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Le Couturier et sa Griffe: Contribution à une Théorie de la Magie
Abstract
The "couturier" and his "signature" : contribution to a theory of magic
The field of luxury goods production in which high fashion has its place, is structured around the opposition between orthodoxy and heterodoxy, between consecrated art and avant-garde art. Because of this opposition, high fashion presents a functional similarity to the structure of fractions (and secondarily, age groups) of the dominating class which predisposes it to keep ahead of the expectations of its clientele : the "young", "inexpensive", "modern", "franck", "intellectual" style is in contrast with the "luxurious", "traditional", "conservative", "bourgeois" style. The succession of a couturier poses problems permitting analysis of the sort of social alchemy realized by the couturier when he imposes his "signature", which can radically modify the social quality of a product without changing its physical nature. The field of fashion betrays with particular transparency certain of the mechanisms characteristic of what can be called an economy of symbolic exchanges. What is described as the crisis of haute couture could be only one sign among others of a restructuring of this mechanism, linked to the apparition of new tokens of distinction (and of new fractions), less naively ostentatious and less insolently luxurious than those couturiers traditionally offered.
... La caracterización de las fuerzas que actúan en los diferentes campos como formas de capital le permitió a Bourdieu dar un perfil más delimitado y operativo a una noción tan estratégica en la teoría de campo como es la de «fuerza». A la teoría de campo de Bourdieu también subyace un intento consciente de incorporar en una síntesis creativa las JOSÉ MANUEL FERNÁNDEZ FERNÁNDEZ Y ANÍBAL PUENTE FERRERAS 44 13 Los análisis dedicados por Bourdieu a mediados de los años setenta al campo de la alta costura le permitieron describir en detalle estas creencias «colectivas» no discutidas y estas adhesiones encantadas del conjunto de los agentes a lo que se juega en este campo, más allá de los conflictos que enfrentan allí a vanguardia y conservadores, creadores jóvenes y viejas casas (Bourdieu, 2000a: 204;Bourdieu y Delsaut, 1975). aportaciones de Durkheim, Weber y Marx, especialmente las teorías del poder de los dos últimos 14 , lo que le permitió superar una visión meramente interaccionista de la dinámica de los campos en la que parece quedar atrapada la aplicación de la teoría de campo de Kurt Lewin de la dinámica de grupos (1947b: 5-38). ...
... Véanse Bourdieu (1975a;1975b;1975c;1976b;1983a;1984a;1984b;1986;1988a;1989b;1990b;1991a;1996;1997a;1997b;2005a;2005b);Bourdieu y Delsaut (1975); Bourdieu, Bouehdja, Christin y Givry (1990); Bourdieu y Christin (1990);Bourdieu y De Saint Martine (1978).6 Bourdieu reconoció explícitamente la influencia en sus planteamientos de la teoría de los juegos lingüísticos de L. Wittgenstein.7 Bourdieu usa la expresión tomas de posición para referirse a «las elecciones que los agentes sociales llevan a cabo en los ámbitos más diferentes de la práctica, cocina o deporte, música o política, etc.» (1999b: 16).8 Los diferentes campos mantienen una autonomía relativa respecto al campo del poder, resultado de una conquista histórica queBourdieu (2003) no considera definitiva, ni siquiera en el caso del campo científico.9 ...
La noción de campo desempeñó un papel central en los proyectos científicos de Kurt Lewin y Pierre Bourdieu. En este artículo hacemos un análisis comparativo del uso teórico y metodológico que hicieron de este concepto en la producción de su fecunda obra en los campos de la psicología y de la sociología, respectivamente. Para ello nos hemos centrado en cinco cuestiones cruciales que de modo explícito plantearon estos dos investigadores en la elaboración de su teoría de campo: la ruptura con las objetivaciones parciales, la construcción del objeto, la dinámica interna de los campos, la delimitación de sus fronteras y la representación matemática de los hechos psicológicos y sociológicos. Concluimos con una síntesis en la que ponemos de relieve algunas importantes coincidencias y diferencias en la teoría de campo de Kurt Lewin y Pierre Bourdieu. Ambos le asignaron funciones epistemológicas similares, pero podemos apreciar en Lewin un mayor mimetismo respecto a la noción de campo proveniente de la física y sus posibilidades de formulación matemática, mientras que en Bourdieu la noción de campo es inseparable de las de habitus y capital, lo que facilita un análisis más integrado de los fenómenos micro y macrosociales, una apreciación más sofisticada de sus dimensiones temporales y criterios más precisos para establecer los límites de un campo.
... .].« Moda je interdisciplinarna, multidisciplinarna in transdisciplinarna teorija,¹³ barometer zgodovine, sociologije, psihologije, filozofije, ekologije in etike družbe in kulture,¹⁴ materialna kultura in simbolni sistem,¹⁵ produkcija blaga, dela in kapitala,¹⁶ znak modernosti, urbanosti in trendovstva,¹⁷ muzejski eksponat,¹⁸ retorika in semiotičen sistem,¹⁹ tekstilna industrija, nacionalna ekonomija in globalni trg,²⁰ sredstvo družbene hierarhije, statusnega in razrednega razlikovanja ter oblikovanja identitet,²¹ fetiš in psihoanalitični problem,²² izkušnja telesa, aktivna telesna praksa in medij za transformacijo telesa,²³ orodje politike in odraz družbenega reda,²⁴ odtis kolonializma, neokolonije, dekolonizacije in postkolonialne kritike,²⁵ oblika sporazumevanja, modno novinarstvo in medijska reprezentacija,²⁶ performativna praksa samopredstavljanja in predstavljanja,²⁷ motor potrošništva in simulacija razsrediščene subjektivnosti,²⁸ območje nacionalnih in etničnih pripadnosti,²⁹ teren spola in način njegovega uprizarjanja,³⁰ umetniška praksa,³¹ vizualna slika,³² ži-²¹ Gl. Blumer (1969), Bourdieu in Delsaut (1975), Bourdieu (1984), Finkelstein (1991), Davis (1992); Eicher, Roach-Higgins in Johnson (1995); Petersen (1998), Crane (2000), Keenan (2001, 179-196), Tseëlon (2003), Jess (2004, 387-404), Schofield in Schmidt (2005, 310-323), Entwistle in Rocamora (2006, 735-751), Velimirović (2008a), Tarlo (2010), Hošić (2011), Cerar (2014, M. Fajt (2014, 347-362), Starc (2014, 327-346), Vänskä (2014, 447-463), McNeil (2016, 63-80) ter Rocamora (2016, 233-250). ²² Gl. ...
... z vidika proizvodnje in potrošnje. Toda že pred omenjenim delom, ki ga je zaradi ugledne izdaje v angleščini dejansko izstrelilo v svetovno ne le sociološko, ampak širšo akademsko orbito, se je v dveh drugih predhodnih besedilih -v »Haute couture et haute culture« iz leta 1974, ki je bil leta 1984 objavljen v Questions de sociologie, in »Le Couturier et sa griffe: Contribution à une théorie de la magie« (Bourdieu 1975) -mode lotil ravno na tistem njenem kraju, kjer je bila v sociološki in etnološki tradiciji morda najfrivolneje opazovana in zaničevana. Govorimo o konceptu visoke mode,⁴⁰ ki v primerjavi z drugimi polji kulturne produkcije ponuja privilegirano področje opazovanja logik modnega polja. ...
