I.

THE CULTURAL MODEL OF COMMUNICATION

Throughout the semester of COMM 320, or Popular Culture, we have discussed the many

ways in which Grossberg’s cultural model of communication plays an active role in studying and

analyzing popular culture. Grossberg quotes, “The cultural model of communication sees

communication as the construction of a shared space or map of meaning within which people

coexist” (Grossberg 22). A cultural model of communication has a receiver that is active, not

passive such as with the transmission model. In Grossberg’s book, “Media Making,” he

discusses that not only does “media make” but also that individuals “make media.” Again,

Grossberg quotes, “We must see the media and all of the relationships that the media are

involved in as active relationships producing the world at the same time that world is producing

media” (7). We live in an age of interactivity where media are made and made by the consumer.

The sender, or producer, is not just of origin; they are trying to make sense of culture.

Grossberg would emphasize that the producer is always involved in deciphering the

world of media; what would be the most effective and powerful way of media and understanding

that media is made against a background of other media. Grossberg suggests then, that this

process occurs within this background called culture. Media are involved in making culture, but

culture plays a role in how media is made. Culture is an envelope in this process of “media

make” and “make media.” The cultural model emphasizes that it is responsible for making a

culture popular and it is always culture that goes to into making media. Grossberg believes that

popular culture speaks to people’s experiences and gives them the freedom to interpret specific

texts and spaces, and that this popular culture speaks to a large audience that cannot be described

by one social variable (54).

 Within this cultural model of communication, Grossberg suggests that communication or

culture is common. There is a level of ordinary and everyday ideas. The most basic level of

communication is language, a communication that is so deeply embedded we take for granted.

Popular culture is ordinary, everyday, and regular. The power of such communication is indeed

in its ordinariness (21). This common idea can be seen through which society makes codes (what

we think vs. what is the set/general idea) and conventions-a system of differences that become

ritualized. The second point introduced is that culture/communication is incommon. Grossberg

uses the idea of language in that every language is distinct and selective. “If culture remained

totally within the already constructed social language, everyone would understand everything,

but there would be nothing new in the world” (22). Grossberg emphasizes that communication is

ritualized. Ritualized can be defined as a series of actions repeated on a daily basis (23). In this

process, cultures are constantly being evaluated, remade, made and remade again. The cultural

model of communication recognizes the significant power of language, culture, and rituals to

complement the idea of creating a shared meaning (25).

The primary example I will use throughout this final project is the retail store, Victoria’s

Secret. I plan to connect this primary example to Grossberg’s cultural model of communication

and through four readings: “Home Sweet Pornographic Home?” by Jane Juffer, “Consumption

and Shopping” by Daniel Miller, “Function and Sign: The Semiotics of Architecture” by

Umberto Eco, and “Exhibiting Masculinity” Chapter 5 by Sean Nixon.

II. HOME SWEET PORNOGRAPHIC HOME?-JANE JUFFER

The first article that I have decided to analyze and relate to my primary example of

Victoria’s Secret is Jane Juffer’s article, “Home Sweet Pornographic Home? It is with this
article that Juffers makes three points: 1. Erotica for women is predicated on women’s access to

places that aren’t threatening to them, 2. Erotica is designed for a male consumer only through

genres as “couples porn” or perhaps through commercial and public stores, and 3. The use of

complicated strategies those stores use to reveal and conceal, make public and private their

display.

Erotica for women is predicated on women’s access to places that aren’t threatening to

women. Juffer begins by talking about governmental attempts to regulate pornography within a

political context of the policing of sexuality for the sake of a mythical set of family values-

mythical meaning they are so deeply ingrained (Juffer 33-34). This is in relation to which

Grossberg describes culture as ritualized- a series of actions that become repeated over time

(Grossberg 23). Juffers goes on to describe that these governmental positions limit women’s

sexual freedom, and profeminists have decided that consumption of erotica and pornography

must be situated in relation to women’s everyday lives, as only one of the many elements that

make up part of their everyday routines. This new spatial arrangement has involved the

mainstreaming of "porn"--its movement into places available to women (Juffer 34).

