THE BEST LIPOVETSKY, IN CIM 2008
For: Mª Mercedes Álvarez
Gilles Lipovetsky and Josefina Figueras in CIM
The assembly room of the Museum of the Suit was to overflow at ten o'clock in the morning of October 22, 2008. There began the inaugural conference of I International Congress of Fashion CIM 2008. Everybody wanted to hear the famous French sociologist, author of "The empire of the ephemeral thing". Gilles Lipovetsky, creator of the concept of "was hypermodern", it came, spoke and convinced.
The aggregate teacher of Philosophy in the University of Grenoble and member of the French Council of Analysis of the Society, structured his conference - the luxury in the hypermodern age - concerning ten points, which we sum up now and they describe the position of current, so encompassed society, opposite to the world of the fashion and, in particular, before the luxurious marks. “The luxurious desires have been democratized, he affirmed: in all the social classes there is luxurious desire. In fact, an European of every two consumes at least a luxurious mark a year. And in France, 65 % of the young people between 15 and 25 years has already come to a luxurious shop”.
Our contemporary society – he started by saying - is encompassed, and the fashion is not foreign to this historical reality in which we are. Earlier the high fashion was reigning, with his hegemonic center of Paris, but it does not exist already I center only one, but there are several nuclei, in addition to Paris: London, New York, Milan, Ámsterdam. They have multiplied them “fashion weeks”, we are before a multifashion, polycentral and multicultural.
Earlier a clear opposition existed between the luxurious fashion, that of high fashion, and the industrialist, with a style without name and with few esthetics and quality. This radical opposition does not exist now either. The industrial clothes also are a fashionable clothes, which continues the tendencies, with recognized fashionable statute, with good image. At present the popular marks adopt this new style, with the methods and strategies with which they were working the luxurious fashion. This phenomenon is called mass prestige, or masses prestige: the cheap thing can be also creative and original. To open chic, but popular shops, in elegant quarters along with the big designers is also a sign of our encompassed time.
The department stores acquire a lot of importance in this area. For example, in the United States, the large supermarkets and the sale for mail agglutinates 85 % of the consumption of clothes. In Europe it is much less, but it is on the increase. It is a question of the preponderance of a fashion - marketing.
As a result, now there are giants of the fashion, groups you multimark of big importance that they quote in bag and that they group a big portfolio of marks of prestige. The traditional luxurious fashion that was settling in family enterprises of small size, handmade, with his founders, his creators, his clients, has concluded. We have gone on from the handmade and familiar logic to the financial, industrial logic. Traditional marks have had to take refuge in this new conception of the fashion to survive.
Marketing and publicity: the big show of the fashion
Also, not only the popular marks have adopted the form of the luxurious marks, but the luxury has adopted some of the beginning of the marketing of the big consumption. It does not do so much time, for the luxurious marks the publicity was almost of bad taste, vulgarly, and if it was done little was done and in very select sectors. But we are also in the hipermediatización of the luxurious marks, of the spectacular nature, with big advertizing budgets. Earlier, it was the tact and the elegance; now he competes for the trasgresión, the provocation: an aggressive marketing that it characterizes to the hypermodern luxury. Every time it is more the image mediática the one that creates a luxurious mark and not properly the creation of the product. The footbridge has turned into spectacle, with choreographies, music, game of lights, a big fashionable show.
With the shops the same happens. From the 90s the world of the luxurious distribution, that is to say, the shops, they have experienced a spectacular transformation and multiplication. At the same time, a career was beginning to extend his sale surfaces with enormous buildings realized by big architects. Today there does not limit itself the promotion of the luxurious mark to the shop window of the shops, but one resorts to the architecture, to the art, to the exhibitions parallel to the mark: there are global culture shops.
Today there is no stylistic unit in the fashion. From the homogeneity we have gone on to the whole collage of unlike styles where everything enters: the wide thing, the tight thing, the monastic thing, the sophisticated thing, everything has turned in legitimate. Earlier it was necessary to be to the last one, to be much informed about the tendency of the period, of the tyranny of the fashion, presently the fashion is followed by less faithful form, the women take what they like. The adolescents, nevertheless, are conformist in the fashion. The young people continues the fashion because they need to integrate into a group, that his companions recognize it.
Masculine and feminine fashion: not to the unisex
The unisex is a limited tendency, it is a myth. There is no interchangeable character between masculine and feminine fashion. The fashion differed in the Middle Age on having verified the radical difference between the masculine aspect and the feminine aspect. In spite of all the changes and shaken since then, this differentiation keeps on lasting and I believe that it is going to be perpetuated. An example is in that the men neither make themselves up they do not even take either skirts or garments. The only attempts that exist are experiences of pure creation, which have no reflex in the street. The opposite yes happens: the women have appropriated of almost all the codes of the masculine clothing.
The imperative of the seduction is based less and less on the clothing and more on the proper body. This is one of the figures of the fashion in the hypermodern age: the paradox of which the more the most uniform fashion diversifies is the model of the body, which has to be slender, adopted as world consensus. But the paradox goes further: the feminists of the 60s were burning the bras, and now we see that the movement is the opposite: erotiza the feminine linen. The women push the woman's statute back I object, but in the linen the sexy thing is supported.
On the other hand, the hypermodern fashion is imposed in each of the ambiences of the daily life. The consumers are freer and they are less obsessed with the tendencies. Much better, because the persons we do not live for the fashion. It is true that there is less passion for the elegance, but we are present at a deepening of the esthetic desires of the public in general, and see it for the cultural tourism, the interior design and the landscaping, the gastronomy, the gardening, the free time. The epoch of the hypermodern age is that of the estetización of the consumption.
Finally, we find that every time there are more creators who worry for the way of production of the clothes and for the environmental impact. The ecological fashion is a completely novel phenomenon, it happens for the first time. This way of doing fashion is receiving a major importance, is less cheerful but he is more responsible. It is necessary to receive this tendency with good eyes because it is a step in the correct direction.