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Communicating a certain lifestyle to acquaintances

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Communicating a certain lifestyle to acquaintances

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Mandy Barker is an award winning British photographic artist whose work involving marine plastic debris has received global recognition. Her work has been exhibited, published and collected worldwide.

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Mandy Barker is an award winning British photographic artist whose work involving marine plastic debris has received global recognition. Her work has been exhibited, published and collected worldwide.

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Further reading on fashion under Corona Virus

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Further reading on fashion under Corona Virus

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Givenchy Haute Couture Spring/Summer 2020 | Source: INDIGITAL.TV

By Chantal Fernandez March 27, 2020 18:20

PARIS, France - With no clear end in sight to the quarantine measures now in place in response to the coronavirus pandemic, the industry's summer fashion weeks in Paris, Milan and London have been cancelled or postponed.

The Board of Directors of the Fédération de la haute couture et de la Mode announced Friday that Paris men's fashion week, previously set to take place from June 23 to June 28, and Haute Couture Week, once scheduled from July 5 to July 9, will not take place.

"The Federation is actively working with its members on possible alternatives," the group said in a statement released Friday.

The Camera Nazionale della Moda Italiana announced simultaneously that men's fashion week in Milan, scheduled from June 19 to June 23 just before Paris, will be postponed and merged with the city's womenswear week in September 2020.

The Italian organisation said in a statement that it is working on digital alternatives to the runway shows set to take place during the originally scheduled men's fashion week so that the buying season can remain on schedule.

"We are aware that great efforts will be made in order to have the new collections ready by June to start an innovative selling campaign," the statement read. "The 800 Milan showrooms will have an active part in this new storytelling."

Similarly, the British Fashion Council said the men's shows in London scheduled for June will not happen, and that the organisation "is looking at new ways to digitalise their fashion showcase platforms." And in New York, the Council for Fashion Designers of America cancelled the resort 2021 schedule and urged designers not to present collections.

The cancellations came the same day France extended its national lockdown until April 15, as Covid-19 death rates hit a record in the country on Thursday, and Italy reported its single biggest spike in deaths on Friday.

The Paris men's and couture weeks are the furthest out fashion events that have been cancelled thus far. In recent weeks, brands and city organisations have opted to indefinitely postpone cruise shows set to take place across the world, as well as the Metropolitan Museum's Met Gala in early May and the CFDA Awards scheduled for early June. Moscow's Mercedes-Benz Fashion Week Russia, originally set to start next week, was also derailed and some events will be livestream in April and May instead.

"It's too early to say exactly what will happen.... It depends on a number of factors," Pascal Morand, Executive President of the Fédération Française de la Couture, told BoF, adding that brands will perhaps not produce as many collections this year.

Morand said he and his team are in close contact with the federation's members, addressing concerns from smaller businesses in need of government aid. He stressed the need for innovative alternatives to present collections that go beyond virtual showrooms or other digital tools: "We have to be positive and proactive and to work."

The fashion week cancellations will have significant implications for brands, which will need to figure out how to approach marketing new collections and, most importantly, selling them to retailers. For Shanghai Fashion Week, which was held this past week, designers live streamed collection presentations from their studios. Some may choose to stage audience-free runway shows, as Giorgio Armani did this past Milan Fashion Week. Digital showrooms like Nuorder, Joor and Ordre, which allow buyers to view and order clothes virtually, will certainly play a larger role. (Their engagement and usage was up significantly during the Paris and Milan women's shows, which took place just as the outbreak began in Europe.)

This is assuming that there will be buyers to buy things. As retailers across the US and Europe have been forced to shut down their physical stores with no indication of when they may be able to reopen, many have cancelled Pre-Fall orders, with plans to significantly reduce orders for fall and winter. (One brand told BoF that a major US contemporary online retailer was already planning to reduce its fall order by 30 percent.)

Couture is another matter. While not as significant of a revenue driver as accessories or beauty, it is an important part of the luxury goods business model. Couture relies on high-net-worth clients, who attend the shows and often place orders soon after. By the first week in July, when couture takes place, it might be possible to travel to certain countries to do one-on-one appointments with customers, who often spend well over $100,000 for one garment. If China has returned to normal by then, there may be an opportunity to host an event there or elsewhere in Asia, or to conduct appointments via Zoom or another video streaming platform. Regardless, it's going to be complicated, and difficult, to make couture work this season.
Related Articles: Coronavirus Live Blog: E-commerce Under Threat, Luxury Faces Huge Losses No Company Will Survive Coronavirus Alone Does the Fashion Industry Need to Travel as Much as It Does?

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London and Paris Men's and Couture Fashion Weeks Cancelled, Milan Men's Week Postponed

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Givenchy Haute Couture Spring/Summer 2020 | Source: INDIGITAL.TV By Chantal Fernandez March 27, 2020 18:20 PARIS, France - With no clear end in sight to the quarantine measures now in place in response to the coronavirus pandemic, the industry's summer fashion weeks in Paris, Milan and London have been cancelled or postponed.

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Further Reading on fashion under Corona Virus:  Will the fashion show fundamentally change following Covid 19?

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Further Reading on fashion under Corona Virus:  Will the fashion show fundamentally change following Covid 19?

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As the upcoming Paris men's and haute couture fashion weeks are cancelled, British Vogue 's fashion critic, Anders Christian Madsen, considers what the future holds for the fashion show.

When the coronavirus pandemic caused a year-long postponement of the Olympics this week, the fashion calendar's inevitable question mark mushroomed in size. Three days later, the board of directors of the Fédération de la haute couture et de la Mode announced that Paris Fashion Week Menswear, which was scheduled to take place from 23 to 28 June, and Paris Haute Couture Fashion Week, set for 5 to 9 July, will not go ahead. Alternatives are in the works as, for all intents and finances, the shows must go on. But how? The answer will shape the future of fashion's hamster wheel.

Read more: Prada, LVMH And Kering Are Producing Masks And Medical Equipment To Combat The Coronavirus

The circle of life fed by the fashion weeks can largely be divided into four groups: the brands, the production, the buyers and the press. As a journalist, I understand the implications of the latter - and will address it later in this piece - but what would a reimagined fashion week mean to my colleagues in the other three sectors? (If, indeed, there will be any collections to show following production suspensions, financial losses and every other consequence of the coronavirus.)

