Authentically Preppy, Genuinely Hipster
How Brands Utilize Storytelling &
Social Narratives to Build Authenticity
Danielle Kantor
A Capstone Project Presented to the Faculty of the
School of Communication in Partial Fulfillment
of the Requirements for the Degree of
Masters of Arts in Public Communication
Supervisor: Prof. Lauren Feldman
Date: April 26, 2011
COPYRIGHT
Danielle Kantor
2011
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ACKNOWLEDGEMENTS
I would like to thank my advisor, Dr. Lauren Feldman, for her endless patience, gentle
encouragement, and thoughtful guidance from start to finish. I can’t thank her enough for her
calming words, and willingness to reading some very rough drafts.
I would also like to thank all my School of Communication professors who helped prepare me to
take on this endeavor and have provided support along the way.
To my SOC comrades, we did it! Thanks for all your support and inspiration along the way. And
a special thanks to my all of my friends who have excused my absences, but also forced me to
enjoy life. You’ve helped keep me sane, and for that I am thankful. And especially to my
roommate Ariel who has tolerated no end of complaining and offered unwavering reassurance, as
well as Sweetgreen dinners.
To my parents, thank you for allowing me to grumble and whine without ever really
understanding what I was complaining about. And my brother, Hayden, who is my role model on
how to enjoy academia and has helped me understand how to make the most out of this
experience.
Thank you to the folks over at Zotero.
And thank you to everyone who took my survey, answered my Twitter questions, and responded
to Facebook posts. Your help was wonderful.
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ABSTRACT
In a marketplace of endless choices, what factors help a consumer decide to purchase one
product over another? One potential aspect of this decision-making process involves brand
authenticity as developed through storytelling. Stories have a power to connect with consumers
in an emotional way that can often outweigh reason. This paper explores the types of stories
brands use to build authenticity, and how these stories serve to connect a brand to a larger social
subculture. This paper presents two case studies looking at two social narratives, “preppy” and
“hipster”, and exploring seven brands associated with these social trends. The brands explored
here illuminate the potency of authenticity, and brands are most successful when they leveraging
a natural advantages to connect with consumers, and to fit with a larger consumer narrative.
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TABLE OF CONTENTS
CHAPTER ONE: INTRODUCTION
Capstone Overview
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CHAPTER TWO: LITERATURE REVIEW
What Is a Brand?
Brand Image Versus Brand Identity
Brand Personality and Brand Persona: Distinguishing Factors
How Brands Communicate
Narratives
How Brands Use Narratives
What Stories do Brands Tell?
The Role of Emotion in Brand Narratives
How Narratives Work
The Value of Authenticity
Determining Authenticity
Fostering Authenticity
Framing
The Role of Framing in Branding
The Role of Narrative in Identity
The Forming of Group and Self Identity
The Role of Narrative in Creating Identity
The Elements of Self
The Role of Self in Determining Behavior
Summary
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CHAPTER THREE: METHODOLOGY
Case Studies
Brand Selection and Online Survey
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CHAPTER FOUR: PREPPY BRANDS CASE STUDY
Background: Popped Collars and Preppy Culture
Case Study: Fostering Authenticity Through Highlight Preppy Values
Brooks Brothers: A Story of Tradition
Vineyard Vines: A Whale of An Authentic Tale
Lacoste: The Authenticity of Place and Namesakes
Summary
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TABLE OF CONTENTS
(continued)
CHAPTER FIVE: HIPSTER BRANDS CASE STUDY
Background: Defining the Hip in Hipster
Case Study: Fostering Authenticity Through a Hipster Lens
TOMS Shoes: Shopping For a Social Cause
Pabst Blue Ribbon: Do Nothing. Be Authentic
Converse: Make Music, Get “Chucked”
Summary
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CHAPTER SIX: A BRAND IN TWO WORLDS
What’s Different About Ray-Ban
Roots in Counter Culture: An Expression of Hipster Individuality
Historic Roots: An Expression of Preppy Americana
Authenticity: Staying True to Ray-Ban
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CHAPTER SEVEN: DISCUSSION
The Potency of Authenticity
Area of Limitation and Future Research
Conclusion
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BIBLIOGRAPHY
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CHAPTER 1: INTRODUCTION
When the U.S. Hockey team took the ice to play against the powerhouse Russians, in the
semi-finals of the 1980 Olympic Games, the country watched with bated breath. The US team
was young in every sense of the word: young college players on a young team that had only
played together for a year. The Russians on the other hand, were veterans. They’d been playing
together for more than a decade and had yet to lose an Olympic game. But still, the country sat
poised before their TVs desperately hoping for a miracle. So why was this scrappy team of
hockey players suddenly so irresistible to a nation that had never before cared about hockey?
Because their story was compelling. Theirs was a story that tapped into a larger social narrative.
The 1980 U.S. Hockey team is an example of the power of storytelling and narrative, and
the ability to tap into a larger social narrative to tell an individual story. The national atmosphere
at the time was one of desperation. America was at the height of the cold war and the tension
leading up the Olympics was at all time high (Abelson, 2010). As David Silk, one of the team’s
best players said, “For us it was a hockey game. To the rest of the world, it was a political
statement” (Abelson, 2010, p. 65). The national narrative was ripe with terror and fear, but also
hope. This is what allowed a story of 11 scrappy hockey players taking on a team of Russian
giants to win widespread national attention.
With a team that represented the classic underdogs, Americans got behind the players
who were quite literally taking the Russians head on, albeit on the ice. A simple hockey game
took on symbolic meaning. The game stood for the power of the free and democratic America to
take down Red Russia. It was a story of “David versus Goliath”. A story of good versus evil. A
story generated around an authentically youthful and hopeful team whose unlikely win made it
nearly impossible not to watch. It was the story of a national narrative being played out in a
hockey rink. As was noted in the HBO Documentary about the semi-final game:
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‘‘Winning the gold medal didn’t solve the Iranian crisis; it didn’t pull the Soviets out of
Afghanistan. But people felt better. People were proud. People felt good about being
Americans because they could relate to who we were. We were working-class, lunch-pail,
hard-hat kids who represented them in an athletic event that was far greater than hockey’’
(Abelson, 2010, p. 66).
Storytelling is compelling. It’s as old as time. It’s biological. Stories evoke an emotional
response, which can outweigh our most logically and well thought out considerations (Vincent,
2002, p. 30). When we hear a story we project ourselves into the narrative: we are out on the ice,
skating with the US team and fighting to beat the Russians. We experience what the characters
experience. We take on their struggle and make it our own.
The same can be said when brands use stories to connect. They construct narratives
charged with emotion to link with their target consumers. Consumers, in return, rely on brands to
help tell their own personal stories, and to help define who they are. Brand narratives can be so
compelling that consumers will overlook factors like price and quality to select products to
which they feel more connected. Apple, for example, encourages their consumers to “think
differently” and in doing so the company has created a loyal customer base where consumers are
willing to overlook other factors because they seem themselves as “apple people,” “creative, free
thinking, and independent” (Beverland, 2009, p. 33). Apple has surrounded the brand in a story
that allows for sharing and connection. Like Apple, brands have a unique opportunity to engage
with consumers by telling a story. The most compelling stories are those which the customer is
familiar with. And for this reason, brands often use ready-made narratives as a means of
connection.
One of the reasons the story of US Hockey team in 1980 was powerful because it was
authentic. The US team’s story was one of struggle, of triumph and tragedy. This type of story
resonates as authentic because, as Beverland notes, struggle “heightens interest in, builds passion
towards, and strengthens the emotional bond the consumer forms” (2009, p. 46). Authenticity is
important for consumers because it amounts to a level of trust. Just as the US team used
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storytelling and a connection to a social narrative to generate authenticity, brands also use
different types of stories and narrative themes to foster authenticity while connecting to social
refrains. This capstone explores two different social narratives, preppy and hipster, and seven
brands that connect to these subcultures using different types of stories as a way to build an
authentic brand voice.
Both the hipster and preppy narratives have a social history. The term hipster was coined
in the 1930s and 40s with the beatnik writers, and reemerged in the 2000s as a term used to
describe counter culture youths who focus on adopting and celebrating authentic elements of
fashion and culture considered out of the mainstream. Preppy culture, on the other hand,
emphasizes the mainstream. With roots in prep schools of New England, the modern iteration of
this narrative focuses on practicality, but also authenticity, striving to connect to the vintage roots
of preppy culture. This paper explores how brands build authenticity by appealing to these two
larger narratives. Within the preppy narrative, this paper will look at Brooks Brothers, Lacoste,
and Vineyard Vines. And within the hipster narrative, the paper will explore TOMS Shoes, Pabst
Blue Ribbon, and Converse. Last, this paper will explore the unique example of Ray-Ban, and
how it uses narrative approaches that appeal to both hipster and preppy worldviews.
This research is significant in helping understand how brands can develop an authentic
voice while remaining true to the company and the brand, and at the same time remaining
genuine within the culture in which the brand finds itself. Current literature covers the power of
storytelling and authenticity, but there is a lack of literature that seeks to marry that theory with
the power and influence of larger cultural trends.
Capstone Overview
First this paper will provide a literature review on the topic of branding, defining the
scope of a brand and the elements key to developing brand personality. The literature review will
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also examine how brands communicate, and the role that narrative plays in this communication.
