Dissertations / Theses on the topic 'Fashion journalism'

Fashion journalism can be understood as a complex, inter-dependent set of professional practices that have arisen in a variety of media at the intersection of fashion and journalism. This thesis, Fashion Meets Journalism: Mapping and Evaluating Australian Fashion Journalism, answers the question, 'What is Australian fashion journalism?' in three stages: First, it maps the extent of fashion journalism across media in Australia to locate the field and focus on the sites of fashion journalism; second, it foregrounds practices of the journalism branch, evaluating how and why the field is pitted against other types of journalism when they share an inter-dependent set of professional practices. The opinions of leading industry producers are also sought regarding the matter. Then, considering the current position of fashion journalism, implications for fashion media and journalism are explored in order to improve the visibility of fashion journalism and solidify it as a professional practice.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente estudo busca compreender o modo como se dá a representação da moda e do consumo femininos no Brasil, tendo como objeto de análise a colu-na Garotas do Alceu , criada pelo ilustrador Alceu Penna, veiculada entre 1938 e 1964 na revista O Cruzeiro e tida como uma referência essencial de moda e comportamento para as mulheres daquele período. Para isso, realizou-se uma pesquisa de caráter qualitativo através de análise textual de conteúdo, com base em referenciais teóricos que abordam discursos sobre moda, consumo, jornalismo e sociabilidade feminina a partir de uma perspectiva cultural. A pesquisa tem como referência ainda, os elementos históricos relacionados às práticas de moda e consumo femininos no Brasil, bem como à imprensa feminina e ao jornalismo de moda praticado no país. Por ser o Rio de Janeiro a cidade responsável por ditar padrões de moda e comportamento no Brasil no período pesquisado, sendo inclusive a cidade escolhida como cenário para a coluna Garotas do Alceu , tomamos a capital carioca como referência para esta pesquisa.
The present study seeks to understand the way in which the representation of women s fashion and consumption is presented in Brazil, having as object of analysis the Garotas do Alceu column, created by the illustrator Alceu Penna, published between 1938 and 1964 in the O Cruzeiro magazine and considered as an essential reference of fashion and behavior for women of that period. For this, a qualitative research was conducted through content textual analysis, based on theoretical references that approach discourses about fashion, consumption, journalism and female sociability from a cultural perspective. The research also has historical references related to women s fashion and consumption practices in Brazil, as well as the women s press and fashion journalism practiced in the country. Because Rio de Janeiro is the city responsible for dictating fashion and behavior patterns in Brazil during the period studied, including the city chosen as the setting for the Garotas do Alceu column, we took the capital of Rio de Janeiro as a reference for this research.

This thesis examines the development of Asian cultural modernity in the cities of Singapore, Hong Kong and Shanghai through their fashion magazines. These three cities have positioned themselves as aspirants to global city status, concurrently facilitating their ambitions by relaxing media laws and emphasising cultural production. One outcome is a growth in the production and consumption of fashion magazines. There has been a parallel growth in the consumption of and interest in fashion and self-adornment in these cities, particularly through global brand names. This thesis investigates these cultural transformations by examining the production of fashion texts in the context of their cities. It does this by utilising the concept of fashion journalism (as a product of fashion, journalism and the city) as a means of identifying the contemporary social, cultural and political articulations of these fashion texts. To do so, this research draws together a framework that takes into account different fields (fashion, journalism, modernity, city, Asia) that contribute to the concept of fashion journalism, thereby approaching fashion texts through a multi-disciplinary perspective anchored by establishing the contexts of each city and its specific magazine. The subsequent analyses of Vision (Shanghai), WestEast (Hong Kong) and Harper's Bazaar Singapore reflect and capture an evolution of these cities coming into their own. With particular emphasis on the cultural assertions of global Chinese identities in WestEast, an escape from national discourses through participating in cosmopolitanism in Harper's, and the emphasis on popular visual culture as a form of popular literacy and knowledge formation in Vision. These findings contribute firstly, towards an understanding of the issues occurring in the cultural modernisation of these cities and secondly, of fashion journalism as a promoter of the experiences of cultural modernity in Asia.

This thesis examines the development of Asian cultural modernity in the cities of Singapore, Hong Kong and Shanghai through their fashion magazines. These three cities have positioned themselves as aspirants to global city status, concurrently facilitating their ambitions by relaxing media laws and emphasising cultural production. One outcome is a growth in the production and consumption of fashion magazines. There has been a parallel growth in the consumption of and interest in fashion and self-adornment in these cities, particularly through global brand names. This thesis investigates these cultural transformations by examining the production of fashion texts in the context of their cities. It does this by utilising the concept of fashion journalism (as a product of fashion, journalism and the city) as a means of identifying the contemporary social, cultural and political articulations of these fashion texts. To do so, this research draws together a framework that takes into account different fields (fashion, journalism, modernity, city, Asia) that contribute to the concept of fashion journalism, thereby approaching fashion texts through a multi-disciplinary perspective anchored by establishing the contexts of each city and its specific magazine. The subsequent analyses of Vision (Shanghai), WestEast (Hong Kong) and Harper's Bazaar Singapore reflect and capture an evolution of these cities coming into their own. With particular emphasis on the cultural assertions of global Chinese identities in WestEast, an escape from national discourses through participating in cosmopolitanism in Harper's, and the emphasis on popular visual culture as a form of popular literacy and knowledge formation in Vision. These findings contribute firstly, towards an understanding of the issues occurring in the cultural modernisation of these cities and secondly, of fashion journalism as a promoter of the experiences of cultural modernity in Asia.

