Oxford Dictionary describes myth as ‘A traditional story, especially one concerning the early history of a people or explaining a natural or social phenomenon, and typically involving supernatural beings or events’; or ‘A widely held but false belief or idea’. In contrast, Roland Barthes in his book ‘Mythologies’ analyze myth semiologically and describes it as a system of communication, a message. Furthermore, John Fiske analyzes the use of myth through fashion in his essay ‘The Jeaning of America’. I would like to give a recent example in the end, Marc Jacobs’ collaboration with Coca-Cola which is a great example of creating and marketing myths just like the example of ‘Levis 505’ in Fiske’s essay.
Roland Barthes suggests that myth is a system of communication, a message. Therefore, he supports the idea that everything could be a myth if it is conveyed by a discourse. The important thing here is not the object of the message but the way it is conveyed. The message should be ‘decorated and adopted to a certain type of consumption’.This message could be in any form but it should not be confined to oral speech. It could consist of modes of writing or photography, cinema, sport, shows, etc. To give an example, photographs are a kind of writing as they carry a meaning, as they are decorated and conveyed to us. Roland Barthes reminds us that long before the invention of the alphabet, ancient drawings had been accepted as speech. A photograph sometimes could tell more than a written article; because, when we are confronted with a photograph, we perceive not just an object but also a messages and emotions which are imposed on us. The image is given for a particular signification, it has been worked on.
In myth, there is a tri-dimensional pattern which Barthes describes as the signifier, the signified and the sign. A myth is a second-order semiological system because it is constructed from a semiological structure that existed before. Therefore, a mythical speech or a photograph is endowed with a meaning and reduced to a pure signifying function.
Semiology is accepted as a science of forms, it studies the form and content separately. In a semiological system, the signifier expresses the signified; but, in case of mythology, it studies not only the two elements but also the sign itself. Myth is also consists of the ideology, it studies ‘ideas-in-form’. Therefore, he wants us to be aware of the fact that there is a correlation which unites the signifier, the signified and the sign by giving an example of a bunch of roses. He tells that he uses a bunch of roses to signify his passion. He points out that the fact that there are not just a signifier and signified; but, a sum of signs, a global sign, the final term of a semiological chain, the passionified roses. The signifier, roses and the signified, passion existed before forming the third element, the sign, the passionified roses. The roses carry a message that is why myth studies ideas-in-form. The sign is full, it is a meaning.
To make it more clear, Barthes gives examples from Saussure and Freud. For Saussure, the concept is the signified, the acoustic image is the signifier and the relation between concept and the image is the sign. And Freud describes the human psyche as a stratification of tokens. The first is the manifest meaning of behavior, the other is its latent or real meaning, and the third term is the relation between the two, the dream itself.
To sum up briefly, myth consists of two semiological systems: a linguistic system, the language-object and the myth itself which Barthes calls as metalanguage, a second language because it speaks about the first.
Barthes gives two examples of mythical speech to give a more detailed analysis. First is a sentence from a Latin grammar book: quia ego nominor leo. The sentence has a simple meaning: because my name is lion. In fact, it is obvious that this sentence signifies something else; it is addressed to a pupil so as to illustrate the grammatical rule. The sentence does not inform the pupil about the lion, it does not make any sense but imposes the grammatical rule on the pupil.This aim of conveying the grammatical rule is signified and there is a global sign, the sentence which is full and has meaning. We should be aware of the correlation of the naming of the lion and the grammatical structure.
The second is a picture from a copy of Paris-Match. ‘On the cover, a young Negro in a French uniform is saluting, with eyes uplifted, probably fixed on a fold of tricolour. This picture signifies that French is a great Empire and all her sons, without any color discrimination, faithfully serve under her flag and that there is no better answer to the detractors of an alleged colonialism than the zeal shown by this Negro in serving his so-called oppressors.’ The signifier is the black soldier who gives the French salute; the signified is Frenchness and militariness; and, there is the sign which consists of the relation between the signified and signifier. The sign speaks its motivated message.
