Dissertations / Theses on the topic 'Fashion and globalization'

As a popular ‘scientific’ and educational journal, National Geographic, since its founding in 1888, has positioned itself as a voice of authority within mainstream American print media, offering what purports to be an unprejudiced ‘window onto the world’. Previous scholarship has been quick to call attention to the magazine’s participation in an imperialist representational regime. Catherine A. Lutz and Jane L. Collins, Tamar Rothenberg and Linda Steet have all argued that National Geographic’s distinctive, quasi-anthropological outlook has established hierarchies of difference and rendered subjects into dehumanised objects, a spectacle of the unknown and exotic other. A more nuanced understanding can be reached by drawing upon Mary Louise Pratt’s concept of the ‘contact zone’. Pratt defined the contact zone as ‘spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power’. Photographs since National Geographic’s centenary edition in September 1988 have traced the beginnings of a different view of encounters within the United States-Brazil contact zone, driven by the forces of globalisation, which have resisted the processes of objectification, appropriation and stereotyping frequently associated with the rectangular yellow border. This is because they have provided evidence of a fluid and various population, which has selected and experimented with preferred elements of American and European dress, and used it to fashion their own, distinctly Brazilian identities. This thesis will examine both the visual and textual strategies that National Geographic and National Geographic Brasil (the Portuguese-language version of the magazine, established in Sao Paulo in May 2000) have used to fashion Brazil, but also the extent to which Brazilian subjects can be seen to have self-fashioned, through the strategic appropriation of clothing and ideas derived from an existing and dominant global culture. It will approach dress not simply as cloth but as a system of communication, whose many meanings are not fixed but continually informed and to an extent, even performed, by its visual, material, and textual representation. This thesis employs a multidisciplinary mode of analysis that draws on five Brazilian scholars, each of whom have used dress and fashion metaphors in their writings, which have encompassed poetry, film studies, poststructuralist theory, literary criticism and anthropology.

COO is a construct that refers to the country which a consumer associates a certain product or brand as being its source, regardless of where the product is actually produced. Scholars like Magnusson et al. (2011) argue that COO is a salient cue in consumers’ product evaluation and purchase intention. In contrast, Usunier (2006; 2011) and Samiee (2010) criticize the COO effect, by explaining that due to multinational production, integrated worldwide supply chains and global branding there are other cues that have become more salient in consumers’ decision- making process. The purpose of this thesis is to extend the understanding about the relationship of COO in consumers buying process. The research questions followed: To what extent does country of origin influence consumers’ product evaluations and purchase intention? To what extent does the level of involvement affect the relationship between country of origin and consumers’ product evaluation? To what extent does the level of involvement affect the relationship between country of origin and consumers’ purchase intentions. Applying a deductive approach, a quantitative research has been chosen for this thesis involving survey as the source for data collection in order to test this research four main concepts: COO, product evaluation, purchase intention and product involvement. The findings indicated that COO has a significant direct effect in consumers’ product evaluations and purchase intention. The results also indicated on that when consumers’ perceive products to be low involvement, the COO effect is greater in consumers’ decision-making process.

Orientador: Renato José Pinto Ortiz
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A "moda brasileira", a despeito de seu nome, não conforma um fenômeno nacional. Ela integra e tem por condicionantes os processos de globalização de mercados e de mundialização da cultura. Com o objetivo de elucidar porque a "moda brasileira", enquanto configuração material e simbólica, só faz sentido se pensada no seio desse panorama mais amplo, realizamos pesquisas de campo em eventos de moda nos quais ela era apresentada, sediados nas cidades de São Paulo, do Rio de Janeiro e de Paris. Análises bibliográficas e de conjuntura também foram cruciais para entendermos a articulação de diversos agentes, imbuídos de interesses, valores e discursos específicos, em torno da volição de se construir uma "moda nacional", ao mesmo tempo diferente e equivalente das modas historicamente consagradas. A partir da abertura do mercado brasileiro ocorrida na década de 1990, o setor nacional de têxteis, confecções e moda assistiu à transformação do estado da concorrência no mercado doméstico, diante do que buscou-se construir um "diferencial competitivo" para a moda do país, desde então às voltas com o mercado global. Esse movimento é perpassado por dinâmicas simbólicas complexas, visto que, embora a moda nacional seja majoritariamente produzida e consumida no mercado doméstico e, nesse sentido, não seja econômica ou objetivamente global, a globalidade é atualmente erigida como um valor mundialmente válido e, conseguintemente, mesmo visando especialmente o mercado interno, a moda do país precisará adequar-se a padrões de organização, qualidade e consagração que se tornam globais. Diante disso, ela buscará ser reconhecida enquanto "global" e, para tanto, tentará consagrar-se junto às "capitais