The Presidential Inaugural Ball is a special moment for every president’s wife because it is her first official public appearance as first lady of the United States. Historically, the manner in which the first lady presents herself in the way she dresses often contributes to her public image. Scrutiny from the media includes a focus on what she wears to the inauguration, as well as examination and analysis of her inaugural ball gown that evening. The gowns have a tradition of setting the tone for the first lady in the new administration as well as providing glimpses of a first lady’s personality. The gown gives the world a look at her personal style and a glimpse at her potential influence on fashion trends. Most first ladies recognize and understand the expectations of the role and what it means to the public. Some, however, have questioned why their appearance should matter so long as they are true to themselves. In positions of power, though, appearances are important because the media can use fashion as a lens to filter and interpret information to the public. Research on the news media coverage of first ladies and their inaugural gowns identified four themes: Feminism and the media’s reflection of society’s changing views of the first lady’s role; the media’s descriptions of first ladies, specifically references to their dress sizes and their physique; ethnocentrism and the fashion industry’s unbridled interest in and reliance on what the first lady wears; and the perspective of moderation in that the inaugural gown should be nice but not too expensive. Each theme has an intrinsic news value interjected into that coverage as revealed by Herbert J. Gans: Individualism, altruistic democracy, ethnocentrism, and moderatism, respectively. The media’s tendency to fixate on the first lady’s fashion style and clothing choices is best described as a fascination, almost an obsession at times, beginning with her selection of the inaugural gown. This thesis examines newspaper and magazine coverage and reaction to inaugural gowns from First Ladies Jackie Kennedy in 1961 to Michelle Obama in 2009.

Esta tesis explora teorías sobre el rol del periodismo de moda en distintos espacios sociales en Lima, Perú. Por un lado, se explica los fundamentos teóricos en los cuales se sustenta que el concepto de la moda es mucho más amplio del que normalmente se percibe. Se detalla cómo es que esta puede funcionar como un campo de acción político; y es un fenómeno social que puede reflejar los aspectos económicos, sociales, de raza y género de un hábitat social. Por otro lado, se realiza un análisis detallado del discurso de dos revistas. Cada una representa un espacio social y entiende y expone la moda a partir de este.
These research explore theories about fashion writing in different social spaces in Lima, Perú. On one side, the theories are explained in order to corroborate that the concept of fashion is greater that is usually known. It is detailed how fashion works also as a political field; it can also reflect economical aspects, social, race and genre. On the other size, the speech of two magazines it is deeply analyzed. Each one represents a social space and how fashion it is understood and exposed.
Tesis

In recent years, the salience of obesity and body image in society has given rise to a "fat activist" movement dedicated to defending non-normative body types. This activism has extended to the online environment, in which groups who are ostracized from the traditional realm have taken to blogging as a form of resistance and expression. The term "fat" has been reclaimed by the movement as a term of emancipation and defiance. The so-called "fatshion" blogs have a growing audience, and there is a burgeoning scholarly literature on this phenomenon. The aim of this research was to investigate college-aged females who identify as "fat," who may or may not have been exposed to the online fatshion (fat fashion) market or blogs. Are these blogs being used as resources for these women? Do they even know these websites exist? Thus, the aim of this study was to discover what the current fashion sector is like for those who may not participate as heavily within these communities. The main objective of this study was to find how plus-size women's fashion choices are shaped by the dominant discourses of the body and how this, in turn, influences their shopping experiences. By conducting semi-structured interviews along with participants filling out a small questionnaire, an in-depth look at the personal thoughts and feelings of fat women outside of this movement was explored. Fatshion was studied through four theoretical lenses: as a counter-discourse, as a place for identity construction, as a mode of gender performativity, and how fatshion is informed by intersectionality of race, class, and gender. Based on the interview data, the study found that the messages found on fatshion blogs have the potential to spark opposition in ways that mobilize a more positive self-image as well as nonconformist self-presentations through a heightened awareness of the possibilities for opposing dominant ideologies.

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To understand the fashion field as a universe that reflects attitudes and feelings of the social life of the man-common one if constitutes the base of this research. To better understand of that it forms the fashion it appears configured thus, becomes necessary to unmask the adornments with which the media of the mass culture works in this field. With the proposal of perceive as the transforming values of the field they are operating in the media, from a interpretative reading, we opt to analyzing the approach given for the Ilustrada of the Folha de S. Paulo to the biggest event of fashion of Brazil - the São Paulo Fashion Week, in its edition of July of 2006. Of this form, we present the aspects of the culture of mass that directly are related to the fashion field and how these aspects had been fit in the texts of the Folha, in the process of celebration of the event. (AU)
Entender o campo da moda como um universo que reflete atitudes e sentimentos da vida social do homem-comum se constitui a base desta pesquisa. Para compreender melhor de que forma a moda aparece assim configurada, faz-se necessário desvendar os adornos com os quais a mídia da cultura de massa trabalha neste campo. Com a proposta de enxergar como os valores transformadores do campo estão atuantes na mídia, a partir de uma leitura interpretativa, optamos por analisar o enfoque dado pelo caderno Ilustrada da Folha de S. Paulo ao maior evento de moda do Brasil a São Paulo Fashion Week, na sua edição de julho de 2006. Desta forma, apresentamos os aspectos da cultura de massa que estão diretamente relacionados ao campo da moda e de que maneira estes aspectos foram enquadrados nos textos da Folha, no processo de celebração do evento.(AU)

The purpose of this study is to explore the expressions of a commercialising fashion journalistic genre by focusing on how ELLE.se, Sweden’s biggest online fashion platform, use advertorials and click-based content. This is investigated through three research questions focusing on what journalistic and marketing discourses that are apparent in advertorials and click-based material; what blend of genres that are seen in different kinds of text commercial on ELLE.se and what discursive conflicts between journalistic ideals and commercial pressure are seen in the production of advertorial content. Theories used in the study are marketisation of public discourse together with Fairclough’s Critical Discourse Analysis (CDA), the commercialisation of news and lastly genres, also focusing on fashion journalism as a genre. In order to explore the expressions a discursive analysis is used on advertorials and click- based material on ELLE.se whilst qualitative interviews with respondents producing the content are conducted to investigate the third research question. The results of the study show that numerous journalistic and marketing discourses are apparent in advertorials and click- based material, with personification through conversational discourse, the pursuit of happiness by portraying the reader as an imperfect person and a friendly brand through corporate advertising as three recurrent themes. A majority of the text commercial at ELLE.se balances between editorial content and advertisement, demonstrating many aspects of an evolving hybrid genre. Lastly, respondents in the qualitative interviews identify digitalisation, loss of journalistic quality and decreased reliability as three discursive conflicts between journalistic ideals and commercial pressure. The result stresses how the impact of commercialism and how journalistic and promotional discourses are continuously blended, showing aspects of ongoing hybridisation and converging genres.

