Grounded in long-term ethnographic fieldwork in New Delhi’s fashion industry, this article explores the pressing question on the designer’s mind, namely: how do I align the desires of others with my (master)-desire? This question points us towards an investigation of how people’s affects are mobilized and directed through commercial rituals such as fashion shows set within hyper-designed theatrical play-spheres. Translating the invisible or covert mobilization of affects into profit has been on the mind of advertisers for the last decade. However, analysing such deliberately covert strategies of capture employed in two cases – JJ Valaya’s haute couture shows and Nitin Bal Chauhan’s youth brand – we realize that it is precisely their failure at being covert that makes them effective; clients know full well about them. Robert Pfaller’s theory of ‘illusions without owners’ can throw some light here on why clients passionately embrace the desire of capital precisely against their better knowledge.
展开▼
机译：本文以新德里时尚界的长期民族志田野调查为基础，探讨了设计师心中紧迫的问题，即：我如何使他人的欲望与（主人）的欲望保持一致？这个问题使我们着眼于如何通过商业仪式（例如在超设计的戏剧性游戏环境中设置的时装表演）来动员和影响人们的情感的调查。在过去十年中，广告商一直在考虑将情感的无形或秘密动员转化为利润。但是，通过分析两种情况下故意采取的秘密捕获策略-JJ Valaya的高级时装秀和Nitin Bal Chauhan的青年品牌-我们意识到，正是由于他们的失败而使他们有效。客户对他们非常了解。罗伯特·普莱弗（Robert Pfaller）的“没有所有者的幻想”理论可以阐明为什么客户热情地接受资本的欲望而正是他们的更好的知识。
展开▼