mundiais" da moda. Todavia, para ser aceita em um mercado global de bens simbólicos que elege também a diversidade como valor positivo, a moda do país deverá ser oferecida enquanto "brasileira". Logo, as iniciativas em prol da constituição de uma "moda nacional" e aquelas com vistas à sua globalização são simultâneas porquanto correlatas. Isso explica porque, embora configure um fenômeno característico da globalização, a "moda brasileira" tomará por fonte simbólica as representações sobre "o" Brasil e sua suposta diversidade. É por isso também que as construções identitárias no bojo das marcas de moda nacionais com pretensões globais buscarão não se restringir aos usos da "brasilidade", mas encampar os dois valores caros à moda atual. Contudo, no mesmo momento em que as identidades são discursadas como "flexíveis" e em que a mobilidade se torna quesito valorativo, as condições das composições identitárias entre diversidade e globalidade serão desigualmente distribuídas conforme os agentes enverguem posições mais afeitas à fixidez ou à mobilidade, o que apresenta vínculos mediados com seus pertencimentos geosimbólicos. Portanto, a "moda brasileira" buscará emprestar globalidade das instâncias globais de consagração, as quais, de sua parte, precisarão da diversidade imputada às ditas "modas do mundo". Porém, embora a moda global integre hoje agentes e regiões que não constavam anteriormente na cartografia do setor, as novas relações a que dá lugar não são isentas de hierarquias. Ainda que interesses mútuos sejam contemplados nas novas trocas econômico-culturais constitutivas da moda contemporânea, nelas alguns tem mais a ganhar
Abstract: The "Brazilian fashion", despite its name, is in fact a global phenomenon which is conditioned by the processes of globalization of markets and culture. In order to elucidate why the "Brazilian fashion", conceived as a material and symbolic assemblage, only makes sense if thought within the globalization conjuncture, we conducted field researches in the cities of São Paulo, Rio de Janeiro and Paris, more specifically in fashion events where the "Brazilian fashion" was presented. Literature reviews and conjunctural analysis were also crucial to understand the articulation of different agents, imbued with specific interests, values and discourses around the volition to build a "national fashion", at the same time different and equivalent of the historically consecrated fashions. Due the liberalization of the Brazilian market in the 1990s, foreign competition in the domestic market impelled the national industry of textiles, apparel and fashion to build a "competitive edge" for the country?s fashion in order to deal with the global market. This movement is permeated by complex symbolic dynamics, for although the national fashion is mostly produced and consumed in the domestic market and, in this sense, is not economically global, "globality" is now established as a worldly valid value and, consequently, the national fashion has to conform itself to organizational, qualitative and consecration standards, which become global, even though the internal market is its most important target. Because of this, "Brazilian fashion" seeks to be recognized as "global" and, therefore, tries to consecrate itself in the "fashion capitals" of the world. However, to be accepted in a global market of symbolic goods which elects diversity as a positive value, the national fashion must be offered and show itself as "Brazilian". Therefore, initiatives to promote the establishment of a "national fashion" and those seeking its globalization are simultaneous and correlated. This explains why, although it is a globalization phenomenon, the "Brazilian fashion" will take some representations of "the" Brazil and its presumed diversity as its symbolic source. It also explains why the construction of the identities by the national fashion brands with global aspirations couldn?t be restricted to the uses of "Brazilianness", for it has to encompass both fashion market current values. Nevertheless, in the same conjuncture in which identities are discoursed as "flexible" and where mobility becomes positively distinctive, the conditions of identity compositions between globality and diversity are unevenly distributed according to a more fixed or mobile position of agents, which has mediated links with their geosimbolic belongings. Thus, the "Brazilian fashion" tries to borrow the consecration of global instances, that in turn need the diversity attributed to the so-called "local fashions" or "world fashions". Although nowadays global fashion integrates agents and regions which were not included in the earlier cartography of the sector, and even if mutual interests are covered in the new economic and cultural exchanges that constitute the contemporary fashion, the new relationships it arises are not free of hierarchies
Doutorado
Sociologia
Doutor em Sociologia

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This research aims to analyze the communication and marketing strategies driven by C&A popular stores chain in order to ensure its commitment as a retailer that sells the best fashion for fair prices. Thus, we will examine the discursive processes concerned in the various C&A communicational disclosure materials, revealing the persuasion and seduction resources that these communication materials put into practice to spread values such as originality, exclusivity and good taste in the consumers minds. In parallel, this work investigates the emergence of new consumption patterns within the popular stores chain. We played here with the hypothesis that the marketing and communication actions spread values established on quality standards, aesthetics, innovation and femininity that reverberate current production and worldwide consumption of fashion images trends in order to position itself as a