"Helina is explaining what a haul girl is to me. 'Basically, you go out shopping for clothes or beauty products,' she says, 'then you make a haul video and show viewers on YouTube what you got. You go through the items of clothing one by one. I guess what people get out of them is not showing off, like, how much money you've got or anything, but lifestyle: you get to see how one person lives, what their taste is.'
If you're minded to sneer at a youth cult that involves making videos about your shopping, then Helina has a pretty intriguing counter–argument. 'It's not just about showing what you've got,' she says. 'It's a whole creative process behind the videos as well, which is what I enjoy about it. Choosing the right music, going from the filming to the editing. Sometimes I even storyboard things, because I want certain shots, how I can present different items and things like that.' Besides, she says, it's a genuine community. She thinks a lot of haul girls 'turn the camera on because it's a way to talk to people without having to go outside and face their fears. I know that was the case with me: I turned on my camera because I was at home, signed off work, sick, and really bored. And it helped with my confidence in a way. There's this community where you can talk to like–minded people.'"
(Alexis Petridis, 20 March 2014, The Guardian)
"Brands are about meaning. In this case, Leo Burnett was able to transform a mild woman's cigarette into a rugged masculine product virtually overnight by using iconic imagery. The brand was literally re–imagined and thrust into the number 1 position as a result. The state of California realized that they needed to disempower this same iconic imagery and bluntly point out that even rugged cowboys can suffer serious diseases like lung cancer, emphysema, and heart disease caused by smoking."
(Kurian M. Tharakan)
"whilst the application of design is multiplying exponentially, it is also loosing its validity as an authentic cultural icon. It has become synonymous with cloning the face of global culture itself, more often representing the uniformity of mass globalisation, rather than reflecting the facets of cultural difference and diversity.
The cultural attributes of difference and diversity have been fundamentally weakened, and like face that has undergone cosmetic surgery, the result is a facsimile vaguely familiar but disturbingly without a true sense of identity. It is everyone's and no one's, and belongs in no single place more than another. ...
Design has become omnipresent within Culture, as it has been adopted as a convenient badge to add value and market commodity, and to signify identity. Following Designer era of 1980's, the added value of design was replaced by design as cultural value, embodied in leading Brands of the 1990's. ...
in the 21st Century the task of capturing Culture has become more and more difficult in terms of expressing culture through the medium of design. Design increasingly struggles for a clear sense of definition, and one is left asking, what can Culture really mean today, if it is no longer tied to consumer lifestyle? We remain in a post–contemporary state where we require a redefinition of meaning, value and identity. ...
The uncertainty of a designed fusion Culture has replaced the certainty of traditional cultural monoculture. Which in turn has been diluted by an obsession with 'cultural materialism'. What remains of the original cultural sources are being plundered in order to restock our lack of creative DNA. The net result is an erosion of the remaining authentic sources, but also the creation of a 'cultural time lag' which has been generated by a convergence of trans–cultural fusions, hybridisation, and of recurrent cultural cross referencing."
(David Carlson on 21 Mar 21 2011, David Report)
Fig.1 paper sculptures made by Jennifer Collier [http://jennifercollier.co.uk/].