台灣自有化妝品品牌經營發展策略 / Taiwan cosmetics market is a very competitive and mature environment with high penetration rate, low growing power and more than one thousand brands in the market. About 80% of the brands are from abroad and 20% are from local companies. Most of the market leaders are owned by international corporates including L’Oreal, Estee Lauder, P&G, Shiseido, and Amorepacific. Although some local cosmetics brands are well known by customers, the brand awareness and sales volume are not outstanding enough to compete with the foreign rivals. The intention of studying brand development strategy to for local Taiwanese brands was inspired based on this phenomenon. In order to understand the market, discover successful factors and define opportunities, both quantitative and qualitative analysis is conducted in chapter two and three. The analysis includes the aspect of total market status overview, brand positioning, product performance, retailing channels, and promotion. In addition, three successful brands and one Taiwanese brand are studied in this section. The key points are summarized as the following. Firstly, skincare sector drives 64% of market value followed by makeup sector with 14%. Also, department stores and personal care stores are the main channels to acquire customer while e-commerce and pharmacies are rising quickly. Thirdly, the competitiveness results in heavy promotion level in Taiwan market. Moreover, increasing amount of Asian tourists and undeveloped males sector will be the opportunities to gain market share. Lastly, elaborating local concept would be a strategy to make local brands distinguished from the other international brands. By taking a Taiwanese skincare brand, Daughter, as a subject, the brand development plan is recommended in the later chapter.

We live in a world constructed by predeterminations, divided by gender. It’s a masquerade that we’re all taking part in, men by their gaze and women by embodying it. I’ve investigated spaces where feminine attributes are interconnected to a female body, and aspects that shape the misleading mask. In my research I discovered that there are three areas where a woman and female attributes are merged: In media where the stereotype image of a woman is confirmed in glossy magazines and in reality shows. In the bathroom, a room that represents the starting point of the masquerade. And last in typical feminine rooms, beauty salons, where make-up and nail polish is applied to female bodies. By researching spaces I discovered that bodies are shaped by the exclusion of the other sex and by gender specific norms. Out from my own bodily perception I have investigated the feminine surface in the borderland between corpus and jewellery. In my process I shifted the perspective by creating wearable pieces that illustrate the undressing of femininity and by dressing traditionally masculine corpus in feminine materials. All together the objects make up a burlesque staging of a feminine scenography. It’s first when an object loses its initial function that we can create new reference points. It’s when lipstick is casted in the shape of soap and when a high heel is separated from the shoe that they become disconnected from the female body. / <p>The full thesis contains copyrighted material which has been removed in the published version.</p>

E-commerce has exploded and with that also advertisements online. To get customers to stay as customers with your company, advertisements become more and more persuasive. To measure this persuasion metadiscourse has been used as a method for this investigation. The aim of this paper is to find out the ways companies use language and discourse to entice customers and keep them buying products. The material chosen for this investigation was advertisements extracted from web pages of make-up brands. Hyland´s categories of metadiscourse were used to extract the relevant features from the advertisements. The results were that all advertisements that had metalinguistic features were also persuasive. Persuasive language occurs as boosters, engagement markers and self-mentions. Also, the metalinguistic features that occur in this investigation are the three categories mentioned above. Further investigation into this topic would be to only view editorial parts of advertisements which most likely will broaden the results within all categories from Hyland´s view of metadiscourse.

Este trabalho tem como objetivo desenvolver um espelho virtual interativo para simulação de maquiagem com a intenção de melhorar a experiência do usuário durante a experimentação de produtos de maquiagem, tornando essa tarefa mais rápida (aplicação e remoção da maquiagem simulada ocorre de forma instantânea) e barata (sem gasto de produtos). A interação com o simulador foi baseada na metáfora de um espelho. A interface do sistema permite a escolha da maquiagem e sua livre aplicação sobre a imagem da própria pessoa. O sistema renderiza em tempo real o vídeo resultante da simulação exibido no espelho sem a necessidade de marcas fiduciais na face ou a criação de um modelo 3D da face antes do uso do sistema. A interface proposta é composta por um monitor sensível a toque e uma câmera RGBD. A câmera RGBD facilita o rastreamento de características faciais do usuário e fornece a imagem a ser utilizada no espelho virtual. A interação ocorre por meio do toque no monitor, permitindo que o usuário escolha a maquiagem e também faça sua aplicação. A simulação da maquiagem considera produtos comuns que modificam propriedades da superfície da pele como cor e textura, sob condições controladas de iluminação. O método permite a livre aplicação de tipos diferentes de maquiagem (base, batom e sombra) em qualquer área do rosto de forma independente (flexibilidade), não necessita de equipamentos especiais e pode ser computado em tempo real. Para isso, a imagem é decomposta em camadas de cor e textura que podem ser tratadas independentemente, por meio de filtros e transformações no espaço de cor. Um protótipo em tempo real foi desenvolvido utilizando um Microsoft Kinect, que demonstra a viabilidade do método. / The objective of this thesis is to develop an interactive virtual mirror for makeup simulation to improve user experience when trying dierent makeup products. The interaction with the simulator was based on the metaphor of a mirror. The system interface allows the user to choose and to apply makeup over its own image. The system renders the video displayed in the mirror in real time without the need of fiducial markers on the user\'s face or the creation of a 3D face model before the use of the system. The proposed interface consists of a touch-sensitive monitor and a RGBD camera. The latter makes the tracking of facial features easier and also provides the image used in the virtual mirror and the former allows the interaction with the system that is touch based. Under controlled lighting conditions, the makeup simulation considers common products that modify skin texture and color. Our method allows the application of different makeup products (foundation, lipstick, eyeshadow) independently and in any face location (flexibility), do not require special equipment and can be computed in real time. The simulation algorithm decomposes the image into layers of color and texture that can be treated independently by filters and color space transformations. A prototype that runs in real time has been developed using a Microsoft Kinect, which demonstrates the feasibility of the method.