global fashion too. Methodologically, it is a bibliographic and documentary survey - gathering, organization and analysis of communication materials and campaigns and at the store - and consistent field research on the consumer processes observation that takes place at C&A. To do so, the work corpus consists of different communication materials arranged in stores, involving communication campaigns - catalogs, magazines produced by the retailer, posters, clothing labels, hangers and custom bags and manual operating instructions - the communication at the store - the visual merchandising and store windows - and the campaigns launching releases from 2010 to 2014. The research main theoretical and conceptual references involve a significant number of authors who appreciate the globalized contemporary fashion values, like Diana Crane, Gilles Lipovetsky, Guillaume Erner and Enrico Cietta. Relevance is given to this research, as there is a lack, among fashion communication studies in Brazil, of works about the messages proposed by popular chain stores, which are generally focused on high-end fashion brands
Esta pesquisa teve como objetivo analisar as estratégias de comunicação e marketing acionadas pela rede de lojas populares C&A, no sentido de fixar seu posicionamento como uma varejista que comercializa o melhor da moda por preços justos. Nesse sentido, examinamos os processos discursivos em questão nos diferentes materiais comunicacionais de divulgação da cadeia de lojas C&A, desvendando os recursos de persuasão e de sedução que esses materiais de comunicação colocam em prática para semear valores de originalidade, exclusividade e bom gosto no imaginário de seu consumidor. Em paralelo, o trabalho estudou a emergência de novos padrões de consumo dentro das redes de lojas populares. Jogamos aqui com a hipótese de que as ações de marketing e comunicação da rede varejista difundem valores calcados em padrões de qualidade, estética, inovação e feminilidade que repercutem tendências atuais de produção e consumo global de imagens de moda, com o intuito de se posicionar como uma moda global também. Metodologicamente, tratou-se de pesquisa bibliográfica, pesquisa documental com a reunião, organização e análise dos materiais comunicacionais das campanhas e no ponto de venda e pesquisa de campo consistente na observação dos processos de consumo que se dão na C&A. Para tanto, o corpus do trabalho foi constituído pelos diferentes materiais de comunicação dispostos nas lojas, envolvendo a comunicação das campanhas catálogos, revistas produzidas pela rede, cartazes, etiquetas das roupas, cabides e sacolas personalizados e manuais de instruções de uso , a comunicação no ponto de venda o merchandising visual e as vitrinas e os releases de lançamento de campanhas, no período de 2010 a 2014. Os principais referenciais teóricos e conceituais da pesquisa envolveram um conjunto expressivo de autores que apreciam os valores da moda contemporânea globalizada, a exemplo de Diana Crane, Gilles Lipovetsky, Guillaume Erner e Enrico Cietta. Confere relevância à pesquisa a inexistência, nas reflexões sobre a comunicação de moda no Brasil, de trabalhos em torno das mensagens propostas por cadeias de lojas populares, sendo estas geralmente voltadas às marcas da alta moda

Textil- och konfektionsindustrin blir alltmer globaliserad och ställs inför hårdare krav då konsumenterna efterfrågar allt billigare varor i snabb förändring. Sedan flera decennier har europeiska konfektionsföretag flyttat sin tillverkning till länder med lägre arbetskostnader för att uppfylla kraven om låga priser som europiska tillverkare har svårt att uppfylla. En stor del har flyttats till Kina men även till andra länder i Asien. Nu håller marknadsförhållandena på att förändras igen genom tillväxt- och utvecklingsländernas starka utveckling. Förändringarna syns tydligast på Kinas marknad genom stigande priser och mindre kapacitet för europeisk produktion. Detta skapar nya förutsättningar för hur företagen väljer att planera sina verksamheter och resulterar i att detaljhandelsföretagen ser sig om efter alternativa produktionsländer.Syftet med studien är att ta reda på om konfektionstillverkningens tyngdpunkt kommer att fortsätta att ske i Asien eller om det finns förutsättningar för europeisk konfektionsindustri att återhämta sig och bli konkurrenskraftig i förhållande till tillverkningen i Asien eller om konfektionsindustrin istället kommer att etableras i andra globala regioner. För att uppnå detta syfte utformades en kvalitativ studie i form av semistrukturerade djupintervjuer med nio svenska konfektionsföretag samt en stiftelse verksam inom textil- och konfektionsindustrin. Studien har kompletterats med dokument utformade av organisationer kopplade till EU samt vetenskapliga artiklar.Undersökningen påvisar att Kinas förändrade situation inte leder till en större återväxt för Europas textil- och konfektionsproduktion. Tyngdpunkten av konfektionsproduktion inom den närmsta framtiden kommer att ligga kvar i Asien men flyttas från Kina till nya lågkostnadsländer i regionen. Europa kommer med sannolikhet inte att bedriva någon massproduktion i framtiden och de förlorar alltmer produktion inom låg- och mellanprissegmentet till övriga regioner. Delar av europeiska företags produktion kommer inom den närmsta tiden att fortsätta ske inom Europa, då ingen annan region i dagsläget kan uppfylla behoven av korta ledtider, effektiv logistik, små serier, stabilitet och hög kvalitet lika bra. Med tiden kommer troligtvis en allt större del att produceras i Nordafrika som i framtiden kan komma att ta över en betydande del av både Asiens och Europas produktion.The textile- and clothing industry is becoming increasingly globalized and face even tougher requirements as consumers demand for cheaper goods in rapid change. For several decades the European apparel companies have