No abstract

Although frequently perceived as inconsequential and frivolous, fashion is a central interdisciplinary concept and a substantial global industry. This necessitates taking it seriously, both as a set of theoretical tensions, and as a concrete empirical phenomenon of rich potential interest to organization studies. Our essay outlines and further develops fashion’s conceptual and empirical expressions, and suggests subsequent avenues for valuable research. In particular, we commence with a discussion of three key definitions, namely fashion as individual manner, fashion as organizing of dress and fashion as a system. This enables us to problematize its industry and economy, from their historical roots and evolutions, to their varied organizational frictions, forms and practices today. We then conclude by examining the ongoing, substantial changes within the fashion industry as we have known it since the nineteenth century, and considering its potential implications and openings for organization studies scholars.

Purpose – The purpose of this paper is to explore the phenomenon of dress codes in professions. Since they can be considered as carriers of both organizational communication and individual identity, they will be central in professions as communities and through the professionalization process. Therefore, we will ask the following question: what is the role of understanding and complying with dress codes in becoming a professional? Design/methodology/approach – The empirical study consists in a series of ethnographic interviews and observations aiming at understanding dress codes' roles and dynamics in financial professions. Findings – Exploring dress codes in three typical professions in finance, we have discovered that they also are mediums of communication within the group, strengthening a certain aesthetic sense of belonging and of presenting the self. Originality/value – In this, becoming a professional can be understood as an aesthetic experience through which all senses are involved. Considering professions as being also aesthetic communities shifts the focus – or rather enlarges it – toward symbolic, corporeal and sensorial elements.

In this article, we conceptually engage with style as central to creative industries. We specifically argue that style is crafted into being via an interplay between aesthetic judgments and “aesthetic objects.” We define aesthetic objects as temporary, material settlements fueled by a continual sense of dissatisfaction, eventually resolved through relational engagements. These remain under aesthetic inquiry throughout the process of crafting, until brought to particular close. We elaborate our theorizing with a non-traditional exemplar of the Bride Dress in the preparation of a 2009 Jean-Paul Gaultier’s fashion show. Our subsequent contribution is a richer conceptual understanding of style, with a material, aesthetic engagement at its center. In addition, in foregrounding under-explored features (i.e., aesthetic judgments, crafting of physical materials), and introducing new concepts (i.e., aesthetic objects), we outline promising openings for and significant connections with scholarship on creative or fluid industries, style, and organizational identity.

This article aims at answering Levinas' call for a radical ethical stance in the field of organization studies, in which he has been increasingly mentioned in the past decade. Starting with an examination of the main aspects of his phenomenology (alterity, unconditional responsibility towards the Other, diakonia), this paper outlines the potential contribution of a Levinassian perspective to refine our understanding of organizations. We question the conditions of transferability of his radical ethics to managerial practices and present two main avenues of research that could be renewed: benevolent management and organizational justice.