The Link between the Consumption of Fashion and The Matrix - Literature review Example

Fashion and Film: The Link between the Consumption of Fashion and The Matrix (Movie) Student’s Name: Zaynab Course: fashion and film Tutor’s Name: Sue Osmond Date Introduction The Matrix Trilogy (The Matrix (1999), Matrix Reloaded (2003) and Matrix Revolutions (2003)) is a series of science-fiction blockbuster movie where man is pitted against machines (robots). All three movies in the trilogy were written and directed by Andy and Lana Wachowski, and featured Keanu Reeves as the male protagonist named Leo. In addition to the capturing story line, The Matrix captured people’s interest for one more thing - fashion. The movie’s visuals vocabulary includes costumes and settings, which some analysts like La Ferla (2003) claim have penetrated the popular culture, and continued being fashionable years after the movie’s hype had died down. Among the most outstanding fashion items especially for men that come up in the movie include coats (most specifically the long (trench) coats), suits, sunglasses and even the cell phone used. To some fashion designers, the fashion items inspired similar designs in the market, and true to their inspiration predictions, similar items were bought from stores in large quantities. In order to purchase the fashion items reflected in The Matrix, there had to be a good supply of them. According to Hartlaub (2003), the Matrix influenced clothing lines that not only designed trench coats and suits, but also made custom-designed sunglasses, which they marketed to the consumers. At one point in 2003, custom-made, The Matrix-inspired sunglasses were selling for as much as $240 a pair (Hartlaub 2003, para. 6).1 Street (2001, pp. 87-88) explains that the film created a residual self-image that is “inspiring and alluring”, and which inspires imitations for marketing to consumers who would like to associated with the residual self-image portrayed therein. The link between film and fashion consumption The above described phenomenon, where clothing and accessories depicted in movies (or other popular media) spurs a demand for the same by consumers has been discussed by Gibson (2012, p. 59), who observes that sometimes, cinemas and celebrities ‘make new silhouettes and other innovations of high fashion desirable at a mass market level, thus spurring both manufacturing and retailing into action’. Similarly, the trench coats and the sunglasses reflected in The Matrix retailed in high quantities immediately and several years after the release of the movie. As Woolnough (2012) notes fashion is in a state of flux. In relation to clothing, fashion is defined as a modifier, which is reflected in “the latest and most admired style in clothes and cosmetics and behaviour” (The Free Dictionary 2013, para.3). Usually, the trend in fashion is triggered by something in the social cultural environment, although it longevity is not always guaranteed. In other words, the prevailing fashion does not always last The demand of the fashion items reflected in The Matrix can perhaps be explained by Elkins’ (2000) view that “attire, fashionable or otherwise, is already a signifier, subtly encoding and transmitting its wearers’ attempts at definition” (p. 93). To understand Elkins’ position in relations to The Matrix, it is important to understand that the movie had a forward-looking theme. – i.e. The movie was meant to show the future where technology had figuratively taken over dominion over humankind. It could thus be argued that the costumes reflected in the movie would be interpreted as being futuristic by the viewers. Additionally, the characters embodied masculinity and machismo, something that most men arguably strive to attain. The adopters of The Matrix-like fashion items would then be interpreted as wanting to conform to the themes reflected in the movie (i.e. futuristic and machismo), while those who failed to adopt the same items (especially for other reasons other than being unable to afford or access them at retail stores) would be considered as those who did not consider the fashion items as befitting their individuality. As Elkins (2000, p. 94) observes, men’s fashion is “an uneasy combination of conformity and individualism”. In other words, adopters and the non-adopters of specific fashion trends weigh whether the items fit into their individualism. Gilligan (2009) has elaborated on the aforementioned by arguing that the Matrix proposed a new of accessing the male consumer through what she calls “fetishism”. Specifically, Gilligan (2009, p. 156) states that the fabric of his trench coat appropriates codes of femininity to Neo, and as a result, “his image is both softened and eroticised...” Citing Steele (1996, Gilligan 2009, p. 159) further notes that “fetishism has become an increasingly