The Instagrammability of the Runway: Architecture, Scenography, and the Spatial Turn in Fashion Communications

Mendes, Silvano

doi:10.1080/1362704x.2019.1629758

Cited by 16 publications

(7 citation statements)

References 14 publications

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“…Therefore, attaining interesting photos is essential for Instagram to post on this social media service [49][50][51]. Individuals place great value on showing off their special moments using Instagram, offering information to other consumers and accomplishing popularity as a marketing tool [17,52,53]. Additionally, scholars have stated that Instagram is an important instrument for psychological motivation, and it is useful for marketing purposes [54][55][56].…”

Section: Instagramabilitymentioning

confidence: 99%

Structural Relationship between Theme Park Servicescape, Instagramability, Brand Attitude and Intention to Revisit

2023

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The purpose of this research was to identify the sub-dimensions of servicescape and investigate the structural relationship among servicescape, Instagramability, brand attitude, and intention to revisit. For data collection, Amazon Mechanical Turk was employed. The number of valid observations for data analysis was 422. A structural equation model was the main instrument used to test the research hypotheses. It was revealed that servicescape positively affects Instagramability and brand attitude. The results also revealed that servicescape exerts a positive impact on intention to revisit. Additionally, the results showed that brand attitude is positively associated with Instagramability. Last, it was found that intention to revisit is positively influenced by Instagramability. This study sheds light on the literature by exhibiting the structural relationship among servicescape, Instagramability, brand attitude, and intention to revisit.

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Section: Instagramabilitymentioning

confidence: 99%

Structural Relationship between Theme Park Servicescape, Instagramability, Brand Attitude and Intention to Revisit

2023

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“…With the rise of Instagram and other forms of digital media platforms, the clothing commodity is staged with its afterlife as a photograph or short video in mind. 37 One of the most notable impacts on fashion photography, as noted by Silvano Mendes, was the elevated importance of runway scenography. A runway show constitutes an intermedial event, and its success depends on the close collaboration between fashion designers, stage designers, architects, and photographers.…”

Section: The Virtual Runway: Atmosphere and Embodimentmentioning

confidence: 99%

Clothes with no emperors

Zhang

2022

AN-ICON

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Digital garments are tailored computationally and dressed virtually. Intended to be displayed rather than worn, digital fashion exemplifies the function of aesthetic commodities as defined by Gernot Böhme: the production of atmospheres – intangible qualities arising from a material encounter – towards the staging of life. Yet, made from pixels instead of fabric, virtual garments beckon a new conceptual framework for the role of materiality in atmospheric productions. Drawing from new media and affect scholars, this essay traces the display of digital garments across three sites: the e-commerce website, social media, and the runway show. By analyzing the visual and literary production surrounding digital fashion, this essay proposes“elemental surface” as a representational technique and rhetorical strategy through which digital garments produce and intensify the body’s affective presence. Situating Böhme’s formulation of atmosphere in dialogue with the notion of“aura” put forth by Walter Benjamin, the study of digital fashion foregrounds the role of environmental perception in the history of haptic technology.

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“…Social media clearly provide an environment that actively promotes self-performance; even if brands do not necessarily directly control what influencers post, they can still exert some control over that environment. The visual nature of the platform has made brands rethink their overall communication more cohesively to make both retail design and runway shows 'instagrammable' (Mendes, 2019). This harmonious reordering of space facilitates a standardized template that encases the presentation of self and body within a hyper-aestheticized environment.…”

Section: The Influence Of Instagrammentioning

confidence: 99%

After fashion film: social video and brand content in the influencer economy

Rees-Roberts¹

2020

Journal of Visual Culture

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Luxury and designer fashion brands today produce as much digital content and branded entertainment as they do design and product. Online video is a key part of that production. In this article, the author questions whether the use of the generic term ‘fashion film’ is still relevant to discussions of the moving image in the digital age. He does this by examining a range of promotional uses of the moving image by the fashion industry – by brands such as Gucci, Burberry and Louis Vuitton – on the social media platforms Instagram, YouTube and Snapchat, which blend design with media. This article seeks to engage critically with the branded dominance of ‘fashion film’ as a commercial phenomenon in contemporary visual culture by positioning it as a shape-shifting form of ‘content’ through the dissemination of moving images on social media, on mobile image-sharing platforms, in which the visual dynamic of the feed (of marketing and data) is now, in part, superseding the aesthetic framework of cinema (of narrative and drama). Rather than situating it primarily as part of film history, here the author situates the contemporary fashion-moving image at the intersection of digital interactivity, fashion branding and celebrity influence.

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The Instagrammability of the Runway: Architecture, Scenography, and the Spatial Turn in Fashion Communications

Cited by 16 publications

References 14 publications

Structural Relationship between Theme Park Servicescape, Instagramability, Brand Attitude and Intention to Revisit

Structural Relationship between Theme Park Servicescape, Instagramability, Brand Attitude and Intention to Revisit

Clothes with no emperors

After fashion film: social video and brand content in the influencer economy

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