... Bourdieu has also published two books on the study of fashion brands (Bourdieu, 1995). One of them is co-authored with Yvette Delsaut (Bourdieu & Delsaut, 1975). Many scholars have interpreted Bourdieu's "Cultural Capital" theory. ...
Background and Aim: In today’s globalized world, preserving Intangible Cultural Heritage (ICH) is critical for maintaining cultural diversity and heritage. This study examines the luxuryization of Intangible Cultural Heritage (ICH) through the lens of cultural capital theory, with a focus on how luxury brands, such as Chanel and Lalique, integrate traditional crafts into their business models. This research specifically seeks to evaluate whether luxury brands effectively support and sustain ICH while assessing potential risks, including cultural commodification. The aim is to assess whether economic capital derived from luxury goods can effectively sustain and protect cultural heritage, benefiting both ICH and brand prestige. Materials and Methods: A qualitative case study approach, combined with content analysis, was used to explore the roles of economic, cultural, and social capital in preserving ICH. The selection of Chanel and Lalique as cases was based on their unique integration of ICH into their luxury products, providing distinct perspectives on cultural preservation. Bourdieu's cultural capital theory was applied to analyze how these luxury brands transform ICH into economic and social value while retaining cultural authenticity. Results: Chanel and Lalique offer contrasting approaches to ICH preservation. Chanel’s substantial investment in traditional crafts is presented as a successful model, demonstrating how luxury brands can sustain ICH practices financially. Conversely, Lalique’s focus on high-end consumable products highlights limitations in maintaining cultural integrity within commercial contexts. Findings suggest that the luxury sector can provide significant support for ICH, but commercialization risks diluting cultural integrity. Conclusion: In conclusion, luxuryization presents both opportunities and challenges for ICH preservation. Although luxury brands contribute financially to cultural preservation, potential risks include cultural commodification and dependency on market trends. Balancing cultural integrity with economic capital, this study suggests, is essential for sustainable ICH protection, with implications for policy strategies and brand practices in cultural preservation.
... Where other wardrobe studies emphasize how consumers engage in the reinvention and resistance of the fashion industry through their reliance on secondhand clothes as one possible way of incorporating sustainability in everyday dressing (Heine 2021), our respondents tend to reproduce the symbolic boundaries that shape the firsthand fashion industry in their (e)valuative practices. For instance, they view the secondhand clothing in their wardrobe through the lens of the historical delineation between luxury fashion and massretail clothing (Bourdieu & Delsaut 1975). Despite being blurred in the late 20 th century through various practices that merged the high in the low and vice versa (Rocamora 2002), this blurred delineation solicits defensive cultural discourses from within the luxury fashion industry that seek to limit the permutability of this symbolic boundary (Van de Peer 2022). ...
The study explores motivations for second-hand clothing practices using wardrobe interviews with a limited sample of twelve higher-education students in Belgium. Three types of practices were identified: bargain hunters, uniqueness searchers and ethical and ecological buyers. The study reveals that despite the perceived sustainability of second-hand clothes, these practices often result in large volumes of clothing purchases, contradicting sustainability motivations. Ecological respondents experience ‘affective dissonance’ due to a disconnection between their sustainability beliefs and fashion practices. These uncomfortable emotions reveal an aspiration to engage in more sustainable fashion practices in the future. Despite this, all respondents evaluate their second-hand clothing practices by relying on the culturally prevalent discourses of the first-hand fashion industry. The study concludes by highlighting the implications for the development of alternative and more sustainable fashion practices when second-hand clothing practitioners reproduce the symbolic boundaries that govern the first-hand fashion industry, and the authors suggest pathways to address these implications in the future.
... Počínaje od ne zcela konzistentních pokusů uchopit sféru intelektuální tvorby jako pole produkce (Bourdieu, 1966(Bourdieu, /1969 a od prvního adekvátního teoretického modelu určitého pole, konkrétně pole náboženského (Bourdieu, 1971(Bourdieu, /1991a, Bourdieu postupně vytváří teoretickoempirické analýzy celé řady specifických polí kulturní produkce. Bez nároku na úplnost je zde možné vyjmenovat aspoň pole, kterým věnoval ty nejznámější ze svých prací: vědecké pole (Bourdieu, 1975(Bourdieu, /1975(Bourdieu, , 2001, akademické a univerzitní pole v Homo academicus (Bourdieu, 1984, filosofické pole ve studii o Martinu Heideggerovi (Bourdieu, /1991b, literární pole v Pravidlech umění (Bourdieu, 1992(Bourdieu, /2010, literární a umělecké pole v anglickém výboru článků Pole kulturní produkce (Bourdieu, 1993b) nebo v přednáškách o Édouardu Manetovi (Bourdieu, 2013(Bourdieu, /2017a, žurnalistické pole v polemické brožuře O televizi (Bourdieu, /2002b a dále třeba pole francouzské luxusní módy (haute couture) (Bourdieu a Delsaut, 1975). ...
This paper draws attention to one possible intellectual factor that has contributed to Pierre Bourdieu’s undeniable status as a contemporary classic. Despite his frequent sorties against general theorising, Bourdieu has produced his own kind of general sociological theory that, in a crowd of competitors, is better suited than most to meeting the demand that is present across the field of sociology and other social sciences for a general but non-universalist theory. It is possible to distinguish four relevant properties of theories, which are correlated but mutually irreducible one to the other: conceptual generality, generality of application (universality), substantive scope (domain), and abstractness. I argue that, with respect to the four, Bourdieu’s theory is best characterised as exceptionally strong on conceptual generality and substantive scope, but limited in terms of its universality. Bourdieu’s central methodological device, theoretical induction, produces knowledge that is both domain-specific and indefinitely extendable to new empirical domains, thereby providing the basis for an ever-expanding scope. An analytical review of Bourdieu’s published work (books) shows its vast substantive scope, by virtue of which it is a theory of the social world in its totality. Bourdieu’s theory occupies a place in the ill-defined middle ground between grand theory and empiricism and in some respects resembles a middle-range theory. But Bourdieu’s anti-positivist constructivism is resistant to the empiricist fragmentation and loss of theoretical momentum that afflicts middle-range theories. I conclude here that the extraordinary success of Bourdieu’s sociology can be partly explained by its ability to satisfy the demand for a general theory in the post-1960s intellectual climate that is inimical to universalist claims by offering its own brand of theory that avoids the typical shortcomings of both abstract grand theorising and limited-use middle-range theories.
... The consumer has no idea of the labour invested in the object and the social relations that lay behind it. The object that circulates in the fashion system obtains its 'magic' value by the signature of the designer or the brand (Bourdieu and Delsaut 1975). This does not mean that consumers cannot imbue a particular garment with meaning themselves and cherish it dearly. ...
Criticism on the Eurocentric character of the concept of fashion has been raised already for almost four decades within fashion studies. Yet, the growing entanglement with globalization studies and postcolonial and decolonial theories has accelerated an epistemological turn within fashion studies. The epistemological turn not only fostered new research on the empirical level, it also challenged the theoretical framework of the discipline. Even the concept of fashion itself, entrenched as it is in modernization theories, has gradually come under attack. The concept of fashion has been held accountable for defining only ‘modern’ western fashion as its research object, while side-lining, even erasing, other ‘traditional’ sartorial systems. In order to redress the Eurocentric character of fashion theory and the exclusionary effects it engenders, fashion has been redefined as a ‘universalism’. Although this view became quite mainstream, in its turn it also became gradually criticized. It has been rightly argued that redefining fashion as a universalism is only another way of re-inscribing fashion scholarship in the hegemonic western ‘modern/colonial’ way of knowledge production. Studying sartorial practices positioned outside the western capitalist fashion system through the lens of fashion obscures an understanding of their own specific characteristics. In this article, I will turn more specifically towards the question of which methodologies we can mobilize if we, scholars versed in western modern knowledges and modern knowledge production, are committed to a multiplicity of sartorial worlds in as well as outside ‘the West’. The article proposes a hermeneutic–dialogical method of interpretation and translation as an epistemological as well as an ethical tool towards a more adequate understanding of ‘other’ ways of wearing, making, feeling, thinking of and living through clothes. Finally, this article offers a tentative analysis that shows what this dialogical approach might entail.