integral part of mainstream fashion”. One of the most appealing aspects of movies and fashion statements therein is that they “provide examples and models for men to follow” (Moss 2011, p. 21). It is thus argued that the media (most specifically the visual media such as films), provide examples of masculine experiences for their male audiences. In The Matrix for example, the fact that trench coats, the unique sunglasses and even suits were worn by strong and robust male characters with seemingly self-evident masculinity was perhaps what inspired fashion designers to capture the moment and understand that such items would retail well. Additionally, it was perhaps such a reflection that made consumers more receptive to the clothing items such as trench coats and the sunglasses featured in the Matrix. The link between men’s fashion and films has also been hypothesised as a product of strategy. Moss (2011, p. 24) for example argues that a study conducted in America divided men into two categories: the “outer-directed man” and the “inner-directed man”. In some cases, movies and films are thought to pick on “trends and seek to give them life in a more polished and sustained conception” (Moss 2011, p. 24). The trench coat can serve as a good example to illustrate Moss’ views because, it is not a new fashion invention; rather, it has been worn far back as 1914 during the first World War for practical reasons, and not for its fashion allure (Fletcher 2011, para. 3). Over the years, its popularity has risen and fallen depending on what was considered fashionable at the time (ibid.). By the trench coat being featured in The Matrix, it can be argued that the costume designer Kym Barrett brought to the fore the consumption of trench coats as a fashion item. It however must be noted that the trench coats depicted in the movie did not fit the ordinary description of similar items in the past. For example, trench coats are mainly knee length, or slightly below the knee. However, and as depicted in the figure 1 below, The Matrix-featured coats were long (ankle-length perhaps). Figure 1: Keanu Reeves wearing a trench coat in The Matrix Source: Cristina (2012) Additionally, while gabardine is the popular fabric used in ordinary trench coats as indicated by Fletcher (2011, para. 5), the depictions in The Matrix created the impression that the coats were leather-made. Conventional demand-push reasoning would be expected to indicate that there was increased demand of items similar to what was reflected in the movie. Online stores such as eBay, Amazon and others specifically have items listed with keywords such as “...Matrix Real long Leather Jacket coat” (Amazon.co.uk), “The Matrix... Trench coat Costume Suit” among others. Some stores even market the trench coat and glasses together as illustrated in figure 2 below. Figure 2: A marketing strategy for both the trench coat and the sunglasses as depicted in The Matrix Source: Kosin Store (2012). If one was to consider that the above diagram was posted in October 2012, it could thus be argued that the Matrix effect on men’s fashion is undeniable. However, it would be hard to quantify such effect because of lack of statistics regarding whether or not men still buy such items, and whether indeed they are currently considered fashionable. Amazon markets its product thus: “MATRIX Beautiful Men's full length leather jacket. Based on the jacket worn by Keanu Reeves in the MATRIX Movies. Made from genuine real soft sheep leather. A very good quality jacket which will fit nicely on any men. Real leather ages beautifully with time. It takes on the character of the wearer. Natural leather is breathable so you won’t feel sticky and suffocated as you do with PVC/Synthetic imitation. This is a luxury item at a rock bottom price. Why not treat yourself or someone special” (Amazon.com, 2013). Interestingly, Amazon.com (2013) has listed September 2012 as the date that the above marketed product was first available in its online stores. This could be interpreted as the longevity effect that The Matrix had on men’s fashion. Figure 3: Matrix-inspired sunglasses for sale as depicted online Source: http://matrixsunglassconnection.com/ Notably, the sunglasses above are labelled according to the characters who wore them in the movie, thus giving consumers a choice as to which character (and fashion item) they most prefer. Why the link exists According to Hemphill and Suk (2009, p. 103), fashion embodies the “representative characteristics of modernity, and even of culture itself”. Fashion is also a reflection of the new and exciting styles, methods, ideas and practices in design (Hemphill & Suk 2009, p. 103). Any new fashion development reflected in the media (whether film or any other media), thus attracts fascination from the fashion-conscious members of the society. In some