Chanel’s Exhibition Compared to Vermibus Essay

Two order of battles, two held during October 2012, go out form the bases of this comparative essay. Chanels look photography exhibition en styled The light wispy crown Chanels Classic Revisited held at the Saatchi Gallery 12th October 4th November 2012, and Vermibus expose of appropriated adverts called Unmasking Kate shown at the surname Arts Fair 11th -14th October 2012 will be apply to explore the links each exhibition has to the themes of publicize and celebrity.The Little Black Jacket Chanels Classic Revisited is a solemnisation of the timelessness (Saatchi, 2012) that is the Chanel tip first introduced in 1953 (Arm voiceless, 2012), which Karl Lagerfeld, the creative director for Chanel, has revamped for the ordinal century. The Chanel cover is a mans jacket which has become a typical feminine piece (Lagerfeld cited Making of- The Video, 2012), co-writer and photographer for the exhibition Lagerfeld, articulates the versatility of the garment, which is a key t heme expressed throughout the show. The exhibition consists of 113 photographs of celebrities nonplusling (Saatchi, 2012) the jacket to which the entire exhibition is a tribute to (Saatchi, 2012).In contention with the theoryion of crossroad and brand celebration the Spanish-born mechanic Vermibus presented his Unmasking Kate series at the Moniker Arts Fair, now in its third year, the fairof contemporary artists with urban rootsis an assembly united by a bank to rebel (Spence, 2012). Amongst the rebels is street artist and ex-branding photographer turned contemporary artist (lamono, 2012), Vermibus. The principle of his piddle is the appropriation of designer publicize posters found publically, as a statement against the cypher of our materialistic consumer driven hostel (Finucane, 2012).The title of Vermibus current series Unmasking Kate refers to both his method of appropriating the posters and to his pass on, namely the model Kate Moss. Vermibus argues that he uses Mos ss figure because she has been the flagship of fashion for the last 20 geezerhood (Lamono, 2012) and is therefore an easily recognizable icon of modern fashion and consumer society Kate Moss had to require thousands of masks to hide her fears she internalized those masks from the beginning and we bought them all(Lamono, 2012)Vermibus reveals his ideas about masks fueled by the advertising constancy. He promote uses Moss image to show, simultaneously, the vulnerability of the human subject and the medias solicitation of the nonion of celebrity. This theme parallels the route Andy Warhol used Marilyn Monroes image after her death ( raw Masters Andy Warhol, 2010). Likewise, the Chanel exhibition echoes around Warhol themes, yet utilise the celebrity image to celebration its brand and product schoolmasterly from the 1950s (Modern Masters Andy Warhol, 2010). The exhibitions work on Warhol themes differently either to criticize or celebrate advertising and product branding (Mod ern Masters Andy Warhol, 2010).The title of the exhibition The Little Black Jacket Chanels classic revisited uses a twist on the now clichd notion of the slight black lay out this frontingly playful reference to an item that Coco Chanel arguably make ubiquitous in 1926 (Fritz, 2012) as a uniform for all women of penchant (Crystal, 2007) carries the suggestion that the redesigning of the Chanel jacket has caused the garment to become as revolutionary and respective(a) as the little black dress and thus deserves the same universal joint appeal and fashionable credibility. This is progress reflected in the exhibitions promotional use of words such as classic (Armstrong, 2012), iconic (Saatchi, 2012) and timeless (The Exhibition adequate to(p)ing The Film, 2012), phrases often do in reference to the little black dress, transfer the item as an essential part of both a man and womans collection, in this way closely surpassing the success of the little black dress.Despite thei r difference, the most large connection in the midst of both exhibitions is the use of fashion photography. While Vermibus appropriates already publish photographic based adverts, Lagerfeld endeavours to piddle a series of fashion photographs, seemingly ready for an advertising campaigns (fig1) sans the alluring taglines and vitiateer information. However, perhaps textual matter is not necessary in conveying advertising messagesAs advertising has become so subject to the influence of photography that in some cases it is energy other than fashion photography in its pure form. (Zahm, 2003 p.267)Lagerfelds photography could, therefore, be read as adverts for the Chanel jacket. This is illustrated in the use of a shallow depth of field added to the blank studio backdrop, uniform in all of Lagerfelds shots and reminiscent of many advertising campaigns. The technique seems to