As one of the most powerful brands in the world, Giorgio Armani was the first designer to rethink his show as pandemic alerts went off at the end of Milan Fashion Week in February. With premonitory responsibility, he asked guests not to attend the show and instead watch it on a livestream. If the industry is forced to reinvent forthcoming fashion weeks, Armani's format is an easily imaginable solution, as is the idea of sleekly produced fashion films to showcase the collections.

"It could work as a transitional phase before going back to live shows," Michel Gaubert tells me. The industry's foremost soundtrack designer for the likes of Chanel, Dior and Valentino, Gaubert knows the mechanics of show production in all its shapes and forms. "Films meant to replace shows can be very inspirational and strong, but their impact is not the same as seeing clothes worn on a runway, big or small," he asserts. I agree. Just this season, reviewing the Chanel show, I was astounded at how my jaunty, real-life impression of the clothes differed from the more restrained feeling I got from the pictures afterwards.

Clothes are more or less born soulless. It's their theatrical frame and movement that activate them; imbue them with character and meaning. Could a livestream capture those things? "I can enjoy the experience through the models, the styling, the set, music and camera work, but it seems far away," Gaubert says. "What works live does not always work on video." Impact aside, is a fashion month of live streamed shows even feasible from a production perspective? "It will require a lot of planning and I do not think that brands are ready to do full-on fashion shows for streaming only. Casting will be a logistical nightmare; how to get 20 models together, how to do everything locally?" Gaubert points out.

Read more: How London's Designers Are Staying Cheerful During The Coronavirus Outbreak

He lists the pre-collection videos Steven Meisel used to shoot for Balenciaga under Nicolas Ghesquière, and recent Chanel videos by Inez and Vinoodh, Karim Sadli and Sofia Coppola commissioned by Virginie Viard to complement her collection, as good examples of how to execute runway alternatives. "I believe the shows could be some kind of enhanced photoshoot with less clothes and less models." From a press point of view, the format would create the narrative needed to give the garments life. Replacing previews and backstage interview sessions with designer phone calls could be temporarily appealing. But, as Gaubert notes: "It would be difficult for buyers to gauge fabrics and wearability. I sometimes order from line sheets and it is very difficult if you haven't seen the clothes in real life."

Consider how often we all return online shopping for that very reason, and you need only apply the scenario to wholesale in order to understand the major issues involved in the lack of physical buyer presence. Natalie Kingham, the fashion and buying director of MatchesFashion, explains the complications: "It's important to be flexible and innovative. If shows were live streamed, I would try," she tells me. "But buying purely from line sheets is challenging, never seeing the fabric and fit. So much of fashion weeks is about relationships and conversations, and a community that encourages creativity and informs buyers on sometimes a daily - even hourly - basis on what you wish to buy and how to enhance your customer's lifestyle."

It's a point I've often found myself making in defence of fashion weeks, which can feel - and surely look like - a never-ending circus. Since I began covering the shows some 10 years ago, the sustainability of the fashion calendar - with its ready-to-wear, menswear, haute couture and cruise collections - has been continuously questioned. I've occasionally moaned a bit myself, but I am probably one of the few people who genuinely loves attending two to three hundred shows a year (no, really), not least for the crucial point that Kingham makes: "I spend much of fashion weeks observing the industry leaders and what they wear and what they are feeling. This is so important to doing a good job," she tells me. "Everything could and should be tried, however, we should not underestimate how beneficial fashion weeks are to the industry."

The shows, of course, also feed a photosynthesis of surrounding micro-industries. Street style photography, for one, has become big business, just like influencers partly depend on the platform it offers in order to survive. More than anyone, this goes for the countless self-employed freelancers, who make the shows happen and are now in danger of losing their livelihoods: from stylists to producers to writers, and their agents. If the last two weeks of isolation have taught us that many meetings could have been an email, the giant industry conference that is Fashion Week is impossible to condense into a Zoom call. Yet, we're faced with a crisis that has to be solved rather than lamented. "Designers always innovate in difficult times and if we all collaborate we can come up with new creative solutions," as Kingham says.

As we prepare to rethink the shows, starting with the men's weeks due in June, what strikes me as the most important objective is that we include every existing sector of the fashion week machine in the solution. While the role of the buyer is a given, the industry has to sustain its producers, casting agents, sound experts, models, stylists, hair and make-up professionals and photographers. The press, who are here to document - and give meaning to - a fast-paced history of fashion collections that would otherwise blur in recollection, is invaluable. And attention must be given to the medium-sized, small and emerging brands, who won't have the capacity to livestream or shoot moving image like the giants. In the process, perhaps we'll shape a more sustainable industry, both in terms of organisation and environment.

Read more: Edward Enninful's Top 10: British Vogue Covers Of All Time

"Good things are going to come out of this crisis, and yes, it will be a wake-up call," Gaubert says. "The too-much-is-never-enough era has come to an end, but it does not mean it is the end of the fashion show. They will be more considered and maybe less flamboyant. They will have more soul to them, for sure, as there will be less smoke and mirrors. There have been some great shows already that are more restrained, like Valentino couture at the Hôtel Salomon de Rothschild, or Marc Jacobs at the Armory," he continues, referring to shows that use existing spaces without building epic sets within them. "Fashion strives on renewing itself and it will. Fashion is also very social. Putting fashion shows in confinement would destroy it."

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Will Coronavirus Fundamentally Change The Fashion Show Model Forever?

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As the upcoming Paris men's and haute couture fashion weeks are cancelled, British Vogue 's fashion critic, Anders Christian Madsen, considers what the future holds for the fashion show. When the coronavirus pandemic caused a year-long postponement of the Olympics this week, the fashion calendar's inevitable question mark mushroomed in size.

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How is Corona virus hitting the fashion industry?

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How is Corona virus hitting the fashion industry?

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Despite already seeing significant effects, the fashion industry has yet to feel the brunt of the repercussions - financial and otherwise - caused by the global outbreak of COVID-19.

