hyperreality
TRANSCRIPT
Jason Lowe BA Visual Communication Yr 2
Hyperreality is the central value of the modern high street. It drives the retail economy at every level.
Hyperreality can be described as a ‘simulation of something that never really existed’ (Baudrillard,
1981). It has never been so apparent than on today’s high street where it can ‘alienate, subjugate and
dominate not just through the workplace, but through commodity culture in all its variations, including
shopping.’ (Horrocks, 2000). Think of any major shopping city, and it is the institutions of hyperreal-
ity that take prime pitches. In Leeds, described by Lonely Planet in 2005 as the ‘Knightsbridge of the
North’, the retail core is dominated by hyperreal brands such as ‘Urban Outfitters’ whereas stores
providing a service, such as ‘Wilkinson’ are found on the edge of the retail area. The increasingly image
conscious society have become locked into a series of brands, or what they see as institutions, which
employ hyperreal environments as discussed later in the essay. Jorge Luis Borge expands by saying
that hyperreality ‘is a condition in which reality has been replaced by simulacra.’ To discuss hyperreality,
it is necessary to introduce the key concept of simulacra; defined in the simplest terms as the product
of hyperreality.
The first and potentially most obvious area of discussion is that regarding simulacra. Simulacra are
the products of hyperreality, and have an intrinsic link with production lines where ‘objects become
undefined simulacra one of the other’ (Baudrillard, 1983). Therefore, simulacra takes centre stage on
the high street. The consumer is under the hyperreal impression that each garment is individual and
original, despite being simulacra. Eco (1986) attempts to explain this by stating that ‘once the total fake
is admitted, in order to be enjoyed it must seem totally real.’ Simulacra is ‘characterised exclusively by
self equivalence- it is exclusively quantative in nature. The quantative is what it develops and it can only
develop within the quantative.’ (Debord, 1967) With simulacra developing solely within the quantative
in a society where ‘we live at the pace of objects’ (Baudrillard, 1970), simulacra serves to fuel the high
street.
‘Adidas Originals’ are one of the most explicit examples of simulacra as in their very name, they claim to
be original- Eco (1986) puts it simply as ‘the authentic fake’. Of course the reality is that they are made
on several production lines throughout the Far East. This results in a rather intriguing concept however,
because as ‘origin is no longer a concern’, goods ‘never need to be counterfeited’. At face value, this
concept can appear rather simple, but it is made more complicated by the fact that each product car-
ries a sign value, so despite ‘Adidas Originals’ being a product of mass production, counterfeiting is
rife in an attempt for the public to drive the price nearer to the use and exchange value. This further
complicates the scenario as the market is now polluted with ‘third order simulacra’ (Baudrillard, 1993);
representations of representations.
A strong example of simulacra holding a sign value is Calvin Klein underwear, where the consumer be-
lieves that buying and wearing their underwear will lead them to be as perfect as the airbrushed models
in their adverts. This hyperreal illusion leads to simulacra being represented on the high street by a sign
value; the value it represents in the realms of hyperreality rather than its use or exchange value. One
can expect to pay several times more for branded Calvin Klein underwear than other lines despite them
having similar use and exchange values (what the product is actually worth). It is important to recognise
the reign of sign value to appreciate how and why hyperreality is the central value of the modern high
street.
Genosko (1999) states that ‘symbolic exchange is in general incommensurable with any system of
value’, however some try to argue that one of the few areas of the retail market which remains original
thus valuable is vintage, however a more complex assessment proves vintage to be just as hyperreal
as other areas of the market in terms of carrying sign values. When many of these clothes were first
sold, it is more than likely they would have sold for their use value, but they have now picked up a sign
value. Initially, one may believe that vintage clothing is original as the clothing itself is the original piece.
The first obvious counter argument is that each garment has lost its original purpose; for example a
practical belt may now be worn as an accessory. A further point regarding vintage is that vintage styles
are based on the stereotypes of the era. Due to films and the media, we have a stereotypical definition
of the clothing of each decade- but of course people wore a wide range of clothing styles in every era,
and so vintage is yet another level driven by hyperreality.
The craze for vintage clothing has been born out of a life of watching the life of others, where our lives
have become false interpretations of those we watch. The demand for this has led to a culture of simu-
lacra consumption. Items are produced on a chain where ‘the loss of quality of so obvious at every
level. This is epitomised in retailers such as ‘Urban Outfitters’ who have leaped onto the bandwagon of
vintage simulacra and thrive on the concept that consumers watch other consumers.
‘Urban Outfitters’ are also experts at communication, and use the communication itself as part of
the brand. In 1964, McLuhan described this as ‘the medium is the message’. Their very presence on
Facebook shows that they model themselves to be part of the student community. Many brands use
Facebook, but few have personal profiles for each branch, where the brand can become your friend.
Each Urban Outfitters store has a profile on Facebook to connect with the student community directly.
This is the first demonstration of UO using the medium as the message.