boost the viewer to read the model as the main focus of the shot. The stance of the models, strictly follo wing the rule of thirds in all displayed images, seems actively styled to further accentuate the Chanel jacket as it is after all the subject of the photographic exhibition and perhaps the product to be endorsed. Looking at the images from this incline makes the work seems more sinister putting the movement viewer in the position of a consumer.Vermibus acquired advertising posters ar often comparable in style and content to those featured in the Chanel exhibition. The Vermibus technique involves the systematic removal of layers of gloss and colour from the face of the models (fig2) using solvents such as lily-white spirit in a unique painting counter-action (Open Walls Gallery, 2012) creating gestural, painterly friction marks reminiscent of Lucian Freud s naked series (fig3). This method of work directly on to the photographic image creates an involutioning juxtaposition between the flat, glossy, original photographic elements left untouched in the clothe and cop of the ad vert compargond to the textured, painterly brush marks and colours crated by the solvents lotion on the glossy flesh of the models image (Finucane, 2012).This all helps to convert the adverts flawless and sanitized iconsinto harrowing and contorted figures evocative of Francis Bacons seminal industrial plant (Finucane, 2012) (fig4). Through this treatment Vermibus is laborious to uncover the essence of the figures by dehumanizes those figures trying to find the aura of the individual, the character that was lost(Moniker Art Fair, 2012) in the domain of a function of advertisement, which seems in direct contention with the image and brand driven concept of the Chanel exhibition.No solveheless, a form of distortion is to a fault evident in the instillation part of the Chanel exhibition (fig5), large glass etched version of selected prints create intertextual connections to the work of pop artist Roy Lichtenstein (fig6) namely in the use of the pixelated bendy dots and native col ours. Through pixelating the benday dots Lagerfeld seems to marry a nostalgic past of image reproduction with modern-day digital innovations. This mirrors the merging of past and present in fashion exhibition. The link to Pop Art is further contextualised as the original Chanel jacket would micturate debuted around the time that the pop art dejection was emerging (Gersh-Nesic, 2012).Un exchangeable many Pop artists and Lagerfelds work, Vermibus eradicates branding from his work. and so returns the adverts to their original places in the advertising shelters as gifts for the passers-by (Moniker Art Fair, 2012 p.19). As he stats that private companies have taken over these spaces and what I want to do is return them to the public (Lamono, 2012). Chanels exhibition in this way to a fault stands in contrast to the notion that a luxury brand buys its way into our public spaces and it must be passively accepted as a one-way information fertilise. (Klein, 2002). This is an argument he ld and expressed within the work of Vermibus. preferably of following this traditional model of advertising which relies heavily and spend enormous amounts of money on limited single-way communication advertising (Jackson, 2009), Chanel arguably used a credible gallery to advertise under the guise of assimilation enrichment a more interactive, experiential and customised communication (Jackson, 2009, p. 273). However, Anderson (2000) argues that shows like this illustrates the approaches taken by those in the commercial sphere, who are completely unfettered by museological traditions (Anderson, 2000, p.386). However, the Saatchi gallery was set up by Charles Saatchi like many high net worth individuals who operate their collections like museums for the public (picassomio.com) thus needs not to uphold traditions of the museum and is not duty bound to provide advertisement-free exhibitions.This may seem like devious undercover advertising however visitors will construct their own co herence.which may or may not be with that of the curator(Hooper-Greenhill, 2000, p.7) thus the advertising undertones of the exhibition may be passively accepted or rejected by viewers. In this way Chanel opens the flow of communication, although, arguably even the best fashion photography is still an industry in service of industry (Zahm, 2003, p.265).Therefore, in blurring the lines between free heathenish experiences and marketing gimmicks Chanel is clearly attempting to increase their revenue, as Lagerfeld affirms I am not a commercial person but the final complement iswhen you buy the product (The population of Karl Lagerfeld, c.2010). The fact that Lagerfelds creative and corporate elements merge in the exhibition is sinisterly convenient it is undeniable that the motivations of