cases, fashion designers intentionally design costumes for movie or film characters with the intention of testing the reception of the consumers to such-like items (Hemphill & Suk 2009, p. 103). The fashion designers then respond appropriately either by rendering the costume ideas as being unfeasible in the real word, or considering them viable and hence embarking on production of similar items and marketing them to the wider audience. Arguably, the best explanation for the link between films or movies like The Matrix and fashion is theoretical, since as Hemphill and Suk (2009, p. 105) observe “fashion communicates meanings that have individual and social significance”. Therefore, before adopting a fashion item, one considers whether it is acceptable (or practical) to the self, and to the society where he or she lives in. The use of cell phones in The Matrix (specifically the Nokia 8110-shown in figure 3 below – as used by Keanu Reeves) created sufficient marketing hype for the product at the time leading to millions of sales if information published by Learn Marketing (n.d., para. 9) is anything to go by. However, in addition to the hype created by the movie, the logic in consumer behaviour theory creates the probability that consumers considered the phone’s practicality, price, and its social acceptance before purchase. As Gibson (2012, p. 52) observes, movie actors extend their fashion statements beyond their screen acts by donning different fashion items, and such can be arguably be said as one of the main ways they prove the practical nature of items worn off and on screen. According to Gilligan (2009, p. 150), the mobile phone and the sunglasses also function as “phallic and techno-fetish props” in addition to being used as narrative devices. By so doing, the masculine power of the male hero was reasserted, thus meaning that Neo’s fashion was able to appeal to both female and male viewers. Figure 4: The Matrix phone (Nokia 8110) Source: http://vintagemobilephones.net/Nokia_8110_Matrix_phone_Working/p1450924_7319869.aspx During the late 1990s, cell phones had started gaining market acceptance and penetration. Adoption was especially driven by device size, keypad and prices (Nemet 2001, p. 3). The phone featured in The Matrix thus came at a time when consumers were eager to try out smaller cell phone designs at fair prices. It was especially likely that men would find it fashionable (especially those who related with and wanted to adopt the masculinity displayed by Keane Reeves) to carry phones that would easily fit into their pockets and hence the appeal of the Nokia 8110. As indicated by Hemphill and Suk (2009, p. 105), “innovation in fashion creates vocabularies for self-expression that relate individuals to social worlds”. For example, those who adopted the Nokia 8110 based on its portrayal in The Matrix probably expressed (either consciously or unconsciously) several things about themselves; they probably expressed their perceptions regarding new technology, and their willingness to try it out. Another feasible explanation for the link between fashion and films or movies could be what O’Cass and Julian (2001) term as strong beliefs that “to have is to be”. In other words, consumers obtain satisfaction (or think they do) from the possessions they acquire, the symbolism of such items, the attachments, interests and personal qualities reflected by such possessions. Some consumers even shape their identities to fit into the symbolic meanings of the representations (Dittmar 1992, p. 205). Using the eyeglasses in The Matrix as reflected in figure 3 above for example, it would be argued that consumers would purchase eyeglasses worn by the characters they like most. Following Dittmar’s (1992, p. 205) argument however indicates that the sunglasses could also be a representation of the individuals’ identity and their willingness to be associated with the symbolic representations of the people who wore them in The Matrix. A different perspective is offered by Elkins (2000, p. 95), who observes that “one of the stances of machismo is its adherence to the code of ‘cool’ and “grace under pressure”. Arguably, the movie producers in The Matrix, as does any other movie, made calculated costume decisions, which would depict some characters as being ‘cool’ and others ‘not-so-cool’. Specifically, clothing and fashion seem to match the characters, and both the man and his roles seem to mix very well. As Elkins (2000, p. 95) observes, although the storyline may be more important to viewers at least in their conscious level, the fashion images penetrate their consciousness and they not only draw meanings from the same, they also establish fashion goals and find reasons to justify such goals. For example, a person may want to buy trench coat similar to those worn by movie characters in the next