We see that myth points out and notifies, it makes us understand something and it imposes on us. In the case of these two examples, although we could think about the lion and the Negro historically, the form puts it at a distance. But a concept is the elements through which a new history is conveyed. Hence, the concept is of less reality than a certain knowledge of reality. The myth reduces some knowledge. We can see this system from a Freudian perspective; Freud believes that the second-order meaning of behavior is the real meaning. Barthes writes that it is just like the mythical concept, it is the very intention of the behavior and emphasizes that there is a inverse proportion in the form and concept as a signified can have several signifiers. We can find a lot of examples to signify the concept.
The signification is the myth itself, it is prepared on the correlation of the mythical concept and form, after that it is consumed. In myth, the first two terms’ function is to manifest; therefore, myth hides nothing but distorts. When the examples of ‘for my name is a lion’ and ‘the saluting Negro’ are taken into consideration, the former is an oral myth which is linear and the latter is a visual myth which is multi-dimensional with the Negro, the uniform, the color, the juxtaposition of the elements. Barthes writes that form is spatial; however, the concept is a king of nebula.It is understood that the relation uniting the concept of the myth to its meaning is a kind of deformation. Barthes again describes it with Freud’s theories that the manifest meaning of behavior is distorted by its latent meaning; hence, in myth the concept distorts the meaning. He suggests that this distortion is possible because the form of the myth is already constituted by a linguistic meaning. In language, the signifier does not resist the signifier; therefore, the signifier cannot distort anything. The signifier is empty and arbitrary. But in the case of myth, there are empty and full signifier. Full signifier is the meaning and the empty signifier is the form. Here, the concept has something to distort. Its function is to distort the full signifier, the meaning. The history of lion and the Negro are reduced to a little knowledge; the concept alienates the meaning. So, there is an intention in myth and this intention is frozen and eternalized. To illustrate it with a whole different example, it is like the reduction of the year from 9/11. With the term ‘9/11’, the attack, the horror and the feeling that it could happen again, the intention of reminding it is frozen and eternalized. In order to make it seem innocent, it freezes it. It has a motivation, the sign is never arbitrary in this mythical signification. Barthes notes that myth is a pure ideographic system where the forms are motivated by the concept.
Barthes suggests three different types of reading which we could use focusing on the one, the other or both at the same time. In the first reading, the focus is on an empty signifier and the concept fills the form. The Negro becomes the symbol for the French Imperiality. In the second reading, the focus is on a full signifier in which meaning and form are distinguished and the distortion is realized. The myth is deciphered. The negro is no longer a symbol but he is an alibi of French Imperialism. In the third reading, the focus is on the mythical signifier as a whole made of meaning and form. The Negro is neither a symbol nor an alibi but the very presence of French Imperiality. Here, myth transforms history into nature, it is frozen into something natural. Barthes notes that it is not read as a motive but a reason. It is naturalized through the Empire.
To give a far different example regarding to myth I would like to analyse fashion and start with John Fiske’s The Jeaning of America, then continue Coca-Cola’s collaboration with Marc Jacobs.
In ‘The Language of Fashion’ Roland Barthes writes that “Printed fashion functions, semiologically speaking, like a true mythology of clothing: it is even because the vestimentary signified is here objectified, thickened, that fashion is mythic. So it is this mythology of clothing (one could also say its utopia) that needs to be the first stage of a vestimentary linguistics” (Barthes 28).
For John Fiske, jeans are the most widespread product in popular culture. It is even more popular the the dollar sign or Coca-Cola. Everyone wears jeans no matter of one’s class, race, gender, age, nation, education. Even if one is not wearing, everyone seems to possess one or two. The widespread use of jeans is not merely a result of its functionality, but culture. It is about meanings, pleasures and identities that people identify with. Fiske writes that the functionality is the preoccupation of their popularity but it does not explain how every social category system wears jeans. Fiske asks his students what jeans meant to them and receives different responses which are freedom, naturalness, toughness, activity, hardwork, and above all Americanness.