... O procedimento de constituição de novas hegemonias era marcado pela estratégia de desvalorização simbólica das grifes mais antigas pelos novos costureiros, algo que ocorria intragrupos raciais e econômicos. A dinâmica de alternância de poder não implicava a alteração do status social dos sujeitos dessa relação, pelo contrário, era facultada por essa pertença compartilhada (BOURDIEU; DELSAUT, 1975). Ocorre-nos que, na medida em que alguns críticos queer compartilham de igual status de classe e raça daqueles com os quais antagonizam, o mesmo processo pode ser depreendido da inserção do queer no Brasil. ...
Qual o balanço da institucionalização da Teoria Queer (Queer Theory) no Brasil? Quais as operações de poder envolvidas nesse processo? A partir de uma cena etnográfica, essas questões nos são impostas e tentamos respondê-las neste artigo, assim, por intermédio de revisão bibliográfica, objetivamos, ao tomar o colonialismo como um modo de pensar eurocentrado que se estrutura por meio de colonialidade de poder, ser e saber, mostrar como o movimento queer reproduz essa matriz ao seguir um script eurocêntrico de constituição de uma "nova" elite de pensamento a partir das relações de saber e poder inseridas no campo de disputa com o movimento LGBT no Brasil. Questionamos também as relações internas de produção de conhecimento queer e, ainda, aquele que se propõe decolonial. Concluímos argumentando que os estudos/teoria/movimento queer no Brasil reforçam e se instauram desde relações de poder (neo)coloniais.
... Entendiendo que la puesta en valor de los productos simbólicos requiere de procesos colectivos, una multiplicidad de acciones y de mediaciones que, sumados a la acción de los productores específicos, van dotando de legitimidad y construyendo el valor de esos bienes, es preciso comprender las diferentes lógicas presentes en estos procesos de valuación simbólica y económica (Bourdieu, 1995(Bourdieu, , 2010Callon, 2009;Zelizer, 2009). Por eso, es importante comprender no solo cómo se crean determinados productos en el encuentro del diseño y la artesanía indígena, sino también cómo se produce la creencia en su valor específico, así como el «valor» de los productores en un contexto histórico particular (Bourdieu, 2010;Bourdieu y Delsaut, 1975). En esa línea, consideramos que es necesario observar de qué manera se construye conocimiento sobre productos, productores y 1. Para profundizar en el estudio de las artesanas indígenas en Argentina, véase los casos analizados por Gómez, 2008;Cardini, 2012;Matarrese, 2016;Perret, 2017, entre otros. ...
Problematizamos la convergencia entre Diseño y Artesanía, centrándonos en el análisis de la interacción entre diseñadoras profesionales y artesanas indígenas en emprendimientos de indumentaria y accesorios en Argentina. Se analizan las construcciones de sentidos, usos y prácticas que emergen en ese encuentro, resaltando las tensiones y negociaciones implicadas en la definición de dinámicas productivas consensuadas que, en un entramado desigual y jerárquico, no están exentas de conflictos. Desde una metodología de corte cualitativo, se recupera el trabajo de campo realizado en el área metropolitana de Buenos Aires y en la provincia del Chaco, Argentina. Dicho enfoque permite revisar la construcción de significados y sentidos que el Diseño despliega en su encuentro con la artesanía en Argentina, donde el Diseño se combina con la Artesanía resaltando atributos «trascendentales», mientras que la artesanía incorpora diseño en la definición de una «lógica de pedido», donde los procesos de valoración cobran centralidad introduciendo tensiones tanto en términos económicos como simbólicos y afectivos. A modo de balance, proponemos una lectura sobre estas prácticas que aporta a analizarlas desde una perspectiva crítica, a la vez que dinámica y productiva.
... Tatuagens, alfinetes e mensagens político-sexuais eram fundamentais nas roupas de marca (Cardim, 2011, p.18) A revolução de 1974, em Portugal, originou uma divisão de águas, pois ocasionou-se o término das casas de alta-costura, nos moldes estudados por Bourdieu e por Delsaut (1975), e passa a ser fomentada a criação de casas de pronto-a-vestir, aspeto esse que também deu origem ao aparecimento de vários criadores locais. ...
Fashion, in the field of recent and contemporary academic studies, still remains as an incipient topic. Thus, our work is situated in this gap, in the sense that it intends to offer the reader a theoretical and historical view on punk fashion since the 1970s to the present time, being that at the present time the focus will be on the growing relevance of slow fashion. Indeed, this article intends to emphasize an approach that has as background an analysis that aims to interconnect fashion with an activist practice, in historical terms, in Portugal, as well as to account for the importance of the adoption of an ethos and a DIY praxis among young Portuguese punk. In parallel, it should be noted that this work is the result of a long field research that lasted between the years 2012 and 2017, in Portugal, in which had been carried out, 240 semi-structured interviews to key actors of the punk movement in Portugal. However, given the limitations imposed, we will only focus on a visual analysis, i.e., we will focus on the presentation of photographs by some of these key players and that, in our view, portray these changes in terms of fashion, activism and DIY in Portugal.
... Tatuagens, alfinetes e mensagens político-sexuais eram fundamentais nas roupas de marca (Cardim, 2011, p.18) A revolução de 1974, em Portugal, originou uma divisão de águas, pois ocasionou-se o término das casas de alta-costura, nos moldes estudados por Bourdieu e por Delsaut (1975), e passa a ser fomentada a criação de casas de pronto-a-vestir, aspeto esse que também deu origem ao aparecimento de vários criadores locais. ...
This paper seeks to reflect the various interpretations of the ways of seeing the empty spaces in the artwork, through a theoretical discussion on perception and visual culture, the hermeneutic methodology of the image is implemented in photographs of two exhibitions where visual silences are manifested as an aesthetic and political experience in social protest: the Art-Less initiative and the work Take the Money and Run. It is important to recognize within the composition of an artwork, the saturation of noise that allows visual silences to be acts of insurrection, and consequently, to contribute with elements that reflects of the understanding of the processes and contexts where aesthetic silences as a political action are manifested, whether in the streets or in private spaces, such as museums, where individuals or creative authors have the opportunity to recreate them and, the spectators, to re-signify them.
... Les méthodes d'analyse et de programmation sont comparables à la « griffe » des grands couturiers dans le sens où elles définissent l'identité symbolique de l'entreprisevis-à-vis de ses salariés et de ses clientsen transformant le fondateur de l'entreprise en auteur ayant créé un bien symbolique(Bourdieu & Delsaut, 1975). 8 Il fait notamment changer la dénomination de l'AFCAL en AFCALTI (Association française de calcul et de traitement de l'information) pour institutionnaliser la place de la gestion au sein de l'association. ...
... Bourdieu will make a similar point by relating the magic of the word to Pret a porter and high culture (Bourdieu, 1975). The model that Barthes discusses, and to which we are equally opposed, is that of a writer who wants to say something that he has in his mind, that pre-exists writing. ...
