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<p>Introduction ix</p> <p><b>Part 1. Re-presentations and Artifices </b><b>1</b></p> <p><b>Introduction to Part 1 </b><b>3</b></p> <p><b>Chapter 1. Re-presentation as a Form of Artistic and Cultural Legitimization </b><b>5</b></p> <p>1.1. The work of art and its reproducibility at the service of the fashion industry 7</p> <p>1.1.1. Culturization of the purse, and portability of the work of art 9</p> <p>1.1.2. The purse as an apparatus for commercial and artistic mediation 12</p> <p>1.2. Book publishing at the service of the fashion brand’s cultural value 15</p> <p>1.2.1. A book as beautiful as a trunk (Louis Vuitton) 16</p> <p>1.2.2. Literary praise for luxury goods 19</p> <p>1.3. The popularity of fashion accessories 20</p> <p>1.3.1. The value of a luxury item through the club model 22</p> <p>1.4. The exhibited advertising poster 24</p> <p>1.4.1. Self-referential legitimations 25</p> <p>1.4.2. Bricolage and illusion: advertising the advertising 27</p> <p>1.5. The advertising poster as a testimonial discourse 29</p> <p>1.5.1. The caption as a thematic and generic engagement 30</p> <p>1.5.2. The presentation of the ready-to-wear collection as an event 32</p> <p><b>Chapter 2. Investing Symbolically in the Museum, Transforming the Store: Re-presentation as an Iterative Event </b><b>35</b></p> <p>2.1. From the boutique to heritage enhancement sites 36</p> <p>2.1.1. The place where the brand’s heritage is developed: the advertiser’s dual entity 37</p> <p>2.1.2. Patrimonialization and unadvertization: from forms to formats 40</p> <p>2.2. The museum exhibition: a communicational pretext 42</p> <p>2.2.1. Staging a symbolic distribution: from the discontinuous to the continuous 43</p> <p>2.2.2. The image of a work of art: symbolic distribution and artification 46</p> <p>2.3. Distribution of marketable goods and contemporary art: the full and the void 47</p> <p>2.3.1. Cultural missions and department stores 48</p> <p>2.3.2. From cultural mediations to market mediations (and vice versa) 49</p> <p>2.3.3. In praise of the void and the worship of merchandise 53</p> <p><b>Part 2. Re-presentations and Forms of Life: The Religious and the Political </b><b>57</b></p> <p><b>Introduction to Part 2 </b><b>59</b></p> <p><b>Chapter 3. Re-presentation as a Cult Form </b><b>61</b></p> <p>3.1. Biblical stories and media advertising: fashion and (divine) grace 64</p> <p>3.1.1. Farmers, a storm and a boat: the biblical story of Noah’s Ark 66</p> <p>3.1.2. The Gucci actant: from ready-to-wear to ready-to-save 69</p> <p>3.2. Biblical stories and media advertising: fashion and adoration 71</p> <p>3.2.1. Advertising idolatry 73</p> <p>3.2.2. From product name to brand signature 74</p> <p>3.2.3. Actualization and ostentation of Dior’s semiotic and religious capital 76</p> <p>3.3. From places dedicated to Christian worship to places dedicated to fashion worship 78</p> <p>3.3.1. From the Hospice des Incurables to the Balenciaga showroom 78</p> <p>3.3.2. Profanation of the sacred, sacralisation of the lay public 82</p> <p>3.3.3. Apparatus – Relic 84</p> <p>3.3.4. Materiality, cult value and transparency 86</p> <p><b>Chapter 4. Re-presentation as a Rewriting of Politics </b><b>89</b></p> <p>4.1. The pretension of politics and its market value 93</p> <p>4.1.1. Demonstration: presence, representation, event and spectacle 94</p> <p>4.1.2. Re-presenting and misappropriating the demonstration 96</p> <p>4.1.3. From stereotype to irony: political pretension 99</p> <p>4.2. From text to (pre-)text: (political) mediations in the fashion industry 100</p> <p>4.2.1. Rewriting the media image: reintroducing the formula (to better deconstruct it) 101</p> <p>4.2.2. Imitation and counterfeiting of the event formula 104</p> <p>4.3. Removal of the pre-text, and celebration of the pretext 108</p> <p>4.3.1. Esthetization and commodification of the protest 108</p> <p>4.3.2. Discrepancies between the medium and message 110</p> <p><b>Part 3. The Power of the Fashion Industry’s Re-presentational Apparatus </b><b>115</b></p> <p><b>Introduction to Part 3 </b><b>117</b></p> <p><b>Chapter 5. The Industrialization of Creativity </b><b>119</b></p> <p>5.1. From the aristocratic model to the market model: the industrialization of luxury fashion 121</p> <p>5.1.1. From the Court model to the designer model 121</p> <p>5.1.2. From the market model to commercial luxury: pragmatic and symbolic democratization 123</p> <p>5.2. Managerial creativity as a panoply 126</p> <p>5.2.1. Forms and powers of managerial creativity in the fashion industry 127</p> <p>5.2.2. Standardization: the industrialization of managerial creativity 130</p> <p>5.2.3. Semiotic management of managerial creativity in the face of the market model 134</p> <p>5.3. Physical space, media space and symbolic space 136</p> <p>5.3.1. Material value and the immaterial value of fashion 138</p> <p>5.3.2. Offshore manufacturing and production: a partial “made in France” approach 140</p> <p>5.3.3. Modes and cycles: an environmental problem 143</p> <p>5.3.4. From the back to the front region: the fashion industry, the stage and backstage 147</p> <p><b>Chapter 6. Reinvesting, Diverting, Reformulating and Entertaining: The Leisure-form of the Fashion Industry </b><b>153</b></p> <p>6.1. Reinvestments and reintroductions: from appropriation to subversion 155</p> <p>6.1.1 Investing, reinvesting, re-presenting, appropriating: legitimacy and re-qualification 156</p> <p>6.1.2. Reinvesting and subverting: the cultural hegemony of fashion 159</p> <p>6.2. Diversions 162</p> <p>6.2.1. Diverting politics 163</p> <p>6.2.2. Diverting the diversion 165</p> <p>6.3. Political power of the fashion industry’s re-presentation apparatus 167</p> <p>6.3.1. The media industry in question: a phantasmagoria 168</p> <p>6.3.2. The leisure-form 171</p> <p>Conclusion 175</p> <p>References 181</p> <p>Index 193</p>

Eleni Mouratidou: Lecturer in Media and Communication Studies, Paris 13 University - LabSic

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