1. Fashion At The Edge: Spectacle, Modernity and Deathliness by Caroline Evans Ch. 3 Spectacle Fashion History and Culture Tuesday 2 October 2012

2. Shadows (Ch. 2 Haunting) Viktor & Rolf A/W 2001-2: Last night I was in the Kindom of Shadows. If only you knew how strange it is to be there. It is a world without sound, without colour. Everything there – the earth, the trees, the people, the water and the air – is dipped in monotonous grey. Grey rays of sun across the grey sky, grey eyes in grey faces, and the leaves of the trees are ashen grey. It is no life but its shadow, it is not motion but its soundless spectre. -- Maxim Gorky quoted in Noel Burch, Life to Those Shadows, trans. Ben Brewster, British Film Institute, London, 1990: 23. Evans, 43.

3. The Dream Worlds, consumption and culture in Paris, Evans, 67.  Rosalind H. Williams: Dream Worlds: Mass Consumption in Late Nineteenth-Century France

4. People said, fuck it, we’re going to have a show, … and, of course, the first person … was Alexander McQueen, Evans, 70. Below McQueen S/S 1999.  http://www.youtube.com/watch?v=5bCShCcD3N0 http://www.youtube.com/watch?v=5bCShCcD3N0

5. The fashion show as principle marketing device.  Haute couture was the loss leading publicity machine that generated buzz to sell perfume, cosmetics, bags and to a lesser extent cheaper diffusion apparel lines, Evans 73.

6. Debord + Marx: Radically Changed  “Debord’s descriptions were rooted in a Marxist critique of the commodity form as economic object; the overarching transformations of the 1990s (globalization, new technology and new communications) radically altered its form. As electronic media and global markets developed, and service industries replaced older forms of industrial production, information became a valuable commodity in its own right, Daniel Bell, 1988. Thomas Richards suggests that the days of spectacle are numbered, and that ‘it may turn out that the semiotics of spectacle played a transitional role in capitalist mythology,’” Richards, 258. Evans, 74.  ***This has tremendous implications for fashion media generally and fashion advertising, branding, copywriting and public relations specifically.***

7. The Flipped Classroom Question  What did Iain Chambers mean when he described fashion as a rootless world in which we experience “semiotic blur”? Evans, 76.

8. Other pages to look at: 78, 79, 81, 85.