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take over from the other parts of the brand—the much maligned logo, the carefully crafted copy—becoming the branding itself” [Pictured, p63]. The identity connected with a fashion brand—which, as noted, is the essence of their product—is created through the art-qualities of their imagery. Similar to gallery art, the goal of the images is to create emotion and identification, using similar skills and tools as gallery art. Kellie French at Ogilvy & Mather London comments, “The idea that advertising could only be driven by persuasive language and logic went out decades ago, when people became less inclined to read lengthy copy… The idea that the ‘art’ of an ad could deliver the idea has taken hold” [Pictured, p63]. This ‘art’ is an image creation that shares a select set of goals of gallery art—to agitate the observer creating emotion and identification—while neglecting other motives, such as education and confrontation.

 

In W magazine, there is a consistent attempt to associate the artistic fashion realm with gallery art as part of their pursuit to be seen as what Naomi Klein calls “not just as advertising art but simply as art” [Klein, p43].

 

The September issue of W presents a “portfolio” of Kate Moss with works by Chuck Close, Lucien Freud, and Takeshi Murakami (Fig.1). The first pages of the 30 page spread are given

 

to these artists as if in a gallery walk. Then the works of advertising photographers begin to appear: audacious sexy pictures of the model. Now we can read the name of the clothing and its price, reminding us that we are inside a magazine. What is to be gained by this association with gallery art?

 

In part, it fits the demographic of the elite crowd they market to, but as well, it pursues what Naomi Klein refers to: an image based identity that exists in the minds of the viewers outside of any connection to the advertising economics, on a spiritual plane… not just “advertising art”, but simply “art.” This “art” is used to create an image identity that resonates with the viewer. Considering a set of ads from Gucci and Prada we have an immediate feel for the sort of identity offered (Fig.2). Gucci presents a series of images of impossibly large babies held by stylishly reckless, slightly androgynous/ inhuman seeming characters. The identity portrayed is reckless, decadent, an image of an individual free of the cares of motherhood—perhaps free of any human morality cares at all.

 

The Prada images (selected from 1997 and 2003) present a woman in an open-narrative context. There is a tension between what’s within focus and what’s out of focus—what’s within frame and what out of frame. There is the implication of an ongoing situation. The context is ambiguous, but present, and there is a definite emotive quality of vulnerability and isolation… lost. We can imagine these images, and their subtle emotive qualities based in their artistic expression, finding their target psyches. The characters presented are unreal, f本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。