從品牌與式樣探討臺灣私人企業上班女性之服裝消費型態與特性

OFFICE LADIES AND THEIR NEW CLOTHES A STUDY OF BUSINESSWOMEN IN THE PRIVATE ENTERPRISE IN TAIWAN AS CONSUMERS OF FASHION BRANDS AND STYLES

孫珮如(Pei-Ju Sun)

指導教授 ： 王德育

元智大學/人文社會學院/藝術管理研究所/碩士(2006年)

摘要

二十世紀末女性意識逐漸抬頭，婦女人力高度投入就業市場，原有傳統的人文思想與價值體系崩潰，取而代之的是男女平等的價值觀念，這股影響力量改變了臺灣新世代服裝的消費觀念。透過問卷調查，臺灣的私人企業上班女性有絕大部分的人願意將可觀的薪水作為工作服裝的治裝費用，顯示獨立自主的上班女性在購買服裝上享有高度自主權，也對服裝的要求與品味更加地重視。但在文化斷層與高度物質生活偏差的結果下，上班女性購買名牌服裝的行為像一種無法抵擋的趨勢，吞沒了現今臺灣女性服裝消費的基本意義，也分割了流行服裝與文化藝術之間的關聯，致使服裝產業絕對的商業化。
本論文第一章將探討流行文化的符號建構與女性服裝的審美概念。從符號與流行、流行文化與藝術概念的關聯，到羅蘭巴特對流行體系的探究，開啟對流行服裝起源的深入探討。
第二章首先就西方藝術風格與女性服裝的審美背景與發展開始，進而探討服裝起源及影響臺灣服裝審美觀變遷的構成因素。
第三章以問卷調查為主，就私人企業上班女性流行服裝消費特性進行調查。
第四章以建構私人企業上班女性的流行服裝藝術品味為討論主題，將流行服裝的角色推廣成具有創造與想像力，並讓服裝的美化和修飾品味之社會功能成為主導，使服裝的消費特點充分與藝術品所具有的「追求美感」文化特性相結合。

關鍵字

時尚 ； 流行女裝 ； 符號消費 ； 藝術空間 ； 服裝品牌

並列摘要

In late twentieth-century Taiwan, feminism and women’s new important role in the country’s workforce structure have joined to create a whole new class of consumers with its own set of priorities and buying habits. A poll conducted for this research shows that women working in Taiwan’s corporate world are free and willing to spend their disposable incomes on acquiring personal outfits for workplace uses. For them fashion consumerism amply demonstrates both their buying powers and good tastes as patrons, even if it also suggests their total subjugation under the merchandizing influences of marketing ploys such as trends and brands.

The present research opens with an overview of fashion as a popular (sub) cultural phenomenon and offers consideration from as diverse in angles as semiotics, cultural theory and Roland Barthes’s anthropology of the fashion system. The following chapter traces the idea of women’s fashion in history and discovers links between the forebears of western cultural and aesthetic values and Taiwan’s fashion scene today. Chapter three cites the customized research poll which targets female professionals working in the private companies and the nature of their behaviors as consumers of fashion objects and service. The last chapter explores the possibilities of women’s fashion as a cultural industry in Taiwan and recommends measures that may be best taken to bridge its current division between commercial developments and artistic ambitions.

並列關鍵字

fashion ； popular women’s clothing ； symbol consumption ； artistic space ； clothing brand

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