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Journal ArticleDOI

Haute couture and the discourse of stardom in globalized times: Sonam Kapoor as Hindi cinema's representative fashion icon

07 Aug 2014-South Asian Popular Culture (Routledge)-Vol. 12, Iss: 2, pp 73-88
TL;DR: In this paper, a study of correlation between stardom and high fashion (haute couture) in post-liberalized India is presented, focusing on the way Hindi film stars became vehicles for international brands on and off screen.
Abstract: The article is a study of correlation between stardom and high fashion (haute couture) in postliberalized India Apart from its well-documented implications on the Indian economy, the phenomenon of liberalization also impacted the way Hindi film stars became vehicles for international brands, on and off screen My aim is to understand the iconography of actor Sonam Kapoor who is the face of a global brand of cosmetics, and also a fashion icon of Hindi cinema, a perfect embodiment of the aspirations of the upwardly mobile, urban youth The article conflates theories of fashion, star iconography and celebrity culture It predominantly tests Richard Dyer's contention, ‘Star images are always extensive, multimedia, intertextual’ (Heavenly Bodies, 2011, 3); Stella Bruzzi's conclusion that ‘where the fashionable, too beautiful woman is concerned the issues of identity and identification become problematized, as the focus has shifted away from the woman herself to the art and spectacle of her clothes’ (Undressin
Citations
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26 Mar 2018
TL;DR: In a recent work as discussed by the authors, the authors investigate the role of marcas de luxo in the creation of a figurino in the context of product placement in a movie set.
Abstract: Moda e figurino em cinema conseguem construir relacoes e interseccoes. Quando a narrativa estabelece essas relacoes, em alguns contextos, o Figurinista compoe o figurino com marcas de luxo. Trabalhar o universo do luxo ja e por si so investigar a producao de visualidade, a articulacao do design com a imagem de marca, a producao de um mundo de desejo, a construcao de predicados sociais. O luxo incorporado ao figurino amplia o poder de enunciacao, uma enunciacao publicitaria, pois ao utilizar marcas de luxo nas vestimentas das personagens, propaga-se a imagem das marcas com suas respectivas propostas identitarias. Mesmo que na producao de moda o nome da marca nao esteja declarado como na mensagem comercializada em espaco de midia (como acoes de product placement), certamente, a propagacao da identidade das marcas de luxo pelo figurino traz identidade para personagens, visibilidade para as marcas e para a producao cinematografica. A tese que se defende e que o figurino em cinema, quando composto por arranjos esteticos e producao de moda, utilizando marcas de luxo, produz uma determinada imagem de moda, tem potencialidade enunciativa e se revela, nesse contexto, em um formato de publicidade com caracteristicas diferentes, em que a marca de luxo na composicao do figurino e reconhecida pelo seu design, por seu atributo identitario, concebendo-se desta forma o termo Luxury brand costume placement. A pesquisa caracteriza-se como qualitativa, exploratoria, com a utilizacao de multiplos estudos de casos e tem como objetivo suscitar a concepcao que ao articular marcas luxo nos arranjos esteticos e na producao de moda dos figurinos em cinema, os mesmos se configuram como publicidade. Para atingir o objetivo da pesquisa, o corpus empirico compreende a investigacao de um recorte realizado na producao cinematografica (filmes produzidos de 2013 a 2017), cujos figurinos apresentam arranjos esteticos e a producao de moda com marcas de luxo – nao caracterizados como product placement. O fio norteador sao as teorias que estudam a producao de sentido (Eric Landowsky) a Enunciacao (Jose Luiz Fiorin) e a Enunciacao Midiatica Publicitaria (Ivan Barbosa e Eneus Trindade). Contudo, ao abordar o Figurino em Cinema (que imbrica roupa e corpo), a tese relaciona dois campos distintos, A Publicidade e a Moda de Luxo – as teorias que contribuem para refletir a respeito dessas duas instâncias tambem sao abordadas para fortalecer as bases das argumentacoes da tese proposta. Com os resultados, constatou-se que o figurino em cinema articulado com as marcas de luxo, com o corpo e com a performance, cria um discurso hibrido, sincretico em um formato de publicidade com caracteristicas peculiares, cuja estetizacao e estilos de vida das personagens sao projetados por uma performance encenada (nao posada) em que a imagem de moda gerada pelo figurino enuncia um discurso que tem suas marcas, suas astucias, ligadas a codigos de reconhecimento das marcas de luxo e, portanto, tem-se um Placement, uma aparicao da marca de luxo articulada ao figurino.

