China: Hyper-consumerism, Abstract Identity by Marie Genevieve Cyr

CHINA: HYPER-CONSUMERISM, ABSTRACT IDENTITY MARIE GENEVIEVE CYR

abstract

Is the 21st century the Chinese century? Westernization has changed nearly all facets of life in China, except for politics (Wu, 2009). This has created mass-confusion, enthusiasm, rebellion, romanticism, and idealism. The 1990s manufacturing industries continued to dominate the acceleration of consumerism in the 21st century and created, more than ever, a bizarrely giant, abstract world of identity that is self-created and sustained. This paper examines the politics of abstract desire, hyper-consumerism, and the notion of fantasy in the Chinese fashion industry. Today, hundreds of giant “hyper-malls” found all over China are connected to the distribution of fake “stuff.” These commercial emblems have become an integral part of China’s visual and social landscape. The marketplace of fake goods using Western brand images (e.g. logos) has grown for centuries to become an abstract superstructure of falsely branded lifestyles and design integrity. The global rise of hyper-consumerism gave China the ultimate opportunity to create a new identity for itself while importing the dream of luxury: The Buying Power. This paper focuses on abstracting the notion of hyper-consumerism and interrogating the relationship between visual advertisement, its materiality, and its representation in the global marketplace. How does advertising contribute to the production of consumer goods? Can we create a cyclical vision for new materials? How is the value of luxury created, displaced, transformed, and consumed through space and time?

introduction Is the 21st Century the Chinese century? Westernization has changed nearly all facets of life in China, except for politics (Wu, 2009). This has created widespread confusion, enthusiasm, rebellion, romanticism, and idealism.

The 1990s’ manufacturing industries

continued to dominate the acceleration of consumerism in the 21st Century. The rise of hyper-consumerism gave China the ultimate opportunity to create a new identity for itself while importing the “dream” of luxury. By transferring Westernized ideas of consumption into visual symbols, production systems, and communication tools, China channeled an idealized fantasy world. This paper focuses on the notion of hyper-consumerism. By examining the rise of consumerism, quest for individuality, social impact of giant retail spaces, luxury, authenticity, and spirituality, this dissertation challenges the recent changes in the study of fashion and globalization. It underlines recent questions related to economic, social,

Beijing, Dahongmen, June 19th, 2017 北京, 大红门, 六月19日, 2017

and cultural logics related to consumption and communication of the constructed significances of fashion.

Shenzhen, Guomao, July 1st 2017 深圳, 国贸, 七月1日, 2017

In the 1980s, the rise of television, print,

in 1979, businesses grew rapidly and took a

and other media sources as a means of ularity of fashion inspired by television

high position into fierce global competitive

communication greatly contributed to

spaces. In the 20th Century, vast quantities

the commercialization of fashion. The ly fashion marketing in China. Private

of the Chinese workforce went from being

growth of television played a particular-

farmers to steel workers to business pro-

ly important role in forging a path to the ing the popular television characters

fessionals. The economic growth in China

rise of the fashion “copies” or “inspi-

is very significant to all industries. Accord-

ration.” Television programs shown in nection to the original styles. Wu (2009)

ing to its culture and history, China has al-

Japan and Hong Kong provided fash- notes that the “so-called socialist mer-

ways encouraged an idea or an object to

ion inspirations for the Chinese to copy.

be spread among people of all classes.

Hong Kong served as b`oth a conduit to make money with fashion but also

Based on this belief, one can argue that

and a filter of Western fashions and val-

popularization of fashion to the masses is a

ues to China, thus promoting Western

positive cultural advancement for the East.

television and movie stars to be slow-

context

Since China opened its doors to the world

ly copied on the mainland. The popprograms also had an impact on earmerchants marketed products reflecteven if their merchandise had little con-

chants of the time learned not only how the value of celebrity marketing” (p.24).

Fashion Print media blossomed in the television station began airing a popular 1980s. Magazines such as Qingnian yid- tailoring program that featured famous ai (the young generation), Zhongguo funv master tailors giving lessons on pattern (women of china), Shizhuang (fashion), making, the calculation of material usage, Xiandai Fuzhuang (modern dress and and other tailoring techniques” (p.26). dress making), and Zhongguo fuzhuang

The Chinese understood decades ago

Bangkok, Chinatown, July 6th, 2017 曼谷, 中国城, 七月6日, 2017

(China garment) led the way to this new that technology, and the creation of onindustry and high levels of consumption.

air and online education service system,

Many of these magazines included prac-

was the future of education. Online edu-

tical patterns and sewing instructions. cation was originally created to accomSome of the television stations in the modate and extend education to peo1980s also offered long-distance dress- ple in rural areas, but has now evolved

Chinese fashion agents understood very

of reaching the youth through celebrities

early that importing fashion media icons

on social platforms. Most of the Chinese

into the image production of a “dream”

millennials, due to the one child policy,

was very valuable. As such, members of

grew up in wealthier families. As adults,

the music, television, and movie scenes

they now “consume for the sake of con-

have acted as role models and authori-

suming, without any purpose” (Cheung,

ties for young consumers.

