Teza Doctorat Alina Duduciuc

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REZUMAT
al tezei de doctorat cu titlul
Sociologia modei: stil vestimentar i dezirabilitate social
Autor: Alina Ctlina Duduciuc
Conductor tiinific: Prof. univ. dr. Septimiu CHELCEA

La ora actual putem vorbi deja de o tradiie sociologic a studiilor modei care descinde de la
Herbert Spencer, Gabriel Tarde, Georg Simmel, Thorstein B. Veblen, Herbert Blumer, Pierre
Bourdieu i coboar n contemporaneitate la cercettorii care i afirm adeziunea la fashion
studies. Chiar dac se proclam ca autonom, sub egida grupurilor tematice a unor publicaii
(Fashion Theory. The Journal of Dress, Body and Culture; Clothing and Textiles Research
Journal), propunnd un numr de 642 de concepte (V. Steele, 2005, xvii) culese din tiinele
sociale, stadiul actual al sociologiei modei relev mai degrab un repertoriu de microteorii, care
pun n circulaie o serie de termeni, insuficient clarificai i o genealogie ambigu a evoluiei
subiectului. Din acest perspectiv, teza i propune s inventarieze i s clarifice aria semantic
a conceptelor, s sublinieze direciile de studiu i progresele sociologiei modei. Tocmai de aceea,
din raiuni metodologice, n primul capitol propun o periodizare a istoriei sociologiei modei. Am
evideniat astfel etapele de studiu, principalele direcii de cercetare (antropologic, istoric,
sociologic, psihosociologic, semiotic), publicaii, lucrri semnificative. Am subliniat
distincia dintre mod i vestimentaie i am argumentat necesitatea integrrii unor
concepte, precum gust, nfiare i manier, n sfera explicativ a fenomenelor modei.
Am prezentat n ordine cronologic principalele direcii de studiu i am stabilit, pornind de la
bibliografia consultat, paternitatea unor teorii.
Capitolul al doilea este dedicat analizei sociologice a modei, n special vestimentaiei ca
fapt social, i a urmrit traseul conceptului de mod n cele dou direcii de studiu care s-au
conturat: prima, corelativ evenimentelor social-politice i culturale ale nceputului de secol XX,
denumite prin termenul generic de modernitate i cea de-a doua, relaionat comportamentului
colectiv, teoretizare dezvoltat cu precdere dup anii 60. Totodat, am evideniat tendinele
recente de analiz a modei prin achiziiile teoretice i empirice aferente sociologiei consumului i
studiilor culturale. Analiza semantic a termenilor de gust i manier, ntreprins n primul
capitol, m-a condus la descoperirea unor teorii noi, care ar putea fi integrate discursului
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tiinific al modei. Este vorba de lucrrile lui Norbert Elias i Pierre Bourdieu, pe care, din
pcate, marea parte a publicailor recente din sociologia modei le ignor.
Partea a doua a tezei a rspuns, deopotriv, unei raiuni metodologice, dar i de ordin
practic. Prin integrarea tematicii n ansamblul de studiul al psihosociologiei (Capitolul 3), prin
gruparea ipotezelor n orientrile dominante (orientarea cognitivist i orientarea socio-
culturalist), am ncercat s pun n eviden semnificaia hainelor n context social. Relaionat
acestor cadre, teza a rspuns unor interogaii precum: ce rol au hainele n percepia persoanei?
Cum ne formm impresiile despre ceilali n baza mbrcmintei? Care este efectul hainelor n
formarea primei impresii? Prima impresie produs de nfiare fizic a celorlali este stabil sau
se schimb n funcie de durata i de tipul interaciunii? Ce tipuri de inferene fac oamenii
pornind de la inuta oficial i inuta vestimentar lejer a celorlali? Sunt hainele un indicator
important al competenelor sociale i profesionale ale actorilor sociali? La ce inute vestimentare
apeleaz indivizii pentru a produce imagini favorabile despre sine? Ce imagini ale sinelui i
construiesc i i proiecteaz indivizii prin mbrcminte? Sunt hainele o expresie a atitudinilor
sexuale ale indivizilor? Reflect mbrcmintea valorile sociale ale purttorilor? Pentru c inuta
vestimentar a devenit un aspect important n evaluarea competenei profesionale a actorilor
sociali (Eurobarometrul Special, 2009), capitolul al III-lea ofer o explicaie psihosociologic
asupra adoptrii inutei la locul de munc, subiect intens mediatizat n presa tabloid i n crile
de larg informare despre comunicarea nonverbal.
