Dressing professional, an aesthetic experience of professions

Abstract

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.

Fashion and Organization Studies: Exploring conceptual paradoxes and empirical opportunities

“…Indeed, for Barthes, a garment becomes ‘dress’ as soon as it is defined by a social group. This suggests that organizational clothes, such as uniforms or dress codes, are institutions conveying meaning (Bazin & Aubert-Tarby, 2013). In this perspective, the practice of ‘dressing’ only makes sense in relation to a system of ‘dress’: ‘an institutional, fundamentally social, reality, which, independent of the individual, is like the systematic, normative reserve from which the individual draws their own clothing’ (Bazin & Aubert-Tarby, 2013, p. 8).…”

“…Witz, Warhurst, & Nickson, 2003). The most obvious example is fashion models, but this also includes, for instance, financial professionals (Bazin & Aubert-Tarby, 2013). In this, the industry’s aestheticization finds a central place in what Debord (1967) called the society of the spectacle, where people are not able to produce their own lives, but are reduced to spectators passively consuming merchandise articulated to craft their lifestyle (Flyverbom & Reinecke, 2017).…”

Model for Designing Affiliated Clothes with Local Identity

“…Th rough a clothing image, both tourism workers and local inhabitants are able to convey a message within the community and to visitors, as well. By dressing "traditionally", members not only present an image, but also demonstrate their perception of local traditions [4]. Th is involves the aesthetic experience through which all senses are stimulated and garments serve as the medium of communication with a group, strengthening a certain aesthetic sense of belonging and presenting themselves [4].…”

“…By dressing "traditionally", members not only present an image, but also demonstrate their perception of local traditions [4]. Th is involves the aesthetic experience through which all senses are stimulated and garments serve as the medium of communication with a group, strengthening a certain aesthetic sense of belonging and presenting themselves [4]. Affi liated costumes can be considered a defi ning factor of a destination's image and local identity.…”

A View of Aesthetic Labour Practice in Higher Technical and Vocational Education

“…In addition, uniforms indicate and convey brand image and form a unique culture that is functional, symbolic and fashionable (Xie, 2005). Moreover, customers' feelings regarding organizational uniforms influence their judgments of enterprises and the professionalism of employees (Bazin & Aubert-Tarby, 2013). Therefore, attention should be paid to the following aspects regarding uniforms, which are regarded as an important symbol of corporate spirit: (1) employees should not be allowed to show pictures of their uniform on their personal Facebook accounts or blogs (B5) or (2) use them for personal activities (B6); (3) uniforms of different colours should not be combined on different occasions (B3) and (4) there should be no stains or damage to the uniform or accessories (B2).…”