moved their manufacturing to countries with lower labour costs to meet the requirements of low prices. A major part has been moved to China, but also to other countries in Asia. Now the market conditions are changing again because of the strong growth of emerging and developing countries. The changes are most evident in China's market where prices are rising and capacity is decreasing for European production. This creates new conditions for how the retail companies choose to plan their activities and results in that they look for alternative production countries.The purpose of this study is to determine if the emphasis of clothing manufacturing will continue to occur in Asia or whether there are grounds for European clothing industry to recover and become competitive in relation to production in Asia or if production instead will be established in other global regions. To achieve this purpose we executed a qualitative study in the form of semi-structured interviews with nine Swedish clothing companies and a foundation working in the textile- and clothing industry. The study has been supplemented with documents written by organizations linked to the EU and scientific articles.The survey shows that China's changing situation does not lead to a major regeneration of European textile- and clothing production. The emphasis of clothing production will in the near future remain in Asia, although move from China to the new low-cost countries in the region. Europe will probably not mass produce clothing in the future and they lose more and more production in low-and mid-range market to other regions. Parts of the European company's production will in the near future continue to take place in Europe, as no other region currently can meet the needs of short lead times, efficient logistics, small batches, stability and quality as well. Over time, probably more production will occur in North Africa which in the future may take over a significant part of both Asian and European production.
Program: Textilekonomutbildningen

This study focuses on the conditions and processes that strengthen social distinctions and symbolic boundaries in society. In order to fully grasp the conditions of these processes, it is not sufficient to simply study them as they are carried out on a daily basis. Therefore in this study firstly a general overview of the matter evaluated in the context of globalization. Although a variety of means are at work in constructing social distinctions and symbolic boundaries, in this study three of them have been taken up: leisure, consumption and space. In order to reveal the relationship between them and social distinctions, it examines two different leisure spaces: Laila and Kaktus.

Mestrado em Gestão e Estratégia Industrial
Os modelos de negocio estao presentes nas trocas e no comportamento economico desde os tempos pre classicos. Contudo, apenas recentemente ganharam destaque enquanto conceito e potencial fonte de vantagem competitiva para as empresas. Dado o interesse recente no tema, a literatura sobre o mesmo e caraterizada por uma falta de clareza e sintonia relativamente ao seu significado, importancia e amplitude, nao havendo concordancia entre os autores. No entanto, e transversal a ideia de que um bom modelo de negocio permite nao so criar mais valor para os consumidores, como tambem permite que as empresas recolham grandes proveitos desse valor criado. A globalizacao, a consequente abertura dos mercados e livre circulacao de bens e pessoas, a ascensao da internet e a alteracao nas cadeias de valor globais vieram revolucionar as industrias e os modelos de negocio das mesmas. A industria da moda nao foi excecao. Com a internet, o mais rapido acesso a informacao, o acesso global a marcas, produtos e tendencias, novas formas de comercializar produtos surgiram, e uma industria caraterizada por ter modelos de negocio predominantemente tradicionalistas, foi revolucionada. Relativamente ao estudo de caso, foi utilizado o modelo dos nove blocos, Business Model Canvas, da autoria de Osterwalder, de forma a simular um modelo que levasse em conta os fenomenos anteriormente descritos. Posteriormente, cada bloco foi testado e validado, e de acordo com os resultados, procedeu-se a uma reformulacao do modelo inicialmente desenhado, de forma a maximizar a criacao de valor para os consumidores e a viabilidade do projeto.
Business models have been a part of economic exchanges and behaviour since pre-classical times. However, only recently has it gained traction as a concept and as a potential source of competitive advantage for firms. Given the recent surge of interest in the subject, the literature is characterized by a lack of clarity and concord about its meaning, importance and scope, without the existence of agreement among authors. Nevertheless, the idea that a good business model allows not only the creation of more value to the consumers, but that companies can capture that value is transversal. Globalization, the subsequent opening of markets and the free circulation of goods and people, the rise of the Internet and the change in global value chains came to revolutionize industries and their business models. The fashion industry was no exception. With the Internet, came about a faster access to information, global access to brands, products and tendencies, and new ways of trading products, and a industry characterized by predominantly traditionalist business models was revolutionized. Regarding the case study, the nine blocks method, the Business Model Canvas, created by Osterwalder, was used to simulate a business model that would take into consideration the phenomena previously described. Afterwards, each block was tested and validated, and, according to the results, the initially designed model was reformulated, in order to maximize value creation to consumers as well as project viability.