For exam-

2014). Brands using celebrities as a ve-

ple, among the most famous musicians

hicle to popularize products are reaching

were Taiwanese pop singers Deng Lijun

fans around the globe and promote these

and Teresa Teng; the 1980s boy band

high levels of “blind” hyper-consumption.

making lessons to their fashion-hungry

into a billion dollars industry attracting

audiences. Wu (2009) notes that “start-

millions of online viewers across China.

ing in the winter of 1981, a Shanghai

“Little Tigers”; the 1990s group of male singers known as “Four Heavenly Kings” from Hong Kong; Canto-pop singer Faye Wong; and the South Korean boy band known as “H.O.T.”

Moving forward,

in 2017, Angelica Cheung (2014), Editor-in-Chief of Vogue China and former 8

investment banker, discussed methods

The relationship between fash- their factory posts after shows. ion design and its manufactur- Their training encompassed not ing was symbiotic from its early

only fitness, body movement,

development.

Factories were

and make up techniques, but

designing garments and selling

also sewing. They were called

them directly to customers and

shizhuang yanyuan (fashion ac-

buyers. Several large factories

tors)” (Wu, 2009, p.158). This

New Global Center, Taylor Swift, August 2016. Photo credits: Joseph Jagos

funded fashion exhibitions for influenced the implantation of

their designers, and sent their

new degree programs across

work overseas to international China. Suzhou Institute of Silk trade shows and competitions Technology

established

Chi-

(Wu, 2009). The creative sys-

na’s first modeling degree pro-

tem, being closely linked to the

gram in 1989 and the Chongq-

production system, also gave

ing Institute of Engineering, in

new opportunities for female

southwest China, announced in

factory workers to become “su-

September 2017, an “internet

permodels.” Wu (2009) found

celebrity” program for students

that “these models modeled

who want to be live-stream-

only part-time and returned to

ing

stars

(Zhen,

2017).

Although the Chinese print media was becoming influential, Western ideas and imagery were still used to promote fashion ideals. For exam-

In the early 1990s, the traditionally

not use actors whose ideological level

discreet Chinese population suddenly

is low and have no class. Absolutely

became outspoken through “cultur-

do not use actors with stains, scan-

al” t-shirts (Wu, 2009). Printed Chi- dals and problematic moral integrity”

ple, in the 1980s, the creative teams

nese characters featured messages

of Chinse magazines often used

such as: “Only my mom is best in this China aims to promote a positive

Caucasian models with blond hair

world”, “My future is not a dream”,

and blue eyes. Today, this image is still used in China to promote a certain aesthetic; recently, at The New Century Global Center in Chengdu, a giant monitor above an artificial pool of water screened a Victoria Secret runway show featuring a performance by Taylor Swift.

This

(as cited in Pasha-Robinson, 2018). and healthy image on all media plat-

and “A peaceful life for all good peo- forms. Since the Cultural Revolution, ple”. Other t-shirts were more rebel- the Chinese have been developing lious and conveyed messages such

strong new values and embracing in-

as, “I only follow my feelings” and dividuality of contemporary culture “Getting rich is all there is.” As this in an attempt to have a rapport with fashion trend began to turn into a

the outside world. While contempo-

broader national trend, the govern- rary advancements are made towards ment issued “emergency regulations”

culture,

and formally banned the manufacture

at large still attempts to adminis-

the

Chinese

government

display both supported and repre-

and sale of “unhealthy” cultural shirts ter and regulate what’s distributed.

sented the escapism via vacation

in Beijing. The news promoted mottos

and a Western concert experience.

such as “Study hard and make daily progress” and “I must train myself for the construction of the motherland” (Wu, 2009). In January 2018, China announced the ban of hip-hop culture and tattoos from all media sources (Pasha-Robinson, 2018). Gao Changli, the publicity department director at the State Administration of Press, Publication, Radio, Film and Television of the People’s Republic of China pro-

Bangkok, Chinatown, July 6th, 2017 曼谷, 中国城, 七月6日, 2017

moted regulations such as “Absolutely do not use actors who are tasteless, vulgar and obscene. Absolutely do

luxury: object / experience

Hyper-consumption is often defined as often refers to consumption that is re-

the extreme maximalist consumption of lated to entertainment and decoration. goods/commodities for non-functional The Chinese MBA Database defines purposes. Also attached to hyper-con- luxury from the economic perspecsumption is the significant pressure to

tive: as a product that has the high-

consume those goods in order to shape est value or quality based on seven one’s identity. Can one shape identity traits. These traits include the materiwithout consumption?

