物慾流創作研究

Abstract

在現代消費社會，人們的基本生存需求得到了充分的提供，在物質需求得到了滿足之後，人們會進而追求精神上及文化上的需求，也就是心理上的需求。而此時資本企業也積極的為其所生產的大量產品尋找出路，達到資本增值的目的。透過與媒體的完美結合，成功的創造出產品符號價值，尤其在時尚產業更是發揮到淋漓盡致。時尚符號代表品味、優雅及上流社會的象徵，以前的富人透過財富的多寡來展現財力，現代的有錢人則需透過大量的消費來展現財力，於是時尚精品消費變成有錢人區隔社會階層的方式。此時所消費的物品變成了系統的符號，被消費的不再是物品，而是關係本身，這也就是所謂的炫耀性消費。 因為經由媒體的促銷與廣告，時尚符號深植人心，造成一般大眾及年輕人的盲目仿效與跟從。不管自己能力夠不夠，不惜以大部份所得或借貸方式來滿足心理上的需求，來達到晉身上流階級的目標，而這一切只是時尚的假象。 筆者物慾流系列裡的皮包代表著這場競賽中的時尚符號，上層階級的指標，它以各種方式被畫中主角消費、擁有。「皮包」變成一個人與物在消費關係上的客體，被主體「人」所消費，此時畫中主角所消費的不是皮包本身，而是皮包背後的符號意義「有錢階級的符號」。 本論文即在探討現在社會所呈現的過度性符號消費及炫耀性消費的現象。一共分六章：第一章、研究動機、研究目的、研究內容與範圍，第二章、消費心理學、時尚行銷、美術史上時尚畫之探討、普普藝術，第三章、當代消費文化—豐裕消費社會的建構、炫耀性消費、時尚與人、物的關係，第四章、年輕女孩與名牌皮包的關係、創作形式、媒材與技法，第五章、作品解析，第六章、結論。

In the developed society, consumerism is no longer purely driven by the need of survival, instead a new type of consumerism has risen based on fulfilling psychological need for societal approval and status. To create markets for massive amount of products and to expand the existing market share and value of corporates, many companies have successfully used multimedia platforms to transform their products into symbols of status and wealth instead of just simply objects. Fashion industry is the champion of such transformations. Nowadays, fashion products are more than well designed utilities, they are the embodiment of taste, elegance and social status. In the past, wealth was displayed through the quantity and quality of possession which in turn can earn possessors the social status they desired. As the concept of ‘brand name’ is popularized, people now seek to gain social status by purchasing products from certain brands without possessing actual wealth. In this way, what is being bought is no longer the product itself but the status associated with the item resulting in a consumption behavior that based on vanity rather than needs.

As a result of multimedia marketing and advertising, recognizable fashion brand names have become deeply ingrained in the consciousness of the masses leading to the blind pursuit of material gains well beyond their means. People are willing to place themselves in financial hardship to satisfy their psychological need to acquire these symbols of status and wealth.

In Long Live Consumerism, the author described handbags as an absolute symbol of this constant pursuit of societal recognition for status and wealth. Handbags are portrayed like any other consumer products, they are purchased, possessed, and used, Yet in the end, what people really took possession of is the recognition that the handbags have come to present, rather than the bags themselves.

In this thesis, the author aims to explore the excessive consumption based on materialistic and vanity needs. It has 6 chapters. Chapter 1: research motivation, goal, content and confine. Chapter 2: consumer psychology, fashion marketing, pop arts. Chapter 3: contemporary consumer culture- infrastructure of affluent consumer society, conspicuous consumption, and relationship between fashion, people and products. Chapter 4: relationship between painting subject and brand named hand bags, creative process, medium and techniques. Chapter 5: painting analysis. Chapter 6: conclusion.