The arrival of coronavirus in Italy on 21 February coincided directly with Milan Fashion Week, which ran from the 18th to the 24th, causing some attendees to cancel their trips and head home early, while some designers - including, notably, Giorgio Armani - cancelled their runway shows. Panic followed the showgoers to Paris, where more presentations were cancelled, more impromptu return flights were booked, and more face masks were worn - including one that was custom-designed for the fall '20 Chanel show. It's no wonder that returning American fashion editors were advised to self-quarantine for two weeks - even if not all of them listened.

Now, New York City - aka the fashion epicentre of America - is in a declared state of emergency. This means that local fashion houses (as well as fashion media companies, PR agencies, and more) have declared a work-from-home policy for their employees. Beyond that, shoots are being postponed; press previews, dinners, and work-related travel cancelled. The Copenhagen Fashion Summit will be pushed until October, while H&M's Global Change Award Gala was called off altogether.

Inconvenient and financially damaging as all those things are, though, the real economic impact of coronavirus has yet to be seen - but it is coming. Luxury buying and selling is a predominately in-person exchange, so when tons of buyers cancelled their plans to travel during Paris market week - the week when designers and buyers meet at tradeshows and showrooms to buy and sell their upcoming collections - brands had to get creative, and fast. Many ended up going digital in their selling approach, either sending PDFs or using online ordering platforms like Joor. But, while some labels may have had success using online-selling portals, the outbreak will likely leave a hefty dent on this year's sales.

"Buyers need to be able to see the quality, fit, and fabrications of the garments in real life, by trying them on or seeing them on a model," says the designer behind the brand abacaxi Sheena Sood. Shood was in Paris to show her latest collection during market week. "The trade shows were emptier than usual," she says. While her brand and most of the other designers showing were able to keep their scheduled appointments, Sood says that it was difficult to make new contacts."Typically designers show at Paris market to meet new contacts every season, but many of the international buyers cancelled their trips. It also appears as though even some buyers who did attend New York and Paris markets aren't placing orders this season because of how badly coronavirus has already affected the traffic at their stores (particularly in Asia)." According to Kaelyn Davis, the VP of luxury hat brand Eric Javits, overall traffic at Premiere Classe, a popular trade show for accessories in Paris, was down by over 75%. "We especially saw a decline in the brand's Asian clientele as a result of coronavirus."

The stock market's current nose-dive isn't helping things either. According to , the week of 28th February 2020 was one of the worst the American market has experienced since the 2008 recession. Globally, the London and Paris markets both saw significant declines, as well. Publicly traded fashion brands like Burberry, Hermès, Revolve, and Lululemon Athletica all saw dramatic dips in stock price, the most substantial being Revolve's and Lululemon's, which both dropped by 4.4%.

The fashion landscape isn't only made up of large, publicly owned companies and brands, though. And while they will undoubtedly feel the weight of the COVID-19 outbreak, between their high margins and overwhelming customer loyalty, it's likely that they will find themselves back in the green once the virus has run its course. According to The Wall Street Journal, larger companies are better equipped to deal with the consequences of coronavirus than smaller ones, many of which don't necessarily share the same optimistic future.

"This season, buyers were really careful about appointments - we had more than half of our Paris appointments cancel - something we could have never prepared for," says Sabrina Reales of Petricor, the sales showroom which represents indie brands like KkCo, Alfeya Valrina, SVNR, Dauphinette, and more. "Without that in-person experience, we're reliant on the digital space to support sales. While that is becoming increasingly more prevalent, [those platforms are] still limiting."

Direct-to-consumer sales are also starting to suffer. "Everything was fine until last Friday, but then we saw a big downturn," Pauline Montupet says of her San Francisco multi-brand concept store Le Point. "The weekend is when we get most of our foot traffic and it was really, really slow. Everyone's being told to stay inside and avoid large groups, which despite being a small store, is hindering people from coming into Le Point, too." Small businesses also have internal logistics to think about, like their employees, incoming orders, and bills. "We already have a really lean staff and I don't want to let anyone go, so I'm just trying to figure out how long we can manage with minimal impact if this is going to continue for a long time," Montupet explains.

For Hong Kong-based designers Phyllis Chan and Suzzie Chung, COVID-19 is hitting hard. Chan and Chung's brand Yan Yan is made entirely in China, the original epicentre for coronavirus. "We try to manufacture based on demand, so the lockdown has delayed our restock by a few weeks, thus affecting our normal ability to supply to demand," Chung says. "But the health and safety of our factory workers is really important to us, so we don't want to rush the process of everyone getting back to work." The duo worries that because of where their products are manufactured and the unfamiliar nature of coronavirus, that customers will be less likely to purchase from the brand. "As a health and safety requirement by the Chinese government, all our factory workers have their temperature monitored daily and wear masks all day at work. As an extra precaution, everyone in our Hong Kong office wears masks, we sanitize our shoes before entering the office, and take special care to wash our hands before handling product and packages," Chan explains.

Fashion brands in Italy and China have begun closing their physical stores as governments in both countries advise residents to avoid public spaces and unnecessary contact with others. Italian Prime Minister Giuseppe Conte went as far as to forbid people from gathering in public, according to . Capri Holdings, which owns Michael Kors, Versace, and Jimmy Choo, has already closed 150 store locations in China, and in turn, predicted a $100 million decrease in revenue for next quarter.

With Chinese workers being advised to stay home, many factories are struggling, which will be especially detrimental to the industry given how much fashion merchandise is produced there. According to Statista, China accounted for nearly 38% of the world's textile exports in 2018. Now that workers are no longer physically allowed to go to work, though, production has effectively stopped, meaning that all of the brands, in China or otherwise, that rely on Chinese factories to produce their merchandise won't be receiving their orders on time or at all. The CEO of Hildun Corporation and the chairman of Interluxe Gary A. Wassner told that companies selling "private labels," or brands that are sold specifically to one store, are especially vulnerable. Time also consulted Margaret Bishop, an expert in apparel and textile supply chains, who is quoted saying that fast fashion companies are likely to take a major hit as well due to their quick turnarounds.