This idea is present in Victoria’s Secret by the fact that this retail store of lingerie and

“erotica” is located in shopping malls across the United States. Take note that shopping malls

are a place that are a routine commercial sphere of consumption, where safety and retail spaces

appeal to different taste cultures that are “constructed,” resulting in an acceptable place where

women are allowed to browse without feeling guilty (35). Another way Victoria’s Secret makes

the shopping experience of “erotica” more welcoming is with its vast array of commercial goods.

Not only does Victoria’s Secret sell “erotica” items such as sexy lingerie of bras, panties, and

outfits, but also incorporates products such as the PINK line (casual loungewear for teen girls),
and beauty products that are apart of women’s routine of getting ready in the morning. Juffers

would argue that incorporating these different products in the store, women are more likely to

enter and think that Victoria’s Secret offers more than just erotica and helps open up more

positive attitudes about “sex” in public presences (40).

Juffer notes that these places, such as Victoria’s Secret, were needed because women did

not figure as “average” people who consumed potentially pornographic material. To an extent,

women can enter Victoria’s Secret with the belief that they will not be judged and can find

helpful saleswomen in the store to assist in their purchases. The different products, especially

PINK, entices younger female audiences to enter the store without feeling embarrassed or guilty.

Juffer would argue that Victoria’s Secret goal of doing this would be to attract younger

audiences and make them believe that Victoria’s Secret is a common, natural, and ordinary retail

store, reemphasizing Grossberg’s point about popular media or spaces being common and

routine, much like anything else in the mall that allows a less threatening shopping experience

(Grossberg 21).

The next point Juffer argues is that erotica is designed for a male consumer only through

genres such as “couples porn” or perhaps through stores such as Victoria’s Secret. Having

Victoria’s Secret in such a public sphere of the shopping mall, allows for both female and male

consumers. Juffer explains that much pornography is still largely produced within the

conventions of an industry that has for years been for male pleasures, but with stores such as

Victoria’s Secret, this idea is changing, emphasizing new genres such as “couples porn” (Juffer

56). Victoria’s Secret is something that both men and women can enjoy as a couple. Both are

allowed access into the store, and majority of men entering the store come with their female

significant other, adding to the argument of “couples porn.” Juffer further explains with her trip
to Illini Video Arcade that films designated as “couples porn” often are narrative, containing

more of a story, experience, and plotline (Juffer 58). The women who buy items at Victoria’s

secret are not usually buying them for themselves, but are typically buying and using this

“erotica” as an experience they can share with their partner, which in turn results in Victoria’s

Secret being consumed by couples. Males’ access to the store also reemphasizes Juffer’s

argument about couple’s porn referring that the man buys this for his partner that they can both

enjoy and feel pleasure from together.

Finally, Juffer argues the use of complicated strategies the store uses to reveal and

conceal, make public and private “erotica” display. In the article, she explains that many believe

pornography represents a threat to the quality of urban life, and adult stores are indirectly forced

away from establishments that are close proximity to family values (41). Upon researching

Victoria’s Secret I have noticed a trend in different shopping malls. Victoria’s Secret in both

Northwood’s Mall in Peoria IL and Marketplace Mall in Champaign IL have situated this retail

store at dead ends of a mall which supplements Juffer’s point that society is wanting to zone out

pornographic presences, and also emphasizes we have not come a point yet in which there is no

embarrassment in consumption.

Many believe that all pornography is pervasive and degrading. Juffer’s mentions that

women’s access to “erotica” is much easier in common and routine stores such as Barnes’s and

Noble, where “erotica is considered art rather than pornography (57). Juffer would argue that

Victoria’s Secret is trying to change the idea that porn is degrading by offering a trendy, upscale,

and sophisticated retail store. There are many ways in which Victoria’s Secret makes their

displays private. It is not until walking further into the retail store that a spectator will notice the

more erotic outfits and lingerie. The PINK and beauty section are in the front of the store while
the sexier items are in the back of the store. In addition, some of the merchandise is hidden in

drawers and on shelves, an idea that Juffer might think of as making a display private. Another

point to add is that Victoria’s Secret is retail store that allows purchases to be used in the private

domestic sphere of the home. Finally, there are also some ways in which Victoria’s Secret

makes their display public. There are always mannequins wearing latest fashion of bras, panties,

erotic outfits (although not usually in the display window), framed photos of supermodels

wearing barely anything but lingerie. With the framed photos, Juffer could argue that Victoria’s

Secret is trying to make erotica similar to art the way Barnes and Noble categorizes erotica.

