Chanel’s Exhibition Compared to Vermibus Essay

Two exhibitions, both held during October 2012, will form the bases of this comparative essay. Chanel’s fashion photography exhibition entitled ‘The Little Black Jacket: Chanel’s Classic Revisited’ held at the Saatchi Gallery 12th October – 4th November 2012, and Vermibus’ display of appropriated adverts called ‘Unmasking Kate’ shown at the Moniker Arts Fair 11th -14th October 2012 will be used to explore the links each exhibition has to the themes of advertising and celebrity. ‘The Little Black Jacket: Chanel’s Classic Revisited’ is a celebration of the ‘timelessness’ (Saatchi, 2012) that is the Chanel jacket first introduced in 1953 (Armstrong, 2012), which Karl Lagerfeld, the creative director for Chanel, has revamped for the twenty-first century. ‘The Chanel jacket is a man’s jacket which has become a typical feminine piece†¦Ã¢â‚¬â„¢ (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 theme expressed throughout the show. The exhibition consists of 113 photographs of celebrities modelling (Saatchi, 2012) the jacket to which the entire exhibition is a tribute to (Saatchi, 2012). In contention with the notion of product and brand celebration the Spanish-born artist Vermibus presented his ‘Unmasking Kate’ series at the Moniker Arts Fair, ‘†¦now in its third year, the fair†¦[of] contemporary artists with urban roots†¦[is] an assembly united by a desire to rebel’ (Spence, 2012). Amongst the rebels is street artist and ex-branding photographer turned contemporary artist (lamono, 2012), Vermibus. The principle of his work is the appropriation of designer advertising posters found publically, as a statement against the image of our materialistic consumer driven society (Finucane, 2012). The title of Vermibus’ current series ‘Unmasking Kate’ refers to both his method of appropriating the posters and to his subject, namely the model Kate Moss. Vermibus argues that he uses Moss’s image ‘†¦because she has been the flagship of fashion for the last 20 years’ (Lamono, 2012) and is therefore an easily recognizable icon of modern fashion and consumer society ‘Kate Moss †¦had to construct thousands of masks to hide her fears†¦ [she] internalized those masks from the beginning and we bought them all†¦Ã¢â‚¬â„¢(Lamono, 2012) Vermibus reveals his ideas about masks fueled by the advertising industry. He further uses Moss’ image to show, simultaneously, the vulnerability of the human subject and the medias exploitation of the notion of celebrity. This theme parallels the way Andy Warhol used Marilyn Monroe’s image after her death (Modern Masters: Andy Warhol, 2010). Likewise, the Chanel exhibition echoes some Warhol themes, yet using the celebrity image to celebration its brand and product originally from the 1950’s (Modern Masters: Andy Warhol, 2010). The exhibitions work on Warhol themes differently either to criticize or celebrate advertising and product branding (Modern Masters: Andy Warhol, 2010). The title of the exhibition ‘The Little Black Jacket: Chanel’s classic revisited’ uses a play on the now clichà ©d notion of ‘the little black dress’ this seemingly playful reference to an item that Coco Chanel arguably made ubiquitous in 1926 (Fritz, 2012) as ‘a uniform for all women of taste’ (Crystal, 2007) carries the suggestion that the redesigning of the Chanel jacket has caused the garment to become as revolutionary and versatile as the little black dress and thus deserves the same universal appeal and fashionable credibility. This is further reflected in the exhibition’s promotional use of words such as ‘classic’ (Armstrong, 2012), ‘iconic’ (Saatchi, 2012) and ‘timeless’ (The Exhibition Opening – The Film, 2012), phrases often made in reference to the little black dress, conveying the item as an essential part of both a man and woman’s collection, in this way almost surp assing the success of the little black dress. Despite their difference, the most prominent connection between both exhibitions is the use of fashion photography. While Vermibus appropriates already publish photographic based adverts, Lagerfeld endeavours to create a series of fashion photographs, seemingly ready for an advertising campaigns (fig:1) sans the alluring taglines and buyer information. However, perhaps text is not necessary in conveying advertising messages: ‘As advertising has become so subject to the influence of photography that in some cases it is nothing other than fashion photography in its pure form.’ (Zahm, 2003 p.267) Lagerfeld’s 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 Lagerfeld’s shots and reminiscent of many advertising campaigns. The technique seems to encourage the viewer to read the model as the main focus of the shot. The positioning of the models, strictly following 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 angle makes the work seems more sinister; putting the gallery viewer in the position of a consumer. Vermibus’ acquired advertising posters are 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 (fig:2) using solvents such as white spirit ‘in a unique painting counter-action’ (Open Walls Gallery, 2012) creating gestural, painterly brush marks reminiscent of Lucian Freud ‘s ‘naked’ series (fig:3). This method of working directly on to the photographic image creates an interesting juxtaposition between the flat, glossy, original photographic elements left untouched in the clothe and hair of the advert compared to the textured, painterly brush marks and colours crated by the solvents application on the glossy flesh of the models image (Finucane, 2012). This all helps to convert the adverts ‘†¦flawless and sanitized icons†¦into harrowing and contorted figures evocative of ‘Francis Bacon’s seminal works’ (Finucane, 2012) (fig:4). Through this treatment Vermibus is trying to uncover the essence of the figures by ‘dehumanizes those figures †¦ trying to find the aura of the individual, the personality that was lost†¦Ã¢â‚¬â„¢(Moniker Art Fair, 2012) in the world of advertisement, which seems in direct contention with the image and brand driven concept of the Chanel exhibition. Nonetheless, a form of distortion is also evident in the instillation part of the Chanel exhibition (fig:5), large glass etched version of selected prints create intertextual connections to the work of pop artist Roy Lichtenstein (fig:6) namely in the use of the pixelated bendy dots and primary colours. 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 have debuted around the time that the pop art movement was emerging (Gersh-Nesic, 2012). Unlike many Pop artists and Lagerfeld’s work, Vermibus eradicates branding from his work. Then 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). Chanel’s exhibition in this way also 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 flow.’ – (Klein, 2002). This is an argument held and expressed within the work of Vermibus. Instead of following this traditional model of advertising which relies heavily and spend vast amounts of money on limited single-way communication advertising (Jackson, 2009), Chanel arguably used a credible gallery to advertise under the guise of culture 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 coherence†¦.which may or may not comply 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 cultural 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 is†¦when you buy [the product]’ (The World of Karl Lagerfeld, c.2010). The fact that Lagerfeld’s 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 profit’ (Anderson, 2000, p. 375) marring the impression of such exhibitions 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 goal is to remove the model’s identity†¦the model is not a person any more but an image whose only value is for selling’ (Finucane, J. 2012). Vermibus’ ideas are reminiscent of the Situationist International’s concepts of the spectacle (Debord, 1957-61) equally, Vermibus’ appropriated posters carry strong connections to their notion of detournement ‘reusing preexisting†¦elements in a new ensemble’ (Debord, 1957-61). Thus 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 person’s personality the jacket lives through them †¦Ã¢â‚¬â„¢ (Chloe Moretz cited in ‘The Exhibition Opening -The Film’ 2012) presenting the consumer product as a sort of symbiotic parasite using and replacing the identity of the wearer. This relates further to Williamson’s (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 thus: ‘Advertisements are selling us something else besides consumer goods†¦in 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 it†¦it 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†¦Ã¢â‚¬â„¢ (Chloe Moretz cited in The Exhibition opening -the 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 assimilating 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†¦Ã¢â‚¬â„¢ (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 lucky’ (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 successful 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 person†¦who has a value to us†¦Ã¢â‚¬â„¢ (Williamson, 1995, p.31). In contrast, celebrities are utilized by Vermibus to liberate the human being from the celebrity ‘mask’ evoking sympathy from the audience however, it is not clear how much the celebrity image entices the viewer’s 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 deal with similar themes of fashion photography, advertising and celebrity in different ways. Although it falls beyond the scope of this essay compare every element of the exhibitions it has attempted to demonstrate that Lagerfeld’s approach has strong advertising undertone, while Vermibus’ work is anti-publicist in nature. Therefore, despite displaying work at arts fair, with the purpose of promoting and selling his work, the artist maintains his anti-establishment ethos ‘Being at [an art fair] is another way to attack 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. References: Anderson, F (2000) ‘Museum as Fashion Media’, in Bruzzi, S. and Gibson, C. (eds.) Fashion Cultures: Theories, Exploration and Analysis. London : Routledge pp. 371-389. Armstrong, L. 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