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The Live Fashion Show in Mediatized Consumer Culture

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The Live Fashion Show in Mediatized Consumer Culture THE LIVE FASHION SHOW IN MEDIATIZED CONSUMER CULTURE REBECCA HALLIDAY A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN COMMUNICATION AND CULTURE YORK UNIVERSITY TORONTO, ONTARIO November 2017 © Rebecca Halliday, 2017 Abstract This dissertation examines the fashion show and its mediatization as a microcosm of online media’s impact on consumer culture. The contemporary fashion show is a brief, one-off live performance that presents a fashion house or brand’s upcoming seasonal collection to industrial insiders and invited clientele. The fashion show is the locus of communication between corporations and consumers and an arena in which commodities, personnel and industrial practices intersect. With the widespread mediatization of social life and the prevalence of digital media use in fashion in the past decade, critics mused that the live fashion show could become obsolete. Instead, its structure remains intact, and the entire circuit has mutated into an online spectacle, live streamed and proliferated in video, photographic and textual formats on multiple media platforms and applications. The fact that consumers can now see a collection at the moment of its debut marks a fundamental shift in fashion communication timeframes. Nonetheless, access to the fashion show remains limited to an elite cohort of fashion personnel, influencers and celebrities. This dissertation argues that the fashion show remains a focal event because it transmits the entire exclusive performance to an online spectatorship with an aim to build consumer desire to participate in fashion – desire fulfilled in networked interactions and material purchases. I seek to here to problematize claims that the mediatization of the fashion show renders fashion democratic or accessible. To this end, I draw from performance and mediatization theories to illuminate that the fashion show’s elite nature is predicated on a literal and social distinction between spectators’ temporal and spatial access. I perform qualitative close readings of fashion shows and transmitted footage and utilize content analysis and virtual and on-site participant observation to examine the class-based social relations that underpin and are re-asserted in mediatized fashion representations. This dissertation moreover situates the fashion show as a focal site via which to assess the social, industrial and material transformations that mediatization has effected in fashion’s economies. ii for Brian Batchelor iii Acknowledgments Thanks first and foremost to the core members of my comprehensive examination and dissertation committee: Susan Ingram, Marlis Schweitzer and Isabel Pedersen. At a certain point, I looked up each one of your names in the hope of finding committee members with an interest in fashion, and I could never have imagined the expertise and support that each of you would offer me. Susan, you were on board with this research from the minute we met in Fredericton in 2011, and you have seen it and me through more conference presentations and chapter drafts than I can count. Thanks for knowing when it was appropriate to touch base over a sushi lunch or over a glass of wine. Thank you for your unwavering belief in me as a scholar and in fashion studies as a scholastic field, and for always pushing me to develop the chapters a little bit further. Marlis, you were the first scholar that I met who wanted to take on a project about fashion shows, and none of this would have been possible without your enthusiasm at the outset. You continued to mentor me through crucial phases of the research and maintained a rigorous standard of scholarship; I am forever grateful. Isabel, thank you for your kindness and generosity and for pushing my cultural and media studies thinking in new, unforeseen directions. Thank you to my Internal Examiner Gail Vanstone for your excitement towards this research and for sparking conversation about how it could be applied to a Canadian context. Thanks to my External Examiner, Elizabeth Wissinger, for your extensive contributions to fashion studies, for making vital recommendations to develop this work further, and for willingly taking on the committee role within a short timeframe. Thanks to the instructors and staff in the Graduate Program in Communication and Culture, in particular the phenomenal professors Steve Bailey, Jean Bruce, Darcey Callison, Greg Elmer, Anne MacLennan, Catherine Schryer and Monique Tschofen, and the dedicated administrators Angie Ciuffetta, Diane Jenner and Stephanie Margetts. To Markus Reisenleitner, an unofficial committee member, whom I watched advocate for graduate education in the Humanities and Social Sciences at a time when I needed to hear that validation. In the Graduate