In an interview with , Confindustria Moda president Claudio Marenzi explained what he predicts the overall effects will be on the industry. "It's going to be a tough year," he said. "I think that the slowdown of this moment will also affect the first semester of 2021. The spring 2020 season will be the most dramatically hit by the crisis, we will see negative repercussions also on the fall 2020 season, and unfortunately, I think that the spring 2021 season will be also affected." The virus could very well be quelled by then, but Marenzi presumes that since stores will be full of unsold goods from 2020, sales for 2021 will continue to be affected. "To sum up, this crisis will have a negative impact on our industry until June 2021."

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Coronavirus Will Have Long-Term Effects On The Fashion Industry

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Despite already seeing significant effects, the fashion industry has yet to feel the brunt of the repercussions - financial and otherwise - caused by the global outbreak of COVID-19.

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Watch this documentary which explores the art world of the 21st century and examines the place of art in our money-driven, consumer-based society.  A perfect illustration of Marx's ideas of commodity fetishism.

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Documentary that explores the labyrinthine art world of the 21st century and examines both the place of art and artistic passion in our money-driven, consumer-based society.

Documentary that explores the labyrinthine art world of the 21st century and examines both the place of art and artistic passion in our money-driven, consumer-based society.

Featuring collectors, dealers, auctioneers and a rich range of artists, from current market darlings Jeff Koons, Gerhard Richter and Njideka Akunyili Crosby to one-time art star Larry Poons, the film exposes deep contradictions as it holds a mirror up to the values of the modern era, coaxing out the dynamics at play in pricing the priceless.

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Documentary that explores the labyrinthine art world of the 21st century and examines both the place of art and artistic passion in our money-driven, consumer-based society. Documentary that explores the labyrinthine art world of the 21st century and examines both the place of art and artistic passion in our money-driven, consumer-based society.

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And a different perspective... almost twenty years ago artist Michael Landy decided to destroy all his possessions. 

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And a different perspective... almost twenty years ago artist Michael Landy decided to destroy all his possessions. 

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Michael Landy did this in 2001 but today –  with the prevalence of videos such as the one above - it seems more relevant to your consumer driven society than ever.  What do you think?

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One day in the '90s the British artist Michael Landy came up with a radical concept for an artwork: he decided to destroy every single one of his possessions in public. The idea was simple. But executing it proved surprisingly complex. So, in order to make it happen, he teamed up with Artangel, the non-profit arts organisation, which specialises in realising extraordinary one-off projects with contemporary artists, and set to work.

Three years later, in 2001, having compiled an exhaustive inventory of his belongings that ran to 7,227 items, he found himself standing in an empty shop in Oxford Street in central London. Before him, in yellow trays placed upon a conveyor belt, were the belongings that he had amassed over his 37 years, destined for landfill.

When they had finished, the artist owned nothing at all, apart from the blue boiler suit he was wearing

During the course of two weeks, every single one - clothes, love letters, artworks, his Saab 900 Turbo car, even his father's sheepskin coat - was stripped, shredded, crushed, dismantled, or otherwise destroyed by Landy and his team of 12 assistants, while listening to David Bowie and Joy Division. When they had finished, the artist owned nothing at all, apart from the blue boiler suit he had been wearing throughout. He called the project Break Down.

"It was the happiest two weeks of my life," Landy told me recently, speaking shortly after the opening of Out of Order, his raucous mid-career retrospective at the Museum Tinguely in Basel, which features ample documentation of Break Down. "At moments, admittedly, I felt like I was witnessing my own death, because people I hadn't seen for years would turn up, and I thought, 'Well, they'd only turn up for my funeral.' But often I did feel real elation. No one had ever destroyed all their worldly belongings before."
Dying of consumption
Fifteen years on, Break Down - which remains Landy's best-known work - is considered a provocative masterpiece of recent British art. Moreover, because consumerism in the West has only accelerated since 2001 - witness, for instance, the rise of YouTube vloggers such as Zoella who devote entire videos to rummaging through shopping bags in order to celebrate high-street 'hauls' - it has also come to seem remarkably prescient.

"We see artworks through the prism of our current concerns," explains James Lingwood, who commissioned Break Down, and has just celebrated 25 brilliant years as co-director of Artangel. "The insistent pressures on people to consume have become more and more present in our culture, and there is an increasing feeling of discomfort about how alienating these pressures can be. Michael, through Break Down, put his finger on a deeply troubling part of our contemporary condition."

Break Down was a kind of bonfire of the vanities for the 21st Century

At the time, though, the reaction to Break Down was ambivalent. It was staged in a former branch of the Dutch fashion chain C&A (the same building now houses a branch of low-cost clothing retailer Primark). "That was the perfect place for it," Landy says, "because it wasn't set in an art gallery but a place where people go to consume." Moreover, because it took place on Oxford Street, the "mecca of consumerism" in Britain, as Lingwood puts it, people wandered in unaware that they were about to encounter contemporary art. At first, they assumed that they had entered some kind of sale. According to Landy, one or two "little old ladies" even brought back clothes that they had bought in C&A's closing-down sale. But as observers watched Landy's possessions going past on mechanised rollers, and saw all the stuff being smashed up, they were, says Lingwood, "deeply unsettled - and sometimes appalled".

Why appalled? "Well," he replies, "it's not very difficult, for many people, to witness the destruction of household objects such as crockery. But to see the destruction of personal mementoes, letters, photographs, works of art - that is deeply disturbing."
Smashing effort
As a result, even when the venue contained thousands of visitors, the mood was often sombre, as people began to think about their own relationships with possessions and objects. On one level, Break Down was a kind of bonfire of the vanities for the 21st Century, excoriating the waste and excess of the West. "In a sense, the message was: where are we heading?" Landy explains. "The more stuff people have, the more successful we perceive them to be - but if we all end up with 7,227 things, then we won't have a planet."

There was something exhilarating about seeing somebody liberating themselves from the tyranny of ownership - James Lingwood

In addition, Break Down functioned as a contemporary memento mori: all of us, to differing degrees, use possessions to construct our identities and project ourselves to others - yet here was a man wilfully obliterating his material existence to the point of total annihilation.

At the same time, says Lingwood, "There was something exhilarating about seeing somebody liberating themselves from the tyranny of ownership. The work pointed in two directions - and perhaps that's where its genius lay."

