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Abstract(s)
A moda representa a histĆ³ria de um momento das sociedades, a cultura de um povo e reflete
importantes influĆŖncias sociais (Roselle, 1980). O escritor Oscar Wilde escreveu que, de acordo
com a sua filosofia de vida, āsomente as pessoas fĆŗteis nĆ£o julgam os outros pela sua aparĆŖncia,
[pois] que o verdadeiro mistĆ©rio do mundo estĆ” no visĆvel e nĆ£o no invisĆvelā (cf.Wilde,
1890). Por sua vez, afirma Louboutin: āA moda portuguesa ainda nĆ£o se sente pressionada
pela mƔquina internacional, o que permite uma determinada liberdade criativa que estƔ bem
patente nos trabalhos de alguns criadores. Penso, no entanto, que falta identidade Ć moda
portuguesaā (Louboutin, 2011). O designer de calƧado francĆŖs vai deste modo ao encontro da
gĆ©nese desta investigaĆ§Ć£o que procura perceber se existe uma necessidade de a moda nacional
ter uma āidentidadeā, sabendo que este termo pode significar o seu reconhecimento a
nĆvel internacional. Talvez fosse mais correto afirmar que uma ātradiĆ§Ć£oā ou atĆ© uma āculturaā
sejam, na verdade, um reflexo dos tempos contemporĆ¢neos, da era da globalizaĆ§Ć£o determinantes
na importĆ¢ncia das ligaƧƵes entre uma cultura de Moda e os locais/cidades/paĆses
a que pertencem (cf.Gilbert (2000). Veja-se o caso do setor do vinho, um dos exemplos de
construĆ§Ć£o de uma ātradiĆ§Ć£o culturalā na sociedade portuguesa.
A investigaĆ§Ć£o em presenƧa, sobre a identidade cultural e a Moda, nĆ£o pretende analisar uma
heranƧa cultural do ponto de vista Ć©tnico, folclĆ³rico ou popular, pretende sim estudar e perceber,
em que medida, o carĆ”ter simbĆ³lico, presente numa cultura, pode ter uma dimensĆ£o
funcional, sem perder o sentido. A procura de uma identificaĆ§Ć£o atravĆ©s dos objetos de Moda
(vestuĆ”rio, acessĆ³rios, calƧado) pode vir a ser interpretada pelo consumidor, independentemente
da origem produtiva do mesmo. De realƧar ainda o facto de tal percepĆ§Ć£o por parte do
consumidor estar tambĆ©m interligada com a āimagemā, interna e externa, que existe de um
determinado paĆs, uma āimagemā que expressa uma ideia de qualidade e de produtividade
em determinado segmento que Ć© transmitida globalmente dentro e fora do mesmo (Roth e
Romeo, 1992).
Assim, para responder e atingir os objetivos propostos foi feita uma revisĆ£o bibliogrĆ”fica sobre
o enquadramento sociolĆ³gico global e das caracterĆsticas da moda portuguesa. Recorreuse
a uma metodologia nĆ£o intervencionista e desenvolve-se um projeto de uma plataforma
com as diferentes fase de pesquisa, recolha de dados com entrevistas estruturadas a designers
de Moda e opinion makers, com a implementaĆ§Ć£o das versÅes BETA1 e BETA2 e respetiva
validaĆ§Ć£o. Analisaram-se os resultados e respetiva discussĆ£o, concluindo-se que a questĆ£o da
identidade Ć© fulcral Ć construĆ§Ć£o da sociedade, no entanto, nĆ£o se reflete como uma preocupaĆ§Ć£o
por parte da grande parte dos designers de Moda nacionais. Esse fator parece nĆ£o estar
diretamente associado Ć questĆ£o de se viver num tempo de globalizaĆ§Ć£o, antes uma questĆ£o
que parece estar ausente da base do conceito e estruturaĆ§Ć£o criativa da maioria dos designers
de Moda portugueses, talvez provocado por uma ālacuna na formaĆ§Ć£o obtidaā (Cruchinho,
2009). A Moda que nasce dos meios urbanos, como Lisboa e Porto, procura inspiraĆ§Ć£o nas linguagens
e estĆ©ticas transversalmente universais e nĆ£o particularmente nacionais. Ideias essas que desejam
captar a atenĆ§Ć£o do consumidor, sem integrar tĆ©cnicas e materiais tradicionais de referĆŖncia
iconogrĆ”fica, antes pretendem encontrar uma linguagem que lhes seja Ćŗnica e identificadora
do projeto que encabeƧam. Se por um lado alguns autores defendem que a cultura Ʃ o
ponto de partida de um conceito essencial para se perceber o verdadeiro significado do comportamento
do consumidor, associado Ć personalidade de uma sociedade, por outro, as escolhas
do mesmo consumidor nĆ£o estĆ£o dissociadas da contextualizaĆ§Ć£o cultural em que foram
assimiladas.