Finally the last strategy the store uses to make public is the signature bright pink bags that have

“Victoria’s Secret” written on it for every spectator who does not even enter the store to see

throughout the mall. Making it apart of a common idea of art and placing Victoria’s Secret in a

common mall, where routine, everyday activities supplements Grossberg’s cultural model of

communication (Grossberg 21).

III. CONSUMPTION AND SHOPPING-DANIEL MILLER

The next article that emphasizes both Grossberg’s cultural model of communication and

my primary example of Victoria’s secret is Daniel Miller’s article titled, “Consumption and

Shopping.” Miller explains that shopping itself has only rarely been the focus of work in

consumption, but that shopping is important, and the main issue to address is what shoppers do

and what they understand as “shopping” (Miller 7). A shopping mall, including Victoria’s secret

does correlate to Grossberg’s cultural model of communication through the idea that both

consummate what makes it known as a “popular space.” The main points discussed will be 1.

Shopping and consumption toward a theoretical framework and 2. Constructing identity through

shopping and consumption.

 First of all, the cultural model of communication emphasizes that popular culture is

common. There is an ordinariness and everyday aspect in shopping, whether it is shopping for

basic needs or just as a leisure activity. Shopping is considered to be routine and ritualized, an

expansion of he commercial sphere of everyday life (15). This would be evident in Victoria’s

Secret by the repeated visits by loyal customers through their routine actions as a shopper. Hall

would emphasize that the shopping mall and Victoria’s secret is embedded within a series of

conventions, an idea so deeply ingrained that we know what certain codes correspond to a mall,

helping us decipher a meaning that the mall is a place to shop and that specifically Victoria’s

secret is a place to purchase lingerie (Hall 21-22).

This popular site of Victoria’s Secret also intersects with different discourses. Miller

discusses a stage where there is a role of the workforce in shops and stores from sales

assistances, to security staff, and to managers that make up an important part of consumption

(Miller 4). Not only do the customers shop at Victoria’s Secret, the company encourages

employees from all levels to join in on consuming. As an employee of Victoria’s Secret, I have

seen many times in which the individuals who work there spend more on Victoria’s Secret

merchandise than the typical shopper or leisure consumer.

Another major point that Miller emphasizes when talking about moving towards a

theoretical framework is the idea that shopping is more that just shopping; it is about social

relations. Miller quotes, “Shopping for goods remains a social activity built around social

exchange as well as a simple commodity exchange” (4). Each store has their own pro forma

greetings, salutations, and open-ended questions to engage conversation with customers.

Victoria’s Secret places a huge emphasis on the customer’s experience with shopping, urging

sales associates to engage with the customer, with the hope that an increase in consumption will
result. Miller would believe that the way Victoria’s Secret asks open ended questions such as, “

What are you looking for today?” and “What can I help you find?” indicates that shopping is

more than just purchasing the commodity, but building a social discourse.

It is also important to note that the product itself also invokes a process of “translation” as

the product is tried on, taken home, and sieved through the varied cultural environments, which

give objects their social meaning (18) The social meaning of Victoria’s secret being branded a

place where women can shop for upscale lingerie and consider the product they bring home as

sophisticated sexiness, not something that could be considered by others as trashy or

inappropriate. Something also important to note is that the shopper is active: actively viewing

the products, actively trying them on, and interacting with sales staff. This goes along with

Grossberg’s cultural model of communication in which he states that unlike the transmission

model, the consumer, or receiver, is active (Grossberg 7).

Shopping is also about others as it is for ourselves. The way we express our relationship

with someone is often through commodities (17). Victoria’s Secret recognizes these ideas

through selling “Best Friend”, “Congratulations”, and “Happy Birthday” gift cards. Victoria’s

Secret also sells gifts for wedding and bachelorette parties. Victoria’s Secret is a place where, as

mentioned previously where men come in to purchase gifts not for themselves, but for their

significant other.

