How the Media Effects the Fashion Market - Essay Example

How the media effects the fashion market 2009 OUTLINE: A) Media as powerful tool of social influence B) Fashion as a tool of identity construction C)‘Femininity’ and iconisation of cultural symbols. Shopping culture. D) Cinematic influence on the fashion E) Breakfast at Tiffanys and style icon Audrey Hepburn F) SATC and fashion literacy G) Glossy magazines and fashion trends F) Conclusion Media as powerful tool of social influence effect social perceptions not only in the spheres of economy, politics, religion, science and culture but has a great impact of building social identities. Media impacts our interaction with each other and shapes our roles of citizens, friends, workers as well as influencing our family relations. Due to media we get knowledge of the issues which might never come to our mind. We get new experiences and insights into unknown reality. Media has unique opportunity to reflect individual vision of reality transforming it in accordance with somebody’s views and opinions. It makes people more predictable and thus more controllable. Films and their characters shape role models for entire generations and are like programming codes for individuals to follow the pattern of their favorite character behaviour rather their own agenda. Fashion as a tool of identity construction is tightly connected with the media and its power to influence public. It is true that clothes perform not only utilitarian function of protection from weather, but plays a significant role in self esteem identification and serves as a sign of respectability. Thus fashion is a means to identify clearly different roles that a person plays during a day or a means of differentiation. Fashion is a kind of mask disguising the true nature of a person. Western fashion presents the designer as a definer of roles and constructor of bodily self which is displayed through technical arrangement of clothes, beautification and motion. Nowadays people are not just buying clothes, but rather a lifestyle giving rise to lifestyle shopping which focuses on cultures of consumption and their impact on individuals and societies. (Craik, 1994) That’s why nowadays shopping is not about buying various functional clothes, but buying brands which attributes certain value to the things possessed. Modern society views fashion as a means of acquiring uniqueness or means of “literally redesign our own bodies.” (Hoggard, 2005) Shopping has become not merely the acquisition of things: it is buying of identity. This is true of all cultures, where shopping takes place, and the consumption even of necessities in situations where there is some choice, reflects decisions about self, taste, images of the body and social distinctions. (Shields, 1992, p.195) Gregson and Crewe (2003) point out that "clothing is not just about fashion and adornment, body shape, disguise and aesthetics, or even functionality, but is an extension of our own corporeality. it becomes us; we personalize it and possess it through our own leakiness." (p.140) Craik (1994 p.70) uses the term ‘feminisation of consumerism’ or relating ‘femininity’ to iconisation of key cultural symbols. 19th and 20th centuries definitions of femininity were articulated in diverse techniques, one of which was prestigious imitation accorded to popular culture figures – first aristocrats, then film stars followed by pop stars and television stars. Such approach to viewing fashion explains how media, particularly films, vogue magazines, celebrity preferences, impacts choices of certain target groups. Media with its might to impact the choices of people is a perfect vehicle for fashion to enter masses. Nowadays individual clothes choices or sense of style has become nothing more than an illusion. Clothes choices are influenced by catwalk fashion trends, trends highlighted in glossy magazines and TV or cinema influences. Fashion trends have been promoted directly or indirectly, consciously or unconsciously by hundreds of films – from Breakfast at Tiffanys to a more blatant fashion celebration as The Devil Wears Prada. Is it media that promotes fashion trends or fashion trends which find its reflection in popular media, particularly films? Tracking the influence of the cult films on fashion trends proves that it is cinematic power which promotes looks, styles and fashion of the time. From the very start cinema has become an important fashion outlet where general public could see not only popular Hollywood productions but promote fashionable trends of the season. In 1940s Marlene Dietrich was a fashion icon followed by Audrey Hepburn, Marilyn Monroe and Grace Kelly in late 1950s. (Teasdale) Greta Garbo and Marlene Dietrich has become not only world famous stars but icons of their time. Marilyn Monroe has become a sex symbol with a vivacious style and platinum blond locks which have been replicated for more than 45 years after her death. These stars will always inspire designers even at succession of many years. There’s no need to look for proofs. Christian Dior spring/summer 2008 ready-to-wear collection of John Galliano was devoted to Marlene Dietrich. It presented reworked flashy tuxedos Travis Banton, in which Dietrich created a new female image bringing trousers to a female wardrobe. Gallianos Dior collection also included pinstripe mens suits and leopard-print housecoats, Dietrichs preferred loungewear. (Cosgrave, 2008) In the roaring 1920s Louise Brooks