Читать книгу Re-presentation Policies of the Fashion Industry - Eleni Mouratidou - Страница 2
ОглавлениеTable of Contents
1 Cover
4 Introduction I.1. Merchant discourse transformations I.2. The spectacular potential of the fashion industry 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.9. Staging of the work
5 Part 1: Re-presentations and Artifices Introduction to Part 1 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 1.2. Book publishing at the service of the fashion brand’s cultural value 1.3. The popularity of fashion accessories 1.4. The exhibited advertising poster 1.5. The advertising poster as a testimonial discourse 2 Investing Symbolically in the Museum, Transforming the Store: Re-presentation as an Iterative Event 2.1. From the boutique to heritage enhancement sites 2.2. The museum exhibition: a communicational pretext 2.3. Distribution of marketable goods and contemporary art: the full and the void
6 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 3.2. Biblical stories and media advertising: fashion and adoration 3.3. From places dedicated to Christian worship to places dedicated to fashion worship 4 Re-presentation as a Rewriting of Politics 4.1. The pretension of politics and its market value 4.2. From text to (pre-)text: (political) mediations in the fashion industry 4.3. Removal of the pre-text, and celebration of the pretext
7 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 5.2. Managerial creativity as a panoply3 5.3. Physical space, media space and symbolic space 6 Reinvesting, Diverting, Reformulating and Entertaining: The Leisure-form of the Fashion Industry 6.1. Reinvestments and reintroductions: from appropriation to subversion 6.2. Diversions 6.3. Political power of the fashion industry’s re-presentation apparatus 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
9 Index
10 Other titles from ISTE in Science, Society and New Technologies
List of Illustrations
1 Chapter 1Figure 1.1. The purse from the “Masters LV x Koons” collection with motifs f...Figure 1.2. La Malle literary collection (photograph taken by the author, pe...Figure 1.3. Louis Vuitton advertising campaign with the caption “an original...Figure 1.4. Miu Miu advertising campaign with the caption “Subjective Realit...Figure 1.5. Miu Miu advertising campaign with the caption “Subjective Realit...
2 Chapter 2Figure 2.1. The third floor of the Galerie d’Asnières (photographs taken by ...Figure 2.2. The Louis Vuitton canvas on display (photograph taken by the aut...Figure 2.3. Bon Marché showcase and mediation of the Branco Luz exhibition. ...
3 Chapter 3Figure 3.1. The Noah’s Ark story in the Gucci Gothic ad (screenshots from th...Figure 3.2. The chapel in the hospice des Incurables (40, rue de Sèvres): hi...
4 Chapter 4Figure 4.1. Showing the event and denying the sociopolitical facts, “Gucci d...
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