n capitolul al IV-lea avansez ipoteze i propun explicaii referitore la experienele de
via modern din spaiul socio-cultural romnesc. Am observat excesul de accesorii i de
ostentaie vestimentar care s-a rspndit n detrimentul (se pare, vom vedea dac cercetare a
relevat o tendin majoritar n acest sens) unui costum simpul sau oficial. Am remarcat n
diverse contexte sociale, deopotriv, aversiunea, dar i aprobarea unor stilurilor vestimentare
vanitoase ca modele de reuit social i profesional. Prin ancheta sociologic, desfurat pe
un lot de 328 de subieci n perioada martie-mai 2009, ale crei rezultate le prezint n ultimul
capitol, am testat modul n care unele valori sociale sunt ilustrate n tendinele vestimentare ale
indivizilor, mai exact dac orientarea subiecilor ctre bunstarea material reprezint o variabil
explicativ pentru maniera n care indivizii adopt anumite stiluri vestimentare. Consider c
cercetarea a rspuns urmtoarelor ntrebri: sunt valorile materiale ale indivizilor un indicator al
tendinelor vestimentare ale acestora? Sunt hainele o modalitate de exprimare a standardelor
asumate de individ ca principii demne de urmat n via?
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Urmtorul pas n logica acestei tezei de doctorat a constat n legitimarea tiinific a

obiectului de studiu: fenomenul modei vestimentare. Prima tendin a fost aceea de localizare a
subiectului n perimetrul istoriei i al semioticii, date fiind primele lucrri tinifice aprute pe
aceast tem. O vast bibliografie istoric, interesat n special de aspectele vieii cotidiene, a
ilustrat deja c fiecare epoc i are haina ei. Printr-un arsenal enciclopedic privind evoluia
costumului n diverse epoci i culturi care n Europa anului 1610 numra deja 200 de publicaii
pe aceast tem (L. Taylor, 2005, 24) istoria a argumentat asupra faptului c moda a
reprezentat de-a lungul timpului un instrument al puterii, al celor cu un status socio-economic
ridicat i c procesele de aculturaie care nsoesc moda se propag pe vertical, de sus n jos.
Semiotica, o alt tradiie a studiilor modei, preocupat ndeosebi de problemele de semnificare, a
artat c indivizii se raporteaz la obiectele i practicile care compun sistemul modei (R.
Barthes, 1967) n baza conotailor sociale (semnificailor) ataate acestora.
Transformat n obiect de studiu al sociologiei, corpul mbrcat este un fapt social, un
trup socializat, care marcheaz distincia dintre natur i cultur. n diversele etape ale
socializrii, individul i nsuete normele sociale ale civilizrii, exprimnd consensul asupra
manierelor considerate dezirabile n mediul n care triete. n acelai timp, adoptarea unui stil
vestimentar este o aciune social. Epoca modern a creat condiii favorabile dinamizrii
rolurilor socio-culturale i, n consecin, n multiplele interaciuni sociale, vestimentaia a
devenit o resurs comunicaional n strduina indivizilor de a se prezenta celorlali ntr-o
manier pozitiv. Asupra acestei funcii de semnificare pe care vestimentaia o ndeplinete la
nivelul relaiilor sociale s-au pronunat unii semioticieni i reprezentai ai interacionismului
simbolic: Georg Simmel, Erving Goffman, Greory Stone, Roland Barthes, Umberto Eco. De
asemenea, consensul cu privire la utilizarea metalimbajul modei vestimentare, precum i
determinanii socioculturali ai opiunilor indivizilor sunt problematici crora abordarea
sociologic le ofer un rspuns. ns nu numai semnificaiile hainelor i coagularea acestora n
jurul indicatorilor de status, vrst i gen preocup discursul sociologic, dar i felul n care
indivizii se raporteaz la mod, ca norm a dezirabilitii sociale, a prezentului n vog, a
conformrii la valorile i normele promovate de societate.