set a style of bobbed hair style. She attracted female followers by her completely different look of a modern woman. In the late 1930s Katharine Hepburn put on trousers defying the norms. Katharine’s free spirit affected not only the way she dressed but how she behaved in society. She encouraged freedom of women and their choices. (Teasdale) The power of Hollywood fashion factory has become evident when screen costumes were reproduced into affordable variations becoming department-store bestsellers like “fluffy, Gilbert Adrian gown Joan Crawford modelled in 1932s Letty Lynton, Walter Plunketts Vivien Leigh antebellum-inspired frocks from 1939 blockbuster Gone With the Wind and a strapless Edith Head number Elizabeth Taylor displayed in A Place in the Sun from 1951.” (Cosgrave, 2008) Chiffon cocktail dress worn by Elizabeth Taylor in Cat On A Hot Tin Roof was much copied and sold in thousands after the release of the film. Brigitte Bardot in “a tight skirt without a girdle” and a bikini in And God Created Woman changed 50s fashion and produced sale soaring wave. In 1980s Richard Gere in American Gigolo promoted Giorgio Armani design exhibiting chic wardrobe of a narcissist male prostitute with incredibly simple and elegant style. Cary Grant through his cinematic career promoted chic and stylish menswear. In Alfred Hitchcock`s North by Northwest Grant’s grey suit has had a great impact on men`s fashion and has been reincarnated in many various forms. Woody Allen`s 70`s film, Annie Hall set a androgynous fashion trend when masculinity entered women’s wear with its “oversized male dress shirts and wide legged trousers.” (Fashion in Film, 2008) Jeans Dean influenced fashion appearing only in three films. After his death he joined a plethora of style icons with classic and effortless style. His character’s casual leather jacket, plain white t-shirt, light denim jeans and hard leather boots in Rebel Without a Cause created the most enduring image which inspired designers in many collections. (Teasdale) Pulp Fiction and Uma Thurmans screen garb was immediately accepted by the fashion world – everything from a jet-black wig to a nail lacquer shade. Simple minimalist style of white shirt, black bra and pedal-pushers combo have been much copied since the film release. The interesting fact which proves that it is film that influence fashion but not fashion which finds its reflection in films, is how Pulp’s costume designer Betsy Heinmann created cigarette pants cutting a few inches off a pair which were not long enough for the 6ft actress. This quick creation became a bestseller in 1990s. (Rennie, 2008) However, the most vivid and influential of all films is Breakfast at Tiffanys. The number of fetishes is the greatest – the little black dress, jewellery, elegant and at the same time practical shoes, cigarette holder, etc. Audrey Hepburn or "real phony" Holly Golightly from Breakfast introduced a little black dress which became a symbol of womanliness and dressiness, oversized dark glasses and pearls. Hepburn set trends not only through Breakfast at Tiffanys images but in a number of other films. Hepburn in How to Steal a Million wearing head-to-toe white - suit, sunglasses and shoes contrasting red sports car, or Hepburn in Roman Holiday knotted at the waist. (Lowthorpe, 2002) "The most stylish woman who ever lived" as defined by Mary Quant Hepburn has become an etalon of elegance and style. This fashion and film icon still inspires women in their efforts to be attractive and designer for new masterpieces. For years Breakfast at Tiffanys images and fashion pieces have been employed by other brands to construct message of chic and glamour, for example, Little Black Dress perfume by Avon. Humble black polo-neck which became Audreys signature look on and off the screen urged Marks & Spencer to market jumper as a “classic symbol of high-pedigree taste.” (Lowthorpe, 2002) Audrey Hepburn has really made an incredible contribution to the fashion industry. “Cropped swing jacket, bracelet sleeves and oversize buttons” from Breakfast, “black, bug-eyed sunglasses” from Charade have been designed and redesigned by many renown designers during recent decade. (Jones, 2006) The tandem of Hubert de Givenchy costumes and Audrey’s personality was a perfect path to reach general public. She was the perfect interpreter of his style - "In film after film, Audrey wore clothes with such talent and flair that she created a style, which in turn had a major impact on fashion. Her chic, her youth, her bearing and her silhouette grew ever more celebrated, enveloping me in a kind of aura or radiance that I could never have hoped for." (Lowthorpe, 2002) Before legendary Hepburn Twenties Hollywood star Pickford was the first to realize the power media-fashion tandem. She was the first to understand that devotion of movie star to some designer clothes was a powerful advertising instrument and started to negotiate designer clothes discounts. Insatiable Pickford made horde shopping sprees buying as much as 49 frocks at a time, and praising her favorite designer Lanvin in Paris Vogue instead. (Cosgrave, 2008) In the 1950s, before Breakfast fashion industry aimed social and aristocratic elite offering hand-made garments promoted by models from WASP elite. Mass-market fashion system required quite different approach and a model type. Audrey Hepburn became that model of a woman who was between aristocratic and sophisticated model of Grace Kelly and down-home