Albert Maslow points out that Wittgenstein dedicated a copy of the Tractatus to Morris Schlick with the following sentence: “ Jeder disese Sätze ist der Ausdruck einer Krankheit ” (Each of this propositions is the manifestation of a disease.) We will try to see some of the treatments to see if the remedy is not, in many cases, worse than the disease. Few philosophical texts have so many material surrounding it as the Tractatus, but and at the same time do maintain such a vast spectrum of interpretations. To the point that one can expect every now and then, exegetical revolutions. Like the political ones, they usually burry the past in its way. An example: the appearance in the 1980s of Wittgenstein's Vienna was a fundamental milestone that showed that it is impossible to dissociate the author from the Viennese intellectual environment. However, attempts have been made to present this new approach as the refutation of the rest, falsely equating the Tractatus with continental philosophy in a book that is really weak in terms of elements of symbolic logic and without any expertise in regard to the philosophy of logic of Frege and Russell, which are essential to understand the context of the concepts in the text of the Tractatus itself and the records of the time. A similar case is the new interpretation that was awarded some ten years later by the North American school: they rightly called attention to the neglect of the essential paradox of the Tractatus of having intended to say what is shown. However, the value of this perspective is lost when the book is treated as the work of a postmodern nihilist, an antimetaphysical dialectician . The same can be said of the interpretation of Raymond Bradley, whose praiseworthy efforts to highlight the Tractarian modal element have resulted in an inadequate Leibnizian framing in his work The Nature of All Being (Bradley, 1992). To show an overview, I would broadly follow the outline of Cerezo (1998), adding and extending his taxonomy a bit. I think Cerezo´s outline is accurate and simple. Cerezo does not take into account contextualist readings or, in any case, it isnt her concern in her Lenguaje y Lógica in Wittgenstein's Tractatus. Let us mention among the ways of reading the Tractatus the empiricist perspectives (in classical version, like Russell, or positivist, like those of Shlick and Carnap ), non-empiricist logicists ( Anscombe , Kenny ), Kantian ( Stenius , Coffa ), metaphysical (in actualist variant, Hacker, or positilist Leibnizian , Bradley), continental (such as Janik and Toulmin ) , nihilistic ( Diamond and Conant , Ostrow and his dialectical idea ), and MacGuinn 's elucidatory -ecumenical attempt . David Stern (Stern,1998 ) made a stratification that is not incompatible with the one I point out . 1. The logical-atomistic reading ( logical atomist reading ) of Russell ; 2. The reading of logical positivism ( logical positivist reading ) : with the belligerent antimetaphysical charge ; 3. Metaphysical reading ( metaphysical reading ), like Hacker's, with a logically based idea of metaphysics; 4. The irrationalist reading ( irrationalist reading ) that Toulmin and Janik maintain , for example, or Isidro Reguera, where there is pre-eminence of the religious ethic elements; and 5. therapeutic reading ( therapeutic reading ) , which poses it as a kind of infinity joke. We are going to add to the list a reading, which we will call a pathological reading.
O termo capital em Bourdieu ganha conotações que vão além da dimensão puramente econômica. O autor o considera um sistema mais amplo de trocas no qual diversos tipos de bens são transformados e permutados em uma rede composta por complexos circuitos. Um capital é um recurso, um estoque de elementos ou componentes possuídos por um agente ou instituição que tem características de poder a ser investido e acumulado de modo mais ou menos ilimitado. Dada as limitações do conceito de capital econômico para explicar as relações de poder, hierarquia, trocas e as condições de prestígio e reconhecimento, Bourdieu produz uma perspectiva ampliada que abrange outros grupos de capital: o simbólico, o social e o cultural, que são alicerces teóricos capazes de lançar luz sobre a relação entre a religião, o poder e a política. A autonomização do campo religioso não implica uma independência absoluta frente às dimensões temporais, especialmente políticas e econômicas. Uma instituição religiosa necessita de maneira inexorável de recursos financeiros para a manutenção não apenas de suas atividades e fins, mas também para ampliar sua rede de atuação, condição que amplifica seu poder no campo religioso e fora dele, e para isso, se vale de capital econômico e poder político. O que este artigo objetiva demonstrar é que os grupos religiosos buscam proteger seus interesses, e a defesa de suas benesses é, na verdade, uma forma de salvaguardar os benefícios de uma classe religiosa.
Recent debates in sociology have pointed to the emergence of new forms of capitalism capable of commodifying even the most resistant dimensions – the art, the affection – in their relentless pursuit of profit. A question that can be better understood when analysing certain markets, the relationship between the economy and cultural and artistic goods is well delineated in the contemporary luxury fashion industry. Using methods from sociology and anthropology to think about issues such as the role of artists in this sector, the function of art in flagships and its effects on consumption, this article qualifies the term, ‘artwashing’, a phenomenon characterized by the use of traditional resources from the art world to reinvent the way the luxury industry is perceived by both consumer society and its clientele.
El contexto digital ha desarrollado una nueva praxis en la fotografía de moda que ha adaptado su anterior formato de lookbook o catálogo al comercio electrónico. El presente texto estudia estas imágenes en espacios de e-commerce teniendo en cuenta el fast fashion. De este modo, se comparan las imágenes de Zara y Shein para entender el proceso y el sentido de esta forma de fotografía. La aproximación se basa en el estudio de la representación de las prendas en las propias websites de las marcas, dirigidas a un consumo veloz e inmediato, frente al anterior medio impreso. Como resultado de la aplicación metodológica del análisis fotográfico planteado, se aprecia una dilución de las funciones fotográficas tan diferenciadas anteriormente en moda.
Cet article porte sur les défilés de mode du couturier britannique Lee Alexander McQueen, qui se servit de ces événements comme tremplin pour faire réagir, voire provoquer le public et, dans le sillage, rénover le monde de la mode en transgressant presque toutes les règles qui le traverse. Guidées par les propositions théoriques de Denis Vernant concernant le paradigme actionnel et celles de Jacques Fontanille à propos des formes de vie, les analyses des défilés choisis visent à mettre en exergue les moyens employés par le designer pour métamorphoser l’univers de la création vestimentaire en renversant ses assises. La force illocutoire de ces mises en scène saisonnières résulte d’ailleurs spécifiquement de ces multiples retournements, qui concernent autant la confection des étoffes, que les normes de présentation conventionnelles et la théâtralisation des collections gouvernées par des thématiques poignantes.
Market studies is a newly emerging field dedicated to understanding the origins, core concepts, theories and methods currently being used and developed to examine markets in the making. Providing a unique overview that introduces, positions and develops this highly fertile area of research, Market Studies is the first book to consolidate its themes, tools and methods in a single, comprehensive volume. Topics covered include: market organization and design; performativity in and around markets; valuation; market places and spaces; methods that may be utilized in studying markets; the field's relation to adjacent disciplines; the future of markets. Deploying a sensitivity for the socio-material constitution of markets, the authors put market practices at the centre of inquiry and offer insights into the future and potential impact of market studies research. The contemporary, practical and interdisciplinary approach is strengthened by multiple examples of original empirical research into markets.