Aprofundarea teoretic a acestui subiect a nsemnat i confruntarea cu anumite dificulti,
inerente unor ramuri sociologice n expansiune: insuficenta clarificare a unor concepte, de
unde i confuziile terminologice vehiculate n unele articole sau lucrri (de exemplu, echivalena
dintre mod i vestimentaie); ncadrarea unor autori provenii din direcii teoretice diferite
(de exemplu, Georg Simmel i Thorstein B. Veblen) n aceeai paradigm explicativ; numrul
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redus al lucrrilor care recurg la metodologii de cercetare; ignorarea unor direcii de cercetare
care au fundamentat tiinific fenomenului modei (de exemplu, cercetarea cantitativ a modei,
iniiat de Alfred L. Kroeber). n acest sens, incursiunea n analiza fenomenului modei
vestimentare, precum i numrul redus al unor lucrri interesate de clarificarea acestei teme n
sociologia romneasc au motivat alegerea fenomenului modei ca subiect pentru teza mea de
doctorat.
nainte de a-i afirma autonomia, domeniul de studiu al sociologie modei ar trebui s-i
defineasc conceptele relevante n explicarea modei i a manifestrilor acestui fenomen la nivel
social i individual. A delimita o arie conceptual doar n jurul termenilor de mod,
teribilism, stil vestimentar i cod vestimentar nseamn a restrnge domeniul de analiz. n
afar de aceste constructe teoretice, am argumentat c ar merita s fie cercetate conceptele de
gust, nfiare i manier, istoria semantic a acestora reliefnd alte surse de legitimare a
cercetrii tiinifice a modei, cum ar fi studiul manierelor iniiat n sociologie de Norbert Elias
(1939), semnalele nfirii n ordinea interaciunii din sociologia lui Erving Goffman (1959),
teoria gusturilor sociale i bazele empirice ale acesteia din lucrarea lui Pierre Bourdieu, La
Distinction: critique sociale du jugement (1979).
Lucrrile care propun spre dezbatere o asemenea tematic sunt suverane teoriilor din
perimetrul tiinelor sociale, istoriei, antropologiei i sociologiei care dein primatul lansrii
analizei tiinifice asupra rolului vestimentaiei n viaa social. Dup cum am artat n Capitolul
I, bazele epistemologice ale studierii comportamentului vestimentar se regsesc n discursul
antropologic de la sfritul secolului al XIX-lea, mai exact n studiul comparativ al mijloacelor
de subzisten al societilor de vntori-culegtori i al societilor industrializate. Ideea
preconceput a existenei unor teorii anonime trebuie abandonat atta vreme ct sub semntura
lui Charles Darwin (1872), Herbert Spencer (1890-1897), Wilhelm M. Wundt (1892), Ernst
Grosse (1891) i Edward Westermarck (1897) au fost avansate explicaii tiinifice privind
motivaiile adoptrii vestimentaiei. Nota comun a refleciilor despre mod din ultimele decenii
ale secolului al XIX-lea o constituie ideea potrivit crei formele expresive de vestimentaie i
ornamentare ale corpului se datoreaz dorinei individului de a marca distincia social. Regsim
aceast idee la Thorstein B. Veblen (1889) i la Georg Simmel (1904) sub denominaia de
fluxul vertical al propagrii modei (teoria trickle-down), potrivit crei moda se propag pe
vertical, de sus n jos, iar traseul acesteia descrie structura societii n care se manifest. Totui,
n baza unor exegeze deja consacrate (D. Frisby, 1984/2004; S. Dungaciu, 2003; R. Sassattelli,
2000) cu privire la opera i viaa lui Georg Simmel, precum i a direcilor de studiu generate n
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tradiia sociologic, consider c asimilarea ideilor lui Thorstein B. Veblen a produs o direcie
distinct, identificat prin temele societii de consum, pe cnd concepia simmelian a fost
valorificat n interacionismul simblic. O alt not definitorie care desparte cele dou concepii
ar fi c la Georg Simmel mecanismul de propagare a modei este imitativ, n timp ce ideea
principal pe care Thorstein B. Veblen o dezvolt este consumul ostentativ, prin intermediul
cruia clasa de sus i conserv identitatea i poziia social.
n sociologia modei, din pcate, contribuiile lui Norbert Elias (1939) i Alfred L.
Kroeber (1919) au trecut aproape neobservate. O asemenea opiune metodologic care exclude
consemnarea acestor autori i asum omiterea unor direcii fundamentale n analiza modei:
conceptul de habitus, propus de Norbet Elias, popularizat ulterior de Pierre Bourdieu i ignorarea
unui aspect esenial n istoria studiilor modei, anume antropologul Alfred L. Kroeber este
iniiatorul studiului cantitativ al modei vestimentare. Cercetrile lui Alfred L. Kroeber au
determinat n timp o serie studii (M. C. Peteleu i S. H. Gray, 2009; D. Clemente, 2007; R. L.
Lyman i H. J. Harpole, 2002; S. P. Turnbaugh, 1979) care se nscriu n tradiia analizei
cantitative a modei, orientare care domin i astzi mediile academice.
