La marque Supreme, ou l’industrie contre-culturelle

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La marque Supreme, ou l’industrie contre-culturelle

Quentin Ronceray

To cite this version:

Quentin Ronceray. La marque Supreme, ou l’industrie contre-culturelle. Sciences de l’information et de la communication. 2018. �dumas-03034188�

Master professionnel

Mention : Information et communication Spécialité : Communication Marque Option : Marque, innovation et création

La marque Supreme, ou l’industrie contre-culturelle

Responsable de la mention information et communication Professeure Karine Berthelot-Guiet

Tuteur universitaire : Clotilde Chevet

Nom, prénom : RONCERAY Quentin Promotion : 2017-2018

Soutenu le : 11/09/2018

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Harriet Worsley, 100 idées qui ont transformé la mode, Paris, Seuil, 2011, p. 182.

2

www.supremenewyork.com/about 3

Benoît Heilbrunn, La Marque, Paris, PUF, 2007. 4

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5

Michel de Certeau, Culture au pluriel, Paris, Seuil, 1993 (1ère ed: 1974). 6

Andy Bennett, Pour une réévaluation du concept de contre-culture, Volume!, Vol. 9, Editions Mélanie Seteun, 2012. 7

Theodore Roszak, Vers une contre-culture, Paris, Stock, 2001 (1ère ed: 1969) 8

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9

Olivier Voirol, Retour sur l’industrie culturelle, Réseaux, n°166, Lausanne, Lavoisier, 2011. 10

Jean Baudrillard, Cool memories - 1980-1985, Paris, Galilée, 1987. 11

Guillaume Erner, Sociologie des tendances, Paris, PUF, 2009. 12

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15

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Benoît Heilbrunn, La Marque, Paris, PUF, 2007. 20

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21

Harriet Worsley, 100 idées qui ont transformé la mode, Paris, Seuil, 2011, p. 183.

22

James Jebbia is Supreme, interview de James Jebbia par Glenn O’Brien pour Interview Magazine, publiée le 18 février 2009.

23

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24

Voir Annexes 1 et 3. 25

Sébastien Cretin, La transmission des savoirs du skateboard à l’épreuve des nouvelles technologies de l’information et de la

communication, Vol.1,Thèse doctorante, 2007.

26

Craig Stecyk, David Carson, Surf Culture: The Art History of Surfing, Gingko Press, 2002. 27

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28

Yves Pedrazzini, Rollers & skaters : sociologie du hors piste urbain, Paris, L’Harmattan, 2001, p.12 29

Allen Guttman, From Ritual to Record: the Nature of Modern Sport, New York, 1978. 30

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31

Christophe Gibout, Skateboard & espace public. Quelques éléments de compréhension et d’explication, Influxus, 2016. 32

Yves Pedrazzini, Des skaters et du punkspace - Notes pour une histoire secrète de l’urbanisme au 20ème et 21ème siècles, Influxus, 2016.

33

“Le processus au cours duquel le public constitué d'individus faisant usage de leur raison s'approprie la sphère publique contrôlée par l'autorité et la transforme en une sphère où la critique s'exerce contre le pouvoir de l'État” Jürgen Habermas, L'Espace public : archéologie

de la publicité comme dimension constitutive de la société bourgeoise, Paris, Payot, 1997.

34

Yves Pedrazzini, Des skaters et du punkspace - Notes pour une histoire secrète de l’urbanisme au 20ème et 21ème siècles, Influxus, 2016.

35

La wax est utilisée par les skateurs pour mieux glisser sur les curbs, blocs ou bancs. 36

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37

Gilles Lipovetsky, Jean Serroy, L’esthétisation du monde - Vivre à l’âge du capitalisme artiste, Paris, Gallimard, 2013. 38

Voir Annexe 1. 39

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40

Epicly Later’d: Menace, Part 3, Interview de Javier Nunez par Patrick O’Dell pour Vice Magazine, publiée le 11 novembre 2012.

41

The Coolhunt, article de Malcolm Gladwell pour The New Yorker, publié le 17 mars 1997.

42

À propos de la Place de la République (Paris), Interview de Vincent Hartenberger par David Turakiewicz, publiée le 10 juillet 2018.

43