Cette recherche menée en anthropologie, questionne le monde global au travers de l'étude des blogs de mode issus de Paris, New York et Tokyo.En tant que support de l’Internet qui permet de se raconter au travers de la mode, le blog de mode est à la fois expression personnelle et partage à l’autre, il donne ainsi à voir la construction d’une image de soi sous-tendue par des processus mimétique et de distinction. L’établissement du soi au travers du blog de mode est une porte d’entrée privilégiée pour pouvoir étudier au travers de celui-ci et à partir des motivations à pratiquer le blog, le rapport qu’entretient une bloggeuse à elle-même mais aussi aux autres. La compréhension de la pratique du blog de mode par les bloggeuses est le premier axe de cette recherche.Le blog de mode est aussi des images. Des images spécifiques dont les mécanismes s’établissent au travers de l’Internet, des images dites, dans cette recherche, bloggées. Celles- ci posent le décor au blog mais représentent surtout la matérialisation d’un transfert d’une expérience faite de la mode préalablement vécue dans la ville de Paris, New York ou Tokyo, à une expérience de la mode enrichie, prolongée et vécue autrement sur le blog de mode. Le constat de la reconfiguration de cette expérience cristallisée dans les images bloggées, impose comme second axe de recherche à cette thèse, de comprendre la possibilité du passage de la ville au blog, et la particpation de ces deux dimensions à un paysage global. Le paysage ingoldien dans sa réalité spatiale, matérielle et temporelle, permet alors d’appréhender un processus d’incorporation du paysage de la ville à celui du blog et permet de comprendre la constitution de l’un par l’autre, dans le partage d’un réel commun.Le blog de mode enfin, porte en lui des éléments communicationnels. Dans le contexte de l’Internet, ces éléments ont la particularité de se situer dans une logique majoritairement interactionnelle. Au travers de mécanismes mettant en jeu des flux et reflux s’établissant entre les trois villes de l’étude, il est alors nécessaire de comprendre la circulation des images sur ces supports, autant au travers des actions menées par les bloggeuses que par les structures et fonctionnalités qui portent et encadrent cette action. Au travers d’une approche compréhensive du blog de mode et des mécanismes de circulation, il est alors possible d’envisager sa participation à une médiation transculturelle et plus généralement de formation d’un lien social.Tout au long de cette approche compréhensive du blog de mode, cette recherche établie sur quatre ans vise à faire ressortir des éléments d’actualisation dans la pratique du blog et dans ce qui le compose (bloggeuse, paysage, circulation). C’est sur le constat à la fois des actualisations spécifiques du blog de mode et de sa participation à un monde global dans lequel il s’insère et auquel il prend activement part, que cette recherche permet in fine de dégager plus largement les particularismes naissants d'un monde reconfiguré, qui se recompose et repense son existence à chaque instant.En prenant le blog de mode pour objet de recherche et s’inscrivant en anthropologie, cette thèse questionne en arrière plan, l’absence d’une anthropologie de la mode comme champ de recherche établi et spécifiquement nommé. Une réflexion est ainsi menée sur la nécessité d’emprunt à des champs multiples de l’anthropologie et à d’autres disciplines pour questionner l’objet mode, et laisse à penser une anthropologie de la mode comme étant encore une anthropologie sans nom
This research conducted in anthropology, questions the global world through the study of fashion blogs from Paris, New York and Tokyo. As a medium of the Internet that allows you to tell yourself through fashion, the fashion blog is both personal expression and sharing with the other, it gives to see the construction of a self-image under extended by mimetic and distinguishing processes. The establishment of the self through the fashion blog is a privileged entry point to study through it and from the motivations to practice the blog, the relationship that a blogger maintains to itself but also to others. The bloggers' understanding of blogging is the primary focus of this research. The fashion blog is also pictures. Specific images whose mechanisms are established through the Internet, images said in this research as "blogged". These set the scene for the blog but mostly represent the materialization of a transfer of an experience made of fashion previously experienced in the city of Paris, New York or Tokyo, an experience of fashion then enriched, extended and lived otherwise on the fashion blog. The observation of the reconfiguration of this experience crystallized in the images blogged, imposes as a second line of research to this thesis, to understand the possibility of the passage of the city to the blog, and the participation of these two dimensions in a global landscape. The Ingoldean landscape in its spatial reality, material and temporal, allows then to apprehend a process of incorporation of the landscape of the city to that of the blog and allows to understand the constitution of one by the other, in the sharing of a common real. Finally, the fashion blog carries with it communication elements. In the context of the Internet, these elements have the particularity of being situated in a logic that is mainly interactional. Through mechanisms involving ebb and flow between the three cities of the study, it is necessary to understand the circulation of images