Retrospectiva istoric asupra evoluiei studiilor modei mi permite s afirm c sociologia
modei este o disciplin tnr, fundamentat n deceniul al aptelea al secolului trecut. La aceea
vreme, interacionismul simbolic, prin Herbert Blumer, Ervin Goffman, Gregory Stone i
structuralismul, reprezentant de Roland Barthes, Dick Hebdige, John Hartley se afirmau n
perimetrul unor discipline precum psihologia social, semiotica, sociologia i studiile culturale.
Acestea sunt de fapt i orientrile teoretice care vor oferi alternative explicative la teoria trickle-
down: moda nu este o resurs a clasei dominate care i conserv statutul social superior, ci
aceasta este mai degrab un consens stabilit n interaciunile sociale (H. Blumer, 1969);
modern este semnificaia pe care indivizii o ataeaz simbolurilor vestimentare fiind opiunea
grupului de referin (D. Hebdige, 1979).
Dovezile empirice privind mecanismul de propagare a modei vestimentare sunt relativ
puine avnd n vedere lucrrile care recurg la metodologii de cercetare, respectiv: Pierre
Bourdieu, La Distinction: critique sociale du jugement (1979); Susan B. Kaiser, The Social
Psychology of Clothing and Personal Adornment (1985); Fred Davis, Fashion, Culture and
Identity (1992); Jukka Gronow, The Sociology of Taste (1997); Alexandru Blescu, Paris
elegant, Teheran incitant: corpuri estetice, subiecte politice (2007/2008).
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Dup cum am artat n Capitolul al II-lea, analiza sociologic a modei, n cazul de fa a

modei vestimentare, din perspectiva fenomenului de modernizare i din cea a teoriilor
comportamentului colectiv, corespunde unor anumite etape n istoria sociologiei. Acestea au
subliniat fie caracterul contagios, adesea distructiv i iraional, fie caracterul instituional i
normativ al modelor. n schimb, abordrile recente teoria fluxului orizontal al modei i teoria
grupurilor subculturale, pe care sociologia modei i le revendic ca un cadrul teoretic particular
nu trebuie interpretate numai din perspectiva evoluiei acestui nou domeniu de studiu, ci sub
aspect interdisciplinar, cercetrile din domeniul comunicrii de mas, al sociologiei sau al
studiilor culturale furniznd marea parte a conceptelor.
Consider c nota comun a celor dou teorii din sociologia modei vestimentare, respectiv
teoria trickle-down i teoria tricle-across, rmne opera lui Georg Simmel prin care acestea se
fundamenteaz. Chiar dac cea de-a doua teorie este atribuit tradiiei studiilor culturale i
teoriilor comunicrii n mas, n urm cu un secol, sociologul german Georg Simmel semnala c
adoptarea modei de ctre individ reflect particularitatea normei pe care aceasta o genereaz.
Femeile, brbaii, indivizii nehotri, demodaii, sclavii modei pentru a recurge doar la
tipologiile exemplificate de Georg Simmel se conformeaz difereniat normei care
reglementeaz moda, dar cu aceleai finaliti: de accentuare, concomitent, a instinctului de
individualizare, dar i de acceptare social. Aadar, moda obiectiveaz, n acelai timp, indiferent
de direcia orizontal sau vertical a propagrii acesteia, curentele contrare ale vieii:
individualizare versus conformare.
n ceea ce privete semnificaia hainelor n context social, aceasta reprezint o preocupare
relativ nou, caracterizat printr-o munc de cercetare inovativ, ns i prin preocupri de a testa
ipoteze invalide, cu pretenie de universalitate, mai degrab eclectice, dect subordonate unor
teorii sau paradigme. Acest lucru nu nseamn c specialitii din domeniu nu dispun de o baz
teoretic i metodologic de cercetare, ci, din contr, anumite concluzii ale unor studii din
perimetrul cogniiei sociale i interacionismului simbolic i-au gsit aplicaia practic n diferite
domenii cum ar fi: n management organizaional i resurse umane, prin dezbaterea privind codul
vestimentar n organizaii; n schimburile interculturale, prin necesitatea nsuirii normelor
culturale, religioase i etnice privind mbrcmintea; n diplomaie, prin respectarea codului
vestimentar cerut de anumite aciuni protocolare. Concluzia care se desprinde din cercetrile
psihosociologice prezentate n capitolul al treilea const n faptul c semnificaia hainelor este
referenial.
