The World of Ralph Lauren
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became so advanced that it was now possible to reproduce the finery of the upper
classes for virtually anyone, and at affordable prices. A veritable identity crisis
erupted which blurred distinctions and mingled classes (Lurie 131-133). Lurie feels
that a bold idea was necessary to reinvent the high-status garment:
It was realized that a high-status garment need not be recognizably better
or more difficult to produce than other garments; it need only be recog
nizably more expensive. What was necessary was somehow to incorpo
rate the price of each garment into the design. This was accomplished
very simply: by moving the maker’s name from its former modest inward
retirement to a place of outward prominence. (Lurie 132, 133)
One of the most significant aspects of the Ralph Lauren universe is the clearly
identifiable Polo logo on the left side of the shirt. This icon is enormously rich in
communication and affords the wearer a remarkable degree of currency. Like the
Lacoste Alligator, the Polo pony logo is one of the most potent displays of pseudohigh class decor. Like the greatest brands and Barthian signifiers, it says in an
economic form that this, for example, is not just a button-down shirt. This logo
was chosen as a deliberate way to channel “class” into retailing. It has been ex
traordinarily successful. The polo player logo “communicated an image of sophis
tication and financial success,” notes Jeffrey Tractenberg. Further, he recognized
that, “as a selling tool its value would prove inestimable.” (Trachtenberg 91) The
Polo line, complete with the hugely successful and V&