The second main idea that Miller accentuates is how shopping is about constructing or as

Grossberg would like to call it, creating or making identity. Miller explains that identity is made

by both the producer (retail store) and the consumer. Shopping provides a form of leisure, a

structured time, and a site for constructing family relations of gender and generation (19). It is
common to think of identities as plural and dynamic, determined based off the spaces we are

moving between and the idea that no one today is purely one thing (20-21). Miler would argue

this would be the reason why Victoria’s Secret has so many rooms within their retail store.

There are several types of lingerie that fit different taste cultures. There is the “Body” room

which appeals to older women looking for support and wanting a more neutral lingerie line, a

“PINK” section for young girls to pick out the cutest comfy loungewear, a “Very Sexy” section

which contains lingerie for seductive occasions, an “Angels” section that appeals to those who

like a dreamy lacy type of lingerie, and beauty, which is a line of cosmetics that virtually appeals

to every woman. Victoria's Secret is now building its image with a fairly conservative, middle-

class shopper in mind and avoids any connotations of sleaziness that lingerie might carry

(“Victoria’s Secret”). Miller would argue that identities are constructed through these popular

spaces. “Consumption is a choice not just between different kinds of goods, but between kinds

of relationships. Goods are desired for their own sake, self indulgence or personal display, and

showing that he ownership and display of products is part of consistent social pattern and

demonstrates how people’s taste and preferences are clearly politicized” (Miller 23).

Miller discusses identity through gender and sexual culture. He points out that shopping

is equated to women but also argues that men also have a shopping identity (11). Miller would

argue that many stores try to contemplate this by incorporating men’s apparel and commodities

such as Victoria’s Secret who sells a line of men’s hair products and a line of cologne.

Victoria’s Secret also helps one define a woman’s identity by helping answer such questions as

“What is femininity? What is sexy? What defines you as a woman?” Stores are an institution of

everyday culture that help influence the ways in which women and men are viewed and related

to each other as sexes, an idea that supplements Grossberg’s cultural model of communication.
 Another identity that is constructed is that of taste cultures and lifestyle clusters. Both

lifestyle clusters and taste cultures are “elective communities,” memberships the consumer

chooses rather than is allocated to the shopper (10). Both are routine practices incorporated into

habits of dress, ways of acting, and favored impressions of others. Miller quotes, “Routines are

reflexively open to change in the light of the mobile nature of self-identity. Each of the small

decisions a person makes everyday …contributes to such routines” (10). Again, this supplements

Grossberg’s idea of a cultural model of communication in that culture is routine (23). Victoria’s

Secret fosters a taste and lifestyle cluster through different rooms in the store in order to appeal

to a large audience, with the main objective to get the customer to retain their taste and lifestyle

cluster with the retail store.

IV. FUNCTION AND SIGN: THE SEMIOTICS OF ARCHITECTURE- UMBERTO ECO

The next article that I found an interesting read was titled, “Function and Sign: The

Semiotics of Architecture” by Umberto Eco. The main points Eco makes are 1. Architecture is

not only a function but also a way to communicate through ways of codes and 2. Architecture

messages become something of mass appeal, something that may be taken for granted,

something that one would expect (convention).

In the reading, Eco introduces the usefulness of semiotics and begins to formulate the

argument that architecture is often misinterpreted as only being a function to form (Eco 182).

Function related to architecture would answer such questions as, “What is it that you do with it?

What is its relation to its form design?” A semiotician would ask, “How does anything make

meaning? and how is that meaning is constructed, or Grossberg likes to say, “made” through

these architectural forms? A discussion from both Hall and Grossberg emphasizes that signs are
a system of representation by which any sign has a relation to a code or convention. Grossberg

also mentions a cultural form, how the products of media technologies and organization are

structured, and how their languages and meanings are structured into codes (Grossberg 144).

Although Grossberg is talking about popular media, this can also be related to popular spaces as

well. Within a system of representation, we share common codes-a systematic structure or

organization of signs, where a sign is something that stands in for something else. Codes are

what we think vs. what is set, and these codes are constantly being negotiated (Hall 17).