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Sintetiznd aspectele teoretice expuse n aceast tez, consider c temele aduse n atenie
de sociologia modei au fost generate de interesul teoretic privind schimbrile sistemelor sociale
(n special modificrile structurale) i modul n care sunt reglementate aceste schimbri
(controlul social). Relaionat acestor dezbateri, analiza fenomenului modei a ridicat urmtoarele
problematici: n ce msur moda este o form de emergen i de difuzare a inovaiilor i n ce
msur este o convenie social? Ilustreaz moda structura societii? Este moda o resurs
identitar a tuturor claselor sociale n egal msur? Au uniformele (colare, militare etc.) o
funcie ideologic i raional?
Ancheta sociologic (N=328) pe care am ntreprins-o i ale crei rezultate au fost relevate
pe parcursul capitolului IV mi-a permis s explic recurena unor fenomene de via modern pe
care le-am observat n perimetrul socio-cultural romnesc cu privire la modurile de exprimare
vestimentar. Cercetarea a artat c propensiune puternic, moderat sau sczut ctre
bunstarea material nu difereniaz adoptarea unor stiluri vestimentare. n schimb, rezultatele
obinute au indicat c venitul lunar acordat mbrcmintei i interesul fa de moda vestimentar
reprezint variabile semnificative care intervin n alegerea unui stil vestimentar, n timp ce opinia
fa de moda vestimentar din Occident, consumul cultural-mediatic i locul de achiziionare al
hainelor nu au avut o pondere statistic n adoptarea stilului de mbrcminte. Datele cercetrii
de fa sunt consonante cu teoria consumului formulat de Thorstein B. Veblen (1899), conform
creia hainele la mod reprezint un semn distinctiv al clasei nalte, a celor care au un nivel
confortabil de securitate financiar i bunstare material, preocupai de ostentaia simbolurilor
de status. n baza rezultatelor prezentate (seciunea 4.2.6), afirm c moda vestimentar este o
preocupare doar a unei treimi din lotul investigat i c aceasta se adreseaz doar celor cu venituri
mari, n medie mai interesai de moda vestimentar. Totui, studenii ader ntr-o proporie
ridicat la stilurile non-indicatoare de status ceea ce ar putea nsemna c ei se conformeaz
normei majoritare a culturii din care provin, adoptnd un comportament vestimentar acceptat i
la mod n grupul de studeni. Corelativ acestor concluzii, datele obinute la Scala de msurarea
a orientrii ctre materialism i ponderea acestora n explicarea comportamentelor la mod
susin mai degrab paradigma socio-culturalist, n sensul c studenii chestionai ader la
valorile materiale predominate n mediul n care socializeaz cu precdere, n detrimentul celor
care nu se potrivesc cu aceste condiii de existen.
Aadar, moda vestimentar este un simbol al celor bogai, care se disting prin stabilitate
financiar. Persoanele care adopt o vestimentaie vanitoas, mediatizate n presa romneasc cu
apelativul piipoanc sunt cu att mai ostentative n hainele i accesoriile pe care le poart, cu
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ct manifest o tendin de a se conforma modei vestimentare i de a acorda timp i venit

considerabil pentru achiziionarea hainelor pe care le consider la mod.
n acest punct al expunerii, dup consideraiile teoretice i empirice, revin asupra
semnificaiei celor dou concepte prin care am enunat titlul acestei teze de doctorat, stil
vestimentar i dezirabilitate social, termeni care, n cadrul teoretic n care au fost analizai,
fac trimitere ctre caracterul normativ al ntrebuirii mbrcmintei: hainele sunt purtate (stilul
vestimentar) conform normelor i valorilor sociale considerate de dorit (dezirabile) de o
proporie semnificativ a populaiei. Variaia stilurilor vestimentare adoptate de indivizi provine
nu att dintr-o alegere de natur estetic, ci mai degrab din gradul n care oamenii se
conformeaz normei dezirabilitii sociale.
n perspectiv, un studiu pe aceast tem ar mai putea s rspund unor interogaii care
sunt nc lsate pe seama aprecierii de obinuin: adoptarea n mas a unor stiluri vestimentare,
cultura aparenei sunt un simptom al sfritului capitalismului? i dac rspunsul la ntrebarea
precedent este afirmativ, atunci codurile vestimentare formale impuse n unele organizaii ca
modele de competen vor fi nlocuite de inuta liber i lejer? Aversiunea fa de cadrele
formale de autoritate i extinderea culturii de contestare vor instaura codul impoliteii n
locul manierelor?

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