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Amanda Queiroz Campos of TRADITION and CREATION: the DISCOURSE of FASHION DESIGNERS on TREND REPORT USAGE Florianópolis 2017

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Amanda Queiroz Campos of TRADITION and CREATION: the DISCOURSE of FASHION DESIGNERS on TREND REPORT USAGE Florianópolis 2017 Amanda Queiroz Campos OF TRADITION AND CREATION: THE DISCOURSE OF FASHION DESIGNERS ON TREND REPORT USAGE Tese submetida como requisito final para a obtenção do grau de Doutor em Design pela Universidade Federal de Santa Catarina e pela Bergische Universtät Wuppertal em regime de cotutela. Orientadores: Prof. Dr. Luiz Salomão Ribas Gomez (UFSC). Prof. Dra. Brigitte Wolf (BUW) Florianópolis 2017 Ficha de identificação da obra elaborada pelo autor através do Programa de Geração Automática da Biblioteca Universitária da UFSC. Amanda Queiroz Campos OF TRADITION AND CREATION: THE DISCOURSE OF FASHION DESIGNERS ON TREND REPORT USAGE Esta Tese foi julgada adequada para obtenção do Título de “Doutor em Design” e aprovada em sua forma final pelo Programa de Pós- Graduação em Design. Florianópolis, 19 de julho de 2017. ________________________ Prof. Luiz Fernando Figueiredo, Dr. Coordenador do Curso Banca Examinadora: ___________________ ___________________ Prof. Luiz Salomão R. Gomez, Dr. Prof. Brigitte Wolf, Dr.ª Orientador Orientadora Universidade Federal de Santa Bergische Universität Wuppertal Catarina ____________________ ___________________ Prof. Marília M. Gonçalves, Dr.ª Prof. Axel O. Buether, Dr. Examinadora Examinador Universidade Federal de Santa Bergische Universität Wuppertal Catarina _____________________ Prof.ª Virgínia Souza de Carvalho Borges Kistmann, Dr.ª Examinadora externa Universidade Federal do Paraná ACKNOWLEGMENTS In the following pages, I present you a doctoral dissertation. However, this document consists of the final product of a four-year process of doctoral studies. During these past four years, my research objective, my bibliographic reference, and the focus of my investigation were deeply remodeled. Nonetheless, during the past four years, I was the one who changed the most. Many people accompanied such a change and contributed to make this research possible. I begin by thanking my first supervisor, Professor Dr. Salomão Ribas Gomez for his comprehension, patience, kindness, and support. For the appreciated example of a remarkable leader and teacher. To Professor Brigitte Wolf, also my supervisor, for her warm welcoming in Germany, for the deposited trust, for all the service that involved welcoming an international student for a joint Doctorate, and for the role model of an independent and sagacious intellectual woman. To the colleagues from LOGO/UFSC and from the research group led by Professor Wolf, I extend my acknowledgements for the exchanges, confidences, and affection. To the financial support of FAPESC, CAPES, and DAAD, which have allowed me to undertake this research with full dedication and deserved attention. To the Universidade Federal de Santa Catarina, the university that firstly welcomed and enabled me to complete my education, from undergraduate to the doctoral degree, an institution both public and of unquestionable quality. To the Bergische Universität Wuppertal for the hospitality, opportunity, and all the service undertaken before, during, and after my stay in Wuppertal. To both universities and their staff for the insistent effort to establish their first joint Doctorate in the field of Design. To all designers and product managers who lent their time, their voices, and their views on design to this investigation. Michael Kampe, Michael Staib, Ilse Stammberger, Fadia Naschar, Stephan Schneider, Claudia Jünemann, Hans-Bernd Cartsburg, Michael Damm, Sven Bergmann, Andrea Marquardt, Birgit Dietrich, Felix Bösel, Stephanie Deschamps, Vanessa Cabidelli, Lucas Rodrigues, Elice Lisboa, Lui Iarocheski, Elza Bastos, Mariana Lima, Bianka Frota, Hervè Tomedi, Daniela Rodrigues, Isabela Capeto, Edson Matsuo, and Jacira Lucena. Also worthy of appreciation are those who favored some of these interviews: Daniel Einars, Sybille Klose, Martina Glomb, Danielle Dutra, Bruna Gomes, Burim Selimi, Gerrit Färber, and Marc Stender. To the women who willingly and kindly validated the results of this dissertation: Andrea Bisker, Carla Raimondi and Martina Glomb. To my father and mother, who dearly accepted and supported my decision of becoming an academic and have built a safe environment that allowed my continuous education, with financial and emotional support. I thank my sisters Daniela and Julia Queiroz Campos for the needed advice, devotion, and embraces. To all the dear friends I was fortunate to have around. I also thank—in advance—all the readers, without whom this text would not fulfill its ultimate purpose. With my eyes turned to the past, I walk backwards into the future. (Yohji Yamamoto) RESUMO A presente tese de doutorado tem como