month, simply because it looked ‘cool’ on the characters, or because they admired the character. Additionally, consumers may perceive clothes and other fashion items as signifiers of values or meaning (Elkins 2000, p. 96). In such a scenario, characters with heroic status would probably attract more fashion emulation from those with villain characters. The use of screen characters in fashion has been likened to using star celebrities as conduits to make “high fashion interesting for the mass market and stimulating the industry into making copies”. Interestingly, some garments (such as the trench coat) were brought back to being fashionable by the movie, which as Gibson (2005, p. 62) argues, can re-invigorate and bring about some elegance and versatility to otherwise disregarded fashion items. Lastly, the link between fashion and movies or films is further explained by the undeniable links that fashion images create with consumers whenever they are included in movies. As Gibson (2005, p. 64) observes, placing fashion items where a large audience would see them showcases them as alternative styles, hence making them more acceptable among the fashion-conscious consumers. Conclusion As indicated in the above sections, the link between fashion and movies within The Matrix movies (1999, 2004?, 2005?) is undeniable. The fact that some of the items (i.e. the Matrix sunglasses and the Matrix trench coats) are being marketed in online stores like eBay and Amazon.com just confirms that the effect of the movie on fashion was not only short-term but long-term too. However, and as indicated in the above sections, the contributing factors to the existing links between fashion and movies or films are multiple. They include well-calculated moves by designers to test the fashion market by clothing actors, or just innocent designs whose implication on the fashion industry is perhaps undated by the movie producers or costume designers. Whether deliberate or not, it can be said that fashion items succeed in enhancing acceptance of such items to the consumer market. The extent of the acceptance of fashion items displayed in movies however depends on their practical nature, and their fit into individual consumers’ sense of fashion and style. The influences that the characters have on the consumers may be varying among individuals, but as argued in this paper, it can also affect the adoption or lack thereof of fashion items by consumers who relate to the movie character. Overall, it is only practical that fashion items as reflected in diverse media will continue influencing the fashion industry. The extent of such influence however remains a matter that could be investigated further. References Cristina, D. 2012, ‘The trench coat: our 1st and only true love’, Fashion Tag, viewed 19 January 2013 . Dittmar, H. 1992, The social psychology of material possessions. Hemel Hempstead, Harvester Wheatsheaf. Elkins, M. 2000, ‘The fashion of machismo’, In Wagner-Martin, L., A historical guide to Hemingway, Oxford University Press, New York, pp. 93-115 Fletcher, M. 2011, ‘The classics: the Burberry trench coat’, Mr. Porter The Journal, vol. 35, no. 3, viewed 19 January 2013 . Gibson, C. P. 2005, ‘Brad Pitt and George Clooney, the rough and the smooth: Male costuming in contemporary Hollywood’, in R. Moseley (ed.), Fashioning Film stars: dress, culture and identity, BFI Publishing, London, pp. 62-74. Gibson, C. P. 2012, ‘Film stars as fashion icons’, In C. Gibson (ed.), Fashion and celebrity culture, , Berg Publishers, Oxford, UK, pp. 53-67. The Free Dictionary 2013, ‘Fashion’, Farlex, viewed 2 February 2013 < http://www.thefreedictionary.com/fashion>. Hartlaub, B. 2003, ‘Philosophy, fashion make ‘Matrix’ a new generation’s force/ trilogy’s spiritual questions cross racial and gender lines’, San Francisco Chronicle Guide, viewed 02 February 2013, . Hemphill, C. S. & Suk, J. 2009, ‘The law, culture, and economics of fashion’, Stanford Law Review, pp. 101-150. Kosin Store 2012, ‘Matrix Neo adult’s large costume trench coat + glasses’, viewed 19 January 2013 < http://kosinstoreboysdresscoatssale.blogspot.com/2012/10/matrix-neo-adult-large-costume-trench.html>. La Ferla, R. 2003, ‘Allure of the trench coat: that ‘Matrix’ look’, New York Times, viewed 19 January 2013 < http://www.nytimes.com/2003/05/04/style/allure-of-the-trench-coat-that-matrix-look.html>. Learning Marketing n.d., ‘Mobile phone handset marketing’, viewed 19 January 2012 < The use of cell phones in the matrix>. Moss, M. 2012, The media and the models of masculinity, Lexington Books, Plymouth, UK. Gilligan, S. 2009, ‘Becoming Neo: costume and masculinity in the Matrix films’, in P. McNeil, V. Karaminas, & C. Cole, (Eds.), Fashion in fiction: texts and clothing in literature, field and television, Berg, Oxford, pp. 149-159. Nemet, G. 2001, ‘Next-generation