Free was the most used adjective because it emphasizes an American ideology, individualism. Jeans made people feel free to be oneself. This individualism does not mean separation but not changing oneself for the community. Fiske writes that in an article in the New York Times a psychologist suggested that the feeling of freedom actually made the wearer inclined to hide oneself.
Jeans reflects the American work ethic and also naturalness. It belongs to the country and reflects nature. For women it meant sexuality either masculinity or femininity. Finally jeans became an icon of the American society reflecting the mindset and ‘those pants of Levi’s ’ spreaded all over the world.
The whole, generic jeans meant the America. They were classless, unchanging, communal, unisex and belonged to,the West, the country and nature. In recent years with its spreading all over the world generic jeans are transformed into designer jeans which are upscale, socially distinctive, feminine or masculine, contemporary and belongs to the East, the city and culture. Jeans have been torn or irregularly bleached. This shift in style is caused by the power relations between nature and culture. Tearing jeans, changing and designing the generic jeans creates a distortion; therefore, the designer jeans does not carry the whole American values but also the resistance to them. This resistance results in semiotic richness. Jeans enable the wearers to adjust them to their own cultures, identities and interests. Jeans gain various meaning; and moreover, gain some potential meanings. That is why in marketing and advertising specific social groups are targeted and ads are designed, endowed with meaning and imposed upon the consumer.
Just like the example of Barthes ‘the Negro saluting’, Fiske gives various advertisements as examples. I would like to focus on the ad for Levi’s 505 which shows a girl wearing jeans looking up the sky, where a skein of wild geese is flying a formation that spells out ‘Levi’s’. In this ad, there is a constructed meaning, a myth , there is a story that is imposed upon the consumer. It is just like Barthes’ example of the Negro but a fashion advertisement.
The young woman implies freshness, fertility, and in a good shape with Levi’s 505. The background is a country, it creates a natural atmosphere, it is relaxing. The jeans are as simple as youth, and nature. It just seems to fit very well and be comfortable. The girl in the jeans looks up the sky in a confident posture. The geese write ‘Levi’s’ in the sky suggesting freedom and individuality. On the poster, it addresses directly to the consumer that she could call these jeans a fashion classic, they are timeless and uncomplicated. It gives the consumer a motivation to buy these jeans by saying ‘Don’t you wish everything was a little more like that?’ Besides from imposing meanings upon the reader of this ad, it also make it natural, and seems to give a opportunity to feel something about it. But the meanings it consists of are frozen and naturalized.
In my opinion, Coca-Cola’s collaboration with famous art director Marc Jacobs could be another great example to understand the system of myth. It is globally accepted that Coca-Cola is an icon of Americanness and spreaded all over the world just like the jeans. Coca-Cola Company is listed as the world’s most valuable brand with most of the world’s population recognizing the red and white Coca-Cola brand Logo. Coca-Cola is not a product, it is an experience, one should enjoy it. Coca-Cola’s Diet Coke is the world’s #1 selling diet soft drink and its collaboration with Marc Jacobs promoted the brand’s strategies in a very creative way. In this
limited edition, Marc Jacobs uses stylish personalities from three different decades, 80’s, 90’s, and 00’s which reflects his targeted audience and he wisely captures the hearts with his creativity and Coca-Cola’s strength. Marc Jacobs and Coca-Cola are both originated in America; therefore, they definitely know what is to be an American, and a world citizen; and they are aware of what an American and a citizen should be like. Marc Jacobs’ designs reflects the brand’s slogan ‘Sparkling Together for 30 years’ and definitely make the consumer feel special. The ordinary diet-coke becomes a must-have. It is written in the campaign’s website that Marc Jacobs commented, “I feel very privileged to be the new Creative Director of Diet Coke and put my stamp on the 30th Anniversary campaign. Diet Coke is an icon… and I love an icon.”