Semoticians analyze the various signs that make meanings through a set of codes and

conventions. Conventions, Grossberg would argue are codes so deeply ingrained that they have

become known as ritual or routine (Grossberg 23). As part of the reading, I will introduce two

main points Eco makes and how each point relates to my primary example of Victoria’s Secret.

The first main point Eco introduces is that architecture is not only a function but also a

way to communicate through ways of codes. In the beginning of his article, Eco mentions a man

who makes shelter in a cave and how this space of the cave begins to take shape as the “idea of a

cave” and beings to recognize any other cave he sees as a possibility of a functional shelter (Eco

183). This can be similar in asking how Victoria’s Secret begins to take shape as an “idea of a

store” and how one begins to recognize any other store, in addition to other Victoria’s Secret

stores, contains the possibility of consumption and retail. It could then be said that a sense of

what a retail store is and what type of retail store has already been codified. One can

communicate the example of the cave or retail store of Victoria’s Secret by other means, the

means of signs. A retail building further communicates a function to be fulfilled and Victoria’s

Secret signifies a certain way of shopping by selling higher quality lingerie and loungewear.

Victoria’s Secret also signifies a certain way of shopping and selling similar to stores in which
there are signs of price tags, areas of cash registers, and sales associates spread throughout.

There are many sign vehicles within a retail store such as Victoria’s Secret. A sign

vehicle is described as a certain sign that communicates, and is comprised of technical codes,

syntactic codes, and semantic codes (184). To begin with, “a technical code is at a level of

codification of structural logic in which there is no communicative content except in cases of

structural function of technique (193). An example of technical codes would be ordinary

components of infrastructure: beams, flooring, columns, insulation, wiring, lighting, and

speakers. Victoria’s Secret has these very basic components, and they are hid very well with

Victorian style walls, ceilings. These technical codes are not always visible to the customer, but

are needed to function as a retail store.

The next code mentioned is syntactic codes, meaning the articulation into spatial types.

This means the general layout of the retail store. Multiple room plans, entryway/exit ways, floor

plans would be some examples. In addition, all syntactic codes will follow a convention and

codifications-already worked out solutions yielding standardized messages (194). Eco mentions

that, for example, a stairway does not go through window (193). Victoria’s Secret has these

syntactic codes and the conventions in which they belong. The store has multiple room layouts in

addition to a distinct floor layout that allows the customer to know that area they are entering is

Victoria’s Secret. As always, this retail store also follows syntactic conventions. For example,

the entryway is at the front of the store, and display windows for leisure shoppers to view would

not be placed in the back of the store, but rather in the front of Victoria’s Secret. Also, the

bathroom is only for employees, so it would be only accurate to place it in the back room. The

layout of Victoria’s Secret prompts the customer, or gives the customer implicit “instructions” in

the architectural messages (use door to go this way, follow floor plan accordingly, open drawers
to find different styles and colors, door in the back is restricted to employees only) that are not

only signified functions, but also are promoted and induced functions (186).

Lastly, there are semantic codes, codes that concern the significant units of architecture,

and have relations established between their denotative and connotative meanings (193).

Architecture denotes primary functions, the primary objects of what they mean or tend to mean

(193). The function of Victoria’s Secret denotes a “form of business or retail inhabitation.”

Lighting would denote a function of allowing customers to provide appropriate light to view

products and work in such an environment. Eco mentions that an architect could also present

objects such as false windows, whose denoted function would be illusory. These windows would

still function as windows in the sense they are an aesthetic function of an architecture message as

windows (185). An example would be neon lights in the store that write out the word, “PINK.”

Here, the function is essentially aesthetic, as this lightning is not really needed to promote a

function of being able to see the merchandise because the store already has the appropriate

lighting. Another point to mention is that an architect cannot make a new form functional and

cannot give form to a new function without the support of existing codes and conventions. These

primary functions, as Eco calls them, would be something simple as what a window is and what

a door/entrance is and how it is used (185). Victoria’s Secret also has many shelves and drawers

and we understand the function of these for display and storage of items through something that

has been coded and conventionalized through routine practices.