Market studies is a newly emerging field dedicated to understanding the origins, core concepts, theories and methods currently being used and developed to examine markets in the making. Providing a unique overview that introduces, positions and develops this highly fertile area of research, Market Studies is the first book to consolidate its themes, tools and methods in a single, comprehensive volume. Topics covered include: market organization and design; performativity in and around markets; valuation; market places and spaces; methods that may be utilized in studying markets; the field's relation to adjacent disciplines; the future of markets. Deploying a sensitivity for the socio-material constitution of markets, the authors put market practices at the centre of inquiry and offer insights into the future and potential impact of market studies research. The contemporary, practical and interdisciplinary approach is strengthened by multiple examples of original empirical research into markets.
Aujourd’hui, nous connaissons principalement deux techniques de création et de réalisation vestimentaire, habituellement opposées : le sur-mesure et le prêt-à-porter. Alors que le prêt-à-porter impose à l’individu de correspondre à une taille et de s’y adapter, le sur-mesure s’adapte à la personne. Le projet de recherche de Jeanne Vicerial autour de sa Clinique vestimentaire fait converger ces deux approches vers de nouveaux systèmes de création et réalisations vestimentaires, formant alors un nouveau paradigme : le « prêt-à-mesure ». Un paradigme qui allie rapidité de confection du prêt-à-porter et caractère unique et spécifique du vêtement sur-mesure, où le vêtement-objet est en lien avec le corps de celui qui le porte. Un système de création et réalisations vestimentaires fondé sur une nouvelle technique d’agencement filaire, en partie bio-inspirée : le « tricotissage », entre le tricot – uni-filaire – et le tissage, qui permet l’obtention d’un textile, ou d’un tissu organique avec pour exemple le tissu musculaire humain. En collaboration avec le département de mécatronique des MINES ParisTech – PSL, dirigé par Yvon Gaignebet, le projet de recherche Clinique vestimentaire a notamment abouti à l’élaboration d’un prototype de table de « tricotissage ». Outil de création et machine de réalisation, la table de « tricotissage » est un système mécanique piloté par informatique pour « tricotisser » des vêtements sur-mesure à échelle semi-industrielle sans générer de chute. Une première rencontre avec la clientèle pour une prise de mesure manuelle amorce le dialogue, par communication verbale (envies et sensations consciemment explicitées), mais également non-verbale (postures et comportements). Des mesures qui prennent en compte non seulement des considérations anatomiques, mais aussi des éléments anthropologiques, physiologiques ou encore psycho-sociologiques. L’exécution du vêtement par la table de tricotissage est alors faite selon les mesures dimensionnelles du corps traduites et interprétées numériquement, et commande électroniquement les réglages de la machine. Lors de l’exécution, les interactions manuelles restent possibles pour ajustements, la machine est également un outil qui laisse la place aux gestes, renouant avec les interactions classiques de l’artisanat. Un artisanat numérique avec pour objectif final de concevoir sur-mesure un vêtement, sans chute, avec un savoir-faire centré sur la précision de la « coupe » et de l’assemblage, et obtenir un résultat vestimentaire personnalisé avec et pour la clientèle. Ce travail de recherche se poursuit avec Sculptures vestimentaires, pour redonner aux femmes leur parole sur leur vision de la mode, des normes et des mesures. Plus récemment, Quarantaine vestimentaire, était une réponse formelle et visuelle à la situation sanitaire lorsque fermeture et distanciation étaient les mots d’ordre. Chaque jour pendant quarante jours, une œuvre était créée à partir du seul corps disponible, le corps confiné de son autrice.
Today, the two techniques for designing and making clothes are generally opposed to each other: made-to-measure and ready-to-wear. While the latter imposes a size category and requires the individual to adapt, the former is adapted to the person. The research involved in Jeanne Vicerial’s Clinique vestimentaire merges the two approaches, converging to form new systems for the design and making of clothes, creating a new paradigm: “ready-to-measure.” This model combines the speed of ready-to-wear with the unique, specific nature of made-to-measure, in which the clothing-object is connected to the body of the person who wears it. This system of designing and making clothes is based on a new approach to composing thread, partly “bio-inspired”: tricotissage, or “knitting-weaving,” between knitting—a single thread—and weaving, which enables the creation of a textile, assembled in a similar way to human muscular tissue. In collaboration with the mechatronics department at MINES ParisTech – PSL, led by Yvon Gaignebet, the Clinique vestimentaire research project has developed a prototype knitting-weaving machine. A tool for creation and production, the unit is a computer-driven mechanical system for knitting-weaving made-to measure clothing at a semi-industrial scale with no waste. Dialogue begins with the first encounter with the customer for taking measurements, through verbal communication (consciously expressed desires and sensations) but also non-verbal communication (postures and behavior). Measures that take into account not only anatomical considerations but also anthropological, physiological, and psycho-sociological elements. The production of the garment by the knitting-weaving table is then done according to the body’s dimensions translated and interpreted digitally and electronically. During the production process, manual interactions remain possible for adjustments; the machine is also a tool and leaves room for interventions, reviving the classic interactions of the craft. A digital craft with the ultimate goal of designing a custom garment, without remnants, with a know-how focused on the precision of the "cut" and assembly, and delivering personalized clothing with and for the customer. More recently, Sculptures vestimentaires continues this research, aiming to give women their place and voice with regards to fashion, norms, and sizing. More recently, Quarantaine is a formal and visual response to the health crisis, at a time when closing and distancing are the order of the day. A work is being created every day for 40 days using the only body available—the confined body of its author.
Hoy en día, las dos técnicas predominantes para diseñar y confeccionar ropa suelen ser opuestas: la confección a medida y el prêt-à-porter. Mientras que la segunda impone una categoría de tamaño y exige que el individuo se ajuste a ella, la primera se adapta a la persona. La investigación realizada en la Clinique vestimentaire de Jeanne Vicerial fusiona los dos enfoques para crear nuevos sistemas de diseño y confección de ropa, creando un nuevo paradigma: el prêt-à-mesurer (o «listo para medir»). Se trata de un modelo que combina la rapidez del prêt-à- porter con el carácter único y específico de la confección a medida, en la que la prenda encaja con el cuerpo de la persona que la lleva. Este sistema de diseño y confección de prendas se basa en un nuevo enfoque de la composición del hilo, en parte «bioinspirado»: el tricotissage, o «tricotar-tejer», a caballo entre el tricotar -un solo hilo- y el tejer, que permite crear un tejido, ensamblado de forma similar al tejido muscular humano. En colaboración con el departamento de mecatrónica de MINES ParisTech - PSL, dirigido por Yvon Gaignebet, el proyecto de investigación Clinique vestimentaire ha desarrollado un prototipo de máquina de tejer. Esta herramienta de creación y producción funciona como un sistema mecánico controlado por ordenador que permite tejer prendas a medida, a escala semiindustrial y sin material sobrante. El diálogo empieza con el primer encuentro con el cliente para tomar medidas, a través de la comunicación verbal (deseos y sensaciones expresados conscientemente), pero también de la comunicación no verbal (posturas y comportamiento). Las medidas tienen en cuenta no solo consideraciones anatómicas, sino también elementos antropológicos, fisiológicos y psicosociológicos. La confección de la prenda por parte de la máquina de tricotar-tejer se realiza entonces según las dimensiones del cuerpo traducidas e interpretadas digital y electrónicamente. Durante el proceso de confección se pueden realizar ajustes a través de interacciones manuales. La máquina también es una herramienta y deja espacio para las intervenciones, reviviendo las interacciones tradicionales del oficio. Un oficio digital con el objetivo final de diseñar una prenda a medida, sin retales, con un saber hacer centrado en la precisión del «corte» y el ensamblaje, y la entrega de prendas personalizadas con y para el cliente. Más recientemente, Sculptures vestimentaires ha continuado esta investigación, con el objetivo de dar a las mujeres voz y lugar en la moda, las normas y el tallaje. Además, Quarantaine vestimentaire ha ofrecido una respuesta formal y visual a la crisis sanitaria, en un momento en que el aislamiento y el distanciamiento están a la orden del día. Se ha creado una obra cada día durante cuarenta días utilizando el único cuerpo disponible: el cuerpo confinado de su autora.