on these media, as much through the actions of bloggers as by the structures and features that carry and frame this action. Through a comprehensive approach of the fashion blog and circulation mechanisms, it is then possible to consider its participation in a transcultural mediation and more generally the formation of a social link. Throughout this comprehensive approach of the fashion blog, this research established over four years aims to bring out elements of actualization in the practice of the blog and in what composes it (blogger, landscape, circulation). It is on the observation of both the specific updates of the fashion blog and its participation in a global world in which it is inserted and in which it takes an active part, that this research ultimately makes it possible to identify more widely the emerging particularities of a reconfigured world, which recomposes itself and rethinks its existence at every moment. Taking the fashion blog as a research subject and registering in anthropology, this thesis questions in the background, the absence of an anthropology of fashion as an established and specifically named field of research. A reflection is thus conducted on the necessity of borrowing from multiple fields of anthropology and other disciplines to question the fashion object, and suggests an anthropology of fashion as still being a nameless anthropology

Après la révolution de Janvier 2011, la société tunisienne a connu un retour excessif des islamistes extrémistes sur la scène politique et sociale. Ainsi, les partis politiques, les associations et la société civile ont retourné autour des questions qui concernent les libertés publiques, le Code du Statut Personnel et les droits des femmes. Tout débat concernant le statut du féminin en Tunisie est revenu un sujet d’actualité. La femme tunisienne s’est retrouvée, par conséquent, face aux mêmes problèmes que ses ancêtres. En dépit de son éducation, ses acquis sociaux et sa forte présence dans les administrations publiques et les différents secteurs culturels et économiques, elle doit lutter de nouveaux pour sa liberté, ses acquis, sa condition sociale, mais aussi pour son identité menacée et sa culture territoriale. Le sujet de réflexion de ma recherche a été soulevé suite à ces événements sociopolitiques, qui ont secoué le quotidien de la société tunisienne. Il est ainsi structuré autour des articulations possibles, entre l’appartenance culturelle arabo-musulmane et la société mondialisée d’aujourd’hui, et basé particulièrement sur l’apparence vestimentaire de la femme tunisienne. Mon projet de recherche articule donc la création vestimentaire avec une étude sur la place des femmes dans la société tunisienne aujourd'hui, dans un questionnement sur l’héritage de la tradition et ses interprétations. J’essaie en effet de mettre en évidence un vêtement féminin tunisien, qui pourrait apparaître comme authentique, dans le contexte complexe et conflictuel de l’après-révolution
After the January 2011 revolution, Tunisian society has seen an excessive return of extremist Islamists to the political and social scene. Thus, political parties, associations and civil society have returned to issues concerning public freedoms, the Personal Status Code and women's rights. Any debate concerning the status of women in Tunisia has become a topical issue. As a result, Tunisian women found themselves facing the same problems as their ancestors. Despite its education, its social achievements and its strong presence in public administrations and in the various cultural and economic sectors, it must fight for new ones for its freedom, its achievements, its social condition, but also for its threatened identity and its territorial culture. The subject of reflection of my research was raised following these socio-political events, which shook the daily life of Tunisian society. It is thus structured around possible articulations, between Arab-Muslim cultural affiliation and today's globalized society, and based particularly on the clothing appearance of Tunisian women. My research project therefore combines clothing design with a study on the place of women in Tunisian society today, in a questioning on the heritage of tradition and its interpretations. I am trying to highlight a Tunisian women's clothing, which could appear authentic, in the complex and conflictual context of the post-revolution period

Cette thèse s’appuie sur les expériences professionnelles de voyage de commerçantestransnationales angolaises qui voyagent à l’étranger pour rapporter des produitsmanufacturés (vêtements, chaussures, accessoires féminins) qu’elles transportentdirectement dans leurs valises sans déclarer l’objectif commercial de leur activité. Cecommerce, pratiqué sur l’ensemble du continent africain s’est intensifiée en Angolaavec la fin de la guerre en 2002 et l’ouverture des relations internationales avec despartenaires comme le Portugal, le Brésil, Dubaï et la Chine. Ce travail analyse deuxvagues de mobilités commerciales féminines : de l’Angola vers le Brésil et de l’Angolavers la Chine. S’intéressant aux rôles spécifiques des femmes africaines sur troisespaces, l’observation menée sur les marchés de São Paulo, Luanda et Canton s’inscritdans la perspective de la globalisation « par le bas ». Interrogeant les processusémancipatoires, ce travail cherche à vérifier si la circulation commerciale permet auxfemmes de prendre conscience des rapports de pouvoir qui les marginalisent et dedévelopper leur capacité à les transformer. Cependant, la thèse défendue est que lescaractéristiques de l’économie « parallèle » où les frontières entre le légal, l’illégal, lelicite et l’illicite se confondent, conditionnent les capacités d’autonomisation desfemmes et pénalisent la revendication de leurs droits. À l’heure de l’accélération de laglobalisation des échanges entre pays du Sud, cette thèse a pour ambition de donnerune vision intimiste et féministe de la mobilité en suivant le parcours et les récits devie de plusieurs femmes angolaises entre le Brésil, l’Angola et la Chine