Luxury, capi- al is special and the product is scarce;

talism, advertisement, exclusivity, and

a symbol of wealth; looks like the nic-

authenticity are important social agents

est; shows the owner’s personality; ex-

to the consumptions of objects and ex- clusiveness; a sense of distance; and periences. Advertised goods, travels, very high emotional value. The Merriand market landscapes form universal

am-Webster Dictionary’s (2016) defini-

codes of luxury that contribute to the

tion of the word luxury is “a condition of

representation of “high” status in society.

abundance or great ease and comfort or a sumptuous environment; some-

Every culture has its own definitions of

thing adding to pleasure or comfort but

luxury. In China, luxury in the Han Dic-

not absolutely necessary.” The French

tionary is defined as something that is

dictionary Larousse (2018) describes

the opposite of daily necessity; luxury luxury as something slightly different:

Hong Kong, Sham Pui WPo, July 15th, 2017 香港, 深水埗, 七月15日, 2017

“something that is expensive, refined, sumptuous; an environment consisting of expensive objects; expensive and refined way of life or pleasure relatively expensive that is offered without any real need, a great abundance of something.” (n.p.) 15

In Latin, there are two similar words with overlapping meanings: luxus, meaning “luxury” or “excess,” and luxuria, which meant “rankness” or “offensiveness.” By the Elizabethan period, it was associated with adultery, as in Shakespeare’s line “she knows the heat of a luxurious bed.” Eventually, the word came to refer to a sumptuous environment.

Luxure referred to unrestrained

sexual pursuits and became a synonym of lasciviousness or wantonness and is associated with words like debauchery and perversity. The etymology course of luxury started with the physical, but then drifted to the material. However, pleasures of the senses were nevertheless always at the root of how we understand the word. Recent research performed by Agility Research & Strategy, one of the top luxury research firms in Asia, found that Chinese consumers opt for luxury goods over travel. Amrita Banta (2017), Managing Director, notes:

Different reports and articles have stated that consumers, especially millennials, are spending more on leisure travel, preferring intangible experiences over material goods like handbags, jewelry, or watches as they believe that traveling gives them a more lasting memory and greater happiness. While this may be true in some markets, it is not entirely true in others. (n.p.)

The results from the company’s 2017/18 In Asia, the concept of “luxury” is still “Affluent Insights Luxury Study,” which mostly embedded in objects or goods. interviewed 3,000 affluent individuals Banta’s (2017) research found that across Asia, found the Chinese story “throughout early historic periods, the is a little different from other nations Chinese have shown their conspicuous in the area. Affluent Chinese consum- display of wealth and power through ers are, in fact, spending vast sums

material objects. Most notably through

of money on personal luxury goods. the use of gold, ornate jade, and gilded Their total spending on personal luxury

objects” (n.p.). Today, luxury goods are

goods (fashion, jewelry, and watches)

conspicuously displayed at social gath-

is 34%, a significantly high margin. In erings, business meetings, and even a descending order, they found that Chi-

date. To the Chinese, luxury still revolves

nese spend most of their money on the

around identity and status symbols.

luxuries of jewelry (12%), travel (11%), clothing (9%), watches (8%), and entertainment (6%), with a very low percentage representing alcohol, gym memberships, and spa visits (Banta, 2017).

Luxury is often associated with the quest for exclusivity and authenticity.

When it is exclusive, luxury

becomes a symbol for success. Scheppe (2015) explains that “luxury consumption is the consumption of the feeling of having excluded others [...] and of being able to warm oneself in the agreeable sensation of their admiring envy. It is nothing other than the enjoyment of total separation” (p.75). Can luxury goods, when serially- and mass-produced, provide a sense New Century Global Center, Luxury Mall Interior. Chengdu 2016. Photo credits: Joseph Jagos

of uniqueness to the consumer? Simmel (1957) proposed that “a product has the less soul, the more people participate in its manufacture.” Designers are too often considered modern-day gods & celebrities. The myth of creation by a single person is rooted in the history of religion. Art or craft can be created and produced by a one single person with low technological processes. However, most objects of mass-consumption are made through a production flow system that engages dozens, hundreds, or thousands of individuals. Is design less valued when it is mass-produced?