Indeed, Lingwood believes that Break Down wasn't "simply a frontal attack on consumerism, but something a bit more complex - about the relationship between who we are and what we possess and desire. Of course, Break Down was about Western society's obsession with stuff and ownership. But it was also about a more existential question, which was: who am I?"

Landy, himself, says that Break Down was partly a self-portrait: the title even played on the idea of the artist experiencing a midlife crisis. The inventory that he prepared for it, which assigned catalogue numbers to each of his possessions, and took more than a year to compile, is currently on display in the form of a gigantic list on a wall in the Museum Tinguely. Landy was adamant that he had to include "everything I owned - even bits of mouldy plastic that had fallen off the VCR". Accordingly, his index includes tedious tallies of mundane objects including matchboxes, wire wool, toilet roll, and plastic bags.

But, here and there, intimate, and sometimes tongue-in-cheek, allusions to Landy's relationships with lovers and friends can be found. Item R3356, for instance, was a "handwritten note" to his partner, the artist Gillian Wearing, "asking her not to leave towels on [the] bathroom floor". R3409, meanwhile, was his fine-art degree thesis that the artist Abigail Lane, an ex-girlfriend, and fellow student at Goldsmiths art school in east London, "was paid £100.00 to write on his behalf".

There are also references to earlier artworks by Landy such as Market (1990), one of three major installations preceding Break Down that asked similarly searching questions about value and society. (The other two were Closing Down Sale (1992) and Scrapheap Services (1995).) Landy created Market after graduating from Goldsmiths, where he belonged to the generation, alongside Damien Hirst, that would become known as the Young British Artists. The installation took the form of temporary market stalls, cobbled together out of plastic bread crates and artificial grass, arranged in a vast, disused building in east London. Ordinarily, humdrum stalls like these would be used to sell fruit and vegetables, but Landy's "market" was eerily empty.

In Basel, recreated stalls from Market have been placed throughout the retrospective, which follows no chronological order, but instead mixes up Landy's artworks anarchically. The Market stalls "gel the disparate elements together," Landy explains, "like the rolling hills of the English countryside."
Personal effects
While planning Break Down, Landy spent a long time considering how he should destroy his possessions: "I didn't want someone just to set about it all with a baseball bat," he says, "or set the whole thing on fire, like a funeral pyre." In the end, he decided to mock up a materials reclamation facility, with "dismantling bays" and 100m of conveyor belt arranged in a figure of eight, "like a Scalextric set". That way, he says, "People could actually see what was in these little yellow trays for about 10 minutes as they travelled around the belt."

When it was all over, Landy quickly discovered that consumerism was unavoidable: "Within about five minutes," he says, "someone had given me a Paul Weller CD." He laughs. "Obviously, I didn't have a CD player to play it on."

Having things, creating things - that's partly what makes us human

But, he continues, he never promised to remove himself from society altogether, in the manner of Christian saints, such as Francis of Assisi, who renounced worldly goods. "It is a very human characteristic to possess things," Landy says. "Having things, creating things - that's partly what makes us human. Besides, Break Down was a work of art, not a way of life."

Unsurprisingly, perhaps, Landy's studio, on the ground floor of the townhouse that he shares with Wearing in Shoreditch in east London, is a minimalist space with bare whitewashed walls and a polished concrete floor. Even so, this empty room still contains a desk with speakers and a computer, a tasteful grey sofa, and a large bookshelf filled with publications about art. There is also, currently, a scale model that Landy used to plan his exhibition in Basel. "Someone looked at this," he tells me, "and said, 'For someone who destroyed everything, you've got a lot of stuff.'" He chuckles. "The truth is, it's very difficult to escape consumerism in Western society. In fact, it's almost like breathing: you can't."
Alastair Sooke is Art Critic of the Daily Telegraph.
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The man who destroyed all his belongings

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One day in the '90s the British artist Michael Landy came up with a radical concept for an artwork: he decided to destroy every single one of his possessions in public. The idea was simple. But executing it proved surprisingly complex.

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Unboxing under the lockdown... we may all feel the need for a little 'treat' but how can we explain the 'ideology' of these videos in the light of the theory and ideas you've just been reading / watching?                                                                

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Unboxing under the lockdown... we may all feel the need for a little 'treat' but how can we explain the 'ideology' of these videos in the light of the theory and ideas you've just been reading / watching?                                                                

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Watch the video, how would you explain this phenomena and is the current crisis impacting on how you think about it?
Please comment below...

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CONCLUSION.                               Consumption is an enormous topic that we can investigate in lots of different ways. What interests you about how, why and what we consume?  What have we missed out or what questions should we have asked about consumption ? Tell us below. 

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CONCLUSION.                               Consumption is an enormous topic that we can investigate in lots of different ways. What interests you about how, why and what we consume?  What have we missed out or what questions should we have asked about consumption ? Tell us below. 

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Did you read all the posts written responses and have you commented where prompted?

If you have any questions please contact Fran or Carole at:
f.carter@rave.ac.uk
or
c.evans@rave.ac.uk

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Further watching. If you want to understand Marxism, try this.

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Further watching. If you want to understand Marxism, try this.

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With consumption, comes waste.

The effect of waste on our planet has become well known in recent years, particularly the effect of plastic on our oceans and the waste created by the fashion industry.

Mandy Barker is a photographer who is dedicated to highlighting the extent of plastic waste. Have a look at her website below.

Do you think her work is helpful in raising awareness about waste?

RESEARCH: Have a look for other photographers who are dedicated to documenting the impact our over consumption has on the planet. List them in the comments below.

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Find two photos from your own Instagram or Facebook in which you are doing what is described in the article - upload them below

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Find two photos from your own Instagram or Facebook in which you are doing what is described in the article - upload them below

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How are we displaying our 'sartorial capital' now that we are in lockdown?

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How are we displaying our 'sartorial capital' now that we are in lockdown?

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Writers on fashion consumption broadly agree that we consume fashion in order to mark ourselves out as either part of a group or to differentiate ourselves from others.  Fashion theorist Carol Tulloch explains fashion consumption as 'the construction of self through the assemblage of garments, accessories and beauty regimes that may, or may not, be 'in fashion' at the time of use'.