ABSTRACT BEAUTY LOOKS CREATED BY WOMEN: TRADITIONAL BEAUTY AND NEW AESTHETICS FOR WOMEN MAY 2021 YURINA YOSHIKAWA B.A., NANZAN UNIVERSITY M.A., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Amanda C. Seaman In this thesis I focus on comparing the styles of beauty or “looks” that women have created for themselves, as well as concepts of traditional beauty. By doing so, this thesis will clarify how women try to change traditional beauty concepts and express themselves. As anyone who has watched TV in Japan has noticed, Japan has stereotyped aesthetic values of women that mass media such as magazines or TV dramas have created and disseminated. Pictures of beautiful women (bijinga 美人画) and beauty pageants are just two examples. In Japan, women having black hair, white skin, almond-shaped eyes, and well-defined noses are considered beautiful, and this aesthetic has not changed much since the Heian period (794-1185). After the work of Takehisa Yumeji (1884-1934), whose pictures created the foundation of kawaii culture in the Taishō period (1912-1926), women have adopted this new aesthetic category in order to get around the fixed aesthetics of the bijin look. In other words, the start of kawaii culture is one of the turning points for women to evade a monolithic image of what is considered beautiful. However, as kawaii culture spread across the world due to the popularity of manga and anime, the notion of kawaii also began to be fixed by the mass media, becoming as rigid as the notion of bijin. For example, Japanese idols from the Shōwa period (1926-1989) through the Heisei and Reiwa all look alike by design. Many idols have bangs, natural black or dark brown hair, and flat-shaped eyebrows which are attractive to men. To overturn this tendency, some women have created new kinds of makeup styles to express their own version kawaii aesthetics. Ganguro, yamamba, or “gal” makeup were all created by women and popular among young women. In general society—particularly men—did not accept these makeup styles as aesthetically beautiful; the public regarded these looks as not kawaii but rather ugly (busaikuブサイク). However, even though society found looks ugly, this kind of makeup nevertheless became extremely popular among girls and women in their 10s and 20s who regarded such looks as kawaii and trendy. This aesthetic can be seen as what happens when women get around fixed notions of beauty by adopting and transforming the idea and look of kawaii. In this thesis I discuss the development of the kawaii aesthetic and how it becomes a way for women to break out of the tyranny of bijin. I look at a trend of new bijinga and talk about how women are trying to break away from the traditional notion of bijin. Using a collection of contemporary bijinga, I examine how actresses are fighting to do their own makeup for their films, TV programs, or dramas; in particular, actresses Ishihara Satomi and Nanao try to express their own beauty by creating the characters’ looks themselves. In this respect, the characters are original styles of beauty created by these women.

Purpose: The purpose with this study is to research how consumers’ view on the inclusivity in the makeup industry and how the skin tones of the models in an advertisement shape consumer attitudes towards the advertisement. Research questions: How do consumers evaluate advertisements based on the skin tone of models used in the advertisement? What are the consumers view on the inclusivity in the makeup industry? Method: A qualitative research method was chosen for this study. The data was collected by interviewing four focus groups. Conclusion: The result of this study showed that makeup advertisement still is not inclusive and diverse enough. The makeup advertisements lack models with different skin tones, specifically darker skin tones. This creates negative attitude among the consumers. The makeup industry as a whole is not seen as inclusive enough and that brands only include darker skin tones in their advertisements because it is trendy now, thus it is not genuine.

