das duas maiores redes de moda nacionais - Renner e Riachuelo - são pertinentes às mensagens politicamente corretas que elas propagam nas mídias. Tal empreitada fundamenta-se em análise de conteúdo disponível eletronicamente em suas páginas corporativas, o qual foi confrontado tanto com o ideário promovido originalmente pela Organização das Nações Unidas (ONU), como pelo senso comum. Assim, propõe-se alcançar o entendimento do conceito de sustentabilidade sob o ponto de vista das empresas tratadas, considerando-se a sua crescente polissemia. Em segundo plano, procura-se verificar se a práxis empresarial é verdadeiramente consoante com os valores e princípios ditados pela noção geral de sustentabilidade. Os resultados apontam que a lógica concorrencial e predatória que permeia o negócio das empresas analisadas contrariam os princípios de sustentabilidade, destituindo-lhes de sua legitimidade e credibilidade / The present research criticizes the contradictions between discourse and practice within Brazilian fashion industry\'s productive chain in the light of the theory of sustainability. In particular, it is assessed whether the actions of two main local fashion retailers - Renner and Riachuelo - are pertinent to the politically correct messages they propagate in the media. Such undertaking is based on an analysis of content available electronically in their corporate pages, which have been confronted both with the ideas originally promoted by the United Nations and by common sense. Thus, it aims to reach an understanding of sustainability concept from the point of view of the examined companies, considering its increasing polysemy. In the background, it intends to check if the business praxis is truly consonant with the values and principles dictated by the general notion of sustainability. The results indicate that the competitive and predatory logic that permeates the business of the analyzed companies contravenes the principles of sustainability, depriving them of their legitimacy and credibility

Due to the considerable impact of Orientalism in the 1990s, Chinese tropes began to be widely deployed in global luxury fashion brand collections. In the late twentieth century, following the success of ‘China style’ effects, the use of Chinese tropes was a dominant trend in emerging luxury Chinese branding practices. The deployment of Chinese tropes as representations of nationality in brand design has generated vigorous debate about the effectiveness of cultural translation. Edward Said (1994) has termed such an ideological ‘East’ as ‘Orientalism’ and claims that the Orient is ‘an integral part of European material civilisation and culture’ (Said, 1994, p.2). This phenomenon of the Chinese trope design continues to leave a visible mark in brand communications in the twenty-­‐first century. This research investigates the ways in which emerging luxury Chinese lifestyle fashion brands make use of Chinese tropes, symbols, and metaphors in branding practices within the context of the cultural, social, political, and economic changes in China from 1994 to 2014. This study attempts to construct visual taxonomies to examine the cultural expression of Chinese tropes in the material culture of China, generating a visual archive of Chinese identity interpretation. The study also draws upon multiple case studies of emerging luxury Chinese lifestyle fashion brands to investigate the ramifications and the perceived limitations of the practice of Chinese trope deployment and their relationship to a shift in Chinese identity caused by changing lifestyles. The thesis also challenges the notion of authenticity of ‘Chinese brand’ and ‘Made in China’ and highlights the need to redefine the assessment criteria of ‘country of origin’ for global luxury branding practices in the future.

A presente pesquisa realiza uma crítica acerca das contradições entre discurso e prática da cadeia de moda brasileira à luz da teoria da sustentabilidade. Em particular, avalia-se se as ações das duas maiores redes de moda nacionais - Renner e Riachuelo - são pertinentes às mensagens politicamente corretas que elas propagam nas mídias. Tal empreitada fundamenta-se em análise de conteúdo disponível eletronicamente em suas páginas corporativas, o qual foi confrontado tanto com o ideário promovido originalmente pela Organização das Nações Unidas (ONU), como pelo senso comum. Assim, propõe-se alcançar o entendimento do conceito de sustentabilidade sob o ponto de vista das empresas tratadas, considerando-se a sua crescente polissemia. Em segundo plano, procura-se verificar se a práxis empresarial é verdadeiramente consoante com os valores e princípios ditados pela noção geral de sustentabilidade. Os resultados apontam que a lógica concorrencial e predatória que permeia o negócio das empresas analisadas contrariam os princípios de sustentabilidade, destituindo-lhes de sua legitimidade e credibilidade / The present research criticizes the contradictions between discourse and practice within Brazilian fashion industry\'s productive chain in the light of the theory of sustainability. In particular, it is assessed whether the actions of two main local fashion retailers - Renner and Riachuelo - are pertinent to the politically correct messages they propagate in the media. Such undertaking is based on an analysis of content available electronically in their corporate pages, which have been confronted both with the ideas originally promoted by the United Nations and by common sense. Thus, it aims to reach an understanding of sustainability concept from the point of view of the examined companies, considering its increasing polysemy. In the background, it intends to check if the business praxis is truly consonant with the values and principles dictated by the general notion of sustainability. The results indicate that the competitive and predatory logic that permeates the business of the analyzed companies contravenes the principles of sustainability, depriving them of their legitimacy and credibility

This report will concern how our relation to the forests has changed according to the development of new social medias. It will give a short history around our relation to the forest and also how and when Internet got introduced in the society. It will treat the image-making on social medias and how it effects our perceptionof “nature“ and “natural“. In an analog blog, it will investigate the blogging as a phenomenon, and question it’s neutrality. The blog will also investigate analog versus digital. The working method dealt with is basedon forest versus internet. The report will sum up by giving examples in the collection of just how mixed up nature and technique really is, and how, and if, we are living in an image of forest. / Program: Modedesignutbildningen