Wang (2013) described authenticity as a salient im-

“the [f]antasy of authenticity is sublime, and it is

perative of identity making that involves strategic,

always located somewhere short of reality (sub lim-

complex processes of semiotic maneuvering that ina)” (p.84 ). Nothing is ever authentic; the idea orients towards multi-scalar, polycentric systems of authenticity is an elevated emotion of the purity. of norm. In the creators’ quests to offer authentic the fashion image (or, more broadly, the communicadesign and identity, they can be viewed as lack- tion of goods) has become more important than the ing credibility the more aware they become of their

physical applications of design on the object itself.

outward intentions towards a larger audience. Using brand status to display authenticity often ne18

gates credibility. Baudrillard (1968) understood that

When advertising authenticity, a brand cloaks itself with an “authentic” sense of values marketed to a public’s collective identity—and fuels the need for individuality. Guy Debord (1967) describes advertisement as a mise-en-scene in which all are participants are in a perpetual campaign of self-endorsement. Despite the “search for individual,” one is constantly in flux and looking for approbation, for collective enviness in the fashion context. Consumers need valida-

Shanghai, Putuo Qu, June 26th, 2017 上海, 普陀区, 六月26日, 2017

tion, a sense of collective emotions and personal feeling of higher spirituality or “exclusivity.” In

The

(1968)

System also

compared

Objects,

Baudrillard

“a show, a game […] where an idea (object or experience) is being sold to the world” (p.187). Advertisement constitutes a useless and unnecessary universe. As stated by Baudrillard (1968), “It contributes nothing to production or to the direct practical application of things, yet it plays an integral part in the system of objects” (p.178). Advertisement is necessary to create fashion meanings because clothing as material has no meaning. Similarly, Sheppe (2015) believed that “the material constitution of the products is irrelevant” (p.92) and “the production of a product has become the production of the communication of the product” (p.90). Thus, in the current global marketplace, the fashion image (or, more broadly, the communication of goods) has

become more important than the physical applications of design on the object itself.

Hyper-consumption

structures,

oke. The giant space also offers

such as malls, demonstrate the offices, conference rooms, a uni-

tries in China.

Despite the large

centers, hotels, an IMAX cinema,

amount of abandoned commercial

a Mediterranean-styled “Village”, a

retail spaces, China continues to pirate ship, a church, and a skating invest in bigger, grander environ-

rink. The Center’s premier feature

ments for consumption. Some of

is a water park named “Paradise

the largest buildings in the world Island Water Park” that contains a

Chengdu, Global Mall, August 2016 成都, 环球购物中心, 八月, 2016

malls: dream of consumption

power of the manufacturing indus- versity complex, two commercial

are located in China. Chinese in- 5,000 m2 (54,000 square feet) arvestors spend tremendous sums

tificial beach where a giant 150 by

of money on erecting giant retail

40 m (490 by 130 ft) screen forms

complexes for shopping and enter-

an artificial horizon to replicate

tainment. For example, The New

sunrises and sunsets. At night, a

Century Global Center, developed

stage extends out over the pool for

by billionaire Deng Hong’s Enter-

concerts. The New Century Global

tainment and Travel Group based Center is ranked as the number-one in Chengdu, was created to be

building with the largest floor area

less about material consumption

in the world, containing 1,760, 000

and more about experiences. The m2 (18,900,000 square feet) of Center is a place to meet friends, floor space, followed by Dubai Ingo to video arcades, see a movie, ternational Airport’s Terminal Three. eat, swim, skate, and sing kara-

The slogan of The New Century Global Center is shopping experiences, the nation’s business own“The One of Everything” (Beam, 2013), thus un-

ers have simultaneously created several forms of

derscoring its maximalist approach to a maximalist condensed digital and mobile commerce that are structure. Christopher Beam (2013) wrote for New available no matter the shopper’s location. For exRepublic magazine that “the slogan also nods to

ample, consumers can access mobile commerce

the pop-Buddhist concept that everything in the

via WeChat (a social media, communication, and

universe is one, but with a commercial twist” (n.p.). payment platform) even at the smallest farmer It seems shoppers can find virtually any object booth in the countryside. In contrast to the East, from different market categories and price levels. payment options are being created in the West, but While China has developed highly unique physical consumers are still apprehensive to participate. 23

Bangkok, Chinatown, July 6th, 2017 曼谷, 中国城, 七月6日, 2017

25 24

FAKE

Today, hundreds of giant hyper-malls all

fect commercial environment for fake

With the sophistication of the produc-

ry goods don’t even know the brand’s

over China are connected to the distri-

goods. With Western designers out-

tion system, one can recreate an almost

name, its history, and/or its prove-

bution of fake “stuff.” These commer-

sourcing the production of their luxury

exact visual replica of a luxury product.

nance.

cial emblems have become an integral goods in China, they are losing control

Crewe (2017) tells us, “the emergence

created, displaced, transformed, and

part of China’s visual and social land- over their own supply chains.

of high quality ‘super fakes’ whose in- consumed through space and time?