She describes our fashion consumption as 'an aspect of autobiography of oneself through the clothing choices and individual makes' (Tulloch 2010, p274)

But what happens to the construction of self identity when we are in lockdown?  Read the article below, what does it say and what do you think? Comment below

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A few weeks ago, London-based lawyer Samantha Hewitt decided to refresh her office wardrobe, going online to buy new suits and dresses.

Then the coronavirus lockdown hit and suddenly much of Britain was forced to become a nation of home workers.

Ms Hewitt immediately sent her sober corporate gear back, and spent £100 on comfy loungewear instead.

Now the erstwhile smart dresser admits she is pretty much living in casual clothes suitable for relaxing at home, be it hoodies, joggers or pyjamas.

"I've found myself saying to my housemates if I'm going for a walk, 'oh it doesn't matter, does it? It's lockdown.'

"Usually, I'd be quite sensitive about going out without my make-up done and wearing normal clothes, even if it's just jeans and a t-shirt. Now it is some variation of a jumper and loungewear bottoms," she says.

The 26-year-old is not the only one making the swap.

Since the lockdown a month ago, online demand for loungewear - defined as a hybrid between pyjamas and tracksuits - has soared 322% in the UK, according to LoveTheSales.com, a shopping website that aggregates sale items from 850 retailers.

Online fashion retailer Boohoo says that sales in April are higher than a year ago.

"People aren't really buying going-out items, but they are buying homewear - hoodies, joggers, tracksuit bottoms," the firm said.

Even fashion doyenne Dame Anna Wintour has been photographed working from home in her joggers.

Though, admittedly, the editor-in-chief of US Vogue looks infinitely more chic than many of us probably do.

"If you're sat in the same room for 18 hours a day, like a lot of people will be doing, then comfort becomes quite important," says LoveTheSales co-founder Stuart McClure.

"Normally, people are up and about but now you're sort of hovering around at home even though you're working. So I think it is about that psychology of comfort and happiness."

Many retailers such as Asos and Missguided are now advertising comfort wear instead of spring dresses.

For struggling retailers, dressing down is a welcome trend, with loungewear one of the few categories currently growing. LoveTheSales says the number of discounts on this type of clothing has dropped dramatically.

This time last year, people spent just over £1bn on clothes for parties and socialising and a further £855m on gear for their holidays, according to market researcher Kantar.

"Obviously, that need has been removed from the market at the moment," says Glen Tooke, a consumer insight director at Kantar.

While he doesn't think demand for loungewear is going to offset the fact that many retailers' stores - which account for 70% of consumer spend - are shut, Mr Tooke thinks it will allow them to retain a link with their customers.

"The smaller or more niche categories should allow retailers to be engaged with their customers and to keep that buying habit going," he says.

The so-called "influencers" who frequent social media are also playing a part in the lockdown loungewear trend.

Search #loungewear on Instagram and watch it return hundreds of thousands of tagged posts, while famous names such as Kylie Jenner publish pictures of themselves in their matching tops and bottoms.

"Suddenly you can't go out and take a photo of your cool dinner or the great restaurant you're in or whatever it is," says Mr McClure. "Everything's got to be taken at home."

But now that many in Britain are adjusting to working in more relaxed attire, will it be tough to transition back to traditional work clothing? Or were we already heading that way?

Tamara Sender Ceron, senior fashion analyst at Mintel, says: "Prior to the coronavirus outbreak, we had already seen that loungewear and nightwear had benefitted from a shift towards more flexible working over the last two years."

Michael Solomon, a consumer psychologist and professor of marketing at St Joseph's University in the US, agrees. It is now common, for example, to see men not wearing ties in the office and sporting more casual suits.

He says: "What happens in a crisis like this is you already have various fissures, cracks in society that are happening and it tends to accelerate those."

While it is understandable that people put comfort over smartness when working from home, could it make us less effective?

Studies have shown that people are more likely to describe themselves as neat and strategic when wearing smart attire, and as easygoing or clumsy when dressed casually.

"I don't think it is necessary to have a full business suit on, but there is a lot to be said for the notion that we are what we wear," says Prof Solomon.

As for Ms Hewitt, part of her misses dressing up for work.

"When I've had online court hearings or a meeting with an external client and I've put on something smarter, it's quite nice to feel more human again.

"I sort of feel like I've got a bit more of a purpose I guess."

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'I returned my suits and spent £100 on joggers'

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A few weeks ago, London-based lawyer Samantha Hewitt decided to refresh her office wardrobe, going online to buy new suits and dresses. Then the coronavirus lockdown hit and suddenly much of Britain was forced to become a nation of home workers. Ms Hewitt immediately sent her sober corporate gear back, and spent £100 on comfy loungewear instead.

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Is digital photography a form of consumption?

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Is digital photography a form of consumption?

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How do we make our cultural consumption conspicuous?

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Images from Instagram by: @truth_seeker333 and @kasia_fran Neither image is by the couple mentioned in this article.

Last week I was hanging out at a natural history museum (no, not the one in London) and interviewing people about the role digital technologies played in their museum experiences; from planning their visit, to walking around the museum and sharing their experiences with others.

It was a quick and dirty bit of research, but as always, there were interesting behaviours to observe and talk to people about; especially in relation to photography. The museum actively encourages people to take pictures during their visit, so there were plenty of people engaged in capturing visual mementos.

The majority of people I interviewed, when asked how they had used digital technology during their visit, thought that they hadn't used any digital technology at all. That was until I enquired about any photos they had taken. It struck me that this photographic consumption of experiences has become a reflex action for us; a habitual, almost unconscious visual recording and sharing of our lives, designed to make our cultural consumption conspicuous. It seems to me to be the digital equivalent of that '90s trend for wearing heavily branded designer clothing to communicate a particular lifestyle.

There was one couple I interviewed whose photographic behaviour especially caught my attention. They were capturing two very different types of images as they explored the museum: photographs they appeared in, posing comically (and predictably) with their heads in the mouths of dinosaur models and looking terrified by taxidermied bears; and more cerebral shots of the architecture of the museum and whale skeletons taken from artistic looking angles.

