Barthes' many monthly contributions that made up Mythologies (1957) would often interrogate pieces of cultural material to expose how bourgeois society used them to assert its values upon others. For instance, portrayal of wine in French society as a robust and healthy habit would be a bourgeois ideal perception contradicted by certain realities (i.e. that wine can be unhealthy and inebriating). He found semiotics, the study of signs, useful in these interrogations. Barthes explained that these bourgeois cultural myths were second-order signs, or significations. A picture of a full, dark bottle is a signifier relating to a signified: a fermented, alcoholic beverage - wine. However, the bourgeois take this signified and apply their own emphasis to it, making ‘wine’ a new signifier, this time relating to a new signified: the idea of healthy, robust, relaxing wine. Motivations for such manipulations vary from a desire to sell products to a simple desire to maintain the status quo. These insights brought Barthes very much in line with similar Marxist theory.

In The Fashion System Barthes showed how this adulteration of signs could easily be translated into words. In this work he explained how in the fashion world any word could be loaded with idealistic bourgeois emphasis. Thus, if popular fashion says that a ‘blouse’ is ideal for a certain situation or ensemble, this idea is immediately naturalized and accepted as truth, even though the actual sign could just as easily be interchangeable with ‘skirt’, ‘vest’ or any number of combinations. In the end Barthes' Mythologies became absorbed into bourgeois culture, as he found many third parties asking him to comment on a certain cultural phenomenon, being interested in his control over his readership. This turn of events caused him to question the overall utility of demystifying culture for the masses, thinking it might be a fruitless attempt, and drove him deeper in his search for individualistic meaning in art.