By Harald Gründl, EOOS
While, for a number of weeks every year, Western style sufferers develop into red-hot with pleasure anticipating the style revenues to occur, they're unconsciously following an historic sacrificial ritual. simply as in old Greece, the God of Fertility needed to be killed in the course of the Dionysia on the way to be resurrected, the season s type has at the present time to be symbolically sacrificed to ensure that the store home windows to be full of anything new. Harald Gruendl, who with EOOS designs purchasing temples for resembling Armani and Adidas, the following observes the dying and resurrection of style within the store home windows of Paris, London, manhattan, Hamburg and Vienna at revenues time. In his ebook he indicates why archaic scenes of darkness, nakedness and chaos in short dominate the procuring streets of the style metropolises, and why humans purchase (and have to).
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While, for a number of weeks every year, Western model sufferers turn into red-hot with pleasure expecting the style revenues to occur, they're unconsciously following an historic sacrificial ritual. simply as in historical Greece, the God of Fertility needed to be killed in the course of the Dionysia with a purpose to be resurrected, the season s type has this present day to be symbolically sacrificed to ensure that the store home windows to be packed with whatever new.
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Extra resources for The Death of Fashion: The Passage Rite of Fashion in the Show Window
109 There are a lot of products on the market with human ﬁrst names. Because of competition, bigger companies tend to register the names under speciﬁc product categories according to patent laws. Industry will gradually get rid of names that can be used for products. This is an interesting dynamic, where ﬁrst names get commercialised and the right to use them is restricted to patent holders. 110 Lieberson (2000:20). 111 Barthes (1990:179). 112 Durkheim (1971:299). ”113 Thus, the retailer and the point of sale play an important role in determining the nature of fashion.
At the beginning of the twentieth century, the design of the newer and bigger show windows had a major competitive edge. Older and smaller stores had problems competing with them in a time when customer expectations were growing at the same speed as the new ﬁeld of merchandising was developing its new ideas. The storefront was and is until today an important aspect of the store’s advertising function because mass production made new ways of merchandising necessary. Designed to make space for the increasing quantity of mass-produced items, the department store emerged as a new architectural typology in the 1950s.
153 Darkness, nakedness, opacity, a minimum of clothing, poverty, all these seem to describe the aesthetic dramatisation of the seasonal sale window perfectly. During the year, the mannequins that represent the role of the well-dressed fashion leader are often staged as naked, and without cultural identity. 154 Victor Turner describes this temporary social condition as follows: “The second, which emerges recognizably in the liminal period, is of society as an unstructured or rudimentarily structured relatively undifferentiated comitatus, community, or even communion of equal individuals who submit together to the general authority of the ritual elders.