Next, literature about the types of stories brands tell will be explored, focusing on the role of
emotion and ready-made narrative themes. The literature review will also discuss the value of
authenticity and the narratives themes brand can use as tools to urge authenticity. Also important
in this consideration is the role of framing, which this paper will explore with reference to brand
story development. Last the literature review will look at the elements of self and group identity
and the role that narrative plays in constructing ideas of self, as well as social groups. After
reviewing the relevant literature, this paper will outline the methodology for conducting the case
studies, and the online survey used as a tool to select the studied brands.
The first case study of this capstone will focus on preppy brands (Brooks Brothers,
Vineyard Vines, and Lacoste). After providing background on preppy culture, a discussion about
the role of narrative stories that focus on history, brand foundation, American heritage, and
consumer communities will follow and explore how these stories are used to develop
authenticity and connect to the preppy value system. The next case study will focus on hipster
brands (TOMS Shoes, Pabst Blue Ribbon, and Converse). After providing background on
historical and modern hipster culture, stories of heritage, consumer call-to-action, and
community will be examined to see how these brands find an authentic voice as well as a story
that remains true to the hipster identity. Last, this capstone will present a case study on Ray-Ban,
an anomaly in its ability to fit in with both the preppy and hipster social narratives. This unique
brand will be explored by looking at the types of narratives that allow the brand to connect to
both social movements, as well as foster authenticity. Finally, this paper will recap the potency
of authenticity and how brands work to frame their narrative approach to appear the most
authentic. This section will also include limitations of this paper and outline areas for future
research.
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CHAPTER 2: LITERATURE REVIEW
This literature review will provide background on previous literature that discusses the
elements that make up a brand, how brands communicate, and how brands utilize narratives to
tell stories to express values about those brands. Literature about the emotional impact of
storytelling will also be explored, as well as the role of authenticity in brand communications.
This literature review will then explore the role framing in branding, and then look at elements of
the self and the role group identity and the role narrative plays in developing elements of both.
What is a brand?
A brand does not have utilitarian function or useable features, but instead is a tool used to
create a compelling narrative around a product, or group of products (Tan & Ming, 2003). A
brand does not have a tangible existence in and of itself (Nandan, 2005), but finds its
significance in its ability to foster an identity. As Rob Walker points out, in the current consumer
market, there isn’t a loss for quality products. So, instead, consumers are faced with what Walker
describes as the “pretty good problem,” where most goods are in fact pretty good (R. Walker,
2008, p. 7). So then how besides making a decision based on significant distinctions in quality do
consumers make choices between products? Consumers make purchases for reasons beyond
what a product can do, but what that product means (Tan & Ming, 2003).
Within a crowded marketplace where choice is no longer solely based on quality, a brand
serves as a distinguisher amongst its competition. Functional attributes are no longer enough to
distinguish one product from another, and as a result a brand carries more weight and importance
as a determining force (Tan & Ming, 2003). For this reason, brands serve to distinguish product
choices from one another. “From a consumer perspective, a brand provides a visible
representation of difference between products” (Nandan, 2005, p. 264). A brand can indicate
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product quality, authenticity, credibility, and trust, as well as a chance to enhance or define selfimage. Brands not only distinguish products, but also imbue those products with a unique
personality, helping to sustain a competitive advantaged in an overcrowded market (Cooper,
Schembri, & Miller, 2010).
Brand Image Versus Brand Identity
Holt (2004) outlines four authors that play a role in constructing a brand: the companies
themselves, the culture within which the brand finds itself, intermediaries such as critics and
sales people, and last the consumers who play a role in defining how a brand is interpreted.
These actors play a role in what Nandan (2005) outlines as the distinction between brand
image and brand identity, both of which are important to understanding how brands are
constructed. Brand identity is derived and created from within a company, and is used “as a
means of communicating [a company’s] identity and value to customers and other stakeholders”
(Nandan, 2005, p. 265). This is like Holt’s first brand author, the company itself (2004). Brand
identity is constructed as a means to convey an individual and distinct voice for a company or
product, which defines and sets the brand apart from the competition. Brand identity can be
examined through brand vision, brand culture, positioning, personality, relationships, and
presentation (Nandan, 2005). Brand identity can also be defined by a brand concept, which is the
“unique and abstract meanings… that typically originate from a particular configuration of
product features…” (Nandan, 2005, p. 266). A brand concept looks to satisfy consumers’ needs,
whether those be functional, symbolic, or experiential. Brand identity is usually created by
marketers, who seek to have their presentation of the brand interpreted as intended.
Brand image, on the other hand, is perception of the consumer, created by authors outside
of a brand’s company or marketing team. These authors are like those that Holt (2003) outlines
as playing a role in constructing a brand (e.g. intermediaries and consumers). If a brand were to
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have a personality, brand image represents that personality, and the personality traits that a
consumer attributes to that brand. Through associations, memories, and elicited emotions,
consumers form an image of a brand that corresponds to their own experiences as well as
contextual surrounding (Nandan, 2005). Predispositions play a role in determining a consumer’s
image of a brand; in ascribing a personality to a brand, consumers work through perceptions and
the feelings that are activated when interacting with a brand.
Brand Personality and Brand Persona: Distinguishing Factors
Aaker’s (1997) brand personality framework examines the human-like traits that
consumers associate with brands. These traits are symbolic, rather than functional, and serve as
distinguishing markers. They are a measure not of what a brand or product does, but what the
brand represents. Brand personality traits can be formed through both indirect and direct
interaction with a brand, as well as demographic characterizations like gender and geographical
considerations. Aaker’s research concluded that there are five dimensions of brand personality:
sincerity, excitement, competence, sophistication, and ruggedness. These dimensions are
applicable and generalizable across product categories. And while these dimensions do have
similarities to the big five personality traits in humans, they differ in that they can either
represent a consist view of self, or “tap a dimension that individuals desire but do not necessarily
have” (Aaker, 1997, p. 353).
Another way to examine brand personality is to look at brand persona, as outlined by
Herskovitz and Crystal (2010). They define persona as the articulation of a brand’s character and
personality. Different types of personas can be categorized by archetypal or universally wellknown types such as the hero, the rebel, the rugged individualist, the champion, and the
underdog (Herskovitz & Crystal, 2010). For example, the old Marlboro advertising campaign
used the persona of a rugged individualist to describe the Marlboro brand, creating a narrative
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about the type of Marlboro smoker, someone wild and rugged like a cowboy. The power of these
personas or archetypes is that they are universally understandable and easily allow for a
consumer to connect with and understand a brand’s vision. As Randazzo (2006) notes, there are
actually few real cowboys, but consumers can relate to this persona because they know the
archetype. Personas work because consumers can tap into a universal persona and thus
understand the brand.
How Brands Communicate
How a brand communicates its identity and personality is also of importance to the
success of the brand. Brands sometimes utilize popular culture as a means of “inviting
consumers to covet certain identities, lifestyles, and consumption ideals” (Cooper et al., 2010, p.
559). This allows consumers the opportunity to better understand a brand’s meaning. Consumers
can construct their self-identity “using meaning of a brand as a resource” (Cooper et al., 2010).
By utilizing known narratives within a cultural frame, people can engage with a brand and
experience the brand within the marketplace. For example, Cooper, Schembri, and Miller (2010)
explore the narratives constructed within the James Bond Movies, looking at Bollinger, Aston
Martin, and Jaguar. The movies serve a role in embedding certain brand narratives into our
popular culture. The movies help to portray certain symbolic references for each of these brands,
presenting to consumers embedded brand symbols within their entertainment (Cooper et al.,
2010). As a brand is consumed within an entertainment experience, the featured brand and the
entertainment source mutually reinforce one another, helping to construct “lifestyles, stories,
experiences and emotions that the products convey” (Hackley & Tiwsakul, 2006, p. 69). These
brand narratives also exist within product placement, where brands are able to engage with
consumers through their favorite entertainment avenues like TV shows or movies (Hackley &
Tiwsakul, 2006). For example, Jacob’s Creek wine sponsored the television show Friends, and
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in doing so aligned itself with the narratives, lifestyles and meanings embedded within the show.
Friends, in this case, became like a symbolic entity of meaning for Jacob’s Creek wine (Hackley
& Tiwsakul, 2006). Thus, individuals can experience a brand through entertainment and in doing
so come to understand the brand’s meaning in a more personal and dynamic way.
Narratives
How Brands Use Narratives
Because brands understand the importance of creating a persona or relating with an
archetype, they often use story or narrative to further this construction and to connect with
consumers in an emotional and significant way. “The first task of any storyteller is to make a
connection with the audience” (Mathews, 2008, p. 26). Brands are no different than individual
storytellers. They use stories as a means to engage with their audience, as well as start an open
dialogue with their audience. Often referred to as “strategic storied advertising” (Randazzo,
2006, p. 12), brands work hard to find the most compelling stories that also make sense for the
company and product. Narratives function to create a unique meaning for the brand and enhance
brand image. Like with brand persona, these narratives also use archetypal stories so that they
can be universally understood and used to foster a meaningful connection between a consumer
and a brand.
What Stories do Brands Tell?
The types of stories brands tell differ depending on need and functionality. Mathews and
Wacker (2008) outline different types of stories. One example is an origin story, which details
the origins and beginnings of a brand. Origin stories are important because they often “contain a
key value that becomes enshrined” within the brand and for how that brand is understood by
consumers (Mathews, 2008, p. 54). For example, Bailey’s Irish Cream conjures an image for
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many of Irish castles and knights toasting victory, when in fact the liquor was invented in the
1970s. But the brand’s origin story enshrines the brand with a value for history and traditional
custom. The types of key values illuminated in an origin story help to set the tone for the future
of the brand as well. Origin stories are also useful for connecting a brand with a certain time and
in a certain place, which can help breed authenticity (Beverland, 2009).