A tese analisa o jornalismo de moda, problematizando o funcionamento dessa prática comunicativa em relação ao seu discurso. Concluímos que este é um discurso híbrido, fortemente constituído pela interdiscursividade do jornalismo, da publicidade e da estética. O trabalho busca compreender de que modo o discurso jornalístico de moda se organiza, como resultado de um processo, e como realiza a gestão dos outros discursos que o conformam como um gênero discursivo singular. Para examinar o funcionamento deste discurso híbrido, selecionamos três tipos de matérias jornalísticas de moda: as reportagens de desfiles, as matérias de tendências e os editoriais fotográficos. Os objetos empíricos escolhidos são as edições das revistas Elle, Estilo, Manequim, Vogue e Harper's Bazaar publicadas em 2015, formando um corpus de 4.406 páginas de matérias jornalísticas. Utilizamos como método a Análise de Discurso de linha francesa, operando especialmente o conceito de paráfrase, que permite, a partir das marcas discursivas verbais e não verbais encontradas no texto, identificar as principais estratégias dos discursos jornalístico, publicitário e estético. De acordo com nossa pesquisa, o jornalismo aciona as estratégias de novidade, atualidade, veracidade, didatismo, uso de fontes especializadas, autoridade e normatividade para cumprir suas finalidades. A publicidade aciona especialmente as estratégias de magia, idealização, personalização e linguagem figurada. Já a estética mobiliza as estratégias de cenografia, cores, escala, formação de conjuntos, estilo, ritmo e tipografia. Concluímos que, a partir de dinâmicas que cruzam certos conjuntos de estratégias, o jornalismo de moda é tecido como um discurso híbrido, e este hibridismo é sua condição de existência. Destacamos ainda que é o discurso jornalístico, atuando como regente nesse contrato de comunicação particular, que vai elencar, com maior ou menor intensidade, as estratégias dos outros dois discursos, estabelecendo diferentes movimentos de dominância para atender ao leitor do jornalismo de moda.
The thesis analyzes fashion journalism, discussing this communicative practice performance regarding its own discourse. It is concluded that this is a hybrid discourse, strongly consisted of journalism, advertising, and aesthetics discursiveness. This paper aims to understand how fashion journalism discourse is structured, as the result of a process, and how it controls the other ones that shape it into a unique discourse genre. In order to examine how this hybrid discourse works, three types of fashion news articles were selected: news reports of fashion shows, articles about trends, and fashion editorials. The empirical materials chosen are issues of Elle, Estilo, Manequim, Vogue, and Harper’s Bazaar magazines published in 2015, raising a corpus consisted of 4.406 pages of journalistic news articles. The method used was the French Discourse Analysis, being applied – especially- the paraphrase concept which allowed us, through verbal and non-verbal discursive markers found in the text, to identify the main strategies of journalistic, advertising, and aesthetic discourses. According to our research, journalism triggers strategies of discoveries, updates, veracity, didacticism, use of sources of expertise, authority, and normativeness to meet its goals. Advertising especially activates the strategies of magic, idealization, customization and figurative language. Aesthetics, on the other hand, impels scenography, color, scale, ensemble formation, style, rhythm, and typography strategies. It is concluded that, from the dynamics that cross certain strategy groups, fashion journalism is built as a hybrid discourse, and this hybridity is its own survival condition. Also, it is possible to highlight that the journalistic discourse, which works as the conductor of this particular communication agreement, is the one that will list, with more or less depth, the strategies of those other discourses, establishing different movements of preeminence to serve fashion journalism readers.

