Re-presentation Policies of the Fashion Industry

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Eleni Mouratidou. Re-presentation Policies of the Fashion Industry

Table of Contents

List of Illustrations

Guide

Pages

Re-presentation Policies of the Fashion Industry. Discourse, Apparatus and Power

Introduction

I.1. Merchant discourse transformations

I.2. The spectacular potential of the fashion industry

I.2.1. Luxury fashion

I.2.2. A collective spectacle of reflexivity

I.3. From representation to re-presentation policies

I.4. Counterfeits and beliefs

I.5. Re-presentation policies as a response to the metamorphosis of the luxury fashion industry

I.6. The power of the fashion industry’s re-presentational apparatus

I.7. Fashion and communication

I.8. Theory, method, corpus and situations

I.8.1. The semio approach

I.8.2. Socioeconomic approach

I.8.3. Corpus (texts, objects, practices)

I.9. Staging of the work

Notes

Part 1. Re-presentations and Artifices

Introduction to Part 1

Note

1. Re-presentation as a Form of Artistic and Cultural Legitimization

1.1. The work of art and its reproducibility at the service of the fashion industry

1.1.1. Culturization of the purse, and portability of the work of art

1.1.2. The purse as an apparatus for commercial and artistic mediation

1.2. Book publishing at the service of the fashion brand’s cultural value

1.2.1. A book as beautiful as a trunk (Louis Vuitton)

1.2.2. Literary praise for luxury goods

1.3. The popularity of fashion accessories

1.3.1. The value of a luxury item through the club model

1.4. The exhibited advertising poster

1.4.1. Self-referential legitimations

1.4.2. Bricolage and illusion: advertising the advertising

1.5. The advertising poster as a testimonial discourse

1.5.1. The caption as a thematic and generic engagement

1.5.2. The presentation of the ready-to-wear collection as an event

Notes

2. Investing Symbolically in the Museum, Transforming the Store: Re-presentation as an Iterative Event

2.1. From the boutique to heritage enhancement sites

2.1.1. The place where the brand’s heritage is developed: the advertiser’s dual entity

2.1.2. Patrimonialization and unadvertization: from forms to formats

2.2. The museum exhibition: a communicational pretext

2.2.1. Staging a symbolic distribution: from the discontinuous to the continuous

2.2.2. The image of a work of art: symbolic distribution and artification

2.3. Distribution of marketable goods and contemporary art: the full and the void

2.3.1. Cultural missions and department stores

2.3.2. From cultural mediations to market mediations (and vice versa)

2.3.3. In praise of the void and the worship of merchandise

Notes

Part 2. Re-presentations and Forms of Life: The Religious and the Political

Introduction to Part 2

3. Re-presentation as a Cult Form

3.1. Biblical stories and media advertising: fashion and (divine) grace

3.1.1. Farmers, a storm and a boat: the biblical story of Noah’s Ark

3.1.2. The Gucci actant: from ready-to-wear to ready-to-save

3.2. Biblical stories and media advertising: fashion and adoration

3.2.1. Advertising idolatry

3.2.2. From product name to brand signature

3.2.3. Actualization and ostentation of Dior’s semiotic and religious capital

3.3. From places dedicated to Christian worship to places dedicated to fashion worship

3.3.1. From the Hospice des Incurables to the Balenciaga showroom

3.3.2. Profanation of the sacred, sacralization of the lay public

3.3.3. Apparatus – Relic

3.3.4. Materiality, cult value and transparency

Notes

4. Re-presentation as a Rewriting of Politics

4.1. The pretension of politics and its market value

4.1.1. Demonstration: presence, representation, event and spectacle

4.1.2. Re-presenting and misappropriating the demonstration

4.1.3. From stereotype to irony: political pretension

4.2. From text to (pre-)text: (political) mediations in the fashion industry

4.2.1. Rewriting the media image: reintroducing the formula (to better deconstruct it)

4.2.2. Imitation and counterfeiting of the event formula

4.3. Removal of the pre-text, and celebration of the pretext

4.3.1. Esthetization and commodification of the protest

4.3.2. Discrepancies between the medium and message

Notes

Part 3. The Power of the Fashion Industry’s Re-presentational Apparatus

Introduction to Part 3

5. The Industrialization of Creativity

5.1. From the aristocratic model to the market model: the industrialization of luxury fashion

5.1.1. From the Court model to the designer model

5.1.2. From the market model to commercial luxury: pragmatic and symbolic democratization

5.2. Managerial creativity as a panoply3

5.2.1. Forms and powers of managerial creativity in the fashion industry

5.2.2. Standardization: the industrialization of managerial creativity

5.2.3. Semiotic management of managerial creativity in the face of the market model

5.3. Physical space, media space and symbolic space

5.3.1. Material value and the immaterial value of fashion

5.3.2. Offshore manufacturing and production: a partial “made in France” approach

5.3.3. Modes and cycles: an environmental problem

5.3.4. From the back to the front region: the fashion industry, the stage and backstage

Notes

6. Reinvesting, Diverting, Reformulating and Entertaining: The Leisure-form of the Fashion Industry

6.1. Reinvestments and reintroductions: from appropriation to subversion

6.1.1 Investing, reinvesting, re-presenting, appropriating: legitimacy and re-qualification

6.1.2. Reinvesting and subverting: the cultural hegemony of fashion

6.2. Diversions

6.2.1. Diverting politics

6.2.2. Diverting the diversion

6.3. Political power of the fashion industry’s re-presentation apparatus

6.3.1. The media industry in question: a phantasmagoria

6.3.2. The leisure-form35

Notes

Conclusion

C.1. Unification: trivialization and industrialization of representation

C.2. Unification: a panoptic reflex apparatus

C.3. Unification: the apparatus as a reflection of the industrialization of luxury fashion

Notes

References

Index. A

B, C

D

E

F

G, H

I

L, M

N, O

P

R

S

T

U, V

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Communication Approaches to Commercial Mediation Set

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Fashion is a creative industry that “has become a model for many industries, such as the automobile industry, which now varies in color to the other” (Godart 2016, p. 97, author’s translation). In particular, it is integrated into the capitalist system of conglomerates, groups in possession of numerous brands in the sector, aiming at oligopoly, or even monopoly of the latter. This industrial organization affects all segments of fashion, from the bottom of the range to luxury goods. Emblematic brands in the luxury sector with constantly growing sales, such as Louis Vuitton, Dior, Gucci or Balenciaga, belong to groups such as LVMH for the first two and Kering for the other two22.

As for luxury ready-to-wear, whose projected values are based on quality, rarity and selectivity, it has to face its trivialization, both symbolic and commercial, for two main reasons. The first is the change in its manufacturing methods. Luxury today is produced according to semi-industrial or industrial processes, with craftsmanship being reserved for certain exclusive and unique products. Take the case of the Louis Vuitton brand. Founded in 1854, initially specializing in the handcrafted manufacture of travel trunks, it inaugurated its first ready-to-wear collection in 1998; it currently manages “45 directly operated boutiques around the world”23. This beneficial expansion for the LVMH group has led to a certain trivialization of Louis Vuitton brand products, which have become omnipresent and particularly popular. As Bruno Remaury notes:

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