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Proper names in the symbolic economy of fashion

There are 'places' in language that spark off little stories and become 'poetic' elements, and are thus modified beyond their logical status and beyond the rigor of the referential connections imposed on them by philosophical tradition. One of these places is the proper name, whose problematicity may be identified in the constant deferment between presence and evocation from which language itself arises. The name puts up a screen, a fictitious presence, which is connected to both the physical nature of the named individual and his death in the word. Roland Barthes has given us in relation to Proust one of the best 'literary' theories on proper names. Beyond any semantic or descriptive conception tied to the logical or pragmatic tradition of proper names, Barthes classified three peculiar powers of the name: (1) a power of'essentialization', because the name designates only one referent; (2) a power of citation, tied to the evocation of the essence involved in the name; and (3) a power of exploration, because we can 'uncork' names, as we do with memories (Barthes 1972). There are sign systems where proper names articulate their processes and produce their 'scenes' in a particular way: these include literature, publicity, and fashion. In the fashion system the proper name shows its manifold powers: originally an exclusively verbal sign, the proper name becomes something richer, more complex — it becomes an extraverbal sign, and its metalinguistic status is charged with semioticity. In his Systeme de la Mode, Barthes lists those words he calls 'fashion terms' (termes de mode) — that is, names designating clothes, or their parts, or accessories. Fashion terms include genres, which are terms with a definite referent (such as "basque", 'blouse', 'cape\ 'gilef), and variants, which act as shifters, establishing relations of identity, configuration, measure, etc. (Barthes 1967: 309-310). Besides being used as fashion terms, proper names also present themselves in fashion as the 'author's name'. This kind of name recalls the force of the mark, of the seal as a genealogical and paternal cypher. The author's