This article looks at the French retail chain Prisunic’s fashion production in the 1960s and, in particular, at the collective and invisible labour of its creative studio established in 1953. It examines the processes by which Prisunic evolved from selling clothes, infamous for their shabbiness, to selling fashion during the 1960s. First, this article focuses on the organization of Prisunic. Second, it turns to the interactions between Prisunic as a fashion producer and cultural intermediaries such as forecasting agencies. Specifically, it analyses how Maïmé Arnodin’s ‘colour books’ became instrumental to Prisunic’s design process. Third, it considers the diversity of occupations within the studio, including stylist, fashion designer, fashion photographer, graphic designer and typographer, and considers their interactions. Fourth, the article delves into the interpersonal relations of studio members with fashion journalists and editors, as well as structural interactions between fashion producers and fashion media. Especially, it questions the role of French Elle in the visual and discursive construction of Prisunic’s commodities as the product of creative labour. The article draws on sociologist Michel Callon’s focus on ‘agencies’ and ‘material devices’, which are instrumental in shaping markets and the cultural economy. Further, it builds on sociologist Liz McFall’s characterization of material devices as shaped by the interaction of institutional, organizational and technological arrangements to analyse the studio’s labour practices within Prisunic, upstream with its suppliers and downstream with the press. This article traces the processes, interactions and arrangements that make up Prisunic’s styling streams.
Urban Regeneration: From the Arts `Feel Good' Factor to the Cultural Economy: A Case Study of Hoxton, London