This thesis is based on the professional experiences of a small group of transnationalAngolan traders how travel abroad to bring back manufactured products (clothing,shoes, and women’s accessories) that they transport in their suitcases withoutdeclaring the commercial aim of this activity. After the end of the Angolan civil war in2002, allowing for the opening of international relations with partners such asPortugal, Brazil, Dubai and China, the feminization of this commercial practiceintensified. This thesis analyzes these phenomena through different case studiesinvolving two waves of female transnational traders: the first being from Angola toBrazil, and the second from Angola to China. By investigating the specific roles ofthese African women in the three different spaces where they were observed, themarkets of São Paulo, Luanda and Guangzhou, the research fits into the perspectiveof globalization from below. By investigating these emancipatory processes, thisresearch attempts to verify if this commercial activity allows the women to becomeconscious of the power relations that marginalize them and whether thisconsciousness develops the capacity to transform them. However, the thesis defendedhere assumes that the characteristics of the “parallel” economy, where the bordersblur between legal and illegal, licit and illicit, condition the capacities of the women’sempowerment and put them at a disadvantage in the collective demands for theirrights. At of time when globalization is accelerating, this study endeavors to give anintimate, feminist vision of mobility through the journey and the life stories of variousAngolan women as they travel between Brazil, Angola and China

碩士
淡江大學
日本研究所碩士班
97
Brand is the company’s trademark, which means the image of a company or a product. Especially for the global companies, how to make their brand could be expanded successfully, besides to understand local culture and custom. If we can let our brand to be famous, the entry barrier will be lowered relatively. Japanese companies in each industry had the outstanding performance at the product quality, including the brand image. But in fashion industry, most of the luxury brand we can think of, such like LV, Hermes, Chanel, are from Europe. In fashion industry, Japanese companies develop their brand awareness in most to Asia area. The reasons are: first, the history of Japanese fashion industry is younger than Europe. Europe always attaches importance to develop the industry of textile/fashion industry very much, so they have the first-mover advantage at this industry. Second, Japan receives external cultural influence deep. On fashion side, Japanese consumers and sellers always think “foreign brand is better than ours.” So that’s why Japanese brand cannot be developed to around the world, or even the companies don’t intend to. The speed of globalization is becoming faster and faster. Japanese companies of textile and fashion also understand the importance of brand, and positive start to develop their own brand. Japanese government makes TOKYO to be an origin place of fashion, in 2005, Japanese start the first collection - “Japan Fashion Week in TOKYO”. With the power of medias, Japanese designer and brand can be internationalized. We also can know that Japanese government and companies has become focused on fashion industry. One of case studies in this thesis is “Samantha Thavasa”. This brand wants to globalize. The company is established in 1994. This young company’s brand and marketing strategies are very confident and original. The company’s position makes its brand not only famous in Japan, but also around the world. And the first overseas shop, is established in America, not near Japan. The thesis discuses about the change of Europe and Japanese industry, how fashion industry can grow up. The case studies will discuss about the top luxury brand value of “Louis Vuitton” and Japanese “Samantha Thavasa”, their successful factors.

In the globalized garment industry (GGI) most clothing is involved in complex networks that exploit both people and the environment. This system is unsustainable yet supported by Canadian consumers, who have become disconnected from their clothing’s production and disposal processes as a result of the development of increasingly complex social and technological systems since the Industrial Revolution. Canadians currently learn about the industry from public portrayals in which the dominant messages are designed by corporations promoting consumption. Nevertheless, growing numbers of consumers are realizing that this system is unsustainable and attempting to take action. This study uses methods based on institutional ethnography to explore the challenges faced by Canadians trying to engage in ethical consumption. Promoting sustainability is seen as requiring broad structural change, which can be supported by individual Canadians seeking to learn about the industry and working with its global stakeholders to build the civil commons.