12 citations


Cites background from "Haute couture and the discourse of ..."

  • ...…Fashion films + branding A análise desses estudos se centrou em identificar as principais características deste novo gênero (fashion films) usado pelas corporações de moda para se construir e posicionar suas marcas (DIAZ, GARCIA, 2016; IQBAL, 2014; LETORT, 2015; PAULICELLI, 2010; RADNER, 2016)....

    [...]

  • ...Outras pesquisas argumentam que o poder e a eficácia da sedução nos fashion films resultam da empatia, desde a imersão do espectador até um mundo imaginário, como é o caso dos filmes clássicos (DIAZ, GARCIA, 2016; IQBAL, 2014; LETORT, 2015; PAULICELLI, 2010; RADNER, 2016)....

    [...]

  • ...…DIAMOND, 2013; RAJAKUMARI, 2008; WILKINSON-WEBER, 2010; ZHOU, BELK, 2004) – étnicas/religiosas (SHANKAR, 2012; SOBH, BELK, GRESSEL, 2012, 2014) – e iconográficas (cidades e celebridades como ícones) (HILLMAN, 2016; IQBAL, 2014; LETORT, 2015; MONTAGNÉ, HARDILL, 2010; PAULICELLI, 2010; RADNER, 2016)....

    [...]

  • ...…de artigos publicados sobre figurinos de cinema e marcas de luxo durante o período de análise foram: Estudos de caso (etnográficos) (HILLMAN, 2016; IQBAL, 2014; KUANG, HACKLEY, 2013; LEISLLE, 2012; LETORT, 2015; MACHADO, SWIRSKI, 2013; MCGRATH, SHERRY, DIAMOND, 2013; MONTAGNÉ, HARDILL, 2010;…...

    [...]

Journal ArticleDOI
TL;DR: A Cultural History of Fashion in the 20th century as discussed by the authors unravels the complexities and contradictions behind these changes to chart the history of modern fashion, and presents an engaging history of the interplay between commerce and culture, technology and aesthetics, popular culture and pastiche.
Abstract: The twentieth century saw the effective end of haute couture, the rise of prêt a porter and, finally, the triumph of street fashion. A Cultural History of Fashion in the 20th Century unravels the complexities and contradictions behind these changes to chart the history of modern fashion. What caused the demise of haute couture in the twentieth century? What does the 'democratization' of fashion actually mean? Which key designers bridged the gap between 'couture', with its associations of elite class and taste, and 'street style', a product of tribalism and of popular culture and protest? If fashion imitates art and art imitates life, does life imitate fashion do we wear the clothes or do the clothes wear us? Setting fashion within its social, cultural and artistic context, A Cultural History of Fashion in the 20th Century presents an engaging history of the interplay between commerce and culture, technology and aesthetics, popular culture and pastiche, and fashion and anti-fashion.

11 citations

Journal ArticleDOI
TL;DR: The historical development of fashion has long been seen as a hallmark of European modernity as discussed by the authors, and the study of clothing in non-European societies has emphasized the immutability of dress i...
Abstract: The historical development of fashion has long been seen as a hallmark of European modernity. By contrast, the study of clothing in non-European societies has emphasized the immutability of dress i...

4 citations

Book
06 Jan 2015

3 citations

Book ChapterDOI
01 Jan 2020
TL;DR: Kao as mentioned in this paper argues that the adaptations of Bride and Prejudice and Aisha take issue with one of the fundamental assumptions of eighteenth-and nineteenth-century improvement ideology: the connection between progress and teleology.
Abstract: Kao reads Jane Austen’s Pride and Prejudice (1813) and Emma (1815) alongside recent British Indian and Indian adaptations Bride and Prejudice (2005) and Aisha (2010), arguing that the novels and adaptations take issue with one of the fundamental assumptions of eighteenth- and nineteenth-century improvement ideology: the connection between progress and teleology. The chapter’s first section reviews the ways that improvement, as both ideology and self-directed change, has been understood in the critical history on Austen. Kao’s reading of Emma illustrates Austen’s use of non-teleological development and examines the translation of this escape from futurity into late-capitalist consumer culture in Amy Heckerling’s Clueless (1995), a film that functions as an important point of reference for both Bride and Prejudice and Aisha. The chapter ends by analyzing both films in the context of colonial and postcolonial understandings of economic and moral improvement in India.