Esta pesquisa propõe uma análise epistêmica dos estudos realizados nos últimos cinco anos sobre o campo da Moda sob a perspectiva antropológica. Esta investigação se justifica na medida em que Moda como área do conhecimento vem se desenvolvendo nos últimos anos como um campo interdisciplinar, portanto, várias outras ciências podem contribuir em suas análises. Os objetivos deste estudo são desenvolver uma base metodológica para a análise da Moda sob a perspectiva da antropologia visual. Por isso, se propôs: (a) comparar termos e diferenciações em fontes de pesquisa epistemológica; (b) entender métodos e conceitos comuns em pesquisas antropológicas de Moda, destacando autores e estudos influentes, (c) analisar escolhas metodológicas e teóricas em pesquisas que utilizam antropologia visual e (d) ampliar o campo da Moda com interpretações alternativas sobre cultura, identidades e sistemas. A metodologia utilizada foi dividida em duas fases: a primeira busca identificar estudos sobre Moda sob a perspectiva da Antropologia Visual, utilizando indexadores brasileiros de pesquisas, como Google Scholar, Portal de Periódicos Capes e Banco de Teses e Dissertações Capes, para o período de 2018 a 2022. A segunda consiste na busca específica em revistas especializadas em Antropologia Visual para o mesmo período. A análise dos estudos selecionados permitiu identificar métodos e conceitos recorrentes, estabelecer relações entre diferentes abordagens e proporcionar um enriquecimento do entendimento do campo da Moda sob a perspectiva antropológica. As abordagens epistemológica e teórica proporcionaram uma compreensão mais profunda dessa área de conhecimento e vem a agregar aos estudos metodológicos da antropologia aplicada ao campo da Moda. Como resultado, foi possível compreender que o uso da antropologia visual poderia fornecer vivência e subsídios ao pesquisador, de modo a criar um “pesponto metodológico” para ler fenômenos culturais da Moda, como um modo de compreensão coerente com os avanços que a área vem apresentando até então.
This study seeks to explore the identity formation of models in Haiti. The goal is to demonstrate how Haitian models shape their
identity through fashion practices and how fashion can contribute to reinforcing their self-image. The study draws on theoretical
approaches around identity and the body and applies constructivism and symbolic interaction to understand the identity
construction process of the models. A qualitative methodology was used to collect and analyze the data. The research concludes
that some young people in Haiti use fashion to construct and subjectivize themselves. The study categorizes the construction of the models’ identity into three groups: those who want to maintain the traditional essence of modeling work, those who believe the model must manifest creativity, and those who advocate for a more relaxed fashion with less stringent body requirements.
A cultura contemporânea reúne uma pluralidade de intermediários culturais que, ao aliar credenciais de autoridade e expertise, atuam na produção simbólica de valor e gosto. Este estudo aborda a representação de chefs em revistas impressas brasileiras entre a segunda metade do século XX e o início do século XXI. Para isso, foram consultados os acervos de revistas do Sistema Integrado de Bibliotecas da Universidade de São Paulo. Observa-se um deslocamento espacial e posicional, do anonimato ao estrelato. As revistas contribuem para construir a imagem social do chef engajado, que “salva” a cozinha brasileira, atuando como marcador de distinção. Mostram chefs em atividades externas aos restaurantes, caracterizadas por um empreendedorismo moral, favorecendo a construção de identidades, sua legitimação e ganho de prestígio. A midiatização dos chefs eleva-os a uma posição de autoridade, permitindo a valoração e a mediação de bens alimentares. Palavras-chave: chefs; midiatização; mediação simbólica; empreendedorismo moral; indústria cultural.
Abstract: Contemporary culture brings together a plurality of cultural intermediaries who, by combining credentials of authority and expertise, engage in the symbolic production of value and taste. This study examines the representation of chefs in Brazilian print magazines from the second half of the 20th century to the early 21st century. To this end, the magazine archives of the Integrated Library System of the University of São Paulo were consulted. A spatial and positional shift is observed, from anonymity to stardom. The magazines contribute to constructing the social image of the engaged chef, who "saves" Brazilian cuisine, acting as a marker of distinction. They depict chefs in activities outside restaurants, characterized by moral entrepreneurship, promoting identity construction, legitimation, and prestige gain. The mediatization of chefs elevates them to a position of authority, enabling the valuation and mediation of food products. Keywords: chefs; mediatization; symbolic mediation; moral entrepreneurship; cultural industry.
Nous entendons, dans le cadre de cet article, nous intéresser à la façon dont fut reçu l’œuvre du « dernier Picasso » et analyser comment la critique a pu osciller entre différentes identités assignées à l’artiste : vieillard sénile, génie persistant ou artiste renouvelé. « Monstre sacré », créateur pleinement consacré, ces identités construites de longue date allaient-elles buter sur le – très – grand âge de l’artiste qui serait alors rattrapé par celle de vieillard ? Après avoir fait apparaître les difficultés liées à la définition même de la catégorie de « Picasso tardif », nous étudierons sur quels arguments s’est fondé le mythe selon lequel cette période de création aurait été exposée au rejet au titre de l’âge très avancé de l’artiste. Nous ferons alors émerger une réalité beaucoup plus nuancée, et même un soutien appuyé de la critique, l’artiste parvenant précisément à retourner les jugements négatifs liés au vieillissement. Enfin, nous étudierons la fonction qu’a pu jouer cette croyance trop répandue, selon laquelle le « vieux Picasso » aurait été exposé au rejet unanime de ses contemporains.
Cette recherche analyse les pratiques marketing utilisées pour pérenniser la légitimité charismatique d’une marque de luxe. A partir d’entretiens avec divers acteurs du champ de la haute-cuisine et de l’analyse de sites Internet de restaurants gastronomiques, nous avons identifié plusieurs actions pour (1) créer un lignage entre les chefs, processus permettant d’inscrire le nouveau chef dans la lignée de l’autorité charismatique d’un chef fondateur et (2) mettre en scène ce lignage à travers l’offre et la scénographie des lieux. A partir de ces résultats et en transposant la théorie des deux corps du roi de Kantorowicz, nous étudions le concept des deux corps de la marque. Nous proposons un ensemble de recommandations pour construire les deux corps de la marque et agencer ces deux éléments via un lignage.
Cultural heritage does not include only art and culture (both tangible and intangible). In many ways, our cultural heritage is also a way of life, our everyday reality with its symbols and representations. Cultural heritage covers not only our past but also our future through a direct impact of the former on the latter. Therefore, when speaking about legal regulation, we need to include all these dimensions of cultural heritage.
Law grows from our experience and, as such, mirrors our history in the present legal norms, and the law mirrors our cultural heritage, born both from law and peace. Therefore, the lawgiver needs to decide which parts of our cultural history are worth protecting and which parts need to be eliminated as much as possible.
Sometimes, researching law can bring new light to the understanding of culture. Surprisingly, precisely that happened during our research on legal representations. While the project and its methods are sociolegal in nature, both qualitative and quantitative, the answers to our questions were often tightly connected to cultural heritage, such as clothing.