These two types of images were a kind of social currency operating for two different audiences. The posed and 'silly' photographs were shared in the moment with a select group of close friends via Snapchat. They were about being entertaining as a means of demonstrating friendship, but also communicating to their friends that they were having fun without them. They implicitly said "We're not boring stay-at-home types. We're dynamic and spontaneous people who know how to have a good time; worthy of your friendship but also hungry for your envy." The other photographs were for a more public audience. They were to be edited post-visit in Instagram and shared there and on Facebook. These photographs were about communicating a certain lifestyle to acquaintances, the "we're museum people" and "we're cultural connoisseurs" messages deeply embedded in the more serious tone of the images they were capturing. During our discussion, they were giddy with enthusiasm for the collection on show at the museum and making the experience entertaining for themselves. The seemingly throwaway but highly choreographed 'silly photos' felt like a truer picture of their museum experience than the public image they wanted to create via Instagram and Facebook.

As we delved into the analysis of our interviews I remembered a great essay I had read a few years ago 'Pics or it didn't happen' by Jacob Silverman. It raises some great points about why we photograph 'celebrity' artefacts. Despite the fact that amateur photographs of these objects exist in their thousands, and professionally taken images are available to us at the tap of a screen or a click of a mouse, we can't help but abandon our inquisitiveness in favour or acquisitiveness. These photographs prove we were there. That we have a kind of ownership over our cultural experiences by capturing and collecting what Silverman calls these photographs: "lifestyle totems."

If you liked this article, click the👏 so other people will see it here on Medium.

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Is photography the new conspicuous consumption?

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Last week I was hanging out at a natural history museum (no, not the one in London) and interviewing people about the role digital technologies played in their museum experiences; from planning their visit, to walking around the museum and sharing their experiences with others.

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Add a photo to the Padlet (or upload one to Aula) - something you feel is an example of your own conspicuous consumption!

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The theory bit...                                                                                                     This is Thorstein Veblen1857 -1929.  We talked about him in Textual  Analysis week when we talked about trainers!  He invented the term 'conspicuous consumption'

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The theory bit...                                                                                                     This is Thorstein Veblen1857 -1929.  We talked about him in Textual  Analysis week when we talked about trainers!  He invented the term 'conspicuous consumption'

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Marx's ideas about society, economics and politics form the basis of much of contemporary thought and analysis about consumption.

Marx used the term 'commodity fetishism' to explain that under the capitalist system in which we live, once an object has been assigned a monetary value, it is 'fetishised'. This means that consumers come to believe that the object’s value appears to come from the commodity itself, rather than the human labour that has produced it.

Can you think of a specific example and explain how we might apply this idea of commodity fetishism, e.g. designer trainer collaborations. Write down your example below and explain why this might be an example of commodity fetishism.

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How and why do we consume?  And how can we take a stand against overconsumption?    READ / WATCH / WRITE 10 MINS                                                                                                                   

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How and why do we consume?  And how can we take a stand against overconsumption?    READ / WATCH / WRITE 10 MINS                                                                                                                   

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When we think about consumption we ask how what we buy and use relates to our identities, values, class, cultural background and our emotions.  The two theorists below and on the right, were writing in the nineteenth and early twentieth century but they are still important to how we think about consumption today.  

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When we think about consumption we ask how what we buy and use relates to our identities, values, class, cultural background and our emotions.  The two theorists below and on the right, were writing in the nineteenth and early twentieth century but they are still important to how we think about consumption today.  

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How are our consumption habits likely to change because of the current crisis?      READ / WRITE 5 MINS

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How are our consumption habits likely to change because of the current crisis?      READ / WRITE 5 MINS

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In what way does the way we use the word consumption today, reflect the second of these meanings? Can you comment below?:

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In what way does the way we use the word consumption today, reflect the second of these meanings? Can you comment below?:

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But it also has another meaning. This painting by Edvard Munch called The Sick Child of 1907 draws upon Munch’s memory of his sister Sophie’s death from tuberculosis at the age of fifteen.   Consumption is another word for Tuberculosis or TB.

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Inscribed 'E. Munch' b.l. and 'Edv. Munch' b.r.
Oil on canvas, 46 3/4 x 47 5/8 (118.5 x 121)
Presented by Thomas Olsen 1939
Prov: Gemäldegalerie, Dresden (purchased from the artist 1928); with Harald Holst Halvorsen, Oslo, 1938; Thomas Olsen, Oslo, 1939
Exh: Internationale Kunst Ausstellung, Dresden, June-September 1926 (244, repr.); Edvard Munch, Kunsthalle, Mannheim, November 1926-January 1927 (35, repr.) as 'Krankes Mädchen (vierte Fassung)' 1907; Nationalgalerie, Berlin, March-May 1927 (112, repr.); Nasjonalgalleriet, Oslo, June 1927 (165, repr.); Edv. Munchs tyske museumsmalerier, Halvorsen, Oslo, January 1939 (40, repr.)
Lit: Jens Thiis, Edvard Munch og hans Samtid (Oslo 1933), pp.132-8; Frederick B. Deknatel, Edvard Munch (New York 1950), pp.10, 12; Aftenposten, 1 February 1954 (evening edition); Arne Eggum, 'The Theme of Death' in exh. catalogue Edvard Munch: Symbols and Images, National Gallery, Washington, DC, 1978, pp.143-53, 180-1
Repr: Studio, CXXXI, 1946, p.176; John Rothenstein, The Tate Gallery (London 1958), p.141 in colour; Jean Selz, Edvard Munch (Naefels 1976), p.72 in colour

This is said to be the fourth of the six versions in oil of this subject. There are also three related : an of 1894 (Willoch, No.7; Schiefler, No.7); a second etching of the head alone, 1896 (Willoch, No.47; Schiefler, No.60); and a coloured lithograph , 1896 (Schiefler, No.59).

