Commodity Fetish Hot Potato

Available now on our new (!) Youtube channel: a pilot episode for an innovative new unboxing series. We—well, health protocols mandate that a solitary associate intern shares—the thrill of making runway dreams a reality. 

Our intern reports strange sensations in the course of filming these productions. We expected to feel a diminished pleasure from the staging for public consumption of the private, neurotic pleasures of collecting. This has to a certain extent proved true: that furtive first unwrapping, in half-lit, not yet repossessed rooms, of objects half-forgotten in the journey home, has been held off, the amateur’s impulse deferred for a professional stoicism.

The pleasure is no longer our own. It must wait, for the calculated angles of daylight, camera, and sound equipment. Our private reification—the attribution to things of qualities and relationships usually reserved for human beings—has been displaced, transferred, to the viewer. 

To our surprise, the handling of clothes during filming, the consideration of how they are best placed before a camera, to demonstrate their features and different uses, all create in us a far more materialist relationship with the pieces, one that is closer to the ideal proclaimed by good designers: of repeated, creative, much-handled and thoughtful use.   

In our traditional processes of purchasing and not-at-all taxonomic addition to the wardrobe labyrinth, we rarely reached this level of practical relationship with new items, particularly when registering more of an already well-represented item (leather jackets). So that, what might appear, to the casual viewer passing the thumbnail frame, just one more example of our all TV must be an infomercial moment, is, in fact, someone unexpectedly working their way out of commodity fetishism.    

Our first episode looks at two pieces from Celine.

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