{"id":{"repo_id":"mit","oai_identifier":"oai:dspace.mit.edu:1721.1/93049"},"canonical_url":"https://search.dev.ndltd.org/etd/mit/oai:dspace.mit.edu:1721.1/93049","repository":{"repo_id":"mit","name":"MIT","base_url":"https://dspace.mit.edu/oai/request"},"display":{"title":"Knock-offs, fakes, replicas, and reals : a cultural supply chain of counterfeit fashion","abstract":"This thesis attempts to uncover the emotional and cultural economics of material culture. What does it mean for material good to be \"fake\"? What are the salient aspects that are being copied and are those aspects purely material? How does counterfeit branded fashion function as craft, as commodity, and as idea? The first chapter, Productions, looks not just at how fakes are made but what makes a fake, at how fake branded luxury goods are produced, both materially and immaterially. The second, Exchanges, examines the three most common sites of exchange, street markets, online message boards, and purse parties, and how the culture of exchange at each site produces a value specific to that site. The final chapter, Ownerships, explores how owners and observers make meaning from branded luxury goods, real and fake, and how, more specifically, how emerging legal discourses misunderstand the nature of creativity in fashion. To conclude, it considers what it might mean, more holistically, to use branded objects made, bought, and used outside of authorized channels, to constitute everyday life.","abstract_html":"This thesis attempts to uncover the emotional and cultural economics of material culture. What does it mean for material good to be "fake"? What are the salient aspects that are being copied and are those aspects purely material? How does counterfeit branded fashion function as craft, as commodity, and as idea? The first chapter, Productions, looks not just at how fakes are made but what makes a fake, at how fake branded luxury goods are produced, both materially and immaterially. The second, Exchanges, examines the three most common sites of exchange, street markets, online message boards, and purse parties, and how the culture of exchange at each site produces a value specific to that site. The final chapter, Ownerships, explores how owners and observers make meaning from branded luxury goods, real and fake, and how, more specifically, how emerging legal discourses misunderstand the nature of creativity in fashion. To conclude, it considers what it might mean, more holistically, to use branded objects made, bought, and used outside of authorized channels, to constitute everyday life.","abstract_has_math":false,"creators":["Swartz, Deja Elana"],"institution":"Massachusetts Institute of Technology","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":"Massachusetts Institute of Technology. Program in Comparative Media Studies/Writing","school":null,"contributors":[],"advisors":["William Uricchio."],"committee_chairs":[],"committee_members":[],"year":2009,"date_issued":"2009","date_published":"2009","updated_at":"2026-07-22T22:22:26Z","subjects":["Comparative Media Studies."],"languages":["eng"],"rights":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."],"rights_urls":["http://dspace.mit.edu/handle/1721.1/7582"],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/1721.1/93049","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["William Uricchio."]},{"key":"dc:contributor.department","label":"Department","values":["Massachusetts Institute of Technology. Program in Comparative Media Studies/Writing"]},{"key":"dc:contributor.other","label":"Dc Contributor Other","values":["Massachusetts Institute of Technology. Department of Comparative Media Studies."]},{"key":"dc:creator","label":"Author","values":["Swartz, Deja Elana"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2015-01-20T17:57:54Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2015-01-20T17:57:54Z"]},{"key":"dc:date.issued","label":"Date","values":["2009"]},{"key":"dc:publisher","label":"Institution","values":["Massachusetts Institute of Technology"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Comparative Media Studies."]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."]},{"key":"dc:rights.uri","label":"Rights URI","values":["http://dspace.mit.edu/handle/1721.1/7582"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/1721.1/93049"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, September 2009.","Cataloged from PDF version of thesis. \"August 2009.\"","Includes bibliographical references (pages 95-99)."]},{"key":"dc:description.abstract","label":"Abstract","values":["This thesis attempts to uncover the emotional and cultural economics of material culture. What does it mean for material good to be \"fake\"? What are the salient aspects that are being copied and are those aspects purely material? How does counterfeit branded fashion function as craft, as commodity, and as idea? The first chapter, Productions, looks not just at how fakes are made but what makes a fake, at how fake branded luxury goods are produced, both materially and immaterially. The second, Exchanges, examines the three most common sites of exchange, street markets, online message boards, and purse parties, and how the culture of exchange at each site produces a value specific to that site. The final chapter, Ownerships, explores how owners and observers make meaning from branded luxury goods, real and fake, and how, more specifically, how emerging legal discourses misunderstand the nature of creativity in fashion. To conclude, it considers what it might mean, more holistically, to use branded objects made, bought, and used outside of authorized channels, to constitute everyday life."]},{"key":"dc:description.degree","label":"Dc Description Degree","values":["S.M."]},{"key":"dc:title","label":"Title","values":["Knock-offs, fakes, replicas, and reals : a cultural supply chain of counterfeit fashion"]}]}],"canonical_facts":{"dc:contributor.advisor":["William Uricchio."],"dc:contributor.department":["Massachusetts Institute of Technology. Program in Comparative Media Studies/Writing"],"dc:contributor.other":["Massachusetts Institute of Technology. Department of Comparative Media Studies."],"dc:creator":["Swartz, Deja Elana"],"dc:date.accessioned":["2015-01-20T17:57:54Z"],"dc:date.available":["2015-01-20T17:57:54Z"],"dc:date.issued":["2009"],"dc:description":["Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, September 2009.","Cataloged from PDF version of thesis. \"August 2009.\"","Includes bibliographical references (pages 95-99)."],"dc:description.abstract":["This thesis attempts to uncover the emotional and cultural economics of material culture. What does it mean for material good to be \"fake\"? What are the salient aspects that are being copied and are those aspects purely material? How does counterfeit branded fashion function as craft, as commodity, and as idea? The first chapter, Productions, looks not just at how fakes are made but what makes a fake, at how fake branded luxury goods are produced, both materially and immaterially. The second, Exchanges, examines the three most common sites of exchange, street markets, online message boards, and purse parties, and how the culture of exchange at each site produces a value specific to that site. The final chapter, Ownerships, explores how owners and observers make meaning from branded luxury goods, real and fake, and how, more specifically, how emerging legal discourses misunderstand the nature of creativity in fashion. To conclude, it considers what it might mean, more holistically, to use branded objects made, bought, and used outside of authorized channels, to constitute everyday life."],"dc:description.degree":["S.M."],"dc:identifier.uri":["http://hdl.handle.net/1721.1/93049"],"dc:language.iso":["eng"],"dc:publisher":["Massachusetts Institute of Technology"],"dc:rights":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."],"dc:rights.uri":["http://dspace.mit.edu/handle/1721.1/7582"],"dc:subject":["Comparative Media Studies."],"dc:title":["Knock-offs, fakes, replicas, and reals : a cultural supply chain of counterfeit fashion"],"dc:type":["Thesis"]},"updated_at":"2026-07-22T22:22:26Z"}