本研究探討巴黎時裝週（Paris Fashion Week）及時裝秀（fashion show）的形成、演變及展演內容，並以2019秋冬巴黎時裝週及具指標性的Chanel時裝秀進行個案探討，解釋其如何做為具話題性及辨識度的「品牌化事件」，並在時尚場域裡與其他城市時裝週競爭時尚之都的地位，而媒體又是如何再現巴黎時裝週以及建構巴黎時尚。

研究方法採文本分析及論述分析，文本包括時裝週報導文字、時裝秀影片及照片。理論參考Pierre Bourdieu的場域理論，及Agnès Rocamora探討其所提之時尚場域，檢視巴黎時裝週在時尚場域裡的競爭，以及巴黎時裝週本身做為場域，品牌如何通過守門人「高級訂製及時尚聯合會」（FHCM）之把關而進入。再以Scott Lash及Celia Lury「事件品牌化」概念，爬梳巴黎時裝週如何由巴黎不同時裝屋的個別時裝秀演變為一影響力超越時尚場域之品牌化事件，讓全球時尚工作者、媒體及大眾追逐。最後以Harvey Molotch「產品裡的地方」論述，檢視「巴黎」此標籤對於巴黎時裝週及時尚之影響。

本研究認為，巴黎時裝週具體化了時尚場域的兩層次競爭，一是巴黎時裝週在時尚場域內與其他城市時裝週競爭「時尚之都」（capital of fashion）地位，透過時裝秀奇觀，以及與著名城市地標如巴黎大皇宮及羅浮宮等的結合，建構出巴黎獨有的時尚地景，並透過場址的文化性提升時裝秀層次。二是巴黎時裝週本身做為場域，大品牌透過展演具話題性的時裝秀維持上層地位，小品牌則須透過得獎、名人穿著等方式累積足夠象徵資本，競爭獲得進入巴黎時裝週的資格；然而進入時裝週後，又合力建構出一場精采絕倫的巴黎時裝週，展現與其他時裝週之區別。媒體再現常將巴黎著名地景符號化，強調時裝秀與巴黎之連結。巴黎時裝週及時裝秀的舉辦，有助合法化出自巴黎的時尚，並持續創造話題以及維持媒體曝光；同時，巴黎壟斷對「高級訂製服」（Haute Couture）之定義權，並以國家之力推廣法國時尚，在時尚場域裡進行象徵鬥爭，維持對時尚的話語權。

This thesis is a case study of the 2019 Fall/Winter Paris Fashion Week and its iconic Chanel fashion show, exploring how they can be defined as a “branded event” and compete with other fashion weeks to win the title of ‘The Capital of Fashion’ in the field of fashion, while also focusing on the media’s representation of Paris Fashion Week and the construction of Paris fashion.

This thesis takes textual analysis and discourse analysis as its methodology, with sources ranging from media reports to fashion show videos and images. The thesis makes use of Pierre Bourdieu’s field theory and Agnès Rocamora’s discussion on his ‘field of fashion,’ and examines how Paris Fashion Week distinguishes itself from other fashion weeks in the field. Also, the thesis defines Paris Fashion Week as a field in and of itself, probing how brands could be permitted entry by the gatekeeper FHCM. Secondly, this thesis explains the meaning of “branded event” using the definition given by Scott Lash and Celia Lury, and summarizes how single and separate fashion shows held by individual Paris couture houses integrated and evolved into the collective performing event known as Paris Fashion Week, the influence of which transcends the field of fashion and reaches the general public. Lastly, with Harvey Molotch’s discourse of “place in product,” this thesis articulates how ‘Paris,’ as a label, impacts Paris Fashion Week and its fashion shows, and how, in the end, this event accrues symbolic capital for Paris.

This research finds that Paris Fashion Week embodies two levels of competition in the field of fashion. The first is the competition among brands to enter the field of Paris Fashion Week. Within the field, big brands such as Chanel and Dior present ‘spectacle’ fashion shows to maintain their leading status, while smaller or newer brands have to be crowned with prizes or their garments worn by celebrities to obtain symbolic capital as a stake to compete for entry into the field of Paris Fashion Week. But once they enter the field, all the brands collaborate to present a spectacular Paris Fashion Week and enhance the image and style of Paris fashion, thus distinguishing the event from other fashion weeks to compete for the title of ‘The Capital of Fashion,’ which is the second level of competition. Paris Fashion Week is characterized by the combination of fashion shows with iconic sites/sights of Paris such as the Louvre and the Grand Palais which elevate the status of fashion shows through their cultural value, and construct a fashion landscape unique to Paris. Media representations also tend to bind fashion shows and these symbols of Paris together. The events of Paris Fashion Week and the fashion shows legitimize the fashion of Paris and serve to maintain its leading status. The events create media buzz and keep attention focused on the role of Paris on the global fashion stage. At the same time, Paris monopolizes the power to set the definition of ‘Haute Couture’ while the French state promotes French fashion as a means of dominating symbolic struggles over the the definition of fashion.

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