The second type of story Mathews and Wacker (2008) outline are defining stories. These
stories serve to define an individual or group. As noted in the introduction, Apple is a great
example of a defining story; Mac users “think different” than those who use PCs. Apple’s
narrative is based on the idea that their computers are for artists, not run-of-the-mill individuals.
Whether or not its true that every Apple user actually thinks differently, their narrative sets the
brand apart, and allows a consumer to make a statement abut themselves through their consumer
choice.
A third type of story is the one that communicates tradition. Brands use these stories to
connect to a history they are proud of and that would serve them well to associate with.
Burberry, for example, in their rebranding efforts used their history as the outfitters of British
officers to enhance their credibility and tradition of quality. Their connection to the standard
British officer uniform imbues the brand with a sense of national pride and patriotism. The
classic Burberry “Trench” is a mainstay product for the brand, which despite changes in fashion
Burberry will continue to create and sell with pride (Moore & Birtwistle, 2004). Beverland
(2009) also notes that these traditional stories involve family tradition, and retelling of the role of
family in a company. L.L. Bean is one example. Many consumers know the story of Leon
Gorman who took over the company from his grandfather. Instead of repositioning the brand,
Leon focused on maintaining the outdoor Maine-based feel his grandfather had fostered. In
keeping some of his grandfather’s quirks he was able to maintain steady customer loyalty
(Beverland, 2009).
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Another popular story brands tell is one of conflict and struggle (Beverland, 2009). These
types of stories help drive an emotional appeal to consumers – pointing out the obstacles the
brand has overcome, and measuring how far a brand has reached. These types of stories work
well because they are tales that are also part of everyday life of individuals, and thus resonate
with consumers. Their universality makes them authentic. The same can be said for triumph and
tragedy stories. Consumers like to hear about a brand’s struggle to make it, their battles and how
they won against all odds. When the history of a brand is stretched out in narrative consumers are
more willing and likely to connect with the story.
Within each different type of story there are also several different narrative themes that
brands have at their disposal. Much like the potential brand personas, these narrative themes are
effective because they’re universal, and have been the theme of stories for generations. These
narrative themes include motifs like the hero’s quest, creation stories, stories of transformation,
fall and redemption plots, as well as the story of coming to a crossroads (Mathews, 2008). These
myths allow brand narratives to be open to widespread connection and understanding. Brands
stray away from telling less known stories for fear of alienating consumers or missing a chance
to enrapture their consumer with an emotional appeal.
The Role of Emotion in Brand Narratives
Another important aspect of brand storytelling is the use of emotion. Emotion plays an
essential role in recommending a brand’s narrative to a consumer. Bedbury (2003) outlines a few
of the considerations with regards to emotional development in brand narrative. The first is
belonging, which Bedbury calls a “core human value… top of the hierarchy of needs created by
Abraham Maslow” (2003, p. 91). An individual’s desire to belong extends beyond owning a
certain product; it is a desire to belong to a larger group. A second emotional consideration
Bedbury outlines is longing or yearning. By this Bedbury means the hope consumers have of
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some day belonging to a part of a group or brand narrative. While this is usually the case with
luxury products like cars, fashion, and jewelry, it can also be extended to feeling appropriate or
right about using certain brands. A third consideration Bedbury mentions is the idea of rugged
individuality and freedom. This emotion concerns the desire “for greater personal freedom, and
the more particular American question for rugged individuality” (Bedbury, 2003, p. 93).
How Narratives Work
As Vincent (2002, p. 7) points out, brands “allow consumers to order themselves in
social, cultural, and personal space.” Through a narrative, a brand can explain itself, its beliefs,
and where it is situated socially and contextually in the greater marketplace. Narrative allows a
brand to link to “desirable social cultures,” of which their consumers are hoping to belong
(Vincent, 2002, p. 29). Brand narratives stimulate emotion and prescribe behaviors. And they
allow consumers to become a part of that narrative. When there is enough emotion charged in a
narrative (desire, want, a need to belong), consumers may be willing to forego other wellreasoned rational arguments about a brand or its competitors. Narratives fog our base for reason,
inciting emotion instead, which overrides other considerations. As Vincent points out, “when
presented with more than one logical conclusion to a cognitive problem, our minds tend to
choose the option charged with the greatest emotion weight” (2002, p. 30). The most effective
brand narratives don’t tell a consumer to “buy buy buy,” but instead “makes the consumer want
to buy because they identify with narrative components” (Vincent, 2002, p. 35).
The Value of Authenticity
Determining Authenticity
Another important consideration in brand narratives is fostering a sense of authenticity.
The determination of authenticity lies with the consumer, because “rather than being passive
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receivers of marketing information, consumers actively construct brand meaning and brand
authenticity in order to achieve desired identity goals” (Beverland, 2009, p. 7). Consumers look
to brands to help foster identity, and when they do so they look for authentic brand partners
(Beverland, 2009). As Visconti (2010) notes that authenticity is important for consumers because
it amounts to trustworthiness, whereas inauthenticity feels amounts deception. Consumers tend
towards brands that appear truthful and shy away from anything seemingly fraudulent, lest
owning or using a fraudulent brand be a reflection on oneself. In trying to create a sense of
personal authenticity, or reach certain “identity goals,” individuals will look to brands that they
trust and see as authentic (Beverland, 2009, p. 24) and buy those products rather than products
that appear untrustworthy.
Fostering Authenticity
Brands can utilize different aspects of storytelling to foster authenticity. First, as
Beverland (2009) notes, stories themselves are viewed as a more authentic way of
communicating, since they are how we communicate in our day-to-day lives. Stories in daily life
are often unscripted and usually have an emotional component that requires a rawness or realness
on the part of the storyteller. In the same way that individuals imbue their stories with
authenticity, brands also imbue their narratives with authenticity. Using any of the types of
stories or themes outlined above (e.g. history, family tradition, origin) brands can imbue
themselves with a real sense of authenticity. These narrative themes connect with consumers
because this is how they themselves tell stories and is what they look for when making an
emotional connection. “Authentic brands are essentially made up of stories created by the firm,
told by others, borrowed from elsewhere, and co-created by the firm, society, and/or consumers”
(Beverland, 2009, p. 36).
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To create authenticity, Beverland outlines 10 different types of available stories:
founding, family, conflict and struggle, creation, history, community, place, consumers, and
product service (2009). Founding stories focus on the start-up of a brand and early challenges
they face, the benefit of which “roots brand to time, place, human experience, and values”
(Beverland, 2009, p. 38). Family stories look at generational changes, stewardship, and their
benefits to root a brand to a tradition and set of values. Conflict and struggle stories help to
“heighten emotional interest in a brand” by emphasis conflict with others, authorities, nature, or
history (Beverland, 2009, p. 37). Linking a brand to people and services behind the brand, or the
love of the product is a type of creation story, which helps to enhance quality, heritage and
sincerity (Beverland, 2009). History, on the other hand, focuses on the role of the brand and the
people behind it in historical events, and a connection to both the brand’s history, as well as
major historical figures. The payoff with history stories is that they help to enhance heritage, and
ensure “iconic or institutional status for the brand” (Beverland, 2009, p. 39). A community story
is one that places the brand within a “community-founding myth” which helps with questions of
legitimacy and status (Beverland, 2009, p. 39). A means to enhance a brand’s uniqueness is by
focusing on place stories, which can link a brand to a birthplace, or specific place related context
(Beverland, 2009). Consumer stories work to “personalize versions of other stories” to provide a
“non-firm voice” to a brand (Beverland, 2009, p.39). The last type of story is a product/service
story where a brand emphasizes the product’s performance, which builds a connection to quality
(Beverland, 2009).
Not only are stories themselves an authentic way to connect with consumers, but also as
Gilmore and Pine (2007) outline, there are certain core elements that can be used to construct a
story that conveys a sense of authenticity. Gilmore and Pine (2007) outline five different
dimensions used by brands to convey or create authority: 1) naturalness; 2) originality; 3)
guaranteed quality; 4) connection to tradition; and 5) the brand as an influencer for behavior. The
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first dimension, naturalness, means that the brand is free from contamination. In the case of
L’Occitane, for example, naturalness means the ingredients for their products were naturally
harvested from Provence where they originated, and not altered or changed in any way by human
intervention (Visconti, 2010). The second dimension, originality, amounts to the uniqueness of
the brand or product within the marketplace. The more unique or original a product, the more
authentic consumers valuate the brand. L’Occitane was able to combine the third diminutions
(quality guarantee) and fourth dimensions (a connection to tradition or reference to the past)
together by maintaining production in Provence, which is where the product originated and
which guarantees excellence in the quality of the goods (Visconti, 2010). The last dimension, the
ability of the brand to influence the consumer to act or behave in a new and different way, can be
seen in the example of DKNY Pure; a brand invites consumers to wear only organic fabrics.