charm of Doris Day. (Rennie, 2008) The greatest Breakfast prototype in respect of trends setting is Sex and the City movie with its Manolo Blahnik stilettos, Fendi handbags, Chanel couture. After 94 episodes in 2004 Carries favourite brands such as Jimmy Choo and Dolce & Gabbana were household names. (Cosgrave, 2008) The six-season run has become “the first program where style really was a key element” as costume designer Rebecca Weinberg put it. Sex and the City turned into “machine of economic, cultural, and social trends that still very much matter today.” The fashion historian and director of the Museum at the Fashion Institute of Technology Valerie Steele noticed that series didn’t just reflect the zeitgeist but actually influenced it. They have awaken people’s love for fashion and luxury. (Lomrantz, 2008) Films like SATC really contribute to the fashion literacy of the general public. Even those who have never thought of paying $500 for a pair of shoes notices Manolo and Choo. Fashionable designers took up the initiative of luxury trend which was a distinctive feature of early ‘00s with fur coats, the Fendi baguette, the Oscar de la Renta dress. (Lomrantz, 2008) SATC also contributed to the overall obsession with shoes making millions of women shoeholics. Carries Manolos were sold in millions so that Manolo Blahnik became irritated when tour buses disturbed her ‘air of exclusivity.’ (Cosgrave, 2008) The most evident SATCs influence has been so-called high-low mix where luxury items are combined with thrift store finds. With oversize flowers, status shoes and bags as well as nameplate necklaces and exposed bra straps Sex and the City has made the biggest fashion statements of the past 10 years. (Lomrantz, 2008) Movies are not only vivid displays of the trend clothing, but also means of shaping society’s beauty ideal which is continuously changing. In the movie “Gia” the main character believes as the rest of society that “a woman is not a woman unless she is a blonde.” Media creates the images of women to be admired by men and every woman does her best to correspond to this model. (Effects of fashion, 2007) Movies with model women, glossy magazines with luxury women images have great impact on the way women look, behave and crave to be. Kilbourne (1999) found that young women focused on reading fashion magazines are much concerned about their body shapes. Modern fashion trend-setters have a great arsenal of tools to reach their audiences. Glossy magazines provide numerous tips as to the value of women and men wear, footwear and accessories. Popular media set standards of beauty which make women feel unsuccessful if they do not meet them. This distorts the perception of self by many women craving to have dream bodies of fashion models highlighted in fashion magazines. (Crane, 1999) Fashion trends penetrate mass mind not only through movie or glossy magazines but also through music sphere. The Beatles with their doubtless effect on mass culture popularized turtlenecks, skinny black suits and a combination of formal wear with sportswear elements again through their 1964 documentary film, A Hard Days Night. (Fashion in Film, 2008) The influence of cinema on the fashion world is undeniable. Moreover, it is obvious that it is cinema or later TV that promotes fashion rather than fashion finds its reflection in movies, TV programs, glossy magazines, etc. Our individual choice are nothing more than an impact of mass media promoting fashion trends in different ways. From the first talkie movies the influence of media on fashion industry has become inseparable part of media-fashion tandem. It is not wonder as media owns the possibility to construct identities as no other media. On the other hand, fashion is also a tool of identity construction. Modern people view clothes not as functional means but as means to ‘redesign the body’ when shopping process has become that of identity buying. Such consumerism approach is closely related to iconisation of key symbols or film stars and later TV starts. As early as 30s Hollywood reproduced screen costumes into affordable department-store bestsellers. Afterwards hundred of films set trends in fashion - from legendary Audrey Hepburn with her LBD and cigarette holder to SATC with its high-low mix and shoe passion. The style icon of all the times Hepburn was a muse of Hubert de Givenchy. Her radiant personality, talent and silhouette made her a perfect interpreter of his style. She was also a perfect model type for mass-market fashion. Breakfast at Tiffany’s like many other films introduced new fashion trends and promoted them without much efforts. Films which impacted fashion industry are countless – style icons are world known Greta Garbo, Marlene Dietrich, Marilyn Monroe and many others who celebrated new trends in fashion. Their power is in ability to construct images and popularize them among general public. Fashion world has become aware of this power and has been utilizing it to its great advantage. BIBLIOGRAPHY Cosgrave, B. (2008, 4 May), “The perfect cut.” Observer, The. Craik, J. (1994), The Face of Fashion: Cultural Studies in Fashion. Routledge. New York. Crane, D. (1999), "Gender and Hegemony in Fashion Magazines: Womens Interpretations of Fashion Photographs" Sociological Quarterly. Vol.40, no.4, pp. 541-563 Croteau, D. & Hoynes, W. (2000), Media/Society. Industries, Images, and Audiences. Pine Forge Press, CA. 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