En la presente investigación se realiza un estudio acerca de los factores in-store en relación a la intención de compra en tiendas de maquillaje en retails, pues no hay estudios realizados en el Perú que comprenda este tema a pesar que el sector está en continuo crecimiento en el mercado y donde el 50% de las compras de cosméticos se realizan en tiendas por departamento. Para determinar el grado de relación de los factores in-store y la intención de compra, la metodología utilizada fue un estudio de tipo regresión lineal múltiple y con un enfoque mixto. Para el desarrollo del estudio se realizó una investigación cualitativa, contando con dos mini groups y entrevistas al público primario y tres entrevistas a profundidad a expertos del tema. Además, se llevó a cabo una investigación cuantitativa de carácter concluyente, a través de 230 encuestas. A partir de ello, con la información obtenida y procesada permitió obtener data relevante acerca del comportamiento del público objetivo y obtener conclusiones acerca de la relación de las variables y la intención de compra. Finalmente, se pudo comprobar que los factores de mayor relación con la intención de compra para el público objetivo de acuerdo al modelo estudiado son la ambientación de la tienda, el pricing y la promoción. Y en caso de los factores menos relevantes quedaron la asistencia del personal de ventas y el atractivo de la tienda. Por ello, se recomienda poner mayores esfuerzos en las variables que se encuentran mayor valoradas por el público objetivo primario. / In the present investigation, a study is carried out on the in-store factors in relation to the purchase intention in makeup stores in retails, since there are no studies carried out in Peru that understand this topic despite the fact that the sector is in continuous growth in the market and where 50% of cosmetic purchases are made in department stores. To determine the degree of relations between in-store factors and purchase intention, the methodology used was a multiple linear regression study with a mixed approach. For the development of the study, a qualitative investigation was carried out, with two mini groups and interviews with the primary public and three in-depth interviews with experts on the subject. In addition, a conclusive quantitative investigation was carried out through 230 surveys. From this, with the information obtained and processed, it was possible to obtain relevant data about the behavior of the target audience and to draw conclusions about the relationship of the variables and the purchase intention. Finally, it was possible to verify that the factors with the highest relation to the purchase intention for the target audience according to the studied model are the store setting, pricing and promotion. And in the case of the least relevant factors, the attendance of sales personnel and the attractiveness of the store remained. Therefore, it is recommended to put greater efforts on the variables that are most valued by the primary target audience. / Tesis

For my thesis project, I displayed fifteen printed photographs of self-portraits that I have made outside of class. In these self-portraits, I have applied special effects makeup to my face to create different portrayals of myself. These range from more abstracted makeup to characters. The majority of these makeups are from the chest up and created with face paint and self-made prosthetics. In this imagery, I have also chosen accessories and the background to coincide with the makeup and the mood that I am conveying. Minor adjustments have been made digitally in order to enhance how the image comes across. For example, I have upped the contrast and dimmed the exposure, etc. I have taken most of my own photographs on my phone or Canon Rebel Xi camera while there are a few that a family member has taken for me. I printed these portraits at a larger than life scale and I chose to display them at a place that has become close to home, O’mainnin’s Pub and Grill. This pub is where I held my show. My art was displayed in the casual environment with loud music and dim colorful lights. The exhibit stayed up for three days and was available to the public. Alongside my photographs, I also chose a handful of traditional hand-drawn classwork to display as well. This work is very similar in theme and compliments the self-portraits. Below are images of the show!

The aim of this sociological study is to understand whiteness in relation to available selections of makeup products. The research was made in a small town in Sweden. Data has been gathered from local stores and their selection of makeup with availability of makeup that resembles and matches ones own skin color. The theory includes earlier studies that are considered relevant for the study and also historical background. This is used to explain how whiteness is produced and reproduced and the notion of Swedes as white and discoures therein. The result show that 99 percent of makeup available is for white skin not for dark skin. The reproduction of whiteness directly dictates the available selection of makeup. This confirms the aim of the study that dark skin is excluded and that whiteness in relation to available makeup. / Uppsatsen undersöker hur utbud av foundation i en svensk småstad kan förstås i relation till normer om vithet. Utbudet hos samtliga butiker i staden har räknats. För att förtydliga vilka hudfärger som analyseras i uppsatsen används som analysverktyg en ”karta” över hudfärger, avsedd för konsumenter att finna sin rätta foundation utifrån vilken hudfärg som mest liknar sin egen. Teoridelen innehåller tidigare studier som anses vara relevanta analysverktyg för att kunna besvara syftet. Inläsning av studier om vithetsnorm samt inläsning av historia har ansetts relevant för att förstå de strukturer och relationer som har inverkan på normer om vithet. Teoridelen sammanfattar och presenterar därför relevant historia, om hur föreställningen om svensken som vit skapats och presenterar olika diskurser som skapar och reproducerar vithet. Resultatet visar att en procent av utbudet riktas till mörkhyade medan 99 procent är för ljus hy. Cirkeldiagram och tabeller över utbudet av foundation skapades för att tydliggöra redovisning av resultatet. Socialt skapade strukturer om svensken som vit syns tydligt i resultatet. Resultatet förstås i relation till de strukturer som skapas socialt för att producera och reproducera vithetsnormen. Genom ett nästan uteslutande av mörkhyade tolkas resultatet som en föreställning om svensken som vit och att det är en rådande vithetsnorm som påverkar utbudet. Den historiska kontexten påverkar därmed parallellt med de rådande diskurser som avgör vad vitheten gör. Studien anser därmed ha besvarat sina frågeställningar om hur utbudet av foundation kan förstås i relation till vithetsnorm.