The present thesis is called āThe cultural identity of a country as a competitive factor for the local fashion design: the city culture (Lisbon and Porto)ā. This thesis aims to address the relationship between fashion and portuguese cultural identity in the urban cultural context of the cities of Lisbon and Porto. Fashion represents a moment in the history of societies, the culture and reflects important social influences (Roselle, 1980). The writer Oscar Wilde wrote that, according to his lifeās philosophy: "only foolish people do not judge others by their appearance, [for] that the true mystery of the world is in the visible and not the invisible" (Wilde, 1890). At the same time, Louboutin says: "Portuguese fashion is not yet under pressure from the international machine, which allows a certain creative freedom that is well evident in the work of some creators. I think, however, that there is a lack of identity in the Portuguese fashion "(Louboutin, 2011). The french footwear designer encounters the genesis of this research that seeks to understand if there is a need for national fashion to have an "identity", knowing that this term can mean its recognition at an international level. Perhaps it would be more correct to say that a "tradition" or even a "culture" is in fact a reflection of contemporary times, of the era of globalization, determining the importance of the links between a culture of fashion and the places/cities/countries to which (see Gilbert, 2000), see the case of the wine sector, one of the examples of the construction of a "cultural tradition" in Portuguese society. This research, about cultural identity and fashion, does not intend to analyze a cultural heritage from the ethnic, folk or popular point of view, but rather to study and understand, to what extent, the symbolic character present in a culture can have a functional dimension without losing its meaning. The search for an identification through the objects of fashion (clothing, accessories, footwear) can be interpreted by the consumer, regardless of the productive origin of the same. It should also be noted that this perception on the part of the consumer is also interconnected with the internal and external "image" of a given country, an "image" that expresses an idea of quality and productivity in a certain segment that is transmitted globally inside and outside it (Roth and Romeo, 1992). Thus, in order to answer and reach the proposed goals, a bibliographical review was made on the global sociological framework and the characteristics of the Portuguese fashion. We used a non-interventionist methodology and developed a project of a platform with different phases of research, data collection with structured interviews with fashion designers and opinion makers, with the implementation of BETA1 and BETA2 versions and respective validation. The results and discussion were analyzed, concluding the question of identity, central to the construction of society, however, it is not reflected as a concern on the part of the the national fashion designers. This factor seems not to be directly associated with the question of living in a time of globalization, but rather a question that seems to be absent from the basis of the concept and creative structure of the majority of Portuguese fashion designers, perhaps provoked by a "gap in training" (Cruchinho, 2009). The Fashion that is born in to the urban means, like Lisbon and Porto, looks for inspiration in the languages and esthetics transversally universal and not particularly national. Ideas that want to capture the attention of the consumer, without integrating traditional techniques and materials of iconographic reference, rather they want to find a language that is unique to them and identifies the project that they lead. If on the other hand some authors argue that culture is the starting point of an essential concept to perceive the true meaning of consumer behavior, associated with the personality of a society, on the other, the choices of the same consumer is not dissociated from the cultural contextualisation context in which they were assimilated.
The present thesis is called āThe cultural identity of a country as a competitive factor for the local fashion design: the city culture (Lisbon and Porto)ā. This thesis aims to address the relationship between fashion and portuguese cultural identity in the urban cultural context of the cities of Lisbon and Porto. Fashion represents a moment in the history of societies, the culture and reflects important social influences (Roselle, 1980). The writer Oscar Wilde wrote that, according to his lifeās philosophy: "only foolish people do not judge others by their appearance, [for] that the true mystery of the world is in the visible and not the invisible" (Wilde, 1890). At the same time, Louboutin says: "Portuguese fashion is not yet under pressure from the international machine, which allows a certain creative freedom that is well evident in the work of some creators. I think, however, that there is a lack of identity in the Portuguese fashion "(Louboutin, 2011). The french footwear designer encounters the genesis of this research that seeks to understand if there is a need for national fashion to have an "identity", knowing that this term can mean its recognition at an international level. Perhaps it would be more correct to say that a "tradition" or even a "culture" is in fact a reflection of contemporary times, of the era of globalization, determining the importance of the links between a culture of fashion and the places/cities/countries to which (see Gilbert, 2000), see the case of the wine sector, one of the examples of the construction of a "cultural tradition" in Portuguese society. This research, about cultural identity and fashion, does not intend to analyze a cultural heritage from the ethnic, folk or popular point of view, but rather to study and understand, to what extent, the symbolic character present in a culture can have a functional dimension without losing its meaning. The search for an identification through the objects of fashion (clothing, accessories, footwear) can be interpreted by the consumer, regardless of the productive origin of the same. It should also be noted that this perception on the part of the consumer is also interconnected with the internal and external "image" of a given country, an "image" that expresses an idea of quality and productivity in a certain segment that is transmitted globally inside and outside it (Roth and Romeo, 1992). Thus, in order to answer and reach the proposed goals, a bibliographical review was made on the global sociological framework and the characteristics of the Portuguese fashion. We used a non-interventionist methodology and developed a project of a platform with different phases of research, data collection with structured interviews with fashion designers and opinion makers, with the implementation of BETA1 and BETA2 versions and respective validation. The results and discussion were analyzed, concluding the question of identity, central to the construction of society, however, it is not reflected as a concern on the part of the the national fashion designers. This factor seems not to be directly associated with the question of living in a time of globalization, but rather a question that seems to be absent from the basis of the concept and creative structure of the majority of Portuguese fashion designers, perhaps provoked by a "gap in training" (Cruchinho, 2009). The Fashion that is born in to the urban means, like Lisbon and Porto, looks for inspiration in the languages and esthetics transversally universal and not particularly national. Ideas that want to capture the attention of the consumer, without integrating traditional techniques and materials of iconographic reference, rather they want to find a language that is unique to them and identifies the project that they lead. If on the other hand some authors argue that culture is the starting point of an essential concept to perceive the true meaning of consumer behavior, associated with the personality of a society, on the other, the choices of the same consumer is not dissociated from the cultural contextualisation context in which they were assimilated.
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Keywords
Design de moda - Aspectos sociolĆ³gicos - Portugal Design de moda - Aspectos culturais - Portugal Design de moda - Marketing - Portugal Design de moda - PolĆtica de internacionalizaĆ§Ć£o - Portugal