Beverland (2009) simplifies these five dimensions into three traits: quality leadership,
heritage, and sincerity. Quality leadership “is the belief that behind the brand are passionate
artisans using the finest quality materials and meeting exacting starts to continually push the
barriers of product excellence” (Beverland, 2009, p. 26). Beverland gives the example of Apple
(Beverland, 2009), where with constructs like the Apple Genius Bar, there is an impression of
passionate, intelligent individuals hard at work to make their products the best possible products
for their consumers. Heritage, as Beverland notes, “is the belief that the brand is connected to
time, place, and culture” (Beverland, 2009, p. 16). This connection to tradition can connect a
brand to a “golden age” or another time period, and that the product has a timeless quality
(Beverland, 2009). Louis Vuitton is an example, whose classic leather and styling are connected
to an era of craftsmanship and quality service of a “golden age.” The last attribute of authenticity
that Beverland outlines is sincerity, or ‘the belief that a brand lives up to its espoused values and
commitments” (2009, p. 27). Beverland (2009) gives the example of Zippo, a brand committed
to providing quality lighters that never falter.
21
Whether using one of the 10 different types of stories that Beverland (2009) outlines, or
tapping into the five dimensions (Gilmore and Pine, 2007) or three traits (Beverland, 2009), not
all need to be used when crafting a brand narrative, but each can be used in a different way to
help foster a sense of authenticity, in the “search for what is real” (Beverland, 2009, p. 27). Each
of these elements can be used to add “another layer off richness to the brand’s meaning”
(Beverland, 2009, p.60). Authenticity is the way in which a narrative can build a bridge between
consumer and a brand, and helps create bonds of credibility and recognition.
Framing
One of the essential elements of telling a good story is understanding what elements
within the universe possibilities will have the greatest impact. How can you create an emotional
narrative? What elements will help tell an authentic story? Creating a narrative means focusing
on a subset of key elements within the larger context of all possible elements, and it means
highlighting those elements above others in order to maximize a specific effect. In a sense, when
it comes to creating a brand narrative, brands are constructing a frame through which the
consumer will see that brand. A narrative becomes a lens.
That lens is a frame, through which certain elements are highlighted, and others
downplayed. A frame serves as a “schemata of interpretation” where the frame selects and
emphasizes central ideas and themes through which the brand is understood (Nisbet, 2008, p.
44). Accentuating one facet of a brand may lead to ignoring or downplaying another. “Framing
can be used to pare down information, giving greater weight to certain considerations and
elements over others” (Nisbet, 2009). A frame gives emphasis, relevance and credence to
particular dimensions over others, which may not have naturally occurred without the context of
the frame, or if a different frame were employed (Nisbet, 2009). A brand is a complex entity with
22
any number of elements and features inherent to its image. The role of the frame is to pare down
complex elements to present a cohesive and consistent image to a consumer (Nisbet, 2007).
The Role of Framing in Branding
Frames are important because they affect what predispositions, background information,
and significant thoughts will be elicited in the consumer, and be brought to bear on the brand. A
frame acts like a mental shortcut, a heuristic cue, triggering different mental constructs and
associations through the inclusion of specific metaphors, language, and narratives. By the same
token, the exclusion of certain elements renders those connections unmade, unattended, and
silent in informing thought (Nisbet, 2009). The frame a brand utilizes helps a consumer navigate
meaning, drawing from internal correlating emotions and associations to connect to the particular
image a brand is presenting (Nisbet, 2008). Consumers need frames in a marketplace where
quality is the starting point and no longer a discerning characteristic. Frames help make sense of
endless choices (Nisbet, 2009). Frames work because they allow a consumer to focus on a
smaller subset of dimensions, purposefully chosen by the brand, rather than a universe of
considerations (Druckman, 2009).
The Role of Narrative in Identity
The Forming of Group and Self Identity
It is important to understand how brand narrative plays a role in fostering individual
identity, as well as the role brand narrative plays in allowing individuals to belong to larger
group identities. As Hirschman (2010) notes, humans seek identity because as humans we have
the ability to see ourselves, and evaluate how others might perceive us. Through this
phenomenon we are possessed by a desire to form a self-identity, as well as a group identity, that
aligns with how we would like other to see us.
23
Forming group identities is biological, and something humans have done for thousands of
years. We seek out groups that we can relate to. And it is through narratives that groups can be
distinguished. Narratives also give individuals a way to connect with their group. A group
narrative helps create cohesion, and it also tells a story about the members of that group
(Hirschman, 2010). When a brand partakes in a social group narrative, it provides a chance for
individuals, an ability to connect to that social group through using, owning, or in some other
way partaking in the brand. As Escalas & Bettman (2005) note, consumers choose brands that
have narratives that match the in-group to which they belong, or which they are seeking to more
closely associate themselves with.
The Role of Narrative in Creating Identity
As noted earlier, it is interesting to explore the use of Maslow’s hierarchy of human
needs when considering how consumers evaluate and tend towards brands. As Bedbury (2003)
notes, brands need to appeal to more than a need for food or warmth, but to needs of a higher
emotional charge, including the need to feel safe, the need for love and “belongingness,” the
need for esteem, and the need for self-actualization. This is why brands construct certain
narratives, and why consumers use certain brands to bolster a sense of self.
Brand narratives are also powerful in the creation of identity markers in delineating social
groups (Hirschman, 2010). As Holt notes, “brands are imbued with stories that consumers find
valuable in constructing their identities” (D. Holt, 2004, p. 3). Consumers seek out brands that
tell stories that embody the qualities that they admire. By engaging with certain brands, the
brands help consumers express narrative elements about themselves. For this reason Holt refers
to brands as “identity brands,” (2004, p. 39). Therefore it is important that a brand is telling the
right story; one that is engaging for the target audience and that aligns with the social narrative to
which the consumer is trying to connect. When done right, consumers can use brands as a means
24
for representing self, either a current view of self or an aspirational construction of who the
consumer wants to be.
The Elements of Self
The self is, as Grubb and Garthwohl put it, “what one is aware of, one’s attitudes,
feelings, perceptions, and evaluations of oneself as an object” (1967, p.24). Concepts of self are
fragile, deeply personal, and important, which is why individuals seek to safeguard, bolster, and
monitor those images at all times. It is because of this that a person’s self-evaluation drives their
behavior, especially when it comes to questions of consumer choice. The self depends “upon the
reactions of people. Recognition and reinforcing reaction from these persons will further
strengthen the conception the individual has of himself” (Grubb and Garthwohl, 1967, p.24).
There is much debate among scholars about how to define and discuss concepts of self,
how many selves there are, and how to map out these categorizations. Sirgy (1980) says there are
four dimensions of self: actual self-image, ideal self-mage, social self-image, and ideal socialself image. Actual self-image refers to the concept of self someone currently has, while the ideal
self-image represents an image of self as one would like to be. The social-self, Sirgy says, “has
been defined as the image that one believes others hold,” while the ideal social self-concept
“denotes the image that one would like others to hold” (Sirgy, 1980, p.288).
The Role of Self in Determining Behavior
These constructions of self matter because they “describe, explain, and predict the precise
role of consumers’ self-concepts in consumer behavior” (Sirgy, 1980, p.289). The choice of
which of the four selves to attend to relies on a consideration of circumstance and situation.
“Once an individual decides which image to express in the social situation, she looks for ways of
expressing it” (Sirgy, 1982, p. 289). This is also referred to as the “situational self” – the self that
determines how to act given a specific circumstance, or a “social position” (Heath & Scott, 1998,
25
p. 611). In an attempt to match a desired self with a given social situation, individuals will act to
enhance whichever image of self they deem fits the social setting (e.g. actual self, ideal self,
social self, or ideal social-self). When a situation arises where an individual feels that a product
can be used to express a facet of self, a choice will be made through scanning brand choices. The
brand whose projected meaning is closest to that of the self-image the individual is trying to
project will be chosen (Heath & Scott, 1998).
Summary
By understanding of the role that brand selection can have in helping to foster individual
identity, as well as the role narrative plays delineating group identity, the function of brand
narrative grows ever more important. In examining the elements of a brand personality and
persona, and through understanding the actors that play a role in creating these brand facets, this
literature approaches an understanding of how brands communicate, and how these
communications can form social groups, as well as allow individuals to approach belonging to
these groups. This literature review also highlights is the importance that brands stories are easy
to relate, so that a brand’s story is accessible to consumers. Ready-made narratives allow a brand
to create a voice and harness the power of emotion. Narratives can also be used to create
authenticity, which is vital to consumer decision-making, and in building self or group identity.
To understand how brands can use the social groups to which they are a part of as a way
to foster authenticity and anchor a brand’s voice, this capstone will look at the types narrative
approaches brands make to connect to larger social themes. By looking at preppy and hipster
brands, this capstone will highlight how brands can develop authentic brand identities that invite
consumers to connect not only with the brand, but with the subculture as well. Through different
themes and types of stories, brands can create authenticity, as well as anchor their brand to a
larger social narrative in order to tell a compelling brand story.
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CHAPTER 3: METHODOLOGY
Case Studies
In order to explore how brands use storytelling to connect with consumers, and to
connect with broad consumer narratives, seven individual case studies were conducted within
two overarching consumer narratives – preppy and hipster. For each larger narrative, three
brands were examined. The preppy brands studied were Brooks Brothers, Vineyard Vines, and
Lacoste. The hipster brands studied were TOMS Shoes, Pabst Blue Ribbon (PBR), and
Converse. An additional seventh brand, Ray-Ban, was researched as an anomalous case study – a
brand that fit within both the preppy and hipster social narratives.
Information about each brand was gathered from a mixture of wide circulation newspaper
articles, marketing techniques, website information, advertising materials, print and online
advertisements, trade press coverage, relevant blog articles, and books. These materials were
used because they provide the most relevant and up to date information on each of the brands.