consumer direct: the evolution of mobile commerce’, Institute for the Future Report, pp. 1-62. O’Cass, A. & Julian , C. 2001, ‘Fashion clothing consumption: studying the effects if materialistic values, self-image/product-image congruency relationships, gender and age on fashion clothing involvement’, in S. Chetty & B. Collins (eds.), Bridging marketing theory and practice: Proceedings of the Australian and New Zealand Marketing Academy (ANZMAC) Conference, Auckland, New Zealand, December, Massey University Press, Auckland, New Zealand, pp.1-5. Woolnough, D. 2012, ‘Haute couture in a state of flux’, The Australian, viewed 02 February 2013 < http://www.theaustralian.com.au/life/fashion/haute-couture-in-a-state-of-flux/story-e6frg8k6-1226418320442>. Read More

As Woolnough (2012) notes fashion is in a state of flux. In relation to clothing, fashion is defined as a modifier, which is reflected in “the latest and most admired style in clothes and cosmetics and behaviour” (The Free Dictionary 2013, para.3). Usually, the trend in fashion is triggered by something in the social cultural environment, although it longevity is not always guaranteed. In other words, the prevailing fashion does not always last The demand of the fashion items reflected in The Matrix can perhaps be explained by Elkins’ (2000) view that “attire, fashionable or otherwise, is already a signifier, subtly encoding and transmitting its wearers’ attempts at definition” (p. 93). To understand Elkins’ position in relations to The Matrix, it is important to understand that the movie had a forward-looking theme. – i.e.

The movie was meant to show the future where technology had figuratively taken over dominion over humankind. It could thus be argued that the costumes reflected in the movie would be interpreted as being futuristic by the viewers. Additionally, the characters embodied masculinity and machismo, something that most men arguably strive to attain. The adopters of The Matrix-like fashion items would then be interpreted as wanting to conform to the themes reflected in the movie (i.e. futuristic and machismo), while those who failed to adopt the same items (especially for other reasons other than being unable to afford or access them at retail stores) would be considered as those who did not consider the fashion items as befitting their individuality.

As Elkins (2000, p. 94) observes, men’s fashion is “an uneasy combination of conformity and individualism”. In other words, adopters and the non-adopters of specific fashion trends weigh whether the items fit into their individualism. Gilligan (2009) has elaborated on the aforementioned by arguing that the Matrix proposed a new of accessing the male consumer through what she calls “fetishism”. Specifically, Gilligan (2009, p. 156) states that the fabric of his trench coat appropriates codes of femininity to Neo, and as a result, “his image is both softened and eroticised.

” Citing Steele (1996, Gilligan 2009, p. 159) further notes that “fetishism has become an increasingly integral part of mainstream fashion”. One of the most appealing aspects of movies and fashion statements therein is that they “provide examples and models for men to follow” (Moss 2011, p. 21). It is thus argued that the media (most specifically the visual media such as films), provide examples of masculine experiences for their male audiences. In The Matrix for example, the fact that trench coats, the unique sunglasses and even suits were worn by strong and robust male characters with seemingly self-evident masculinity was perhaps what inspired fashion designers to capture the moment and understand that such items would retail well.

Additionally, it was perhaps such a reflection that made consumers more receptive to the clothing items such as trench coats and the sunglasses featured in the Matrix. The link between men’s fashion and films has also been hypothesised as a product of strategy. Moss (2011, p. 24) for example argues that a study conducted in America divided men into two categories: the “outer-directed man” and the “inner-directed man”. In some cases, movies and films are thought to pick on “trends and seek to give them life in a more polished and sustained conception” (Moss 2011, p. 24). The trench coat can serve as a good example to illustrate Moss’ views because, it is not a new fashion invention; rather, it has been worn far back as 1914 during the first World War for practical reasons, and not for its fashion allure (Fletcher 2011, para. 3). Over the years, its popularity has risen and fallen depending on what was considered fashionable at the time (ibid.). By the trench coat being featured in The Matrix, it can be argued that the costume designer Kym Barrett brought to the fore the consumption of trench coats as a fashion item.

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