designers to co-operate with curators in having their work displayed in museums are largely about prestige, self-promotion and pro setting (Anderson, 2000, p. 375) marring the impression of such ex hibitions as nothing more than an oblique advertising campaign.The anti-publicist (Lamono, 2012) Vermibus illustrates his distain for the advertising industry which Lagerfelds work seems to represent, the brands final stage is to remove the models individualitythe model is not a person any more but an image whose only note value is for change (Finucane, J. 2012). Vermibus ideas are reminiscent of the Situationist Internationals concepts of the spectacle (Debord, 1957-61) equally, Vermibus appropriated posters carry strong connections to their notion of detournement reusing preexistingelements in a new ensemble (Debord, 1957-61). and then Vermibus symbolic use of white sprit on adverts, can act as an allegory for reestablishing identity from the spectacle.This notion of brands taking over ones identity is also suggested in the Chanel exhibition video and with each persons personality the jacket lives through them (Chloe Moretz cited in The Exhibition Opening -The Film 2012) pre senting the consumer product as a sort of symbiotic parasite using and transposition the identity of the wearer. This relates further to Williamsons (1995) argument that people are made to identify themselves with what they consume (Williamsons 1995 p.13). People become use brands and styles to project their identity through non-verbal communication thusAdvertisements are selling us something else excessively consumer goodsin providing us with a structure in which we and those goods are interchangeable, they are selling us ourselves. (Williamson, 1995 p13)This would explain why so many of the videos produced by Chanel surrounding the Black Jacket exhibition continuously stress the versatility of the jacket You can do a lot with itit suits everyone (Carine Roitfeld cited in Making of The Video, 2012) conveying almost subliminally that people need to have this item that can fit their already established style the bohemian look, the Victorian look, the more kinda sic fun Kate Moss look (Chloe Moretz cited in The Exhibition opening -the photographic film 2012) further promoting its value and illustrating the cannibalistic nature of fashion (Zahm, 2003 p. 266), which feed into the spectacle (Debord,1957-61) by assimilate and reproducing the same items and feeling of desire within society.The Chanel exhibitions use of celebrity images differs to that a Vermibus, as it seems to reflect the wider marketing idea that using celebrity endorsements is a strong marketing plus (Jackson, 2009 p191). Along side the photographers the behind the scenes film presents testimonials from celebrities I consider it the Chanel jacket a prized possession. I feel very well-fixed (Sarah Jessica Parker cited in Making of- The Video, 2012) enticing the viewer to desire the item.Atkin (2010) contend that this is because humans are prehistorically hardwired to want to glean information about how to become lucky survivors by watching and copying the most successful in our society, i .e. the celebrities (Star Suckers, 2010). advertisers like Chanel are manipulating this evolutionary flaw to give a product which initially has no meaning .value by a personwho has a value to us (Williamson, 1995, p.31). In contrast, celebrities are utilized by Vermibus to liberate the human macrocosm from the celebrity mask evoking sympathy from the audience however, it is not clear how oftentimes the celebrity image entices the viewers prehistoric urge and interest in Vermibus work.In conclusion the two exhibitions on the surface have very different and opposing motivations. However, on inspection both band with similar themes of fashion photography, advertising and celebrity in different ways. Although it go beyond the scope of this essay compare every element of the exhibitions it has try to demonstrate that Lagerfelds approach has strong advertising undertone, while Vermibus work is anti-publicist in nature. Therefore, despite displaying work at arts fair, with the functio n of promoting and selling his work, the artist maintains his anti-establishment ethos Being at an art fair is another way to labialize from within (Lamono, 2012) which conveys the fundamental difference between the two exhibitions they both exploit the image of celebrities to draw attention to their work but while Vermibus ideology remains paramount it would seem that for Lagerfeld the financial gain is the principal purpose of the exhibition.ReferencesAnderson, F (2000) Museum as Fashion Media, in Bruzzi, S. and Gibson, C. (eds.) Fashion Cultures Theories, Exploration and Analysis. capital of the United Kingdom Routledge pp. 371-389.Armstrong, L. 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