Legal

scape. The quantities of fake goods us-

enforcement of intellectual property

authentic assembly is discernible only

ing Western brand images (e.g. logos,

rights is growing in the country, but it

to the well-trained eye, is damaging the audience that real luxury investment

symbols, and language) has grown for is still very unrefined and unregulated.

values that are fundamental to the per- can prolong the lifespan of an object

centuries to become an abstract super-

ception of luxury designer brands. The Moreover, copying becomes easier due

through quality and culturally stand

copy, they argue, represents an infe- the visual test of an aesthetic timeline?

and design integrity. For example, in to the designs themselves. For exam-

rior craft, a failure of creativity.” Fake

a Beijing mall where all garments are ple, ready-to-wear for mass-production

brands are, after all, “inauthentic only in

sold for less than $50 USD each, the and consumption focuses on basic sil-

the eyes of certain people and only in

decor consists of crystal chandeliers,

houettes that use various textiles and

certain moments or contexts” (Craciun,

shiny marble, and mirrors; these overt

colors. The simplification of garments’

2014, p.70). Only through knowledge

indications of luxury are important to

shapes, details, and fabrications make

of the craft can one identify inauthentic

social status—and shoppers. The aes- it easy for the development of knock-

products from luxury goods. However, if

thetic of the store’s environment is of

offs by merely applying a logo. The

the products in question are not related

high interest in the context of this re-

brand names or logos are subtly dis-

to luxury, the low-quality goods still ex-

search because it lends a form of pres- figured or roughly abstracted at the

ist as a product of use but not of quality.

tige and exclusivity to the fake goods. forefront of production in an attempt to prevent any infringement of copyright.

Many questions arise due to these fac-

China’s history of replicas has naturally By keeping the process basic and re-

tors. Is luxury truly relevant given this

been labeled “imitation” and “knock- petitive for factory workers, China has

ease of abstracting comparable man-

offs.” The frequently busy and chaot- been able to rapidly reproduce the

ufacturing methods and materials?

ic distribution in China creates a per-

Most consumers who buy fake luxu-

Western mass-production aesthetic.

How can one convince a consumer

Beijing, Dahongmen, July 2016 北京, 大红门, 七月, 2016

structure of falsely branded lifestyles

How is the value of luxury

branding cultural experiences In China, businesses are not only producing and selling fake Balenciaga by @hey_reilly

goods but also “fake experience.” Many abstracted commercial endeavors have surfaced in the past twenty years, from Shenzhen’ “Splendid China Park” that offers tourists the experience of a traditional Chinese folk village, to Shenzhen’s “Window to the World,” where visitors can have their photo taken with all the top iconic monuments in the world including the Eiffel Tower and The Louvre Museum. The New South China Mall in Guangdong, formerly the largest in China, is divided into replicas of popular European cities such as Venice and Amsterdam. More or less interested in history, concept, material, and social context of the monuments, the consumers “consume” the image and experience.

The same can be said about luxury

the line that defines counterfeit or ille-

advertisement imagery. On Insta-

gal copy? China has developed malls,

gram, many accounts are creating

parks, and architecture that duplicates

and posting their own advert imag-

foreign cultures, environments, and

es from European fashion houses

monuments. Is this copying and/or

without consent from the designer

counterfeit? These questions are also

and/or brand. This is taken further

relevant in the fashion design context.

by the owner of the Instagram ac-

For instance, the acclaimed fashion

count “@hey_reilly” who combines

house Vetements sews together de-

current or vintage images that rep-

constructed garments made by other

resent the banality of life with the

fashion brands into a single garment.

luxury brand logos of Balenciaga,

These garments are then present-

Acne, Celine, Fendi, and more. The

ed as Vetements’ own designs. For

account owner’s work, in effect,

many, this creative process blurs the

creates a form of advertisement for

line between humor and counterfeit.

the brands. Given the popularity of

It also raises significant questions

this particular Instagram account,

around authenticity, originality, and legality. Is a deconstructed Gucci skirt

Celine by @hey_reilly

When related to experience, where is

important questions arise:

Is it

worthwhile for the fashion houses

that is resewn to an Adidas skirt con-

to fight the use of their logs? Or,

sidered a fake? Why is Vetements’

should the brands use it to their

appropriation of other fashion brands

advantage by embracing it as a

seen as “cool” and not counterfeit?

form of promotion and advertising?