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A presente pesquisa analisa o conteúdo de moda na praia veiculado na revista O Cruzeiro, produzida no Rio de Janeiro, que circulou em território nacional no período de 1928 a 1985. O recorte utilizado, aqui, é de 1928 até 1943. A baliza inicial, 1928 – o ano de fundação do impresso –, e a final, 1943, foi escolhida por ser o momento em que a revista sofreu uma importante reconfiguração no que diz respeito ao material fotográfico, a partir da adoção do modelo da fotorreportagem, que passou a predominar no periódico. O período também permite observar como era a moda praia antes da criação do biquíni, em 1946. Em 1928, o hábito de ir à praia já tinha se popularizado e, consequentemente, o impresso passou a exibir em colunas femininas condutas de como se portar nesse ambiente. Tais colunas acabaram por, entre outras coisas, propagar normas de elegância, beleza, saúde e comportamento, principalmente inspiradas nos padrões franceses. O material sobre a moda na praia em O Cruzeiro também foi marcado pela influência estadunidense, pois fotografias das atrizes de Hollywood vestindo trajes de banho eram frequentes na revista. Pretendemos, em especial, observar, a partir dos textos e imagens veiculados em O Cruzeiro, como esse material sobre a praia pode servir de modelo de como se portar e se apresentar em tal espaço para os leitores espalhados por todo o território nacional, ao mesmo tempo em que colabora para a propagação de novos hábitos e modas. A revista, de certa maneira, através da difusão da cultura de praia, fez do Rio de Janeiro o ideal de modernidade para o país.
The present study analyzes the beach fashion content published in the magazine O Cruzeiro, produced in Rio de Janeiro, which circulated in the national territory from 1928 to 1985. The period analyzed was from 1928 until 1943. The initial beacon, 1928 - the year the magazine was founded - and the final one, 1943, were chosen because it is the moment in which the magazine undergoes an important reconfiguration concerning the photographic material, due to the adoption of a photojournalistic style that ended up predominating in the publication. The period also allows us to observe how beach fashion was before the creation of the bikini, in 1946. In 1928, the habit of going to the beach had already become popular and, consequently, the magazine started to display in female columns how to behave on the beach, which ended up, among other things, propagating standards of elegance, beauty, health and behavior, mainly inspired by French standards. The material about beach fashion in O Cruzeiro is also marked by American influence, as photographs of Hollywood actresses wearing bathing suits were frequent in the magazine. We intend, in particular, to observe and note, from the texts and images published in O Cruzeiro, how the images and texts about the beach could serve as a model of how to behave and present yourself on the beach for the readers spread throughout the national territory, while at the same time contributed to spread new habits and fashion. The magazine, in a way, through the diffusion of the beach culture, made Rio de Janeiro the ideal of modernity for the country.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The main objective of this study is to investigate the meanings of body and costume as essential components of television journalists aesthetic discourse, as exemplified by the presenters of Jornal Nacional, from Rede Globo. The study is inspired on the paths proposed by semiotics, and combines this approach with other techniques of scientific investigation to identify the meanings of this non-verbal communication form. For that, this work uses the concept of communication proposed by the Palo Alto School s authors, more specifically the concept of Watzlawick et al. (2005), which understands communication like relation and inherent of human beings. The precepts of complex thought and the hologramatic principle of Morin (1990), which value the union and the need to connect the knowledge of elements or parts to that of the systems these parts constitute, is also present in the thinking that guides the work. Throughout the chapters, we elucidate our understanding of body and television as media, and fashion and television journalism as languages. This work approaches a televisual history of Jornal Nacional in order to better understand the aesthetic proposed by television news over time, its presenters and costumes. The elements that are part of the televisual language s expression and content are addressed so that we can better understand the importance of body and presenters costume in this context. Finally, we conduct an analysis of the meanings of television journalism presenters body and costume through their stereotypes, their integration into the fashion cycle and also into the televisual analysis of the most important costume elements of Jornal Nacional s presenter couple: colors, models and accessories. We thus seek to strengthen the understanding of the wardrobe inseparable from the body as communication and detail some of their production understanding processes. The women historical role in brazilian television journalism, as well as masculinization of TV journalism environment are important elements to contextualize televisual language thinking in contemporary society. The investigation covers the origins, concepts, proposals, stereotypes, prejudices, reproductions, naturalizations and reinterpretation of the body and the costume of the presenters through time and the relationship between body, fashion and communication
O objetivo principal deste trabalho ? investigar as significa??es do corpo e do figurino como componentes essenciais do discurso est?tico dos jornalistas de televis?o, exemplificados atrav?s dos apresentadores do Jornal Nacional, da Rede Globo. Inspira-se nos caminhos propostos pela semi?tica, aliados a outras t?cnicas de investiga??o cient?fica, para identificar as rela??es de significado presentes nessa forma n?o-verbal de comunica??o. Para tanto, o trabalho recorre ao conceito de comunica??o proposto pelos autores da Escola de Palo Alto, mais especificamente a conceitua??o de Watzlawick et al. (2005), que a entende como rela??o inerente ao ser humano. Os preceitos do pensamento complexo e do princ?pio hologram?tico de Morin (1990), que prezam pela uni?o e pela necessidade de ligar o conhecimento dos elementos ou partes ao dos conjuntos ou sistemas que elas constituem, tamb?m se faz presente no pensamento que norteia o trabalho. No decorrer dos cap?tulos, explicitamos nosso entendimento do corpo e da televis?o como m?dias e da moda e do telejornal como linguagens. O trabalho aborda tamb?m uma hist?ria televisual do Jornal Nacional, com o objetivo de compreender melhor as propostas est?ticas do telejornal ao longo do tempo, de seus apresentadores e figurinos. Os elementos que fazem parte dos planos de express?o e do conte?do da linguagem televisual s?o abordados para que se possa compreender melhor o papel do corpo e do figurino dos apresentadores nesse contexto. Por fim, fazemos an?lises das significa??es do corpo e do figurino dos apresentadores de telejornal atrav?s dos seus estere?tipos, da sua inser??o no ciclo da moda e ainda na an?lise televisual dos principais elementos que comp?em o figurino do casal de apresentadores do Jornal Nacional: cores, modelagens e acess?rios. Dessa forma buscamos fortalecer a compreens?o do figurino indissoci?vel do corpo como comunica??o e detalhar alguns dos seus processos de produ??o de sentido. O papel hist?rico da mulher no telejornalismo brasileiro, bem como a masculiniza??o do ambiente telejornal?stico s?o elementos importantes para contextualizar o pensamento sobre a linguagem televisual na sociedade contempor?nea. A investiga??o abrange origens, conceitos, propostas, estere?tipos, preconceitos, reprodu??es, naturaliza??es e ressignifica??es do corpo e do figurino dos apresentadores atrav?s do tempo e a rela??o entre corpo, moda e comunica??o

This thesis focuses on three fashion industry themed female friendship films: Pret-a-Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to illustrate how femininity is constructed and driven by consumer culture in the fashion industry themed films.

Esta investigación está enfocada en entender la percepción de los personajes más recurrentes dentro de la atmósfera local de la moda sostenible (diseñadores, entidades y creadores de contenido) con respecto a la producción de contenidos sobre este tema en los medios digitales peruanos desde el inicio del 2020. Para esto, se consideraron los conceptos de la moda como un fenómeno social dentro de un grupo específico en el que interactúa el emisor y el receptor, la adaptación del periodismo de modas hacia el mundo digital, qué dificultades periodismo de modas enfrenta de acuerdo al espacio geográfico en el que se desarrolla y la producción de información sobre moda sostenible en las plataformas virtuales. La metodología para realizar este análisis es cualitativa.
This research is focused on understanding the perception of the most recurrent characters in the local atmosphere of sustainable fashion (designers, entities and content creators) regarding the production of content on this subject in peruvian digital media from the beginning of 2020. For this, the concepts of fashion were considered as a social phenomenon within a specific group in which the sender and the receiver interact, the adaptation of fashion journalism to the digital world, what difficulties fashion journalism faces from according to the geographic space in which it is developed and the production of information on sustainable fashion on virtual platforms. The methodology to carry out this analysis is qualitative.
Trabajo de investigación

