Eleni Mouratidou - Re-presentation Policies of the Fashion Industry

1 Cover

2 Title Page Communication Approaches to Commercial Mediation Set coordinated by Caroline Marti Volume 2

3 Copyright Page First published 2020 in Great Britain and the United States by ISTE Ltd and John Wiley & Sons, Inc. Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms and licenses issued by the CLA. Enquiries concerning reproduction outside these terms should be sent to the publishers at the undermentioned address: ISTE Ltd 27-37 St George’s London SW19 4EU UK www.iste.co.uk John Wiley & Sons, Inc. Road 111 River Street Hoboken, NJ 07030 USA www.wiley.com © ISTE Ltd 2020 The rights of Eleni Mouratidou to be identified as the author of this work have been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Library of Congress Control Number: 2020938450 British Library Cataloguing-in-Publication Data A CIP record for this book is available from the British Library ISBN 978-1-78630-591-6

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 panoply 3 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

8 References

9 Index

10 Other titles from ISTE in Science, Society and New Technologies

11 End User License Agreement

1 Chapter 1 Figure 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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