In addition, architecture also connotes a function, or secondary function mentioned by

Eco. Secondary functions rely on the denotation of primary functions. They connote a certain

ideology of the function. An ideology that Grossberg identifies as something deeply rooted in

society (Grossberg 199). The ideology of any retail store, including Victoria’s Secret contains
cash registers, shelves, doors, and security cameras. These codifications are already worked out

and yield standardized messages. Victoria’s Secret’s architecture goes beyond the primary

function (colorful wallpaper rather than just walls, beautiful tile flooring rather than concrete, the

outside design of black and pink rather than just the basic building) and connotes an experience

of shopping, leisure, sophistication, and a classy lingerie store. Eco mentions the idea of

connotation when he uses the example of a regular chair vs. a throne: both denote a function of a

place, but the throne connotes a certain ideology of dignity and regalness that is important to its

function (Eco 187). Eco would argue that the bright lightning in Victoria’s Secret would denote

the primary function to see objects, but spotlighting it on products or using different lightning

techniques in each of the different rooms of Victoria’s Secret would connote a certain ambient

mood or upscale experience.

As one can see, architecture has typological, or typical and expected, or Grossberg could

claim with his cultural model of communication, routine or ritualized meanings under certain

functional and sociological types. Victoria’s Secret, from the items I have mentioned previously,

has architectural configurations indicating a retail store, shopping, and leisure.

The next major point Eco introduces is that architectural messages has become something

of mass appeal, something that is taken for granted, and something that one would expect. Eco

quotes, “Architecture is a form of mass culture and has become rather popular. Architecture is a

communicative operation directed toward large groups of people, confirming certain widely

subscribed attitudes and ways of life while meeting their expectations (195). Architectural

objects seem to have characteristics in common with messages of the cultural model of

communication. Just as there are ritualized ways of making meaning through fashion, Eco is

making the same point about architecture. Many forms of architecture are experienced
inattentively and are taken for granted. I have been an employee of Victoria’s Secret for over 6

months, it was not until this class that I really started to understand how architecture is often

taken for granted. This supplements Grossberg’s point that popular culture is common, “The idea

of culture is a general reaction to a general and major change in the condition of our common

life.” and “the cultural model emphasizes the fact that people already exist within a world of

shared meaning that they take for granted” (Grossberg 22). Architecture also belongs to the

realm of everyday life, but also a part of architecture, like culture is uncommon. Shops in retail

do not always sell the same items or have the say layout. Besides, if everyone understood

everything, there would be nothing new! Overall, the cultural model of communication as with

architecture recognizes the power of culture, routines, and rituals, which reaffirms the idea of

shared systems of meaning and values in defining that culture (25).

V. CHAPTER 5-TECHNOLOGIES OF SELF/SPECTATORSHIP AND CONSUMPTION

The last reading that will be discussed is Ch. 5 sections 3, 5.5 and 5-7 written by Sean

Nixon with his discussion of cultural technologies and spectatorship. The main points in this

reading are 1. Media work as cultural technologies in the form of power and the self, and 2.

Nixon offers the account of understanding the forms of looking between the new man images in

shop windows. Again, I will relate these two major points to my primary example of Victoria’s

Secret.

Section 3 introduces Foucault and his idea that media work as cultural technologies,

especially technologies directed toward the self. Through themselves or with the help of others,

individuals perform a number of operations on their own bodies or conduct, in order to transform

themselves to reach a state of happiness, perfection, or immortality (Nixon 322). Foucault was
interested in the growth of human sciences, especially the idea that experts or authorities had the

power to control the habits and actions of others (Hall 48). Foucault believes that we live in a

world surrounded by authorities; multiple sources of power, helping one define certain norms

and reach certain forms of rugged individuality (56). One way experts use their power is through

self-fashioning. Retail stores such as Victoria’s Secret, Foucault would argue, have power

experts in the form of sale associates. These sale associates stand in different areas that managers

assign and then are considered “experts” in the Beauty room, “experts” in the Angels room, or

“experts” in the PINK room. Foucault would even argue that the clothing the associates wear

(black suits, headsets, and a measuring tape) command a certain sense of power and authority

over the ordinary customer.

