M. Barnard In Fashion As Communication (1996) Makes An Interesting

M. Barnard in Fashion as Communication (1996) makes an interesting refinement of this basic premise by suggesting, in a further paradoxical statement, that it is the very freedom of gender, class, social status etc., of the past fifty years which has led to ever greater conformity to popular styles and to an even greater imposition of style than existed before such freedoms were possible. In other words, to echo a sentiment expressed by Nietzsche in 1888 (Nietzsche, 1888) and Freud in 1900 (Freud, 1900) human beings have natural herd instincts which are present whether people are free or not, and these instincts generate the need for leadership and imposition from one source or another. Thus, whilst before the 1960's style conformity was forced upon Westerners by gender and class stereotypes, nonetheless, after the 1960's when these stereotypes were lifted, Westerners became susceptible to a new 'authority', 'imposition' and 'leadership' in the form of vast fashion corporations whose choice of style and expression is propagated through intensive branding and advertising. According to this philosophical view, endorsed by Bruce Stella and Pamela Church Gibson (2000) in Fashion Cultures Theories: Explorations and Analysis, the personalities of Westerners today and their choice of expression of their personalities through clothing, is largely decided by fashion corporations and advertising companies thus resulting in the uniformity of style and expression which is so evident from a casual glance at our high-streets today.

Semiotic Theories of Fashion Promotion & Visual Communication

A interesting example of the practice of a semiotic theory of fashion promotion is that discussed in A. Rhodes' and R. Zuloago's paper 'A Semiotic Analysis of High Fashion Advertising' published in 2003. The chief motif of Rhodes' and Zuloago's work is that 'Fashion advertising is an excellent example of identity-image producing media' (Rhodes & Zuloago, 2003: p8). They state at the outset of their paper that 'The nature of the product is tied directly to identity those objects with which we encase our bodies for public display and fashion is acknowledged as a cultural language of style'; a little further on they add 'Taken as a whole, high fashion media and advertising describe a spectrum of identity, unified in general types of signifiers young women, high status, high sexuality and through the constant repetition and variation of images on these themes serve to create this identity spectrum.' (Rhodes and Zuloago, 2003, p1).