mote a análise do papel das empresas de prospecção de tendências de moda – bureaux de style – no sistema de moda contemporâneo. Lida, portanto, com a agência imateria de designers de moda a partir de métodos interdisciplinares. A fim de atingir seus objetivos, a abordagem foi qualitativa e a natureza tanto exploratória quanto explicativa. Assim, buscou-se compreender não apenas os fatores e as motivações para a atual conotação dos bureaux de style, mas também a disposição e o interesse das empresas de moda em adquirir, revisar e aplicar – ou não – a informação de tendências nos produtos que projetam. Os dados foram coletados por meio de pesquisa teórica, pesquisa documental e pesquisa de campo (entrevistas) e foraam analisados com base no Realismo Crítico, na perspectiva giddesiana sobre estrutura e agência e na Teoria Fundamentada nos Dados, de Glaser e Strauss. A dualidade "insegurança e dependência" parece ser altamente expressiva da relação entre os bureaux de style e os designers de moda. Além disso, a dependência confiada faz referência a uma segurança bem-sucedida no passado, enquanto a insegurança é expressa em relação ao futuro – mais especificamente à sua ignorância. Apesar dos altos níveis de assinatura de relatórios de tendências de bureaux de style por empresas de moda, um discurso baseado na "inutilidade" dos relatórios de tendências da moda é difundido. Por outro lado, a forma como os designers de moda lidam com as informações transmitidas pelos bureaux de style consiste, sim, em uso. A pesquisa levou ao desenvolvimento de um modelo de níveis de uso de relatórios de tendência de moda por designers de moda, o qual expressa como os designers respondem às informações de tendência de moda. Palavras-chave: Design de Moda. Expertise. Bureaux de style. RESUMO EXPANDIDO Introdução O mote da presente tese aborda os bureaux de style no sistema de moda contemporâneo. Neste trabalho, bureaux de style se refere a todas as empresas de previsão de tendências da moda;independente de tamanho, localização e mídia de veiculação de informações. Conforme expresso em seu título - da tradição e da criação -, a dissertação investiga como os relatórios de tendências de bureaux de style são mecanismos para o desenvolvimento de novos produtos de moda. Ou seja, a criação é fundamentada em relatórios desenvolvidos por empresas que afirmam ser tradicionais. Logo, tradição e criação expressam duas faces de uma mesma moeda. Da mesma forma que a pesquisa de tendências de moda tende a anunciar tempos futuros, o anúncio de um futuro não pode ser feito sem imagens do passado. O subtítulo - o discurso dos designers de moda sobre o uso do relatório de tendências de moda-, por sua vez, problematiza a narrativa realizada pelos estilistas sobre a maneira como eles se relacionam com os relatórios de tendências editados por especialistas dos bureaux de style. Objetivos O objetivo principal desta pesquisa foi analisar o papel das empresas de previsão de tendências da moda -bureaux de style- no atual sistema de moda a partir da perspectiva dos designers de moda no Brasil e na Alemanha. Para atingir o objetivo principal, o trabalho seguiu os objetivos específicos subsequentes: [1] apresentar a moda como um sistema institucionalizado; [2] problematizar teoricamente e conceitualmente as tendências da moda e suas dinâmicas; [3] compreender teoricamente e historicamente os sistemas peritos na moda; [4] identificar bureaux de style relevantes considerando a sua experiência e relevância consagrada no mercado internacional da moda; [5] identificar o nível de adoção de tendências de moda em empresas de design de moda no Brasil e na Alemanha; [6] identificar o papel das empresas de previsão de tendências da moda –bureaux de style – na atual cadeia produtiva de moda. Metodologia Esta pesquisa tem abordagem qualitativae natureza exploratória e explicativa, buscando compreender não apenas os fatores e motivações para a atual conotação dos bureaux de style, mas também a disposição e o interesse das empresas de moda em adquirir, revisar e aplicar - ou não aplicar - informações de tendências de moda. Para tais fins, desenvolveu-se pesquisa bibliográfica sistemática e pesquisa aplicada sob a forma de pesquisa documental e pesquisa de campo por meio de entrevistas. Cada fase de fundamentação teórica teve como objetivo consolidar a tese como um todo e, além disso, servir como referência para apoiar a análise e interpretação documental e empírica. Para a pesquisa documental, dados sobre bureaux de stylee suas estratégias de informação para a comunicação de tendências de moda, bem como comunicação de sua expertise fundamentada foram coletados e analisados. Um total de novebureaux de styleforam investigados [Peclers, Promostyl, Carlin, DMI, View, WGSN, Use Fashion, TrendsTope TrendUnion]. Já a pesquisa de campo visou investigar como as empresas de moda reagem e percebem esses sistemas peritos e seus produtos e
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