Dissertação de mestrado em Design de Comunicação de Moda
A presente dissertação de mestrado teve como finalidade analisar uma publicação de Moda online e, desenvolver uma estratégia de comunicação que seja capaz de chegar a mais públicos-alvo. Numa primeira instância, a pesquisa incide sobre os efeitos da globalização na sociedade contemporânea e nas possibilidades que oferece. Neste sentido, os meios de comunicação e, mais especificamente as revistas de Moda tiveram de adaptar-se a novos processos de interação com os seus leitores. O universo online permite agora uma infinidade de caminhos possíveis, para a transmissão/receção de informação. A forma como se comunica uma determinada mensagem foi reajustada, e os canais disponíveis para a divulgar crescem a cada dia que passa. Tendo em conta esta nova problemática, selecionou-se uma publicação de moda, arte e design, que estivesse inserida na dinâmica deste meio. A escolha recaiu na Revista Colagens Boémias, uma publicação recente no mercado, que apresenta uma grande variedade temática e uma linguagem em sintonia com a contemporaneidade. Aqui foi recolhida informação relativamente à sua origem, identidade, público-alvo, concorrência e mensagem transmitida enquanto publicação de moda online. Posteriormente foi desenvolvido um plano de comunicação, para a revista que tem como objetivo difundir uma mensagem específica e estabelecer uma relação de proximidade com o público. Neste sentido foi elaborada uma estratégia de comunicação, a ser implementada de modo a alcançar os objetivos pretendidos. Esta consiste num guião para uma curta-metragem de aproximadamente 20 minutos, que depois de executada será distribuída através da internet e das redes sociais.
The present masters' dissertation aimed to analyze a Online Fashion publication, and develop a communication strategy able to expand it in the market. In a first instance, the research focuses on the effects of globalization has caused in current contemporary society, and in the possibilities it offers. Accordingly, the communication media, and more specifically the fashion magazines had to adapt to these conditions. The online world now enables a myriad of possible paths for the transmission and reception of information. The way a certain message is communicated was readjusted, and the channels available for its promotion grow with each passing day. Given this new issue, a fashion, art and design publication inserted in this environment was selected. The choice fell on Colagens Boémias, a recent magazine on the market, offering a wide thematic variety and a contemporary language. Here information was gathered regarding its origin, identity, target audience, competition, and the message transmitted as an online fashion publication. Subsequently a communication plan for this magazine was developed, which aims to spread a specific message and connect with the public. For that purpose a communication strategy was outlined, to be implemented in the near future. This is a script for a short film of about 20 minutes, which after execution, will be distributed by the internet and social networks.

The globalization of markets has dramatically changed, the whole business environment. The internationalization of companies is no longer exclusive to MNEs, with an exponential increase of SMEs that have adopted this strategy to grow, in recent years. Nevertheless, the reality of these companies remains very different from MNEs, in particular as regards the resources needed to implement such a bold strategy, which make SMEs face greater challenges and constraints when entering a new market. Even with the financial crisis of recent years, which has highly affected all industries, the fashion industry has managed to survive and still grow. The fashion industry has an important position in the global economy, generating $2.4 trillion in 2016. It was in this context of globalization of markets and continuous growth of the fashion industry that Bioco Tradition was created. Bioco Tradition is a Portuguese SME that produces, among other things, typical coats from Algarve and intends to explore the Spanish market after the first two years of success in Portugal. In order to develop an internationalization strategy for Bioco, a PESTEL analysis and an analysis of market trends from the Spanish fashion industry was conducted. With the support of the evidence from the research and considering the strengths and weaknesses of the company, we conclude by adopting a strategy that encompasses the complementarity between the two theories – the Uppsala model and the Born Global theory –enter the new market through export, attend trade fairs and stablish contracts with local agents.
A globalização dos mercados mudou drasticamente, para melhor, o “business environment”. A internacionalização de empresas deixou de ser exclusiva das grandes empresas, começando a existir um aumento exponencial de PMEs adoptar esta estratégia para crescer. Ainda assim, a realidade destas empresas continua a ser muito diferente das grandes empresas, nomeadamente no que respeita os recursos necessários para implementar uma estratégia desta natureza, fazendo com que estas enfrentem desafios maiores quando entram num novo mercado. Mesmo com a crise financeira dos últimos anos, a indústria da moda conseguiu sobreviver e ainda ter lucros. A indústria da moda tem vindo assumir um lugar de destaque na economia mundial, gerando $2400 milhões em 2016. Foi neste contexto de globalização de mercados e crescimento da indústria da moda que apareceu a Bioco Tradition. Bioco Tradition é uma pequena empresa que produz, entre outras coisas, casacos típicos algarvios e que pretende explorar o mercado espanhol, depois dos dois primeiros anos de crescimento em Portugal. Com o intuito de desenvolver uma estratégia de internacionalização foi feita uma análise PESTAL da indústria da moda em Espanha, assim como uma análise das tendências que pautam esse mercado. Tendo como apoio as evidencias da pesquisa feita e considerando as forças e fraquezas da empresa, conclui-se que a empresa deve utilizar um mix de estratégias descritas pelo modelo de Uppsala e a teoria dos Born Global, entrando assim no novo mercado através de exportação, estando presentes em feiras e estabelecendo contratos com agentes locais.