This information helped paint a picture of how the brand used different narrative approaches to
connect with consumers through a larger narrative, and also to examine the brand’s presence in
the marketplace and how consumers interact with the brands.
Brand Selection and Online Survey
An initial list of preppy and hipster brands were brainstormed and determined as fitting
into one of these two categories. The preppy brands included were Lilly Pulitzer, Vineyard
Vines, Ralph Lauren, Lacoste, and Brooks Brothers. The hipster brand included were American
Apparel, Converse, Pabst Blue Ribbon, TOMS shoes, and Levi’s. The ninth brand included was
Ray-Ban, which was thought to be associated with both the hipster and preppy narratives. In
order to validate that these brands were indeed perceived by consumers to exemplify preppy and
hipster, respectively, an online survey was conducted using Qualtrics survey software. The
27
survey was sent to a convenience sample using email, Facebook, Twitter, and other social
networking sites. The survey sample included 188 respondents, 17% male and 83% female.
For each of the 9 brands, respondents were asked to rank how accurately the adjectives
preppy and hipster fit each brand on a scale from 1 to 7. A response of 1 meant that the adjective
did not describe the brand at all, and a 7 represented an accurate description of the brand. Four
other adjectives were also included in the list of adjectives that respondents were asked to rank
for each brand. This was done in an effort to avoid biasing the respondents in the survey.
The results of the survey helped to confirm the hypothesis that American Apparel,
Converse, Pabst Blue Ribbon (PBR), and Tom’s Shoes were all considered hipster brands. The
only brand that fell outside of the hypothesized results was Levi’s. The results of the survey also
helped to confirm the hypothesis that Brooks Brothers, Lacoste, Lilly Pulitzer, Ralph Lauren,
and Vineyard Vines were all considered preppy brands. The results of the survey also confirmed
the hypothesis that Ray-Ban is associated with both hipster and preppy, albeit more weekly than
the brands selected to exemplify those categories.
Brand
Hipster Brands
American Apparel
Converse
Pabst Blue Ribbon (PBR)
Tom’s Shoes
Levi’s
Preppy Brands
Brooks Brothers
Lacoste
Lilly Pulitzer
Ralph Lauren
Vineyard Vines
Hipster & Preppy Brand
Ray-Ban
Mean Hipster Score
Mean Preppy Score
5.96
5.75
5.12
5.30
3.77
3.07
2.73
2.08
3.76
2.62
1.51
2.39
1.68
1.99
1.64
6.29
6.58
6.28
6.54
6.60
4.65
4.62
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CHAPTER 4: PREPPY BRANDS CASE STUDY
Background: Popped Collars and Preppy Culture
Although the Merriam Webster definition of preppy is “a student or graduate of a
preparatory school,” in adjective form it describes “relating to or being a style of dress
characterized especially by clothing and neat appearance” (“Preppy - Definition and More from
the Free Merriam-Webster Dictionary,” n.d.). But where do these specific styles of dress,
principles of aesthetics, and values of preppy culture come from? The roots of preppy culture can
be traced back to New England preparatory schools, where protestant values were encouraged,
and social stratification reinforced (Hogan, 2008). It was the hallways of these prep schools that
not only gave birth to the preppy style, but also codified the values and cemented the lifestyle of
preppy culture.
Although the preppy lifestyle was connected with prep schools, it also spoke of
something larger, as Hogan notes, “social achievement, uniformity of style, propriety, proper
decorum and class distinction” (2008, para. 3). Because conformity was fostered in prep schools
due to uniforms and dress codes, preppy culture was given a basic uniform for the larger social
narrative as well: coat and tie, button down shirts, grey flannel pants and chinos, and penny
loafers. And because codes of conduct were central to prep schools, the same codes came to be
vital to the preppy narrative. In this way, prep schools helped to define the elements of decorum
that make up a large portion of the preppy mindset.
Also derived from the hallways of prep schools was an emphasis on sports, especially as
a means for bonding and instilling a “feeling of belonging” (Hogan, 2008, para. 3). The emphasis
on athleticism enhanced an idea of “vacations and leisure activities,” which tended to revolve
around whatever was local: ski slopes, the open sea, the beach, or a golf course (Roberts,
Wallace, Wiley, & Birnbach, 1980, p. 35). “Sports show the Preppy’s casual pursuit of simple,
29
healthful, entertainment, with, of course, the correct, costly, athletic equipment” (Roberts et al.,
1980, p. 35).
With attendance at a prep school came acceptance into an exclusive club of other prep
school kids and their families, and a built-in elite social network, difficult to penetrate. The social
circle extended beyond prep school students to their parents, both professionally and socially.
Once inside this network the opportunities for connection were vast, and because of the power
harnessed by these social circles, parents often instilled in their children an appreciation for this
lifestyle, and urged them to follow in their footsteps, especially when it came to private
education.
One of the components of preppy style was a combination of dress (or occasionappropriate clothing) with functional apparel, like, for example, a blue blazer with a rain jacket
on top. At its inception, this style was somewhat rebellious, combining a sense of tradition with a
bit of defiance and a dash of the practical. The original owners of this look were preppies, but as
“this type of hybrid style came into its own, it seeped out into regular society” (Hogan, 2008,
para. 9). This look was relaxed and nonchalant. “If life is a country club, then all functions
should be free from strain. Since preppies want to always appear capable and comfortable,
everything they do or wear must look as if it were done without a second thought” (Roberts et
al., 1980, p. 35). As Carol Wallace, one of the authors of “The Official Preppy Handbook”
pointed out 25 years after the book’s publication, “there was yearning going on. I don’t just mean
the apparent security that comes with jobs on Wall Street… It’s plain old preppy: tennis courts
and Long Island Sound and heirloom silver and people tanned…” (Wallace, 2005, para. 5). As
Wallace points out, the preppy behavior was something to sometimes admire as well the style.
While the first known use of the word preppy was in 1967, the “manual” on preppy was
published in 1980. “The Official Preppy Handbook” (Roberts et al., 1980) outlined the ins and
outs of preppy culture, while at the same time poked fun at some of the more extreme elements
30
of the lifestyle. The book became an overnight success. Although it was “a tongue and cheek
education for those looking to emulate the life” (Hogan, 2008, para. 6), it was also a chance for
those with their faces pressed to the window of preppy elitism and social privileged to
understand how to replicate that lifestyle. “The privileged and windswept lifestyle that had taken
generations of Blue Bloods to develop and refine was now a commodity to be bought and
imitated… [it was] democratization” (Hogan, 2008, para. 7). Because the preppy culture in the
“Handbook” made the lifestyle easy to emulate, throughout the 1980s the preppy trend rose to
almost cartoonish levels, seen in popular entertainment like the iconic John Hughes movies The
Breakfast Club and Pretty In Pink, as well as in novels by authors like Bret Easton Ellis.
The “Official Preppy Handbook” made emulating the preppy lifestyle easy, outlining the
essential “Preppy Value System” which consisted of: 1) Consistency; 2) Nonchalance; 3) Charm;
4) Drinking; 5) Effortlessness; 6) Athleticism; 7) Discipline, and; 8) Public Spiritedness (Roberts
et al., 1980). With these values outlined and the code cracked, this once closed-off social world
was now wide open. The handbook even outlined how to dress like a prep, delineating elements
like: 1) Conservatism; 2) Neatness; 3. Attention to Detail; 4) Practicality; 5) Quality; 6) Natural
fibers; 7) Anglophilia; 8) Specific color blindness; 9) The sporting look, and; 10) Androgyny
(Roberts et al., 1980, p. 121). By the 1980s it felt like “everybody looked like the guy on the
train to New Haven…” (Wallace, 2005, para. 9).
The question that arose, however, was “uncomfortable things like claims to legitimacy”
(Wallace, 2005, para. 9). The question became about the authenticity of the lifestyle. The
important line of who really belong and who didn’t was suddenly blurred. By the 1980s, the
preppy uniform could be bought and worn divorced from the rest of the preppy lifestyle. People
who had never been to Nantucket wore Nantucket red chinos, and L.L.Bean sold boating shoes
to people who had never stepped foot on a yacht. The popularity of the narrative turned what was
once a lifestyle into a fashion choice. Many preppies felt their lifestyle had been hijacked,
31
mocked, or taken over by masses of people for whom preppy style was a choice, not a way of
life. “True” preps, the sons and daughters of the original generation of preppies, felt their
lifestyle under attack, but instead of a counterculture backlash preppies didn’t turn away from
this heritage, they embraced it. And it was the authentic trappings of preppy culture they grasped
on to more firmly.
Grabbing onto authenticity was not without cost. “The preppy lifestyle got expensive:
private school tuition, handsome real estate” (Wallace, 2005, para. 3). Preppies who were used to
money, and who had grown up around a steady flow of cash, didn’t necessary have a lot of it
anymore. And, in an effort to pass on their savings to a future generation, an unexpected cultural
reluctance to spend money was born. As Birnbach & Kidd note in “True Prep,” “preppies hew
strongly to the concept for thrift,” and even if money is not an issue, preppies “prefer modest
discretion to outward manifestations of wealth that are signs of the new hordes” (2010, p. 43).