The painted versions are as follows:

1. Nasjonalgalleriet, Oslo 1885-6 (partly overpainted in the 1890s) Stated in the catalogues of the Munch retrospective exhibition at Mannheim, Berlin and Oslo in 1926-7 to be the fourth version and dated 1907. Arne Eggum writes (letter of 17 October 1977) that Munch stated in a late note that he painted two copies of 'The Sick Child' at Warnemünde in 1907, one for Dr Thiel (which would be the version now in the Thielska Galleriet) and the other for Mr Schou. However Mr Schou originally owned the version in the Konstmuseet, Gothenburg, which is signed and dated 1896. There is photographic evidence that Munch painted the version for Dr Thiel at Warnemünde in 1907, and in the same
2. Konstmuseet, Gothenburg 1896
Painted in Paris when Munch made the colour lithograph of this subject with the printer Clot.
3. Thielska Galleriet, Stockholm 1907
Commissioned by the Swedish banker Ernst Thiel in the spring of 1907 and painted at Warnemünde. On 30 June 1907 Munch wrote to Thiel 'in a few days "The Sick Child" will arrive from Nörregaard, so I can make a start'.
4. The Tate Gallery 1907

It has sometimes been suggested by past curators of the Munch Museum that the Tate's version was painted in 1916, but there seems to be no evidence for this other than a tradition that Munch painted one version of 'The Sick Child' in that year.
5. Oslo Municipal Collections, No.51 1925 or earlier
photograph it seems possible to identify the version which is now at the Tate. Thus Arne Eggum believes that Munch must either have remembered wrongly about a copy for Mr Schou in Warnemünde, or the Tate version was originally intended for him. This picture is sometimes tentatively dated 1916, because of the tradition just mentioned, but Arne Eggum believes that it may have been done later. The first definite proof of its existence is a photograph of Munch's studio at Ekely taken in 1925.
6. Oslo Municipal Collections, No.52 1927
Though this work is signed and dated 1926, the inscription was not added until after it had been exhibited at the Carnegie Institute in 1933 and seems to be incorrect. In a draft of a letter to Jens Thiis, Munch says that he painted the fifth (sic) version of 'The Sick Child' during the exhibition at the Nasjonalgalleriet, Oslo, in 1927.

The Tate's painting with its vivid green and red contrasts is bolder in colour than the earlier versions, and has larger brushstrokes.

The theme, together with that of 'Spring' of 1889 and several other paintings of later date, is said to have been inspired by the illness of Munch's elder sister Johanne Sofie, who died from tuberculosis in 1877 at the age of fifteen. The theory that 'The Sick Child' has some reference to his personal background is supported by the fact that Munch painted the earliest version not in his studio, but in the bedroom of his father's flat in Oslo, Schous Plass No.1. Munch's mother had died when the children were very small, and the woman by the bedside is Karen Bjølstad, the aunt who looked after the family in her stead.

It seems, however, that it would be rash to identify the sick child with Sofie without making reservations. The model for the child was a girl with red hair named Betzy Nielsen, who in 1885 was aged eleven. She had her eightieth birthday on 3 February 1954. On 1 February 1954 the Oslo newspaper Aftenposten (evening edition) published an interview with her in which she gave information that throws a new light on the first version of this work. Munch's father was a doctor in the east end of Oslo, and in the winter of 1885 he was called to the house of Betzy's parents, because her five-year-old brother had broken his leg. Edvard accompanied his father on this visit, and while the doctor was occupied with the patient, Edvard watched Betzy, who was sitting in a chair in the same room, broken down with grief over the pain of her small brother. Before they left, Edvard asked Betzy's mother to be allowed to paint her daughter, and was given permission to do so. She posed for 'The Sick Child' (1885-6), 'The Girl with Red Hair' (1885), 'The Girl with a Tame White Rat' (1886) and 'Spring' (1889).

Probably, therefore, the two incidents in some way fused: the sight of Betzy in her despair reminded him of the sickness and death of Sofie eight years before.

Munch himself has written at some length about 'The Sick Child' in a statement published in his booklet Livsfrisens tilblivelse (The Origin of the Frieze of Life), Oslo c.1929. His words 'When I saw the sick child for the first time - the pale head with the very red hair against the white pillow' imply again that he was 'inspired' by Betzy. Johanne Sofie seems not to have had red hair. The statement is concerned mainly with the difficulties which he experienced in retaining the first impression - 'the trembling mouth - the transparent skin - the tired eyes' -in the course of painting. He said: 'I scraped off half the background and let everything stand in masses ... I also discovered that my own eyelashes had their part in the pictorial impression. I therefore faintly indicated them as shadows across the picture. In a way, the head became the picture. Wavy-lines emerged in the picture - peripheries - with the head as centre ... I painted 3 different [versions]. They are all dissimilar and each makes its special contribution to the first impression ... In the sick child I opened for myself a new path - it was a breakthrough in my art. Most of what I have done since had its birth in this picture'. The first version of 'The Sick Child' represented in fact a new departure in his art, and estranged the majority of the critics, who until then had been favourable.

Munch was one of the artists whose works were condemned by the Nazis as ' degenerate art '. All works by him from German museums (including this picture, from the Dresden Gallery) were collected in the Schloss Schönhausen, Berlin, and sold in November 1938 to foreign dealers.

This picture also has a circular stamp on the stretcher of the 'Göteborgs Tullbehandlings Expedition', evidently a dispatching office for rolled-up bundles (tull). Munch exhibited several times in Gothenburg, notably in 1923 when he showed 28 paintings, but it has not been possible to identify which exhibition this refers to.

(This entry has been compiled with the help of Arne Brenna, Arne Eggum and Carla Lathe).

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.548-50, reproduced p.548

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'The Sick Child', Edvard Munch, 1907 | Tate

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This is a image by a photographer named Andreas Gursky from 1999, we looked at one of his images of trainers in a previous week.  He is interested in consumption and how we consume. 

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This is a image by a photographer named Andreas Gursky from 1999, we looked at one of his images of trainers in a previous week.  He is interested in consumption and how we consume. 

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What do you think this image is saying about our consumption today?

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Official website of the photographer and artist Andreas Gursky

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The act of buying and using things which is the type of consumption reflected in the Gurskey image

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What do we mean when we use the word consumption?                                                                                                                                                                                                                                                                          READ / WATCH / ANSWER / WRITE / 15 MINS

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What do we mean when we use the word consumption?                                                                                                                                                                                                                                                                          READ / WATCH / ANSWER / WRITE / 15 MINS

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This week we will ask these questions:

What do we mean when we use the word consumption?

How and why do we consume?

How are our consumption habits likely to change because of the current crisis?

What haven't we asked which we should be asking?