“I love ’80s “Is the woman who takes her destiny in hand during the glorious decade of the 80s. Marc Jacobs is a timeless classic style with a touch of rebellion – an approach that also betrays the love of the creator for theater. bowtie and the lights of Broadway refer to the spectacular launch of Diet Coke at Radio City Music Hall in New York in 1982, when the United States became acquainted with the first low calorie refreshing drink.
“I love ’90s “Is a condensed dynamic period during which extravagant fashion, music and art were intertwined regularly haunting experiences featuring women decided and impertinent. Swallow the pattern typical of Marc Jacobs adds a romantic element to the design, which evokes the very popular fashion accessory in the 90s, such as the soft felt and stiletto heel.
“I love ’00s”Is a small illustration of the first decade of the 21st century that showcases the humor, sensuality and energy. Suggestive figure is directly inspired by the spring-summer 2013 Marc Jacobs. Design shows the pattern of red dots, the characteristic element of his early collections. Stripes and geometric shapes give life for their exuberant youth of this period, like the many sources of inspiration that gave birth to vision of fashion that had never been as varied far.
Women from 80’s, 90’s and 00’s are depicted on the bottle. In the 80’s oversized blazers, shoulder pads, flashy clothes sunglasses. But also women’s fashion was very bold and dominated by a masculine look. Menswear was a simple and clear way of dressing especially in daily and professional life. On the bottle that strong women is depicted by Marc Jacobs. Women loved to look wealthy and used various accessories, pearl necklaces. The iconic 90’s women is depicted very colorful, stylish and cool. Hip hop culture was very popular during that time. Bright colors like hot pink, tangerine and white were used. Women usually wore pants, not skirts. Women became much less dependent on men and got their own carriers. Thew began to feel happy to be women and got a more natural look, casual chic look. In 00’s gender-neutral sunglasses were used. tea dresses, floral patterns, tracksuits, low rise jeans fishnet tights and tops were very popular. Globalization had its influence on fashion with eco-friendly and ethical clothing. First-wave 1980s revival influenced women and there was a return to denim mini skirts, ripped jeans, denim jackets, tracksuits, colorful leggings. These designs of decades targeted to fashion lovers, age groups and women who identify with any of these decades. As it was a limited edition, it made the consumer feel special and consumer identified oneself with the brands.
Coca-Cola was already an icon but became a far more important icon with their strength together. Coca-Cola was already a myth, it imposed various meanings, ideologies to its consumers. It is a very individualistic, special experience drinking Coca-Cola or keeping the bottles. Coca-Cola’s strategies change from culture to culture, they are very successful at creating myths. It actually reminds me of the designer jeans; because, the normal Coca-Cola is designed, endowed with various potential meanings and there is a resistance to it but then it is naturalized and eternalized.
As a conclusion, Barthes describes the myth as a message and creates three different types of reading for us to decipher it. With John Fiske’s example of ‘Levi’s 505’ and Coca-Cola’s collaboration with Marc Jacobs, their diet coke campaign reflect how myth is created and conveyed to us. Fashion is a means of creating myth and marketed through advertisement. Fashion decides who, when, where and why wear the clothes. Fashion creates a myth, and people willingly follow the trends. People become a part of ideology that is created by the mainstream culture. They think they become more like an individual this way but the reality served is such a distorted thing, and naturalized that people accept it no matter what even unconsciously. People love to be consumed by myths.
WORKS CITED
Roland Barthes-Myth Today
Roland Barthes-Language and Fahion
John Fiske- The Jeaning of America
Vogue- Fashion Decades
https://www.glamour.com/story/2000s-fashion-trends-to-wear-now
http://www.vogue.co.uk/article/marc-jacobs-biography
http://www.levistrauss.com/our-story/
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