Frugality often manifests itself as a means of fostering authenticity. A well-worn pair of chinos
with a few holes in the leg doesn’t look cheap or ratty, but serves as a sign that you’d spent the
summer outside on a boat. A worn pair of Italian leather loafers meant you’d spent your vacation
walking the cobblestone streets of Europe. An oversized fishermen sweater with holes around the
neck meant the sweater has been in your family for years. These were signs of authenticity, signs
you were a true prep. Aside from the few areas where preppies do not spare expense like private
education, travel, and displays financial security (e.g. season tickets to the ballet or your favorite
baseball team), as “True Prep” notes, old is better than new. “It’s a brand-new old world.
Meaning of course, that showing one’s age is not a bad thing, necessarily” (Birnbach & Kidd,
2010, p. 83). Age means authenticity. And with preppy culture “over run” by the masses
authentic displays of real preppy culture helped enhance credibility and prestige.
The modern iteration of preppy style emphasis the past, and focuses on the “vintage”
quality as a means of enhancing authenticity. As a thirty-year follow up to “The Official Preppy
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Handbook,” Lisa Birnbach with Chip Kidd released the book “True Prep” (2010), which
provides an updated look at the world of preppy. The book opens with a manifesto that states
what modern day prep is all about:
“It’s about ease and confidence. It’s about fitting in when you do and even when you
don’t. It’s about your endless supply of clothes that always look the same. It’s about your
ability to tell a story, be the fourth – for tennis or bridge – or somehow come to the rescue
of a social situation. Because you can. Because your parents taught by example”
(Birnbach & Kidd, 2010, p. 3).
The modern resurgence cares less about attending an actual prep school, and more about
adopting the preppy lifestyle.
One of the most important elements of preppy culture is the clothing. Birnbach & Kidd
outline some of the updated fashion rules, which remain mostly unchanged from the original
handbook, like, 1) An emphasis on sportswear; 2) Underdressing as base guide; 3) Owning a
blue blazer; 4) Being tasteful and modest; 5) No wit through t-shirt slogans; 6) Taking care of
your clothes, but not obsessively, unless; 7) It’s white. Whites should be spotless; 8) No nose
rings, belly rings, eyebrow rings – earrings are the only appropriate piercing; 9) Cost is less
important than fit; 10) Learn to tie a tie and a bowtie – clip-ons are not allowed; 11) You don’t
need to know how to ride a horse to wear riding boots, and lastly 12) A trench coat is always
appropriate (2010).
The real takeaway from the “Official Preppy Handbook,” and its updated counterpart
“True Prep,” (aside from tips on how to dress) is the emphasis on practicality, nonchalance, and
authenticity. These are the three elements that help define the preppy narrative and chart a path
for preppy living. These three values work together. Take Sperry Topsiders for example; they’re
practical as comfortable, durable boat shoes. Worn off the boat, they’re a nonchalant nod to the
cache of owing a yacht (or at the minimum working on a boat), which oozes a sense of
authenticity, and of true prep, of belonging to the world to which these shoes are so iconic.
Because while preppies “take pride in their social position, they are loathe to flaunt it to the
33
world. Understatement is key. They know they have wealth and power, so why show it off?”
(Roberts et al., 1980, p. 34). This level of practicality and nonchalance create authenticity, which
is the fundamental aim of the preppy narrative.
Case Study: Fostering Authenticity by Highlighting Preppy Values
As was noted in the background on preppy culture, authenticity is vital to the preppy
narrative. Because of the popularization and proliferation of preppy style throughout the 1980s,
the preppy lifestyle was devaluated. “True” preps felt their lifestyle under attack, so they clung
tightly to the trappings of authenticity as a way to bolster their own credibility and standing, and
present themselves and their way of life as genuine. Just as authenticity is important for
consumers because it amounts to trustworthiness, the same is true for preps where inauthenticity
equates to deception, or being an outsider. Especially within the preppy culture, consumers shy
away from anything seemingly fraudulent lest owning or using that brand cause a negative
reflection of oneself. In trying to create a sense of personal authenticity, preps look to brands
they can trust as authentic.
As noted in the literature review of this paper, fostering authenticity can be done in a
number of ways. Gilmore and Pine (as cited by Visconti, 2010) laid out five themes often found
in authenticity stories: tradition, naturalness, quality, originality, and a call to consumers to
action. Beverland (2009) outlines three core elements (quality leadership, heritage, and
sincerity), as well as 10 different types of stories brands use to generate authenticity: founding,
family, conflict and struggle, creation, history, community, place, consumers, and product
service. In the case of the preppy brands in this case study, many of these stories play an
important role in fostering authenticity within the brand, like founding stories, family stories,
creation and history stories, as well as community stories. The preppy brands of this case study
utilize these stories in a way that connects with the preppy narrative and emphasizes the values
34
essential to the preppy lifestyle. Through different marketing efforts, partnerships, and strategic
communications tactics, these brands make certain to emphasize that they are authentic entities
in the marketplace, offering consumers credible products they can be proud to own, wear, and
associate with.
In order to examine how brands construct authentic narratives within the context of a
larger preppy narrative, three brand case studies were conducted: Brooks Brothers, Vineyard
Vines, and Lacoste (see figure 1). Brooks Brothers is a high-end retailer of men’s and women’s
apparel, known especially for their hand crafted and tailored suits, as well as their classic polo
shirts. Vineyard Vines is a small Connecticut-based apparel company that started off making
silks ties with quirky patterns. Lacoste is originally a French company, and is known worldwide
for their crocodile logo and their practical but chic sportswear, namely their original product, the
knit polo.
Figures 1: Brooks Brothers Suit; Vineyard Vines Ties; Lacoste Polo Shirts
Sources: (“Brooks Brothers New Classic Look,” 2007), (“Spring 2011 Collection,” 2011),
(“Men’s Polo Shirts,” n.d.).
While each brand will be examined individually, together these brands tell an interesting
story of their own, a story about how by connecting with the preppy narrative these brands can
foster authenticity based on originality, heritage, quality, naturalness, and a strong valuation of
preppy American culture. The narratives that these three brands employ focus on emphasizing
35
practicality and heritage in an effort to emphasizing brand credibility. Ultimately what these
brands create is an authentic voice for their company, as well as an authentic connection to the
preppy lifestyle.
Brooks Brothers: A Story of Tradition
The Brooks Brothers story is about the past as a leverage for authenticity today. Founding
stories “are critical for authenticity because they connect the brand with time and place, and also
every-day human desires and emotions” (Beverland, 2009, p. 40). Brooks Brother’s story is also
about history, which as Beverland notes allows a brand to “become part of the culture or
subculture” and allows the brand to gain “associations, from the people that adopt it, the uses to
which it was put, and so on” (Beverland, 2009, p. 54) Through a variety of marketing efforts,
Brooks Brothers has framed their brand by emphasizing their roots and the company’s
longstanding traditions. Through highlighting the brand’s long history, Brooks Brothers has built
authenticity and credibility and a confident brand voice.
Brooks Brothers’ website is a tool to emphasize the history of the company, from the
homepage and beyond. The site focuses on the idea of “timeless classics” as a way to connect the
brand to the company’s founding, and an entire section of their site boasts the brand’s history as
“makers and merchants since 1818.” The website says; “For over 190 years, we have endeavored
to educate our customers on the finer points of gentlemen's dress. Timeless Classics is a modernday continuation of this practice…” (“Brooks Brothers | Timeless Classics,” n.d.). This story of
foundation continues throughout the Brooks Brothers site, like with the “Our Heritage” section,
where an interactive timeline takes a customer from the founding of the brand in 1818 when
Henry Sands Brooks opened H & D.H. Brooks & Co. in New York City, through 1845 when
Brooks Brothers introduced their first ready-to-wear suits, on to 1865 when President Abraham
Lincoln wore a specially crafted Brooks Brothers coat to his second inauguration, and up through
36
the 1980s with the revival of preppy style and increased sales in “Shetland sweaters and buttondown polo collar shirts” (“Brooks Brothers | About Us | Heritage,” n.d.). Brooks Brothers is
never shy about referencing historical fans of their suits like President John F. Kennedy, or
modern day historical icons who wear their apparel, like President Barak Obama.
The Brooks Brothers website also focuses on connecting the brand to American heritage
and the preppy aesthetic, which is a purely American export. This emphasis allows Brooks
Brothers to situate itself within the preppy pantheon. The website hosts a 50 page book called
“Brooks Brothers: Made in American – Makers & Merchants” (“Brooks Brothers | Catalog,”
n.d.), which outlines the Brooks Brother’s heritage making all things American, from naval
uniforms to presidential suits. The book weaves Brooks Brothers’ history into America’s history,
telling a story about a classically preppy history. It is a story that authenticates the brand by
placing it in time and space as a part of American history.
This emphasis on American heritage is present in the brand’s other social media efforts as
well, like their Twitter account. When signed up to follow Brooks Brothers’ tweets, users receive
a personal message that says, “Thx for following American’s Original Clothier. Please view our
style legend to see how we’ll be fashioning our Tweets: http://bit.ly.aayrzc” (“Twitter /
Messages,” 2011). The same emphasis on a tradition persists with the company’s other tweets,
like this one which thanks their customers on the brand’s 193rd anniversary: “To the fine patrons
of American’s original clothier. To generations of style. And to many more. We raise a glass.
Thanks for a lovely 193rd” (“Brooks Brothers (BrooksBrothers) on Twitter,” 2011).