Is reconstruction—or recontextualization—considered original design? Is it only about logo? Where is the line?

SPIRITUALITY 33

Funeral car, chauffeurs. Photo credits: Sidney Gamble, 1924-27.

“the world of the dead in Chinese popular belief not only continues the earthly materialism of money-regulated economy identified with the concept of happiness: it invests in it with the heavenly sanctification of eternity” (p.13).

The ritual of consumption and abstract space of the market, which The first records of burnt offerings

The current conception and mate-

diagnostic index. A cataloguing of

cestors, spirits, and gods that need

its social agenda are in constant

had to break down all regional and were made in the form of fake paper

rialization of wealth is transferred

the range of goods destined for the

to be appeased, serving to feed

Douglas and Isherwood legal barriers and all the corpora- money. In modern times, money is

through generations by burning

world of the spirits is tantamount

them and meet their needs so that

flux.

(1979) believed that a ritual pro-

tive restrictions of the Middle Ages still seen as a means to achieving

“chic” and fashionable goods rep-

to a cartography of the subjectivi- they may be favorably disposed

cess’ main function consists of

that preserved the quality of craft happiness. Scheppe (2016) out-

licated in paper to honor one’s

ty portraying itself in its consumer

gaining meaning from an ongoing

production, also had to destroy the lined that “the world of the dead

ancestors.

wants. It is a cultural manifesta-

(p.57). Scheppe (2016) reminded

In this spiritual con-

their

hardships

assuaged”

change of events. The constant autonomy and quality of places. in Chinese popular belief not only

text, authenticity of the artefact is

tion of something that would oth- the reader that “Confucius recom-

social movements act as a vehicle This power of homogenization is continues the earthly materialism of

not important. Rather, the repre-

erwise remain concealed. (p.67)

for capitalism—extracting popular the heavy artillery which brought money-regulated economy identi-

sentation of things is more valu-

concepts into brand messaging. down all Chinese walls. (p.165) fied with the concept of happiness:

able.

In one of his most important writ-

Scheppe

(2016)

asserts:

it invests in it with the heavenly

mended the sacrifice of representations of things rather than the

Luxury artefacts are symbols of

things themselves as an acknowl-

status beyond physical life.

edgement of the essential differ-

ings, Guy Debord (1967) found: In his book Supermarket of the sanctification of eternity” (p.13).

Since freed from the obstacle of the

noted by Scheppe (2016): “The

ence in the needs of the incorpore-

Dead: Burnt Offerings in China and

unaffordable prices of real equiva-

act of burning the paper replicas

al beings” (p.57). The fact that they

Capitalist production has unified the Cult of Globalized Consump-

lent, this symbolic contrivance of

of money and goods transfers the

are “devoid of usefulness is why it

space, which is no longer bounded tion (2016), Friederike Assandri

objects which people desire and

objects, in the very moment in

is fitted to the religious practice

by external societies. This unifica- looks at the history of traditional

wish to possess expresses, in a

which they crumble to ashes and

and the transfer to another world”

tion is at the same time an extensive burnt paper offerings in relation to

spiritual game, the most intimate

go up in smoke, into a world be-

(Scheppe, 2016, p.57). Thus, the

and intensive process of banaliza- brand status and spirituality; by all

nature of yearning for commodi-

yond the terrestrial world, where

logo became emblem of holiness.

tion. The accumulation of com- appearance, symbolic consump-

ties, the presence of this demand in

they are placed at the disposal of

modities produced in mass for the tion overlays physical conception.

material form is a highly informative

the chaotic pandemonium of an-

Beijing, July 2016, by Joseph Jagos.

In China, one can find life-size 3D

Is selling paper copies of luxury

added that she did not recognize

paper replicas of luxury goods

goods considered infringement?

that her paper products resem-

such as Gucci bags, Prada shoes,

Luxury brands have hired teams of

bled Gucci’s as she has never

Chanel eyewear, Apple comput-

experts and government officials

owned anything from the luxury

ers, and credit cards to be used

to fight the production and sell-

brand. Other store owners stat-

as burnt offerings. The type of

ing of counterfeit goods around

ed, “We are burning it, not sell-

luxury object being represent-

the world. But what about paper

ing it. These products are offer-

ed—and their scale—has had few

non-functional copies?