La tesi analizza il progetto grafico delle riviste di moda cartacee, problematizzando la forma come i loro elementi strutturali e visivi contribuiscano alla configurazione della loro identità visuale e alla proposizione di contratti di lettura. Problematizza le relazioni stabilite tra il campo del giornalismo e quello della moda, a partire dai contrasti dei loro principi e valori, incorporati dal progetto grafico delle pubblicazioni: transitorietà e periodicità; innovazione e continuità; regolamentazione e credibilità; oltre all`imitazione e alla differenziazione. Le procedure metodologiche adottate sono la ricerca teorica, la ricerca di contestualizzazione e la ricerca iconografica, costruendosi un approccio sincronico ed un altro diacronico nella problematizzazione dell`oggetto, a partire da aspetti giornalistici, editoriali, storici e visuali. L`analisi delle riviste è realizzata in due tappe: nella prima tappa viene effettuata l`osservazione accurata di diversi tipi di riviste di moda, nazionali ed internazionali, che sommata agli apporti teorici, permette l`elaborazione di un quadro generale della segmentazione e caratterizzazione delle riviste di moda – composto da linee e categorie collegate al suo genere, dal target e dal trattamento dato ai temi, alla loro periodicità e diffusione. Partendo da questo istrumento, si definisce il corpus, costituito da cinque pubblicazioni brasiliani: UseFashion, ffw>>mag!, Elle Brasil, Estilo de Vida e Manequim. A partire dalla selezione di tre edizioni di ogni titolo pubblicate nel 2013, si realizza un`analisi qualitativa, in modo comparativo e sistematico, e in conformità alle unità e agli operatori analitici definiti. Si conclude che l`identità visuale delle riviste si costituisce a partire da elementi che non si limitano alla loro marca, proponendo contratti di lettura che abbiano come presupposti la creazione di relazioni visuali interne ed esterne alle pubblicazioni – che mirano alla loro identificazione, ma anche alla differenziazione all`interno del loro segmento. Tali rapporti sono messi in evidenza dal progetto grafico, a partire dall`adozione di elementi ricorrenti, comuni e specifici, identificati in ciascuna delle categorie di riviste proposte, che si articolano all`universo della moda e si dedicano alla: (i) diffusione di materie prime, fornitori e tendenze; alla (ii) copertura delle sfilate ed inaugurazioni; alla (iii) moda concettuale; alla (iv) moda e al lusso; alle (v) guide di servizio; e alla (vi) produzione artigianale dell’abbigliamento. Mentre le riviste del segmento della moda adottano un certo padrone di riferimento, aderendo ad un quadro di riferimenti condiviso, ricercano la loro differenziazione, mediante l`adozione di pratiche e strategie editoriali, istituzionali e commerciali particolari, oltre all`attualizzazione del passato e ed alla rinnovazione nel tempo.
A tese analisa o projeto gráfico de revistas impressas de moda, problematizando a forma como seus elementos estruturais e visuais contribuem para a conformação de sua identidade visual e para a proposição de contratos de leitura. Problematiza as relações estabelecidas entre os campos do jornalismo e da moda, a partir do tensionamento de seus princípios e valores, incorporados pelo projeto gráfico das publicações: efemeridade e periodicidade; novidade e continuidade; normatividade e credibilidade; além da imitação e da diferenciação. Os procedimentos metodológicos adotados são a pesquisa teórica, a pesquisa de contextualização, e a pesquisa iconográfica, sendo que constrói-se uma abordagem sincrônica e outra diacrônica na problematização do objeto, a partir de aspectos jornalísticos, editoriais, históricos e visuais. A análise das revistas é realizada em duas etapas: na primeira etapa realiza-se uma observação exploratória de diferentes revistas de moda, nacionais e internacionais, que, somada aos aportes teóricos, possibilita a construção de um quadro de segmentação e caracterização das revistas de moda – composto por eixos e categorias relacionados ao seu gênero, target e tratamento dado aos temas, à sua periodicidade e circulação. A partir do instrumento, definese o corpus, constituído por cinco publicações brasileiras: UseFashion, ffw>>mag!, Elle Brasil, Estilo de Vida e Manequim. A partir da seleção de três edições de cada título publicadas no ano de 2013, realiza-se uma análise qualitativa, de modo comparativo e sistemático, e em conformidade às unidades e aos operadores analíticos definidos. Conclui-se que a identidade visual das revistas constitui-se a partir de elementos que não restringem-se à sua marca, propondo contratos de leitura que pressupõem o estabelecimento de relações visuais internas e externas às publicações – que visam à sua identificação, mas também à sua diferenciação junto ao segmento. Tais relações são manifestas pelo projeto gráfico, a partir da adoção de elementos recorrentes, comuns e particulares, identificados em cada uma das categorias de revista propostas, que articulam-se à cadeia da moda e dedicam-se: à (i) divulgação de matérias-primas, fornecedores e tendências; à (ii) cobertura dos desfiles e lançamentos; à (iii) moda conceitual; à (iv) moda e ao luxo; aos (v) guias de serviço; e à (vi) produção manual das roupas. Ao passo que as revistas do segmento de moda adotam certa padronização, aderindo a um quadro de referência compartilhado, buscam a sua diferenciação, através da adoção de práticas e estratégias editoriais, institucionais e comerciais particulares, além da atualização do passado e da renovação no tempo.
This thesis analyses the graphic design of printed fashion magazines and problematizes the way in which their structural and visual elements contribute to the formation of their visual identity and to the proposition of reading contracts. It also problematizes the relationship between the fields of journalism and fashion, departing from the tension among their principles and values embodied in the graphic design of the publications: ephemerality and periodicity; novelty and continuity; normativity and credibility; as well as imitation and differentiation. The methodological procedures adopted are theoretical research, context research and iconographic research, which build up into and synchronic and diachronic approach towards the object, considering the journalistic, editorial, historical and visual aspects. The analysis of the magazines was done in two phases: first, an exploratory observation of different fashion magazines, national and foreign, which, allied to theoretical support, allowed the construction of an outlook on the segmentation and characterization of fashion magazines – formed by axes and categories relating to their genre, target, and overview of the themes, their periodicity and circulation. From the instrument, the corpus is defined as constituted by five Brazilian publications: UseFashion, ffw>>mag!, Elle Brasil, Estilo de Vida and Manequim. From the selection of three editions of each title, all published in 2013, a qualitative analysis was done, in a comparative and systematic fashion, and according to the units and the defined analytical operators. We reached the conclusion that the visual identity of the magazines is built around elements that are not restricted to their brand, and it proposes reading contracts which presuppose the building of visual relationships both internal and external in relation to the publications – relationships that aim at their identification but also their differentiation in the segment. Such relationships are manifested by the graphic design, through the adoption of recurrent elements, both common and particular, identified in each of the proposed magazine categories, which are in articulation with the fashion industry and are dedicated to: (i) advertise components, suppliers and trends; (ii) coverage of fashion shows and new releases; (iii) conceptual fashion; (iv) fashion and luxury; (v) service guides and (vi) manual production of clothes. Fashion magazines tend to adopt a certain amount of standardization through shared milestones, but they also seek differentiation though the adoption of unique editorial, institutional and commercial practices and strategies, as well as the actualization of the past and renovation through time.