This emphasis on the value of tradition can also be seen in the partnerships Brooks
Brothers is involved with, like their collaboration with Saint Andrews Golf Course, which is
declared on their website as “the birth place of golf” (“Brooks Brothers | St. Andrews Links,”
n.d.). Brooks Brothers’ exclusive deal as the official clothier of the golf course connects the
brand to the “birth place” of golf. Through this partnership Brooks Brothers is framing their
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brand as a part of another great tradition and a preppy one at that, harkening back to the preppy
emphasis on sporting and leisure activity. To further cement this idea, the company also installed
a full-scale PGA tour simulator when they redesigned their flagship store in New York City.
Brooks Brother’s chairman and CEO said, “We wanted to celebrate our commitment to golf and
also offer our customers a unique experience. I am sure our clients will appreciate the ability to
shop as well as the opportunity to enhance their golf game” (“Brooks Brothers Installs Golf
Simulator,” 2011). With a catalogue of fashions shot on location on the green at Saint Andrews,
this valuation of heritage in this partnership is impossible to miss (Palmieri, 2010).
Another important partnership for Brooks Brothers was the connection to the popular
AMC drama series Mad Men, a show know for not only well-written drama, but also a fine-tuned
attention to details from the 1960s, especially with regards to the style of dress. In team with
Janie Bryant, lead costume designer for the show, Brooks Brothers created the Mad Men suit,
which sold for $997. Through connecting Brooks Brothers to Mad Men the brand fostered a bond
between itself and the classic groomed style of the era, as well as a 60s aesthetic often
nostalgically noted as missing in today’s style of dress. Connecting Brooks Brothers to Mad Men
connects the brand to an authentic “Mad Men vernacular” which “at its best is representative of a
glamorous time long past” (A. Walker, 2010), a history of style.
Another Brooks Brothers partnership that helped foster credibility was teaming up with
Levi’s, the classic jeans company with a long history as a well-loved American denim brand. As
Brooks Brother’s chief merchandising officer, Lou Amendola said, “For generations, nothing has
conveyed the image of iconic American style more than a pair of Levi’s jeans worn with a
Brooks Brothers button-down shirt” (“Brooks Brothers, Levi’s create jeans collection,” 2010,
para. 4). The jeans collaboration, called “Levi's Jeans, made in the USA for Brooks Brothers”
was part of an effort Brooks Brothers made to further connect with tradition and Americana
culture (“Brooks Brothers, Levi’s create jeans collection,” 2010). In public statements Brooks
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Brothers emphasized taking the long standing tradition of men wearing Brooks Brothers button
down oxfords with Levi’s one step further by offering the jeans in stores and online. By
solidifying this long-standing tradition Brooks Brothers can enhance their authenticity as a part
of American culture, and as a truly preppy brand.
Another important partnership for the Brooks Brothers brand is their collaboration with
designer Thomas Browne, who was tasked with creating a new, younger minded collection for
the company, called Black Fleece. According to Browne’s Facebook page, his style has an
“American sensibility inspired by icons of the late 1950s and early 1960s” and focuses on
updating “classic silhouettes with unexpected proportions” (“Thom Browne,” n.d.). Browne,
who won the 2006 Menswear Designer of the Year award by the Council of Fashion Designers
of America (CFDA), brought pedigree, success, and styling to the partnership with Brooks
Brothers, as well as an emphasis on American tradition. Browne said of this collaboration with
Brooks Brothers, “I grew up wearing Brooks Brothers and always thought it was cool… So I dug
through the archives…” (McKeough, 2008, para. 2). Browne emphasized staying close to the
Brooks Brothers heritage, digging through the archives for inspiration. By looking back at
Brooks Brother’s roots, Browne helped the brand enhances their sense of tradition and thus
authenticity for today.
For Brooks Brothers, their emphasis on telling a story about a brand with history,
heritage, and American tradition is done in an effort to foster authenticity, and to make it
impossible to miss that Brooks Brothers is truly offering a product uniquely rooted in classic
American styling and the preppy narrative. By emphasizing tradition on their website, through
their partnerships, and other marketing tools, Brooks Brothers connects their brand story to the
preppy story, and shows how clinging to the past is a way to build authenticity in the present.
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Vineyard Vines: A Whale of An Authentic Tale
When it comes to Vineyard Vines’ authenticity, with Shep and Ian Murray as founding
fathers, the company’s story is all about their foundation and family. That story of family “for
consumers, provides a real connection between the brand and the people behind [the brand]”
(Beverland, 2009, p. 44). Also important to building Vineyard Vines’ authenticity is a reliance
on a story of community, because “stories of community are authentic expression of consumers’
love for the object” (Beverland, 2009, p. 56). These stories help build an authentic narrative for
Vineyard Vines and place the brand within the preppy pantheon.
Vineyard Vines began with the unique idea to provide an original product to specific set
of (preppy) consumers. Vineyard Vines may have a shorter company history than Brooks
Brothers, but it’s still a narrative with real roots. The story goes that brothers Shep and Ian, who
both graduated from The Brunswick School (a prep school), were both working as high powered
PR execs in New York in 1998 when they decided to leave behind a life of stress to start their
own company. Without much cash flow, these brothers, originally from Martha’s Vineyard,
moved back home to pursue an American Dream. That dream for Shep and Ian was neckties, and
a company that would represent the “finer things in life” (“Vineyard Vines,” n.d.). Shep and
Ian’s philosophy was that by produce an original, quality product that people like themselves
would want to wear, they could be successful. And it’s worked. Birnbach and Kidd (2010) retell
this story in “True Prep”. The brothers, with cash advances on their credit cards, ordered yards of
printed silk, and made 800 ties, which they started off selling out of the back of their Jeep for
$65 each. Their ties sold so well that by 2000 Shep and Ian had passed the $1 million mark in
sales. As “True Prep” notes, Shep and Ian “enjoy what they do, and are replicating their
upbringing for the next generation of Murrays” (Birnbach & Kidd, 2010). This Vineyard Vines
story is about struggle, about family working together, and is a story of foundation.
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In a live chat on INC.com where Ian and Shep took questions, they spoke about the
company’s background, noting that authenticity is not something that is easy to create (“The
Founders of Vineyard Vines on Building a Brand,” 2010). Take, for example, the brand’s logo
the whale (see figure 2). Shep and Ian grew up in Martha’s Vineyard where their father liked to
carve wood. One of the things he often made were whales, natural in an old whaling village.
Their dad’s whales were all over the Murray house; it’s something that Ian and Shep grew up
with, and is now a noticeable part of the Vineyard Vines brands. Their logo, a family heirloom,
is authentic (“The Founders of Vineyard Vines on Building a Brand,” 2010).
Figure 2: Vineyard Vines Whale Logo
Source: (“Vineyard Vines Whale Flip Flops,” n.d.)
As the New York Times noted, Shep and Ian’s story has all the makings of the perfect
origin story. But more specifically, they have all the trappings of a preppy-minded origin story:
an emphasis on entrepreneurial aspirations, and on following a family tradition with a casual
nonchalance, a product with practicality but also a particular view on life (Mueller, 2011). Shep
and Ian’s story also has the elements of an authentic foundation story: struggle (a lack of cash),
the American Dream (quitting your thankless day job for something you really love), and
scrappy up-starters (selling ties from the back of their Jeeps) (Mueller, 2011). Shep and Ian’s
story is also about the modern day prep, self-sufficient upstarts who make a name for themselves
building a business they’re passionate about.
As was noted with Brooks Brothers, Vineyard Vines also uses strategic partnerships to
help further enhance brand credibility. One such partnership was with Churchill Downs and the
Kentucky Derby. Vineyard Vines retained exclusive rights as the sole outfitters for the Derby.
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With a new collection called “The Official Style of the Kentucky Derby,” Vineyard Vines
connected their young history with a tradition of the past, as well as with a favorite preppy
pastime. Casey Cook, vice president of brand development and marketing for Churchill Downs,
said, “The collection is fresh, stylish and conveys the sense of fun and excitement that people
around the world associate with the Kentucky Derby lifestyle” (Pal, 2011, para. 3). The
collection ties Vineyard Vines to a loved preppy tradition, and a wealth of authenticity.
Another aspect that enhances Vineyard Vines’ authenticity is their originality, from the
products they sell to some of their other marketing efforts. As Gilmore and Pine note “being the
first of its kind, never before seen by human eyes; not a copy or imitation” allows a brand to be
authentic (as cited by Visconti, 2010, p.248). Shep and Ian had the idea that their company
would sell what they call “the finer things in life,” exactly that which Shep and Ian were missing
while working their high stress PR jobs in New York. Their ties feature patterns with all
elements of these “finer things” like martini glasses, lobsters, and palm trees. “The brothers
reasoned that today, if a man wears a tie he wants to make a statement” (Negus, 2010, para. 3).
As one blogger put it, “for many, wearing a Vineyard Vines tie is a little like saying, ‘I may have
to wear a tie, but I’m wearing a Vineyard Vines tie because that’s who I really am – someone
who doesn’t need to wear a tie’” (“Vineyard Vines: An American Original & Preppy
Heavyweight,” 2010, para. 7). This original product helped brand the company as authentic.
This focus on “the finer things in life” also led to the idea of using real people to sell
Vineyard Vines clothes and accessories. By featuring friends and customers in their catalogues
instead of models, the company also tapped into a story of community. In the company’s early
years, Shep and Ian used this as a way of saving costs, but today it’s a way to engage with fans,
which is why the Vineyard Vines website and catalogue feature colleges students across the
country. As Beverland notes, “consumers use these brands to enhance their identify and therefore
stories are often public displays of affection and commitment” (2009, p. 59). Vineyard Vines
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asks their customers to send in pictures from wedding to tailgates and posts these pictures on
their blog, website, Facebook page, and Twitter account. By engaging with a community of
brand enthusiast, Vineyard Vines is making the brand truly authentic, truly a brand for the
consumers.