In April

ings for the dead, not the living,

limits throughout history. In the

2016, Hong Kong shop owners

how are we violating copyright?”

1920s, the American photogra-

were surprised to be accused of

(n.p.). These practices raise many

pher Sidney Gamble document-

selling counterfeit Gucci goods.

questions regarding the symbol

ed Chinese funerals featuring life-

In the article, “Dead Serious: Gu-

of Western luxury and its im-

sized models of American cars

cci Warns Afterlife Paper Offering

pact on Eastern spiritual rituals.

with two chauffeurs. The paper

Shops Over Copyright” published

replicas represented the high-

by the Hong Kong Free Press, a

est monetary investment beside

store owner stated, “I am neither

a home, thus symbolizing the

the manufacturer nor the suppli-

power and wealth of its religious

er, why are they picking on me?”

devotees making the offering.

(Lin, 2016, n.p.). The store owner 37

conclusion

Luxury has become mainstreamed

ness,” and developed large-scale

and normalized—or so it appears. It fan databases via social media. is no longer considered impressive and exclusive to own a Prada bag In the constantly evolving fashion or Gucci sunglasses. Marketing and industry, one can only question and branding have built social and human re-assess the meaning of fashion connections to material objects—in

and its role in society. Given the hy-

this case, clothing. Personal iden-

per-accelerated growth of the global

tity has become more complex with

market, how can fashion be created

various means of communications.

for eternity? Or even for a 10-year

In our contemporary society, many period? According to famed archipeople possess multiple identities

tect Rem Koolhaas (2013), “There is

that they construct, collage, and no future anymore. Everything hapdisplay in various forms. Clothing pens now and if it doesn’t you’re is arguably the most valued identi-

too late.” Nothing is made to last

ty shaper as it is strongly connect-

for eternity anymore.

Many con-

hyper-consumerism gave China the ies are accustomed to the idea that ultimate opportunity to create a new clothes last a short time before they identity for itself through consump- are to be discarded, thus prompting tion. Following the accumulation of a culture of “pret-a-jeter” (made to Western social symbols, China is re-

throw away). If we only value visu-

defining its design aesthetic through

al representation as a society—as

heritage and innovation. This clash opposed to materiality—can designof visual references has created new

ers create garment-image only? The

markets, discovered new talents, notion of a fashion “collection” looscreated an obsession with “cool-

es value as it is of less importance.

Prototype in collaboration with Lamar by Marie Genevieve Cyr, photo by Joseph Jagos.

ed to human emotions. The rise of sumers that live in first-world societ-

references AFP. (2016, May 6). Gucci apologises over Hong Kong funeral fakes row. Hong Kong Free Press. Retrieved from https://www.hongkongfp.com/2016/05/06/ gucci-apologises-hong-kong-funeral-fakes-row/

Jolas, M. (1958/1994). The poetics of space: The classic look at how we experience intimate places. (G. Bachelard, Trans.). Boston, MA: Beacon Press. Julier, G. (2017). Economies of design. London, UK: Sage.

Amed, I. (2014, May 5). Building Vogue China. The Business of Fashion. Retrieved from https://www.businessoffashion.com/articles/global-currents/ building-vogue-china

Koolhass R. & Hoster, H. (2013). Junkspace with running room. London, UK: Notting Hill Editions.

Shenzhen, July 2017, by Marie Genevieve Cyr

Assandri, F. (2015). Supermarket of the dead: Burnt offerings in China & the cult of globalized consumption. W. Scheppe (Ed.). Cologne: Walther König.

This research has shown that people are attracted to the brand experience perhaps more than the object itself. Thus, designers must strive to create new experiences for their consumers since the aura of an experience cannot be counterfeited. Consumers can pay to have a Gucci experience without consuming Gucci garments. The runway show can be replicated but the brand experiences that include a discussion, concert, exhibition, or performance cannot be authentically replicated. Will a virtual reality Gucci experience travel to the afterlife? A consumer’s environment will become his/her sought after identity.

