vienna

“To the extent to which there is magic, to the degree to which
there are tricks, it’s mostly in what we call merchandising.” 618
This quote is taken from a book that investigates why
we buy. Do we buy because merchandisers have put a spell on
us? This explanation may be a bit too simple. Baudrillard
argues against such attempts at making out merchandisers
as magicians:
“Comparing advertising to a kind of magic is really giving it too
much credit, however.” 619
But in this discussion on how magical the merchandise
practice is, one should also ask how the consumer feels when
he is confronted with the question of magic. Dichter presents a
point of view that comes from motivational research:
“Even the most conservative man has, in a forgotten corner of
his mind, a deep understanding and a sympathetic smile for the
tales of wizardry, sorcery, and mysterious powers.” 620
We will thus conclude from all this that a sense for magic
action exists both on the side of merchandising (for example
window dressing) and on that of the consumer. As a next step,
we will try to connect the belief in magic to the field of fashion.
The main application of magic action lies in all the purposes
that make future development uncertain. Bronislaw Malinowski
points out this aspect:
“Further, we find magic where the element of danger is conspicuous.
We do not find it wherever absolute safety eliminates
any elements of foreboding. This is the psychological factor.
But magic also fulfils another and highly important sociological
function. As I have tried to show elsewhere, magic
is an active element in the organisation of labour and in its
systematic arrangement.” 621
This reference to hunting could be easily transferred to
fashion when it is done under the premise that fashion is
618 Underhill (1999:200).
619 Baudrillard (1996:192).
620 Dichter (1960:302).
621 Malinowski (1954:140).
The
Death
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Fashion 259