Ten years ago, the only contenders for the role of setting the fashion media agenda were mainstream fashion media magazines such as Vogue. With the evolution of blogging and the popularity of blog sites associated with magazine websites, a new contender was born: the fashion-themed blog. Now mainstream fashion media outlets and fashion bloggers sit side-by-side in the front row at designer fashion shows covering fashion news and trends. This study focused on ten elite fashion-themed blogs (fashion blogs) reporting on women’s fashion and ten mainstream fashion media websites during the summer 2016 fashion season looking retrospectively at the fashion forecast from October 2015 New York Fashion Week. The study examined how media outlets respond to fashion blogs and whether the blogs were used as sources by mainstream fashion media or vice a versa. This study has filled a research gap by conducting the first analysis examining fashion blogs through the lens of agenda setting. This research uncovered a media landscape in transition with fashion bloggers and mainstream fashion media communicating in a new and different way. Communicating fashion news is no longer a one-way street controlled by mainstream fashion media magazines. Instead it is a two-way street where each outlet uses the other and neither plays the role of lead agenda setter. This new synergy suggests the acceptance of fashion blogs as credible sources for fashion news and potential agenda setters for the fashion community. The relationship between bloggers and mainstream fashion media also creates excitement regarding trends because fashion bloggers have the ability to instantly comment and generate buzz on a trend when the mainstream fashion media are reporting on other issues or waiting for their magazines to be published. Out of the five trends studied, denim was the leading trend with 44 percent of the posts or articles discussing denim. With every trend, bloggers were present in the five earliest published posts or articles and continued to post on the trends throughout the study period. Style.com dominated the mainstream fashion media landscape, with 25 published articles. For fashion bloggers, Gal Meets Glam and Atlantic Pacific tied with 19 blog posts each. Over 57.6 percent of the total blog posts and blog articles linked to fashion designer websites where readers could purchase the trend being discussed. Fashion bloggers did not quote sources in their posts; 74 blog posts and articles recognized no sources at all. Understanding the new relationship between fashion bloggers and fashion magazine websites will help guide future reporters of fashion and fashion trends.

This diploma thesis focuses on fashion blogs and the perception of bloggers by their readers. The thesis is divided into three parts - theoretical, methodological and analytical. In the first part, I explain the terms that are associated with blogging and therefore journalism, online journalism, blogging, social networks, but also the character of journalist, blogger and the concept of an opinion leader. In the second part, I will present the procedures that I used for date collection, I will also introduce the research objective and describe the research file. In the last part, I describe the research itself, which I translated through a mixed analysis when I used both quantitative and qualitative approaches. Using a questionnaire survey, I perceived the perception of a fashion blogger from the viewpoint of its followers, their identification with the blogger's figure, but I also chose the supplementary question where I studied, whether the readers prefer fashion blogs or magazines and also the reason for their preferences. The results confirm the positive relationships of readers to the blogger, they consider him as an inspirational person who influences fashion trends, but also opinions on current topics. I see the added value of this diploma in revealing what readers think about bloggers and...

Apesar de ser uma profissão com décadas de história, com a chegada da internet e da sociedade em rede, o jornalismo, e o jornalismo de moda, viram-se obrigados a alterar a sua forma de operar. O relatório aqui presente, debruça-se exatamente sobre esse assunto através de duas partes. A primeira, será composta por um trabalho teórico, que, sustentado por uma revisão literária falará acerca das questões ligadas à moda, ao jornalismo, ao jornalismo de moda, e ao ciberjornalismo. A segunda parte, está relacionada com o estágio propriamente dito e com a elações que pude tirar a partir da minha experiencia de seis meses na elle.pt, e das entrevistas realizadas realizadas a jornalistas de moda. No final, tira-se uma conclusão principal: o jornalismo de moda, que apesar de ser mais antigo do que se imaginava, chega a Portugal tardiamente (mais de 10 anos após o 25 de abril), ao contrário dos outros países, onde já exisita. Ainda assim conseguiu estabelecer-se, mesmo que, com algumas dificuldades. Por sua vez, no ciberjornalismo e no ciberjornalismo de moda o mesmo, já não se verifica, pois até à data ainda se encontra em fase de desenvolvimento.
Despite being a profession with decades of history, with the arrival of the Internet and social network, journalism, and fashion journalism, were forced to change their way of operating. The report that I present here, focuses exactly on this subject throughout two parts. The first will consist of theoretical work, which is supported by a literature review that address’s issues related to fashion, to journalism, to fashion journalism and online journalism. The second part is related to the internship and the elations that I took thanks to my experience during the six months at elle.pt, and the interviews that I made to fashion journalists In the end, i toke up a major conclusion: fashion journalism, despite being older than what we thought, arrives in Portugal much later (over 10 years after April 25), unlike the other countries. Still, he managed to establish in the portuguese society with some difficulties. In turn, the online journalism and fashion cyberjournalism is, still, developing