Bain, M. (2017, June 4). The meteoric rise of Chinese consumerism will reshape the world, and maybe even destroy it. QUARTZ. Retrieved from https://qz.com/994345/the-meteoric-rise-of-chinese-consumerism-will-reshape-the-world-and-maybe-even-destroy-it/ Banta, A. (2017, November 10). Why Chinese consumers opt for luxury goods over travel experiences. Luxury Society. Retrieved from https:// www.luxurysociety.com/en/articles/2017/11/do-consumers-prefer-luxury-goods-or-travel-experiences/ Baudrillard, J. (1968). The system of objects. Paris, France: Editions Gallimard. Beam, C. (November 6). One man, 1.7 million square meters. New Republic. Retrieved from https://newrepublic.com/article/115463/worlds-largest-building-area-chinas-new-century-global-center Craciun, M. (2013). Material culture and authenticity: Fake branded fashion in Europe. London, UK: Bloomsbury Academic. Crewe, L. (2017). The geographies of fashion: Consumption, space, and value. London, UK: Bloomsbury Press. Cheung, A. (2017, February 12). How to reach the elusive Chinese millennial? [interview with Amed, I.] The Business of Fashion. Retrieved from https:// www.youtube.com/watch?v=lOuRlamvjpo and https://www.businessoffashion.com/articles/voices-video/angelica-cheung-how-to-reach-the-elusive-chinese-millennial-consumer Debord, G. (1967/1994). Society of the spectacle. (D. Nocholson-Smith, Trans.). London: Zone Books. Douglas, M. & Isherwood, B. (1979). The world of goods: Towards an anthropology of consumption. London: Allen Lane. Foucault, M. (1988). Technologies of the self: A seminar with Michel Foucault (1st ed.). L. H. Martin & H. Gutman (Eds.). Boston, MA: University of Massachusetts Press. Fernandes, C. (2014, December 7). The history of knockoffs in China. Conquer China. Retrieved from http://www.conquer-china.com/land-knockoffs-can-china-innovate/ Gruendl, H. & EOOS. (2007). The death of fashion: The passage rite of fashion in the show window. New York, NY: Springer Vienna Architecture.

Larousse. (2018). Paris, France: Larousse Incorporated. Retrieved from www. larousse.fr Lin, G. (2016, April 28). Dead serious: Gucci warns afterlife paper offering shops over copyright. Hong Kong Free Press. Retrieved from https://www. hongkongfp.com/2016/04/28/dead-serious-gucci-warns-afterlife-offering-shops-over-copyright/ The Merriam-Webster Dictionary New Edition. (2016). Springfield, MA: Merriam-Webster Incorporated. Pasha-Robinson, L. (2018, January 23). China bans hip-hop culture and tattoos from all media sources. Independent. Retrieved from http://www. independent.co.uk/news/world/asia/china-hip-hop-ban-tattoos-media-tvnewspapers-radio-film-a8174501.html Rearick, L. (2018, January 24). China bans hip-hop culture, tattoos from television. Teen Vogue. Retrieved from https://www.teenvogue.com/story/chinabans-hip-hop-culture-tattoos-tv Simmel, G. (1957). Fashion. The American Journal of Sociology, 62(6), 541558. Simpson, C. (2017, September 28). Luxury back in Vogue as China’s middle class women lead the way. The Business of Fashion. Retrieved from https:// www.businessoffashion.com/articles/news-analysis/luxury-back-in-vogueas-chinas-middle-class-women-lead-the-way Tsui, C. (2016, September 1). Top fashion schools in China: Pushing forward despite philosophical divide. The Business of Fashion. Retrieved from https://www.businessoffashion.com/articles/education/top-fashion-schoolsin-china-2 Van Bogaert, P., Zoeteman, M., & Coppens, C. (Eds.). (2017). Eternal erasure—on fashion matters. Berlin: Sternberg Press. Wang, X. (2015). Inauthentic authenticity: Semiotic design and globalization in the margins of China. Semiotica, 203, 227-248. Wu, J. (2009). Chinese fashion: From Mao to now. Oxford, UK: Berg Publishers. Zhen, L. (2017, September 21). Fame academy, the Chinese college offering classes in how to become an internet celebrity. South China Morning Post. Retrieved from http://www.scmp.com/news/china/society/article/2112252/ fame-academy-chinese-college-offering-classes-how-become-internet

author’s bio

Marie Geneviève Cyr is an Assistant Professor in the BFA Fashion Design program at Parsons School of Design. She has an MA in Visual Culture/Fashion Theory from New York University, a BA in Design and Applied Arts from the Edinburgh College of Art and a degree in Fashion Design from the College Marie-Victorin. Marie Genevieve Cyr was nominated in 2009, for a Genie Award by the Academy of Canadian Cinema and Television for “Best Costume Design” for the feature film Who is KK Downey? Her work has been exhibited internationally, and focused on sculptural forms that examine emotions, history, and materiality. As an educator, Marie Geneviève values the importance of developing research methods that drive innovative cross-disciplinary design practice. Her research explores the intersections between national, rural and urban identities, examining the politics of abstract desire, hyper-realistic landscape, and the notion of fantasy.