Drawing upon my eleven-month ethnographic fieldwork in two business organisations in Bangkok, Thailand, this thesis explores Thai women office workers consumption of makeup and clothes at work. What emerges from this thesis is that a claim to beauty as a reason for which women are engaged in the consumption of makeup and clothes is not always valid. Grounded in theoretical discussions and empirical findings, I argue that the women s consumption of makeup and clothes is not always in the pursuit of beauty, but rather the pursuit of looking good. While beauty is perceived as an innate quality of the body, looking good entails the materialisation of the outer body through consumption practices in an attempt to achieve an ideal look. I introduce a concept of looking good practices. Looking good practices demonstrate the ways in which women office workers exert agency in mobilising their outer bodies to achieve an appropriate appearance at work. I argue that looking good practices entail a process of social learning. The women office workers learn to look good through the process by which they look at other women, participate in the practices shared amongst themselves, negotiate the meanings of appropriateness and reify such meanings through their consumption of makeup and clothes. By sharing meanings and practices, the women office workers inevitably participate in looking good practices, which, I argue, are social practices. My research also demonstrates how, through their engagement in the consumption of makeup and clothes, the women office workers aestheticise their bodies to be situated in the aesthetic workplace.

The increasing globalization of the market has rendered the competitive situation for companies worldwide more fierce than ever with order winners becoming order qualifiers and the demand continues to rise. Especially, the situation has become more complex for SME´s that are suppliers to large global companies. To ensure themselves that the suppliers are conforming to the high standards set by the large companies. In mediating the quality of the production as well as having a well-performing production, practitioners are using the term industrial look and feel to encapsulate a production that both deliver and looks the part. However, this term is loosely used, and a clear definition of it is missing, hence creating problems when the term industrial look and feel is used in production line design. In this study, the authors aim to investigate the possibilities of providing a clear definition of the term industrial look and feel and what it involves. Further, the authors want to investigate what are the important aspects to consider when designing a production line considering industrial look and feel. The study was directed by these three research questions: * How can Industrial Look and Feel be defined? * How does Industrial Look and Feel contribute to increased performance of a production line? * What is important to consider when designing a production line considering industrial look and feel in an HMLV environment? To answer the research questions a case study has been conducted at a company producing the robust data communication equipment and a literature review was conducted with the aim of understanding the concepts included in the term industrial look and feel. The study resulted in a definition of industrial look and feel, how industrial look and feel may contribute the production performance and important aspect to consider and include in the design of a production line considering industrial look and feel. Taking the newly defined concept of industrial look and feel into consideration, a concept assembly line was developed at the case study company.