| Type de document : | Travaux étudiant |
| Catégorie : | Mémoire |
| Titre : | The More you Look, The More you See |
| Auteurs : | Luisa BEORCHIA, Auteur |
| Promotion : | 2025 |
| Format : | 221 p. |
| Langues | Anglais |
| Mention : | Très bien |
| Mots-clés : |
Nom Commun Années 2000 ; ANNEES 70 ; ANNEES 80 ; ANNEES 90 ; IMAGE DE MARQUE ; PUBLICITE ; SEMIOLOGIENom Propre SAINT LAURENT YVES ; SLIMANE HEDI |
| Résumé : | This reserach aims to analyze how fashion images in.uence visual perception, memory and emotional engagement. By integrating cognitive science and semiotics, the study explores how composition, branding and aesthetic choices can guide attention and create impact. The purpose is not simply to analyze visual mechanics, but to re.ect on deeper shifts in fashion communication¤—¤how images have evolved over time, how they generate emotional resonance, and how they continue to shape cultural narratives within an accelerating visual landscape. Given the interdisciplinary nature of this research, a mixed-method approach was adopted. The .rst step involved selecting and compiling a dataset of 369 Saint Laurent advertising images, spanning from 1974 to 2024. Once the dataset was established, the core of the study focused on an experiment utilizing eye-tracking technology to measure key visual attention metrics, including dwell time and .rst .xation, across .ve selected Saint Laurent advertisements representing di.erent decades. To complement the biometric data, qualitative feedback was collected through participant questionnaires, o.ering additional insights into interpretation and perception. The results indicate a consistent pattern: body-centric imagery attracted the longest and most sustained attention, while facial close-ups generated stronger emotional resonance and memorability. Considering the variables (expertise and gender), expertise in.uences gaze behavior more than gender: experts engage with images more deliberately, exploring AOIs strategically, while non-experts rely on high contrast and central framing for visual engagement. Interestingly, visual appeal does not always align with emotional impact—images attracting the most eye movement weren’t necessarily the most “intimate” or memorable. This divergence supports the idea that fashion imagery can operate on multiple layers: some images are admired, others are desired, and these dimensions do not necessarily overlap. |
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