O aparecimento da Internet mudou profundamente o jornalismo de Moda, alterando o modus operandi do jornalista, o funcionamento das redações, e a produção e apresentação de conteúdos noticiosos. A presente dissertação incide sobre a compreensão das mudanças que o jornalismo de Moda sofreu em Portugal após o aparecimento da Internet, focando-se essencialmente na imprensa feminina com conteúdos de Moda e na imprensa feminina da Moda. A investigação constrói-se em duas partes principais, sendo que a primeira corresponde ao enquadramento teórico, sustentado na revisão da literatura e a segunda ao trabalho empírico realizado através de catorze entrevistas semidiretivas a profissionais da Indústria da Moda com experiência relevante na área em estudo. As principais conclusões mostram que, numa fase inicial, as revistas de Moda portuguesas resistiram à aceitação da Internet mas, lentamente, começaram a adotar os meios digitais nas suas redações. A Internet aumentou a produtividade do jornalista, criou um novo tipo de jornalismo, com um formato diferente e regras próprias – o jornalismo online, e criou novos desafios às publicações impressas, principalmente ao nível da seleção de conteúdos. Além das alterações provocadas no jornalismo de Moda, a Internet levou à criação de uma nova classe profissional que também se dedica à criação de conteúdos online – os bloguers.
The emergence of Internet has truly altered fashion journalism, changing the modus operandi of the journalist, the forms of operation of the newsroom, the production and the presentation of news content. This dissertation pretends to understand and interpret the changes that fashion journalism suffered in Portugal after the emergence of Internet, focusing mainly on women’s press with fashion contents and fashion magazines. This research comprises two main parts: the first corresponds to the theoretical framework which is supported by relevant literature; the second part includes the presentation of the empirical work and the interpretation of the fourteen semi-directive interviews with professionals that have shown relevant experience in the area of fashion and fashion journalism. The main findings prove that Portuguese fashion magazines showed resistance to the Internet at the time of its emergence. However, recently, newsrooms have slowly been adopting digital media which has increased fashion journalists’ productivity and created a new kind of journalism – the online journalism. This change has also led to new challenges for print publications, especially in terms of editorial selection. Moreover, the Internet has led to the formation of a new professional class that is also committed to the production of online fashion content – the bloggers.

Com o aparecimento da Web 2.0, o funcionamento das redações das revistas de Moda sofreu alterações profundas. A entrada dos blogues na vida dos consumidores vem oferecer uma forma fácil e acessível de acompanhar as novas tendências à medida que estas vão surgindo. Assiste-se a uma explosão de blogues denominados de street style, em que os fashion bloggers expõem o seu estilo pessoal, defendem a ideia de um estilo inimitável que não tem, obrigatoriamente, de seguir as tendências. Este fenómeno atrai a atenção não só de milhares de seguidores mas também das marcas. A presente dissertação incide sobre a questão da utilização dos blogues de Moda na imprensa tradicional portuguesa, ambicionando compreender de que forma os blogues de Moda passam a ser parte integrante da cultura de Moda em Portugal. A investigação é constituída por duas partes. A primeira corresponde ao enquadramento teórico, sustentado na leitura e consulta de artigos e ensaios de autores credíveis que estudam o fenómeno da Moda. A segunda corresponde ao trabalho empírico que consistiu na análise de conteúdo de cinco revistas de Moda portuguesas, durante dois meses distintos e na realização de seis entrevistas semidiretivas a profissionais da indústria de Moda com experiencia relevante na área em estudo. As principais conclusões mostram que numa fase inicial, as revistas de Moda portuguesas não foram recetivas às novas ferramentas online mas com o aumento do tempo despendido online pelos consumidores foram obrigadas a adaptar-se. A Internet aumentou a produtividade do jornalista, criou um novo tipo de jornalismo, com um formato diferente e regras próprias – o jornalismo online, e criou novos desafios às publicações impressas, principalmente ao nível da seleção de conteúdos. Além das alterações impostas pelo digital, a internet trouxe um novo grupo profissional, os bloguers que são também estudados nesta dissertação.
With the arrival of the Web 2.0, the role of the newsrooms in fashion magazines have experienced profound changes. The entrance of the blogs in consumer’s lives has come to offer an easy and affordable way to keep up with the new fashion trends as they emerge. We are now witnessing an explosion of the street style blogs, in which fashion bloggers expose their personal style and support their idea of an inimitable style that does not necessarily follow the usual trends. This phenomenon attracts the attention not only of thousands of followers but also of the brands. This thesis focuses on the use of fashion blogs content on Portuguese traditional fashion press, aiming to understand how fashion blogs become an integral part of the fashion culture in Portugal. The research consists of two parts: the first one concerns to the theoretical framework, based on the reading of articles and essays by credible authors who study the fashion phenomenon; the second one is related to the empirical work that consisted on the analysis of five Portuguese fashion magazines, during two separated months and in conducting six semi-directives interviews to fashion industry professionals with relevant experience in this specific area. The key findings show us that, at an early stage, Portuguese fashion magazines were not receptive to this new online tool but, as technological developments took over and time spent online increased, they were forced to adapt. Internet has increased the productivity of journalists, created a new type of journalism, with a different format and its own rules – the online journalism. It has also created new challenges to the printed media, especially regarding content selection. In addition to the changes imposed by the digital, Internet brought a new professional group – bloggers – which are also studied in this dissertation.