2 citations

References
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Book
01 Jan 1997
TL;DR: In Undressing Cinema, Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis as mentioned in this paper.
Abstract: From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis. Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses: * haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier * the eroticism of period costume in films such as The Piano and The Age of Innocence * clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction * generic male chic in Goodfellas, Reservoir Dogs, and Leon * pride, costume and masculinity in 'Blaxploitation' films, Boyz 'N The Hood and New Jack City * drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.

138 citations

Book
30 Oct 2006
TL;DR: Svendsen as mentioned in this paper argues that some of the latest fashions shown on catwalks are not actually fashionable in any sense of the word, arguing that they are more akin to modern art works, and he argues against the increasingly popular idea that plastic surgery and body modification are part of a new wave of consumerism.
Abstract: Donatella Versace and Jean-Paul Gaultier, Yves Saint Laurent and Giorgio Armani, Dolce & Gabbana and Gucci: fashion is at once a familiar yet mysteriously elite world that we all experience, whether we're buying a new pair of jeans, reading Vogue, or watching the latest episode of America's Next Top Model. Lars Svendsen dives into this world in "Fashion: A Philosophy", exploring the myths, ideas, and history that makes up haute couture, the must-have trends over the centuries, and the very concept of fashion itself. "Fashion" opens with an exploration of all the possible meanings encompassed by the word fashion', as Svendsen probes its elusive place in art, politics, and history. Ultimately, however, he focuses on the most notable type of fashion: clothing. With his trademark dry wit, he deftly dismantles many of the axioms of the industry and its supporters. For example, he points out that some of the latest fashions shown on catwalks aren't actually fashionable' in any sense of the word, arguing that they're more akin to modern art works, and he argues against the increasingly popular idea that plastic surgery and body modification are part of a new wave of consumerism. Svendsen draws upon the writings of thinkers from Adam Smith to Roland Barthes to analyse fashion as both a historical phenomenon and a philosophy of aesthetics. Whether critiquing a relentless media culture that promotes perfect bodies or parsing the never-ending debate over the merits of conformity versus individual style, Lars Svendsen offers an engaging and intriguing analysis of fashion and the motivations behind its constant pursuit for the new.

110 citations

Book
01 Jan 2006
TL;DR: In this paper, a sociological study of Hindi movies in the Diaspora and the performance of urban Indian and Diasporic identity is presented. But the focus of the study is on Hindi songs in the Bollywood movies.
Abstract: Introduction Towards a Sociology of Cinema Singing for India Songs in the Bollywood Film Reading Popular Hindi Films in the Diaspora and the Performance of Urban Indian and Diasporic Identity Bollywood Cinema Going in New York Queer as Desis Secret Politics of Gender and Sexuality in Bollywood Films in Diasporic Urban Ethnoscapes Between and Beyond Bollywood and Hollywood Conclusion Appendix: Six Genres of Bollywood Films Bibliography Index

104 citations

Book
02 Aug 2004
TL;DR: In this article, the authors explore the different ways memory and nostalgia are used in cinema, focusing on current debates about the way the media represents the past, and present debates about media representations of the past.
Abstract: Screening the Past explores the different ways memory and nostalgia are used in cinema, focusing on current debates about the way the media represents the past.

97 citations

BookDOI
01 Jan 2000
TL;DR: In this paper, the authors present a survey of shopping, spaces, and selling in the fashion industry, including catwalks and after, images, icons and impulses.
Abstract: Dedication Acknowledgements Introduction Part One: Shopping, Spaces and Selling Part Two: Catwalk and After Part Three: Images, Icons and Impulses Part Four: Spectacle and Subculture Part Five: Modes and Methodologies

72 citations