Communication can take many forms though, and is not always as obvious as Facebook. The hyper-
real environment is another example where the medium is the message. Baudrillard (1970) discusses
how ‘interacting in a hyperreal place like a Las Vegas casino gives the subject the impression that he is
walking through a fantasy world where everyone is playing along. What isn’t a dream is that the casino
takes his money, which he is more likely to give when his consciousness doesn’t really understand
what’s going on.’ McLuhan (1964) elaborates adding that ‘it is the medium that shapes and controls the
scale and form of human association and action.’ McLuhan and Baudrillard’s theorems draw many par-
allels with ‘Urban Outfitters’, who are experts at creating a strong hyperreal environment. Their arrival
on the modern high street has seen the birth of ‘student lockdowns’; essentially shop parties where
the student is lured into what their consciousness believes is a social event. In this case, it is the com-
munity events such as the student lockdowns that make the said group of people associate with each
other based on their common consumption in ‘Urban Outfitters’. Even those that believe they do not
consume in UO, the store creates the impression that it cares and is part of the community as it hosts
work from local music and art colleges, when of course the reality is it is a business being directed from
an office in the USA. ‘Abercrombie & Fitch’ are guilty of this on a much wider and brasher scale. Their
stores are permanently dark, and employ loud music, flashing lights and dancers to resemble a club,
forcing the mind into a hyperreal gear.
Some companies have a limited number of stores, making their brand exclusive and sought-after to all;
‘it goads the millionaire as it does the middle-class tourist.’ (Eco, 1986) It creates an almost cult-like sit-
uation where people travel long distances to stores. In the case of Apple Retail Stores, regional follow-
ings often lobby for store openings in their regional capitals. In both of these scenarios, the consumer
is led to believe they are a partygoer, or in the latter case, a tourist visiting a tourist site. This ‘masks
and perverts a profound reality’ (Baudrillard, 1994) that they are mere consumers spending real cash.
‘American Apparel’ employ hyperreal values on the sales side of the business; their famous ‘advertis-
ing draws on relations to others’ (Baudrillard, 1970) because the advert ‘is not a collection of images,
rather it is a social relationship between people that is mediated by images’ (Debord, 1967) as heavily
sexualised models take centre stage. This image transpires to the shop floor, where the best looking
people are placed. It is the case that one must submit a range of photos to American Apparel when ap-
plying for a job for example, reinforcing the belief that buying American Apparel clothing will transform
you into an idealistic model.
‘American Apparel also have strong hyperreal values. All their clothes sell at a sign exchange value,
justified by their ethical claims, however these claims are debatable and lead to another form of hyper-
reality. They forcefully push their ‘ethical’ production methods, resulting in most consumers having a
belief in their statement of values. The reality here is that their centralised production methods result in
a situation where non-US companies are unable to compete or even participate.
This essay has discussed how hyperreality is the central value of the modern high street. While hyperre-
ality may ‘seem to us as a trademark of American behaviour’ (Eco, 1986), it runs through every market,
from independent vintage boutiques to major international chains such as Urban Outfitters and Adidas
Originals. One could argue that the definition of the high street is ‘hyperreality’, and the case for this
is only increasing as all of the brands that have been discussed in this essay have embarked on huge
expansions not just in the UK, but worldwide. More brands in more places only equals more simulacra
in more hyperreal environments, and as ‘we live at the pace of objects’ (Baudrillard, 1970), our submis-
sion to hyperreality is on the rise. There is an increasing focus on the hyperreal environment that stores
provide, and as the high street is progressively more criticised for being homogeneous (BBC, 2005),
multinationals make desperate attempts to differ themselves from each other- something that, when
each store is selling relatively similar goods, can only happen in the realms of hyperreality. There is very
little plausible evidence to argue that hyperreality does not drive the retail economy at every level. Even
those few objects produced by individual craftsmen and women are still assigned sign values for sale,
and are open to interpretation by the consumer; and this interpretation may not be the same as the per-
son who made it. Hyperreality is not necessarily a negative state; it provides a safe and stable income; a
livelihood, to millions around the world and enables our city centres to thrive. Let us accept that hyper-
reality is inescapable and one must accept its central value to the high street in being the primary driver
of the retail economy if we are to continue to place retail as one of our prime leisure activities.
Bibliography
Baudrillard, J (1970), ‘The Consumer Society’, London, SAGEBaudrillard, J (1983), ‘Simulations’, P96, USA, unknownBaudrillard, J (1993), ‘Symbolic Exchange and Death’, P53, London, SAGEBaudrillard, J (1994), ‘Simulacra and Simulation’, P16-17, Michigan, University of MichiganDebord, G (1967), ‘The Society of the Spectacle’, New York, Zone BooksEco, U (1986), ‘Travels in Hyperreality’, P43, London, Pan books Ltd.Genosko, G (1999), ‘McLuhan and Baudrillard- The Masters of Implosion’, London, RoutledgeHorrocks, C (2000), ‘Marshall McLuhan and Virtuality’, Cambridge, Icon Books Ltd.McLuhan, M (1964) ‘Understanding Media: The Extensions of Man’, Abingdon, Routledge
Lonely Planet in BBC News (2005) ‘City is Knightsbridge of the North’ accessed 16th February 2011 <http://news.bbc.co.uk/1/hi/england/west_yorkshire/4575275.stm>Geoghegan, T (2005), ‘Sign of the Times’, BBC News, accessed 17th February 2011<http://news.bbc.co.uk/1/hi/magazine/4347719.stm>
BBC (2011), ‘What is Reality’ (January 2011), Horizon. [TV] January 2011. Available at <http://www.bbc.co.uk/iplayer/episode/b00xxgbn/Horizon_20102011_What_Is_Reality/>