Not surprisingly, the most fruitful way of interpreting them is through the lens of cultural and legal identity. In Central Europe, identity may be a magic keyword usually used to explain almost everything. However, concerning the legal regulation of cultural heritage in a broader sense, identity seems to be precisely that.
This paper proposes an explanation of how everyday culture is treated by law in Central Europe and how it is rooted in our culture.
This study discussed the fashion phenomenon, especially the variety and shifts in contemporary fashion among students in Islamic university. Using semiotics to discuss students’ dress code in Islamic university is a rare perspective. Most studies focus more on discussing fashion codes and their implementation, and dress codes are not discussed as the main material object of research, or clothing is not understood as something that has a system within itself. As a result, the discourse regarding clothing as a system of cultural markers becomes murky. This study examined Muslim students' clothing using Saussurean semiotics in terms of a structured sign system. For Saussure, a sign consists of the relationship between signifier and signified. The first element is material and concrete. Meanwhile, the second element is mental and abstract. Apart from these elements, a sign is built from the relationship between langue as social conventions and parole as individual expressions. Meanwhile, clothing is a non-verbal semiotic element that has multi-articulation through the smallest meaningful elements called morphemes and the smallest elements that are meaningless but function to differentiate meaning called phonemes. In the context of UIN Sunan Ampel as a cultural locus of our study, the clothing practices of students from the oldest PTKIN campus in East Java were fragmented into two, namely santri and non-santri fashion. This event illustrated the dynamics of fashion on a campus that was found on Islamic values and principles.Keywords: Fashion, dress code, students, semiotics, Saussurean.Abstrak: Artikel ini membahas fenomena fesyen mahasiswa, khususnya ragam dan pergeseran busana kiwari di kalangan civitas akademica perguruan tinggi Islam di Indonesia. Meskipun penelitian tentang dresscode mahasiswa dari kampus-kampus Islam telah jamak dilakukan, namun studi semiotika seputar busana mahasiswa muslim masih sangat jarang dilakukan. Sebagian besar hasil penelitian yang tersedia lebih berfokus pada diskusi kode etik busana dan penerapannya. Praktis dresscode tidak dikaji sebagai pakaian itu sendiri. Imbasnya wacana terkait pakaian sebagai sistem penanda kultural menjadi sumir. Studi ini meneliti pakaian sebagai fokus diskusi dengan pendekatan semiotika Barthesian. Bagi Roland Barthes sebuah pakaian memiliki tiga lapis struktur, meliputi; pakaian itu sendiri, ikon tentang pakaian, dan narasi tentang pakaian. Alibinya, dari sepotong busana seseorang sejatinya tengah menyatakan sesuatu melalui suatu modus penstrukturan yang rigid. Pakaian merupakan elemen semiotik nonverbal yang memiliki artikulasi ganda melalui elemen-elemen terkecil bermakna yang disebut morfem dan elemen-elemen terkecil yang tak-bermakna namun berfungsi untuk membedakan makna yang disebut fonem. Dalam konteks UIN Sunan Ampel Surabaya sebagai sebuah lokus kultural, praktik berbusana di kalangan mahasiswa terfragmentasi menjadi dua, yakni fesyen santri dan nonsantri. Peristiwa ini menggambarkan dinamika fesyen pada sebuah kampus yang dirintis dari nilai dan prinsip Islam.Kata Kunci: Fesyen, dress code, mahasiswa, semiotika, Saussurean
The research examines global fashion, with a special focus on cultural appropriation and inspiration in the contemporary fashion industry. The issue of cultural appropriation is quite new in the scenario of cultural studies. In its early stage, the project will consider new perspectives on the analysis of fashion production with a multidisciplinary approach. By collecting and studying material from international frameworks, the research aims to understand how the concept of appropriation develops. By outlining an approach for a conscious production process, even cooperating with other international realities, the present work might be of help in decentralizing the market.
The Covid19 pandemic forced most companies to impose teleworking from home. Although individuals have access to many platforms in order to collaborate and to communicate with others, telework during the pandemic brought to light many challenges. Among these, personal appearance, and the setting in which videoconferences are conducted emerged as critical elements when working from home. Very few studies have researched the role of fashion in video-meetings. To address this gap, a survey has been executed, providing relevant insights into workers’ videoconferencing practices. Findings show that individuals’ appearance when doing online meetings with the camera on is very different from when they are in a professional setting. Furthermore, the desirability and prediction of use of digital elements/filters such as clothing, make-up, accessories, hair/beard, and home décor for professional settings are high. The implications of this study are twofold. Firstly, it provides novel insights on the role of digital fashion in the context of teleworking. Then, avenues for future research on digital fashion for videoconferencing in a post-pandemic setting are presented.
Non-fungible tokens (NFTs) have witnessed unprecedented dynamism over the recent years with only few luxury brands experimenting with the technology albeit the very personal characteristics of NFT ownership. Little is known about how luxury brands use NFTs to develop their brand image and what opportunities luxury brands anticipate from NFTs as a new technology, digital product category or customer relationship channel. The present research note offers an applied research design to tackle these questions and systematically understand the potential of NFTs for personal luxury brands at large.
The case of the Louis Vuitton ‘ maison de famille ’ in Asnières-sur-Seine allows investigation of communications strategies implemented by Corporate Fashion Museums. It is argued these museum types are used by luxury fashion brands as marketing tools to retain their customers. The data relied upon are primarily qualitative: interviews and exploratory observations were specifically conducted between January 2020 and November 2022. It is suggested that the process of commodification of the family patrimonium as well as the enhancement of for-sale products within the museum is made possible through the wise use of various techniques mainly related to the artification and the heritagization processes. The combination of those techniques – linking fashion brands with the art and museum world(s) – enables fashion firms to produce a coherent corporate narrative while pursuing seemingly oppositional goals.
The French luxury brand, Balenciaga, recently faced its most important communication crisis. On November 16th 2022, the brand released its holiday gifting campaign featuring children surrounded by sadomasochism-inspired teddy bears/handbags and received immediate backlash from the public, who accused the brand of sexualizing children and promoting pedophilia. The outrage went viral on social media - mainly on Tiktok - with the hashtags #burnbalenciaga and #cancelbalenciaga, which have accumulated more than 300 million views. Balenciaga suffered an incalculable damage on its reputation, having two flagship stores vandalized and a viral online boycott. This investigation follows the case study methodology, by analyzing the timeline of events, the brand’s statements and response, the viral effect of the boycott on social media and the ultimate affectations that the brand underwent due to the crisis. The conclusions reveal that on one hand there are some social anethical boundaries that not even well-positioned and beloved brands can afford to cross, and that slow, unclear and unaccountable answers compose a terrible strategy of crisis management, and on the other hand, the power of consumers on social media has gained enough strength to damage brands like Balenciaga.
This research project aims to investigate the symbolic and cultural meanings behind an underwear targeted to women in order to analyze the glamorous elements of a garment which is often presented in scenarios that allude to sexuality and transgression. The focus is on the underwear production of the last ten years, as the fashion world has lately been hit by discussions around the need to make fashion accessible for non-normative bodies. Now that fashion is called to play a role in terms of inclusivity on the symbolic as well as on the material level, the question behind this research is: what kind of relationship can be found between an inclusive underwear and glamour? The first part of this research will provide a complex definition of glamour, an ambiguous phenomenon that can either be conservative or subversive. The study will then proceed with an analysis on the relationship between glamour and underwear in the case of the two mainstream lingerie brands Victoria’s Secret and Calvin Klein. Finally, such relationship will be then investigated in the realm of a newborn inclusive lingerie brand named Chitè through an in situ ethnographic investigation.
