their promotion and distribution methods, are staged as a cultural and artistic offer rather than as a management strategy.
The fashion industry’s re-presentational policies studied throughout this section will also be approached as a figuration, i.e. “a representation of the communication process that is not a matter of explanation, as is the case with promise, but is due to the interplay of mobilized forms, within media productions and textualities” (Jeanneret 2014, p. 74, author’s translation). The choice to treat the set of practices and strategies studied as re-presentations instead of figurations resides in the desire to emphasize the spectacular dimension that structures the figurations and that allows us to observe them as forms enriched by a dual representational aura without omitting the ideological and dialogical contributions that organize the same forms. This part will therefore present the interdisciplinarity and the splintering of the fashion industry’s re-presentational policies that occupy the fields of art and culture in a generalized manner.
Note
1 1 Le Robert, Dictionnaire historique de la langue française (2000, p. 221).
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