Knock-Off:
Revenge on the Logo
by Anette
Baldhauf and Katharina Weingartner
First Run/Icarus Films, Brooklyn, NY,
2004
VHS, 45 minutes, colour
Sale: $348; rental: $75
Distributor website: http://www.frif.com/.
Reviewed by Andrea Dahlberg
andrea.dahlberg@bakernet.com
Knock-Off
is a short documentary (45 minutes) that
raises issues of copyright, piracy, branding,
advertising, and labour and looks at the
ways in which consumers use, subvert,
and create identities from globally branded
luxury goods. The film is structured as
a shopping expedition starting in Canal
Street, Manhattan, where we see sweat-shop
labourers emerge from cardboard shelters
on the streets to begin their day, and
ending up in Harlem, where a shoe-maker
describes some of his recent commissions,
which include re- lining a pair of Louis
Vuitton boots in scarlet leather.
For most
of the journey we are accompanied by two
women shopping for designer handbags.
On Canal Street they search out the best
fakes for $35. Interviews with a labour
activist reveal the working conditions
of the people who make the bags, the countries
they come from, and how the authorities
will tolerate a certain amount of this
counterfeit activity because of its appeal
to tourists and its popularity with bargain
hunters. Interviews with a couple of corporate
IP lawyers provide an alternative point
of view; they claim that counterfeiting
is intimately tied into much larger and
more significant criminal abuses, such
as people-trafficking and drug dealing.
As the women
move uptown, the designer handbags become
more expensive. At Prada they examine
minute beaded handbags for $1,600. The
film lingers in the Prada store, and handbags
are forgotten as an architect leads viewers
on a tour of the shop, which was designed
to "redefine the shopping experience".
Huge spaces are devoted to viewing art,
and the intention is to encourage the
shopper to associate the Prada brand with
art or high culture. Hand-held computers
read information about the clothes from
tags inside them and play video clips
of them being modeled on the runway in
Milan. The tour of the store is a lesson
in how brand values are constructed and
communicated to consumers; it is the story
of how a boring grey jacket becomes magically
endowed with the power to make its owner
feel part of the cultural elite and of
how such a dull object can inspire confidence
and create envy.
By the time
we reach Harlem, it is night. Some of
the most interesting footage in the film
is shot here. For many consumers in Harlem,
it is not enough to wear a brand; logos
and other brand-identifying characteristics
are cut out, re-sewn, and new, highly
individual consumer goods are constructed,
which flaunt brands in entirely new ways.
The film provides little analysis of these
strange concoctions. They initially appear
as highly creative ways to assert an individual
identity in an environment where everything
seems to have a brand name inscribed on
it. Many of these objects (most are foot
wear) would be extremely expensive to
produce as they require the destruction
of two, three, or more designer items
to make a new one.
This highly
extravagant form of brand consumption
is reminiscent of the potlatch of certain
Indian tribes of the North-West coast
(the Kwakiutl), who created and articulated
social superiority by creating huge bonfires
of luxury goods. The economics behind
these kind of spectacular displays where
luxury goods are aggressively destroyed
is always worth examining. The potlatch
was probably related to inflationary pressure
that had gotten out of hand. In the case
of Harlem, it is likely to be related
to a black market; it is way of consuming
money that has a limited chance of being
absorbed into the mainstream economy.
In both cases surplus is converted into
social status through the destruction
of luxury goods.
The film
suffers, in part, from far too many shots
of people in the streets wearing logos.
The women shopping for handbags also become
tedious after a while. However, aside
from these points, it is an entertaining
and provocative tour of some of the main
issues raised by luxury branded goods
in a global economy.