本研究設定參與批踢踢美妝版討論的年輕彩妝族群為目標研究對象，假設透過彩妝族群群體討論彩妝議題的方式，不僅可以掌握彩妝活動本身的形貌、內容與特性；更可以由討論呈現看出彩妝實踐者在日常生活中執行彩妝活動的方式，以及其對彩妝活動投入的情感乃至於相關的價值傳遞，藉此得以推敲彩妝族群熱衷於化妝的理由，解析美妝論述的內涵。 綜合網路文本分析、深度訪談與田野觀察三法蒐集資料，將網路社群互動特性區隔為媒介與議題兩大面向，受媒介特性影響BBS美妝版之互動有團體意識、網路從眾性、網路規則與團體極化四大特色，回歸議題討論方式則可區隔為消費、妝容打造技巧與意見交流三大類型討論。由此可知，「美的意識」與「化妝的價值」是美妝論述的重要核心，並據此結合學理發展討論進行深度概念分析。 本研究認為化妝第一層次的意義是融入社會的具體策略，行動者認為透過此策略得以幫助自己以較有利的正向姿態進入社會生活，這不僅肇於實踐者將化妝與「正面特質」高度連結，更重要的是生活中化妝儀式的執行過程的勞動成品，除了更「好」的身體外，還有稱為「自信」的精神成分推動著化妝儀式的永續執行。此外，化妝的正向感受亦來自過程中對於器物與技法的掌握控制，化妝活動的執行並非渾然天成的性別天賦，而是學習教養的歷程；技法操演的遊戲樂趣、對彩妝品項的物件愛戀，創造了彩妝實踐同中有異的細微差別，帶來探索多變的快意。擁有並隨心所欲掌握那些許的不同，是推動每日演練化妝並從中得到難以言傳之滿足感的深層動力。 化妝作為當代日益普及的社會現象，作為年輕世代、網路彩妝社群的特殊文化現象，不可單純由消費社會印象管理的角度解讀，亦不可僅由性別批判觀點切入。本研究一方面不忽略消費社會所提供之場景，特別是化妝活動對商品消費的深度涉入，以及消費社會對身體裝飾提供之大量參考文本，提供本研究別具備脈絡的解讀觀點。另一方面亦不忽略化妝作為女性特殊經驗的觀點，重視且回歸受訪者真實經驗為論證基礎，同理彩妝實踐者之情感並認可其能動性，落實真正實踐者發聲的研究特性，並不忘環境結構對個體之影響，提出具脈絡的社會性觀點陳述解釋彩妝文化現象，是為本文最具特色與價值的研究貢獻。 / This article takes members of virtual community on PTT’s MakeUp conference as main research target. It is assumed that that the makeup issues discussed within bulletin board conference not only depicts the figure and key factors of makeup activity but also proves makeup as an important roles in daily life. All above are deep influenced and composed by beliefs or ideologies of contemporary social context and these insights show us a way to find answers to the question: why girls are so obsessed with makeup. Through text analysis of conference within BBS, interviewing in depth and field research, this article categorizes the characteristics of communication within MakeUp into two perspectives: media oriented and topic oriented. The former based on the emphasis of virtual community perspective includes community solidarity, conformity, netiquette and polarization. The later based on the viewpoint of the topic under discussion includes consumption, makeup skill sharing and opinion trade. This shows the consciousness of being beautiful and the value of makeup are the core of cosmetic discourse. This research reveals that the behavior of makeup signifies two layers of meanings nowadays. The first layer is to take makeup as a beneficial posture for entering social or public life. This fact demonstrates: (1) the high connection between positive values and makeup (2) positive thinking toward applying cosmetics (while these labor products are made) -- Approaching a nicer body and ‘self-confidence’ sustainingly motivates the ritual. Besides, the complete control over cosmetics goods and the face-building process are also the source of pleasure which is not only the second meaning of makeup but also the deeper driving energy of daily makeup ritual. Taking makeup as a spreading cultural phenomenon, it can not be understood from single viewpoint such as consumerism or feminism. For this reason, this article on the one hand takes the consumer society as a background context to get the idea of using cosmetics to make-up the face in daily life. It on the other hand goes deeply into the experiences and practice of those who really love makeup. Through these aspects, this essay eventually gives a sketch for contemporary makeup culture study on both social structure and personal agency as a major contribution.