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| Author(s): |
Bárbara Venturini Ábile
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Filosofia e Ciências Humanas |
| Defense date: | 2019-08-05 |
| Examining board members: |
Renato Ortiz;
Michel Nicolau Netto;
Miqueli Michetti
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| Advisor: | Renato Ortiz |
| Abstract | |
Since 2004 there has been a specific movement in the fashion industry, which has been called collaborative collections. They consist of the punctual meeting between two segments, the luxury brand and the fast fashion brand, in the manufacture and sale of clothes. The pieces in a collaborative collection have the luxury label but are produced and sold by fast fashions in select stores, under the "democratization of fashion" speech. We have as objective the mapping of the alliance process between these two brands, regarding to their production strategies. To do so, we will start from the idea that such alliances are seen by consumers and publicized by the media as something improbable. We will argue that such an idea of improbability does not concern exactly the collection itself, but rather the fact that a luxury brand aligns with a fast fashion. We will bring the aspects that allow us to explain the reasons why luxury brands, even being clothing brands such as fast fashions are, have an image of difference and superiority. The guiding thread of the explanation will be how luxury brands have historically been constructed as isolated and different from other forms of clothing production, a process that originates in the foundation of haute couture. Paradoxically, we will use this same thread to prove our hypothesis, that the encounter between luxury brands and fast fashion, in fact, has nothing unusual. The demonstration of this point will focus on the fact that, despite reproducing its characteristic of difference, since it was created the production space of haute couture undergoes a continuous expansion, in which the griffe - signature of the couturier, which through symbolic transubstantiation transformed economically and symbolically a piece of clothing - began to be exploited commercially, aiming at the achievement of more economic profits. We will justify that this exploitation takes on new proportions in the globalization scenario, to the point of a change that we consider to be the great condition for something like collaborative collections: the transformation of the griffe into a product-qualifying name, which is protected by law and governed by market rules, i.e. in a brand. We will demonstrate through the concept of universe that once griffes become brands, they acquire an ambivalent character that allows them to act in the symbolic sphere (in reference to their griffe) and in the commercial and rationalized sphere (through their brand). That is why the performance of these brands today is in the tension between the reproduction of their image of restriction and their practice of diffusion of their products. Understanding this movement of brands, it is possible to understand why there is a general idea that encounters such as collaborative collections give us the impression that this is unlikely, even if luxury brands are increasingly associated with segments that are distant from the one that is proper, the clothing. Finally, we will draw from this some reflections on how feasible it would be to speak of a "democratization of fashion" in this sense (AU) | |
| FAPESP's process: | 16/16686-7 - From luxury brands to fast fashion: an analysis of the production strategies of collaborative collections |
| Grantee: | Bárbara Venturini Abile |
| Support Opportunities: | Scholarships in Brazil - Master |