A moda está presente diariamente na sociedade e influencia várias áreas. No jornalismo televisivo, a moda revela-se essencial para o pivô uma vez que uma peça de roupa, um acessório ou até mesmo uma indumentária adequada pode ajudar o mesmo na transmissão de segurança e credibilidade ao telespectador. Assim sendo, esta dissertação tem como objetivo analisar e comparar a indumentária utilizada por cada pivô que apresente o jornal televisivo nas estações televisivas Rádio Televisão Portuguesa (RTP), Sociedade Independente de Comunicação (SIC) e Televisão Independente (TVI). A metodologia base desta investigação combina o levantamento bibliográfico e a observação direta e descritiva. A leitura do material já publicado nesta área permitiu identificar os elementos a analisar e ajudou na formulação dos objetivos. Com a observação direta e descritiva, foi possível obter uma recolha estruturada da informação, a partir de imagens, retirados no período de 21 a 28 de Setembro de 2020, durante os noticiários dos três canais televisivos. Os elementos observados foram o vestuário, acessórios, maquilhagem e o penteado. Conclui-se que embora os jornalistas saibam que existe uma ética de vestuário para apresentarem o jornal televisivo, cada pivô tem o seu próprio estilo e cada canal de televisão tem as suas regras e liberdade na indumentária. Nenhuma das roupas dos pivôs se confunde com as cores dos cenários. Compreende-se assim que não usam cores que possam prejudicar o cenário para não confundir o telespectador, verificando-se maioritariamente o uso de cores neutras. Os pivôs têm uma noção de como se devem vestir para os jornais televisivos, mas também da importância e do impacto que pode ter as roupas, acessórios e maquilhagem que estão a utilizar nas mensagens que passam através das notícias e da credibilidade. Possivelmente, os pivôs dão também importância às cores que utilizam nas peças.
Fashion is present daily in society and influences several areas. In television journalism, fashion proves to be essential for the pivot since a piece of clothing, an accessory or even an appropriate outfit can help the same in transmitting security and credibility to the viewer. Therefore, this dissertation aims to analyze and compare the clothing used by each pivot that presents the television newspaper on the television stations Rádio Televisão Portuguesa (RTP), Sociedade Independente de Comunicação (SIC) and Independente Television (TVI). The basic methodology of this investigation combines the bibliographic survey and the direct and descriptive observation. Reading the material already published in this area made it possible to identify the elements to be analyzed and helped in formulating the objectives. With direct and descriptive observation, it was possible to obtain a structured collection of information, from images, taken in the period from 21 to 28 September 2020, during the news of the three television channels. The elements observed were clothing, accessories, make-up and hairstyle. We conclude that although journalists know that there is an ethics of dress to present the television newspaper, each pivot has its own style and each television channel has its rules and freedom in clothing. None of the clothes of the pivots are confused with the colors of the scenery. It is understood, therefore, that they do not use colors that could harm the scenery, so as not to confuse the viewer, with a predominance of neutral colors. Pivots have a sense of how to dress for television newspapers, but also of the importance and impact that the clothes, accessories and makeup that they are using in the messages that pass through the news and credibility can have. Possibly, the pivots also give importance to the colors they use in the pieces.

Com a crescente popularidade do mundo digital, os websites e as redes sociais tornaram-se plataformas nas quais todos os órgãos de comunicação social têm uma presença. No jornalismo de moda não é diferente: as revistas de moda sofreram mudanças profundas ao nível do funcionamento da redação, da partilha e produção de conteúdo e até do próprio papel do jornalista de moda. O presente relatório analisa o modo como as revistas de moda estão presentes nas novas plataformas digitais e procuram o equilíbrio entre as edições impressas e a sua presença online, especificamente o exemplo da Vogue Portugal e da GQ Portugal. Assim, desenvolveram-se as seguintes questões de investigação: De que forma é que a GQ Portugal e Vogue Portugal se adaptaram ao meio digital, mantendo as suas edições em papel sustentáveis?; Qual é o papel do website de ambas as revistas na estratégia editorial e quais são as diferenças entre o conteúdo exclusivo dos websites e o conteúdo das edições em papel?; Como é que ambas as revistas usam as redes sociais e que estratégias aplicam para complementar o restante conteúdo dos sites e das edições físicas? E, para responder a estas questões a metodologia utilizada foi uma análise de conteúdo a um corpus constituído por edições impressas de cada título e o seu conteúdo online durante as semanas de lançamento das mesmas. A investigação conclui que as revistas Vogue Portugal e GQ Portugal estão bem adaptadas ao mundo digital. Ambas têm uma forte presença na imprensa de moda portuguesa em papel bem como nas plataformas digitais. As revistas da editora Light House procuram novas estratégias para complementar as edições em papel com conteúdo digital extra, cativando o leitor em ambos os formatos, nunca menosprezando a relevância e importância do papel como algo insubstituível.
With the growing popularity of the digital world, websites and social media have become platforms on which all media outlets have a presence. It is no different in fashion journalism: fashion magazines have undergone profound changes in terms of how the newsroom works, how content is shared and produced, and even the role of the fashion journalist. This report analyzes how fashion magazines are present on new digital platforms and seek a balance between print editions and their online presence, specifically the example of Vogue Portugal and GQ Portugal. Thus, the following research questions were developed: How did GQ Portugal and Vogue Portugal adapt to the digital, maintaining their paper editions sustainable? What is the role of the websites of both magazines in the editorial strategy and what are the differences between the exclusive content of the websites and the content of the paper editions? How do both magazines use social media and what strategies do they apply to complement the rest of the content on the websites and physical editions? And, to answer these questions, the methodology used was a content analysis of a corpus consisting of printed editions of each title and its online content during the weeks of their launch. The investigation concludes that Vogue Portugal and GQ Portugal magazines are well adapted to the digital world. Both have a strong presence in the Portuguese fashion press on paper as well as on digital platforms. The magazines published by Light House are looking for new strategies to complement paper editions with extra digital content, captivating readers in both formats, never underestimating the relevance and importance of paper as something irreplaceable.

The aim of this work is the qualitative analysis of the new wave of female gaze photographers with a comparison of the female gaze pioneers. For this purpose, there were used photographs by Arvida Bystr​öm​, Petra Collins, Harley Weir, and Cindy Sherman, Nan Goldin, Corinne Day, which were published in fashion magazines such as ​Vogue, Harper's Bazaar, i-D, Dazed, and ​Vice​. The theoretical part examined how female identity has been shaped by western culture and dominant ideology, and how patriarchy paradigm has influenced the visual representation of women in art, pop culture, and advertisement. It is shown through key feminist concepts including Simone De Beauvoir, Betty Friedan, Judith Butler, John Berger, Laura Mulvey, theory of young girl, gagafeminism, and xenofeminism. The second part of the thesis is dedicated to social semiotics analysis of each photograph and the results of this research, which show changes of topics in the female gaze content and the shift to social media-related topics and the virtual representation of women. The work could enrich further research in the field of feminist aesthetics, fashion journalism, photography, advertisement, and social media.

This graduation thesis is focused on the description of the language methods used in the texts of the most significat Czechoslovak journals in the years 1971 {--} 1975. The first part of thesis gives a brief characteristics of the publicist{\crq}s style and defines journalistic dilemma. Separated chapters give a brief summary of the events in the years 1971 {--} 75 and explain history and structure of the most significant Czechoslovak journals in the time of my observation. The second and also the most important part of my thesis is searching lexical methods used in texts: fashion words, cliché, phraseologisms, foreign words etc. Thesis is focused on the description of these methods and the characteristic of their practical use in the text.