Binnen de traditie van de sociologie zijn mode en consumptie niet bepaald onderwerpen geweest die veel belangstelling konden genieten. Elke wetenschappelijke discipline heeft haar eigen hiërarchie van onderzoeksonderwerpen. Fenomenen als mode en consumptie werden tot nog toe niet echt onderzoekswaardig bevonden. En toch, sociologen kunnen niet meer om de impact heen die de massaconsumptie heeft op het dagelijkse leven. In dit artikel wordt dan ook een aanzet gemaakt tot het analytisch beschrijven en interpreteren van een aantal facetten van de huidige consumptiecultuur. Wij beperken ons hier tot het veld van de mode als voorbeeld bij uitstek van het domein van consumptie. Achtereenvolgens komen aan bod, een beschrijving van de werking van het veld, de huidige wijze van tekenproduktie, de impact van de professionals op de regulering van het dagelijks leven en als laatste een interpretatie van de mode als “gendertechnologie”.
This article examines how luxury fashion houses Chanel and Alexander McQueen have mobilized the “spirit” of their founding designers to become part of the commercial brand’s founding myth and vocabulary. Pierre Bourdieu highlighted how within the field of fashion, the creative vision of the designer which should be irreplaceable is in fact replaceable where their products and business can live on long after their death through the succession of another designer. We present the case studies of Chanel and Alexander McQueen as examples of how luxury fashion labels strategically assimilate new designers (Karl Lagerfeld and Virginie Viard in the case of Chanel and Sarah Burton for Alexander McQueen) into the mythology of the brand. We develop the phantasmagoria succession framework to explain how founding designers of luxury labels are systematically conjured as “spirits” that inhabit the brand’s seasonal commodities. To establish a link between the past and the future, the “spirit,” “essence” or “aura” of the founding designer is transmitted through the ritual means of the fashion spectacle to a successive designer. We demonstrate here how the mythology of the original designer’s “spirit” is summoned and reproduced by the brand through: the use of mystified storytelling in the fashion press; the consecration of particular fashion products as a chest of symbols; and the ritual acts and spectacular theatricality of catwalk presentations.
Este artigo sugere uma reflexão teórica acerca da etnografia como método para pesquisas de consumo e desenvolvimento de estratégias de produção de bens. O universo do consumo, e, em especial, do consumo de moda, representa hoje um sistema de produção de significações (como quer Jean Baudrillard) e comportamentos gerados pela racionalidade econômica (como vemos em Pierre Bourdieu) que são evidenciados por meio do mercado como processo ritual. Assim, a etnografia do consumo e a antropologia empresarial podem ser vistas como estratégia para empresas. Palavras-chave: Consumo; etnografia; comunicação. ABSTRACT This article suggests a theoretical reflection about ethnography as a method for research on consumption and the development of strategies of goods production. The universe of consumption, and, specially, fashion consumption, represents nowadays a system of significations (as said by Jean Baudrillard) and behavior generated by the economic rationality (as we have seen in Pierre Bourdieu) that are evidentiated by the market as a ritual process. So, ethnography of consumption, and anthropology of business can be seen as business strategies. Keywords: Consumption; ethnography; communication.
Bu çalışma, iki temel anekdot üzerinden tarihsel bir perspektifte moda ve sanat arasındaki kesişmlere odaklanmaktadır. İlk olarak hautecouture’ün kurucusu Charles Frederick Worth kısaca tanıtılmış ve tasarımcının kullandığı giysi
etiketleri “aura” çerçevesinde incelenmiştir. Ardından, Worth’un biri genç bir iş adamı iken diğeri kendini kanıtlamış bir tasarımcı iken çekilmiş iki fotoğrafı kişinin bedensel görünümündeki değişimi açımlanmak amacıyla karşılaştırılmıştır. İkinci olarak, modanın kralı olarak bilinen Paul Poiret tanıtılmış ve tasarımcının Vogue dergisinin Amerika Birleşik Devletler edisyonu için 1916 yılında hazırladığı koleksiyonu “hazır nesne” kavramı çerçevesinde tasarımcının giderek büyüyen kitlsel üretim ve tüketim olgusuna kendi özgün imzasını kaybetmeden nasıl karşılık verdiğini vurgulamak amacıyla incelenmiştir. Sonuçta, bu iki anekdot ve güncel küresel moda alanı arasındaki bağlantılar kurulmuş, burdan yola çıkarak da bir moda müzesi kurulmasının ivediyetine dair bir çağrı yapılmıştır.
Focusing on two key points, this study aims to illustrate crossovers
of two fields, namely fashion and art, through a historical perspective. First,
the father of haute couture, Charles Frederick Worth, is introduced briefly, and his cloth labels
are examined by referring to the concept of “aura.” Then, Worth’s two pictures, one taken during
his younger ages and the second taken when he was a legitimate artisan, are compared in order to
highlight the transformation of one’s bodily appearance. Second, the king of fashion, Paul Poiret, is introduced, and his collection prepared for American Vogue in 1916 is examined by referring to the concept of “ready-made” in order to point out how the fashion designer responded to the growing mass production and consumption by keeping his unique signature. In conclusion, a parallel between the contemporary global fashion field and these two anecdotes, and an urgent proposal for constructing a fashion museum is presented.
Mode ist ein multidimensionales Phänomen und kann aus verschiedenen Blickwinkeln analysiert werden. Sowohl im Alltag als auch im akademischen Kontext wird sie jedoch vergleichsweise selten als politisches Phänomen gesehen. Dennoch können sowohl die Mode als auch die Kleidung Mittel zur Bildung, zur Aufrechterhaltung oder zur Umgestaltung von Relationen von Macht, zur (Re-)Affirmation bestehender Gesellschaftsstrukturen oder zur Artikulation individueller und kollektiver Identitäten sein. Die Rhetorik der Kleidung wird bisweilen als Form des politischen Protests und der Forderung nach gesellschaftlicher Anhörung sowie Anerkennung genutzt, die Kleidungspraktiken können verboten, befohlen, in Frage gestellt oder fetischisiert werden, sie beeinflussen die Produktionsform und die Entwicklung der Industrie, während öffentliche Debatten zu Kleidungspraktiken nicht selten zu gesellschaftlichen Echos fuhren. Dabei ist die politische Bedeutung einer Kleidung nicht für immer gegeben, weil die mit ihr einhergehende Bedeutung sich durch grosse Instabilität charakterisiert. Thema des vorliegenden Artikels sind die wichtigsten Kontexte zur Verbindung von Mode und Politik im akademischen Modediskurs. Es werden zeitgenössische Forschungstexte analysiert, die sich mit dem politischen Charakter von Mode und Kleidung befassen. Hauptziel des Artikels ist, eine Differenzierung zwischen dem "politischen Charakter von Mode" und der "Politisierung von Kleidung" einzuführen, die es ermöglicht, das Wissen über Mode als politischer Kraft zu kategorisieren. Die kritische Analyse des Forschungsstands der gegenwärtigen fashion studies zeigt darüber hinaus weitere Forschungsrichtungen der besprochenen Thematik auf.
Ce texte trahit la vérité objective de l'élitisme qui est à son principe
- F Nietzsche
F. Nietzsche, Sur l'avenir de nos établissements
d' enseignement, Paris, Gallimard, 1973, pp. 41-42. Ce texte
trahit la vérité objective de l'élitisme qui est à son principe.