The convention of what is expected from sales associate has that set ideology from

customers who they believe they really are experts in that particular room. Grossberg

emphasizes this point with his cultural model of communication and begins by recognizing this

power of rituals and values that define a retail experience (Grossberg 25). These retail associates

use various selling techniques to get the customer to understand they can never be complete or

happy without making purchases in Victoria’s Secret. Victoria’s Secret is always coming out

with new products; as of currently, it is Angels Wish fragrance and the Miracle Bra. Although

there are dozen of types of fragrances and bras, this complements Foucault’s argument that there

is always a constant need for self improvement, or as a Victoria’s Secret sales associated would

say, the lingerie you are wearing is not good enough. In addition, Victoria’s Secret has

instruction books on every room of the store, ranging from “how to fit a woman for a bra,” “the

different products we offer” and “how to become an expert in beauty.” I often worked in the

beauty room, studying the book in order to know every product and its benefit so I could display
that power and knowledge over a customer. As one can see, normal ways of the self are norms

established by institutions, a very common practice (Nixon 323). This supplements the idea of

the cultural model of communication, which understands culture as common and ritualized

(Grossberg 23). The customer works to sustain a particular lifestyle cluster through this power

and technical advice about the self.

Although I felt the need to emphasize the previous points about technologies of the self

and power, sections 5-7 relate more closely to consumption and spectatorship. Nixon offers the

understanding of the codes and techniques associated retail stores. Nixon quotes, “Shop interiors

direct us towards both the establishment of codes of looking and the interweaving of techniques

of looking with other practices-handling the garments, trying on clothes, interacting with shop

staff- which are integral to the activity of shopping” (Nixon 324). Victoria’s Secret clearly

outlines what Nixon argues; the lingerie is clearly out on the floor for customers to look at up

close, feel the lingerie, enter the fitting rooms to try merchandise on, and talk to the sales

associates about the lingerie.

Nixon argues that the “new man” is represented at the point of sale through design codes

and display techniques of retailing. The first point Nixon introduces is that design codes carry

particular cultural meaning, and the choice of fabrics and colors signify that meaning. Nixon is

interested about the “new man, “ and uses the example of a men’s tweed jacket, which signifies

the upper class male (324). Nixon would argue that Victoria’s Secret design codes, such as the

silk and sheer fabric, work to signify sophistication and high quality; something that represents

an upscale feel. The main colors of Victoria’s Secret (bright pink, black, and ivory) also work to

signify class femininity, in addition to a certain playful energy.

 Nixon makes his second point that these design codes are dependant upon the practices of

representation, in the form of design and display techniques used. The garments put on

mannequins, the display stands in shop windows, the use of display boards with photographs,

through lighting and interior decoration; there is an attempt to shape cultural values and

meanings around the garments in the store (325). This description that Nixon gives about

presentation is exactly correct with Victoria’s Secret. The same common techniques and

conventions are used, thus supplementing Grossberg’s model of cultural communication. In

Victoria’s Secret, the window displays are often themed according to seasons, they are simple,

clean, easy on the eyes, and catches a shopper’s attention. The lighting, coloring, and

organization is very distinctive. The dressers that store some lingerie are ivory with a shiny

appearance. The lighting in the store is bright and spotlights are used to emphasize a new

product. The store itself has a general layout with dressers in the middle, setting a pattern or

directions to move through the store. The store interior is moving towards a more modern look

with pink, ivory, and black, but some Victorian style of pillars and wallpaper still remain. The

retail design, Nixon would argue, establishes a conventional and set way of creating a shopping

environment. The customer visits a retail store for entertainment and it is the job of these design

and display techniques to attract the shopper who is just looking (326). Overall, spectatorship

plays an important role that indentifies specific techniques of looking associated with other

practices of the self (multiple activities involved in shopping, the everyday ordinary routine of

grooming and dressing) (328). This correlates to Grossberg’s cultural model of communication

in which he describes popular culture as ordinary or routine in practices (Grossberg 21,25).

In conclusion, I have summarized the four readings “Home Sweet Pornographic Home?”

by Jane Juffer, “Consumption and Shopping” by Daniel Miller, “Function and Sign: The
Semiotics of Architecture” by Umberto Eco, and “Exhibiting Masculinity” Chapter 5 by Sean

Nixon. I have thoroughly used my primary example of Victoria’s Secret in relation to these

readings and have also incorporated Grossberg's cultural model of communication.