If you are heading into an interview, do your homework. If the company is close, drive over and watch people walking in and out. If they are far, look up pictures on the Internet taken during events, meetings, public relations, or anything else you can find. Another thing to consider is whether or not you hope to move up in the company —dress for the job you want, not the job you have.
Also, when in doubt, go over, not underdressed. It is far better to be overdressed than underdressed. Studies have shown that your attire can actually impact your salary offer, so dress for what you want or what you feel you deserve. If you are getting ready to enter the workplace, you really need to have a good suit.
You do not need to spend a ridiculous amount of money. No one is expecting a college student to show up in Armani, but this is one of the most important investments you will make in your career so now is an appropriate time to splurge.
At the very least you need to have a nice pair of slacks not khakis , a collared button up shirt, a tie, and a blazer or sweater to match. Darker shades in any color look the most professional. Silk is the best tie material. Make sure it is a good quality tie. Many people think because it is your main accessory, it should represent you. This is a dangerous statement —keep it appropriate and professional, and make sure it matches the rest of your attire.
The tip of the tie should end near the center of the belt buckle or an inch or so above. Do not wear tennis shoes. Try and match your belt to your shoes as far as color and material. Wedding rings and college rings are okay to leave on but everything else should come out at least for the interview or your first day.
Try to cover your tattoos until you get a feel for whether they are accepted. Dresses, sweaters, and other nice tops can be worn in more casual work settings, if your boss wears these things as well, but they are not appropriate for an interview.
Sometimes it is necessary to attach a hook and eye to close up the cleavage. Bra straps should not be showing and neither should your shoulders or thighs. This makes the body, its dress and manners, matters of great import in terms of the "envelope" of the self. As Joanne Finkelstein notes, increasingly over the nineteenth century appearance comes to stand as an important indicator of inner character and she suggests that the eighteenth-century socialite and "dandy" Beau Brummel exemplifies the wider social movement toward the self-styled or "fashioned" individual, concerned with promoting the self through the careful deployment of clothing.
Finkelstein also analyzes the emergence of various "physiognomic" discourses over the nineteenth and twentieth centuries. Such discourses link outward appearance, from the shape of the face and overall body to dress, to inner "self. Important to the heightening self-consciousness of body and its outward appearance, and introducing the idea of dress for success, was the dress manual.
It is important to note that such manuals are not, therefore, a recent phenomenon and can be seen as closely aligned with other kinds of "self-help" publications which have a longer history Hilkey In the eighteenth and nineteenth centuries, as well as in the first half of the twentieth, one can find manuals on "how to dress like a lady" and how to put together a lady's wardrobe on a modest budget.
What is different about the manuals on dress that emerged in the s and s was the type of self they addressed and the kind of success sought. A number of commentators Giddens ; Featherstone ; Lasch ; Sennett have argued that a new type of self has emerged in the twentieth century and an examination of the dress manual can be seen to indicate this. Featherstone calls this new self "the performing self" which "places greater emphasis upon appearance, display, and the management of impressions" Featherstone , p.
In the twentieth century we find how "personality" in the self-help manual depends upon how one appears as opposed to what one is or should become; how, for example, to look and be "magnetic" and "charm" others. In this way, appearance comes to be something malleable, something transmutable.
The increasing significance of appearance from the eighteenth century onward meant that people began to be concerned with the control of appearance and clothing. Contemporary Western societies testify to the intensification of these processes with more and more aspects of outward appearance "correctable" through diet, exercise, makeup, and plastic surgery, as well as dress, and with these appearances increasingly linked to identity. All these physiognomic discourses proclaim the notion that achieving the "right" outward appearance will result in greater personal happiness and, of course, success.
It may well seem that the dress-for-success formulas of the s have long since been replaced by more "individuality" and "creativity" in clothing. Indeed, the backlash to all these rules came in the s with "dress down on Friday" introduced in offices both in the United States and United Kingdom. While we may like to think we are "individual" and while dress choice is welcomed by some, the business and professional worlds remain conservative places, even today.
Indeed, there has been a swing away from casual Fridays after some offices found that employees dressed far too casually to perform their duties effectively. Meeting a client in jeans or shorts is still taboo in most professions.
Only in the "creative industries" are fashion and individuality openly welcomed, indeed, here one finds them essential. The body at work has to fit in with the overall business ethos of the office or sector. In young industries, like popular music, advertising and graphic design, for example, informality rules.
However, older professions and industries still prefer the bodies at work to look suitable-that is, in a suit. The dress-for-success idea lives on and a lucrative industry of self-help advice and "experts" maintain the notion that what we wear to work really matters in our overall career "success. Carnegie, Dale. London: Chancellor, Entwistle, Joanne. Edited by M. Nava, I. MacRury, A. Blake, and B. London: Routledge, Sign in. Forgot your password? Get help. Password recovery.
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