Bogdana Matviychuk


This article reviews new aspects of the interplay between fashion and advertising, says that advertising messages through text-description shows image of the advertised product, with marking does not have to link with the signified. The basic expression fashion trends are in advertising.

At XXI century advertising is always looking for new forms of expression, it involves in their communicative space of various art trends, cultural studies and public opinion. One of its main sources is a formative fashion.

Transformed from a simple craft into a developed industry, fashion is becoming popular and constantly debated phenomenon. An increasing of its value and relevance to modern society, it sets the necessary impression creates the desired image for a particular person or goods. Fashion simultaneously combines the stability of tradition and innovative tricks, such as creativity and commercial benefits. We can state that thanked to advertising and marketing professional, more people follow fashion trends and become "fashion victims".

Despite the fact that there are a large number of works on the history of fashion, art and outstanding designers create clothes, marketing in the fashion industry and "fashion philosophy", some questions still left unattended researchers, in particular the problem of interaction of advertising and fashion in terms of post and post-post-culturewhich, in our opinion, needs detailed study.

First of all it is worth to mention the work of F. Kotler "Principles of Marketing", which theoretically grounded relationship marketing in the traditional sense of the term, with the global fashion industry. In the theoretical work of T. Hines and M. Bruce "Fashion Marketing" describes the basic techniques of marketing in contemporary fashion, given the statistics. In this work analyzes the activity of representatives of fashion secrets revealed professional artists. Another theoretical work that reveals the direct sphere of modern fashion is a "Fashion world" of French journalist M. Tunheym, which is an actual example of fashion masterpieces.

Particular note is the work of French semiotics, the philosopher R. Barthes "fashion system" in which theoretical stresses that modern fashion is the opposition of three systems: "clothes-image (photo or drawing that have only limited symbolic), 2) Clothing-description (text, commenting that image) and 3) real clothing" [1, 9]. The first and third system, by R. Barth, mostly exhausted its denotative message transmission or manual visual image for practical action, while ьsystem-describing saturated clothing connotations; it is located "between things and words". We cannot agree with the theoretical relative that description connects fashion with the outside world, but at the same time and tendentiously distorting the world.

A similar opinion was expressed by the modern Swedish researcher L. Svendsen in the "fashion philosophy". The author considers fashion as a phenomenon that, on the one hand, promotes the aesthetic of human life, on the other; affect the identity of the human population, backgrounds. French sociologist and philosopher J. Baudriyar continues the idea R. Barth, and draws attention to the social side of the phenomenon of fashion. For him, in the centres of interest are human simulacra-world signs that are manifested in various spheres of culture – art, fashion, media, technology, sexual relations and others.

As noted in our advertising time, as the description text, shapes the fashion, it can transmit not only information about products and services, but also on public opinion in general or the political preferences of the masses. In modern fashion the rules permissible limits and canons of beauty disappear. It is filled with stylistic eclecticism, with all possible variations and combinations simulacra. The most common fashion borders on art, using the principal components of the artistic image – cognitive, regulatory and communicative. Combining data elements, it creates a new dialogue between the thing and its customer, which is dominated by the same thing.

To better promote products, specialists in public relations, PR managers developed "special" story of collection that told what had fascinated the designer during creating this collection, inspired and motivated him. This myth has a certain character and it can be both too romantic and compassionate-dramatic. Always available a certain mystery in the message you are composing. Press releases (summary of concepts) often served with a touch of a charitable cause. In some cases, even a fashion filled with mystical meaning, appeal to the "sublime Gothic". This trend can be seen in the collections of local designers, for example, in the same collection Valerie Kovalska called "13".

Thus, the hallmark of fashion is its pragmatic direction. The main income is presented as such especially for promotion of a product created by the so-called seasonal "must-have" objects of desire, trends, the hit lists of the month. A limited collection created an illusory uniqueness. Permanent imposing certain image cannot remain indifferent consumer and sooner or later he/she still remembered the advertised product. We introduce a special system of discounts and bonuses which are not always true, for example, the price of the thing to the "sale" and after remain unchanged.

The use of a large number of different prints, dominated by vivid images, deep colors with complex graphics are popular. As a starting point "lucky number" are the first letter of proper names or "sacred mantras", which will certainly bring happiness and prosperity. Apply all known kitsch images:, ironic, romantic images of fairy tales (imagine myself Oriental Beauty); optical illusion that the buyer is transferred into the mysterious world of fantasy; surreal prints that are associated with S. Dali masterpieces; drawings and abstract floral patterns, graphic lines and geometric shapes, all of these things come to mind. Nothing can stop contemporary designers to bring their collections.

Thus, we can state that the fashion continuously marked clothing and a world. Advertising creates fashion, it predicts the desired information about a product and imposes other people’s opinions and preferences. Advertising

combines the perception of reality and creates its reality by itself. The public mood is formed by the artificial icons. It sets the style which all people must wish. Even if in imitation of a designed image difficulties appear (such as lack of money or social status)but due to the advertising (description text)a consumer still wants to to become the owner of the advertised product.


advertising; fashion; post-culture; simulacrum