Program in Theatre and Performance Studies, I was privileged to learn under Darren Gobert, Laura Levin and Don Rubin and receive support from the tireless Mary Pecchia. This dissertation is a tribute to the tenacity of the late Lisa Wolford Wylam, who was one of the first people to embrace this research and who never let me forget that the fashion show is about desire. Thanks always to the faculty and staff of the Writing Department for their continued moral support and collegiality, and especially to James Robertson for all of our office conversations. I have benefited from the mentorship and friendship of numerous like-minded scholars within fashion studies and communication and cultural studies in Canada. Thanks to the members of the Fashion Research Group in Toronto and the attendees at the Canadian Fashion Scholars symposia. I have had the pleasure to work with inspirational instructors and staff at the Ryerson University School of Fashion. In particular, thanks to Alison Matthews David for the informal coffee chats, for inviting me to present research to her Master’s Fashion Theory II seminar, and for offering me the chance to develop and teach a Master’s course. Ben Barry e-mailed me late on a Friday night in 2015 to offer me a research assistantship, at a moment when I was flat on my couch, wondering if I should leave academia. Ben, the hours that I have spent in your office discussing not just your research but how to navigate the completion of the PhD are part of the iv reason I completed at all. I am proud to call you a friend, and I hope that we can continue to collaborate. Thanks also to my colleagues Tarah Burke, Daniel Drak, Beatriz Juarez, Grahame Lynch, Joseph Medaglia and Kimberly Anne Wahl. The students in the Fall 2016 Master’s seminar in Fashion and Popular Culture offered essential input into the current field of fashion and its influencers and wowed me with their passion for and skill in academic research. The undergraduate students that I now teach have prompted me to think in new directions about how consumers interact with fashion media content. I had the honour of meeting Agnès Rocamora in 2015 at the Fashion Tales conference in Milan, and again in 2016 in Toronto – to have a scholar so influential to my research not only react with openness to the ideas in the dissertation but also to accept me as a peer has been invaluable. Caroline Evans and Marketa Uhlirova sat down with Marlis Schweitzer and I at Central Saint Martins in 2012; the tour of the school was a thrilling experience that made me feel as if I could be, or was, a member of the field of fashion studies. From the start, I have benefited from the expertise and encouragement of fashion and retail professionals like Jessica Johnson, who hired me as a freelancer and became a trusted friend and advisor, and Bronwyn Cosgrave, who gave me her vote of confidence as a writer and researcher. Thanks to the publicists that let me see fashion shows at New York Fashion Week and to my fabulous Airbnb hosts in Bushwick. Thanks to the wonderful friends I have made in Toronto and in the fashion research scene: in particular, Natalja Chestopalova, Aidan Dahlin Nolan, Lai-Tze Fan, Thea Fitz-James, Katie Franklin, Alanna McKnight, Kim McLeod, Alya Naumova, Scott Pope, Sean Robertson-Palmer, Katrina Sark, Kelsey Speakman, Nathaniel Weiner, Jessica Whitehead, Ted Whittall, Emilia Zboralska and Han Zhang. Thanks to the System Fitness kettlebell crew for keeping me fit and sane. This is also for all of the friends and the academic and professional mentors that I met as a student and administrator in Edmonton, and whom I am blessed to still be in touch with. Thanks to my mother, Brenda Halliday, for instilling a love of the printed word and for spending hours teaching me how to search card catalogues and databases. I am the scholar that I am because of you. Thanks to my father, William Halliday, and to Teddy Cameron for never letting me settle for less than what I was capable of, and for countless meals. Thanks to my brother, Jonathan Halliday, for his comradery and music recommendations. Thanks to the members of the extended Halliday and Millikin families, and to the Batchelor and Medhurst families, for their steadfast love and support at this wild career path Brian and I have chosen. To our friends in Mexico, Ramses Romero and Doris Difarnecio, who remind me that there is fashion in the South. To my grandfather, Doug Millikin, you are an inspiration to all who meet you. To my Nova Scotia grandmother, Ella Halliday, who is in her one-hundredth year and wears rhinestone glasses. I dedicate this dissertation to the memory of those loved ones who were there at the start but unfortunately are not here to see its completion, in particular, Dorrie Millikin, who knew that I could finish but often asked when that would happen. Grandma, you are forever a fashion plate.
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