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Beginning with Alexander McQueen's infamous attempt to live stream
his 2009 Plato's Atlantis collection on SHOWStudio, this book
traces how digital and social media have disrupted social
structures within the field of fashion, and transformed the way it
is communicated and consumed. Analysing key case studies, from
Chanel, Givenchy, Yeezy and Opening Cermony to interactive social
media and 'see now buy now' campaigns from Burberry, Topshop and
Tommy Hilfiger, The Fashion Show Goes Live analyses the mode and
impact of fashion shows' transmission. Through the rise of
experimental film, fashion shows tailored for media transmission
and the use of live streaming and social media to render shows
'immediate' to consumers, fashion weeks - and fashion shows - have
become not just trend barometers but material sites that
demonstrate media's effects. Rebecca Halliday evaluates the
performativity of consumer relations to such live streams and other
mediatized content. In linking these relations back to fashion show
footage, she demonstrates that although intended to communicate
fashion to mass audiences, these practices also promote it as
exclusive and aspirational. Despite democratized, international
access to content, the shows themselves remain elite events;
kindling new forms of consumer attention, interaction, immaterial
labour and desire. Through the microcosm of the fashion show, The
Fashion Show Goes Live asks broader socio-political questions about
the effects of the fashion industry's mediatization, challenging
the notion that new technology has fostered inclusivity.
Beginning with Alexander McQueen’s infamous attempt to live
stream his 2009 Plato’s Atlantis collection on SHOWStudio, this
book traces how digital and social media have disrupted social
structures within the field of fashion, and transformed the way it
is communicated and consumed. Analysing key case studies, from
Chanel, Givenchy, Yeezy and Opening Cermony to interactive social
media and ‘see now buy now’ campaigns from Burberry, Topshop
and Tommy Hilfiger, The Fashion Show Goes Live analyses the mode
and impact of fashion shows’ transmission. Through the rise of
experimental film, fashion shows tailored for media transmission
and the use of live streaming and social media to render shows
‘immediate’ to consumers, fashion weeks – and fashion shows
– have become not just trend barometers but material sites that
demonstrate media’s effects. Rebecca Halliday evaluates the
performativity of consumer relations to such live streams and other
mediatized content. In linking these relations back to fashion show
footage, she demonstrates that although intended to communicate
fashion to mass audiences, these practices also promote it as
exclusive and aspirational. Despite democratized, international
access to content, the shows themselves remain elite events;
kindling new forms of consumer attention, interaction, immaterial
labour and desire. Through the microcosm of the fashion show, The
Fashion Show Goes Live asks broader socio-political questions about
the effects of the fashion industry's mediatization, challenging
the notion that new technology has fostered inclusivity.
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