Capitalizing on this idea, Vineyard Vines also uses a grass roots community approach to
marketing, turning fans into what the company call “Whale Reps.” Whale Reps are spread out
across college campuses and their job is to promote the Vineyard Vines brand and generate buzz.
As volunteers these Vineyard Vines reps act as PR arm for the company. Reps are feature on the
brand’s Facebook College Chapter pages. The reps have been so effective that without
advertising Vineyard Vines has gone from 2 guys selling ties from the back of a jeep to a full
scale retailer with clothing and accessories. This community story isn’t an attempt to be
authentic, it is authentic; it is students who love the brand talking to their friends, telling them
about the ties and tote bags.
Vineyard Vines is an example of how having an original product with a great
foundational story, a family story, and an emphasis on community can be used to foster a real
sense of brand authenticity. Vineyard Vines also demonstrates when working within a larger
social subculture, a brand can enhance their own narrative by staying true to that way of life.
Lacoste: The Authenticity of Place & Namesakes
In 1933 the French tennis champion Rene Lacoste, with help from knitwear manufacturer
Andre Gillier in France, created a white short-sleeve shirt (a polo shirt, but that word didn’t exist
yet), with an crocodile embroidered on the chest (see figure 3). Lacoste had been nicknamed “Le
Crocodile” for his “long nose and on-court speed. Lacoste liked to tell the public that the
moniker referred to his tenacious style of play” (O’Loughlin, 2004, para. 17). With this, Lacoste
and Gillier birthed the modern tennis shirt that Lacoste wore to fame. It was short-sleeved,
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lightweight, in a knit style with a ribbed collar (O’Loughlin, 2004), and stood as a distinct
alternative to the then tennis standard of starched long-sleeve t-shirts. As O’Loughlin noted, “So,
too, was born a brand favored among the country club set, then an exclusive society which liked
the idea of a prestigious logo gracing their chest” (2004, para. 18).
Figure 3: The Lacoste Embroidered Crocodile Logo
Source:(“History of All Logos: All Lacoste Logos,” n.d.)
The foundation of the Lacoste brand, and Lacoste’s most famous item the polo shirt, are
steeped in a rich history, as well as a history of athletes and French culture. Born from
practicality, made famous through accomplishment and victory, the Lacoste shirt and the brand
that followed has its roots in the champions of tennis, and in practical athletic wear with an edge
of chic style; in sum the preppy core values. It is this history and sense of place that the brand
holds on today as a source of authenticity. These narrative themes work because they help
“reinforce notions of heritage, quality, and sincerity, that are usually seen as central to claims of
authenticity” (Beverland, 2009, p. 58).
In the mid 2000s, with profits sinking along with the brand’s reputation, Lacoste faced a
unique challenge: maintain authenticity through the brand’s history but avoid the shortfall of
over exposure which the company had fallen fell prey to in the 1980s when Lacoste lost their
cache and thus their customer base. The brand had to on one hand stick to their history for
authenticity’s sake, but on the other hand rework the brand as something cool. To do this,
Lacoste went back to their roots. Part of the brand’s downfall in the 1980s was a move away
from what made Lacoste the brand it was known for, a move away from authenticity. General
Mills bought the brand in the 80s, but due to a lack of experience controlling a fashion brand,
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Lacoste met a downturn in sales. General Mills stopped importing the shirts from France and
started making them in the US and Asia, turning away from a guarantee of quality, naturalness,
and brand history. The results were immediate. As quality fell so too did sales. And soon the
market was flooded with discount polo shirts and apparel (O’Loughlin, 2004), erasing the
brand’s past cache as an elite sportswear company. Lacoste, by moving away from their roots,
and their story of place, moved away from authenticity, and because of it the brand suffered.
To get back their customers, their market share, and their “cool” factor, Lacoste in the
2000s went back to their roots. Like Brooks Brothers and Vineyard Vines this return to heritage
was helped by partnerships, which in the case of Lacoste meant a celebrity deal with popular
tennis pro Andy Roddick. With Roddick as face of Lacoste, the brand was able to make the
connection back to Rene Lacoste and the company’s courtside inception, as well as use the
popularity and trendiness of Andy Roddick to connect with modern day consumers. A Lacoste
rep said that Roddick was ideal because he’s “all-American” but at the same time a “connection
to tradition” (Brunelli, 2007a). Lacoste also focused on sponsoring major tennis opens, linking to
the sport of their roots and a sport at the center of preppy culture. The tie-in to tennis and
athleticism was mirrored in the Lacoste “jumping” ads, which featured crowds of athletic models
in tennis outfits frozen in an athletic mid-air jump (see figure 4). These ads could be found in
popular print fashion magazines, as well as outdoor advertisements like New York City
billboards (O’Loughlin, 2004). Lacoste found a real way to revitalize their attractive origins by
going back to what made them popular in the first place – tennis.
Figure 4: Lacoste “Jumping” Ads
Source: (The Glossy Paper, 2009)
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To help with the brand’s revitalization, the company hired Robert Siegel from Renegade,
who had experience with classic brands in need of a makeover. Of Lacoste Siegel noted, “It’s a
brand rooted squarely in its history. It’s the real deal, it has a history,” and went on to say in
rebranding efforts he wanted to move the brand towards those roots (Rooney, 2006, para. 3). “‘A
lot of the more classic styles have been reappearing in the last couple years. [But] Lacoste is one
of the pioneers of preppy and its logo remains an icon,’ added Stefanie Old, also of Renegade.
‘That it can make such a strong comeback after all these years speaks volumes about the brand's
longevity’” (O’Loughlin, 2004, para. 8). That longevity is due in part to a focus on tradition and
origins, and a result of Lacoste’s narrative frame the brand in this narrative.
As a part of this return to “real” Lacoste, the brand also went back to their French roots,
to the place the company had been born. They restarted manufacturing of the brand’s signature
polo shirts in the original knitwear factory where they had initially been made. At the same time,
the brand raised prices (Manning-Schaffel, 2006), and removed their product from many
department stores, keeping their merchandise in only high-end department stores like Saks Fifth
Avenue and Nordstrom (Rooney, 2006). The connection to their French history is visible from
the company’s website, through to their advertising efforts where the tag line reads in French,
“Un peu d’air sur terre,” or in English, “a little air under foot” (see figure 6). The emphasis on
stylish sportswear was put back into the Lacoste clothing collection, which is why one reporter
wrote of a Lacoste fashion show, “Models appear in tennis-inspired outfits that harken back to
the brand’s origins in France in the 1930s… The parade of polo shirts, soft knit dresses,
swimwear and floppy hats ends in a rainbow of hues that recall Catherine Deneuve and the azure
waters of the French Riviera. ” (O’Loughlin, 2004, para. 3).
More recently Lacoste has teamed up with Catherine Malandrino, a high-end fashion
designer known for her gorgeous clothes and French heritage (Lo, 2011). This designer
collaboration, to be released in Spring 20011, will feature a new aesthetic for Lacoste, with chic
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modern styles with Parisian undertones. The partnership seems natural because both brands have
their feet in the French tradition of wearable, beautifully made, high-end clothes that serve the
purpose of beauty as well as practicality. As Women’s Wear Daily noted, Malandrino’s French
upbringing and her status as a high fashion designer made her a likely target for a Lacoste
partnership (Feitelberg, 2011). And with Malandrino at Lacoste’s side, the brand is helping to
further an authentic connection to the world of high fashion, a direction they’ve long been trying
to move, as well as a connection to the brand’s French roots.
As a French import, with French styling, with a hefty French price tag, exclusively
carried in the best department stores, Lacoste became a brand of luxury sportswear once more.
The brand became authentically itself once again. And through this connection to an authentic
heritage, to a story of place, and to the idea of leisure sports, nonchalance, practical dress, and
starched whites, Lacoste returned to the preppy pantheon of style.
Summary
What Brooks Brothers, Vineyard Vines, and Lacoste share are stories that foster
authenticity through relying on preppy values and elements prioritized within the subculture, like
an emphasis on tradition, history, and community. These case studies demonstrate not only the
power of authenticity, but also the power a subculture can have to shape the types of stories a
brand will use to frame their public persona.
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CHAPTER 5: HIPSTER BRANDS CASE STUDY
Background: Defining the Hip in Hipsters
The term hipster has roots with the beatnik writers in the jazz age of the 1930s and 40s.
The term “hip” was coined to talk about enthusiasts of the culture, whose origin some trace back
to the word “hop” which was slang at the time for opium. During the 30s and 40s hipsters were
usually white, middle-class, and counter culture heroes, at least in their own minds. This
subculture, which grew after the end of World War II, sought to emulate the lifestyle of black
musicians (Lott, 2009).
As hipsters grew up, the word faded until it was reintroduced in the early 1990s, again
used to describe middle-class youths interested in counterculture, specifically art and music. The
90’s iteration of hipster differed in that instead of creating a new movement of their own, they
borrowed from old trends. Like, for example, adopting Bob Dylan’s Ray-Ban Wayfarer
sunglasses and making them newly popular (Lott, 2009).
In Robert Lanham’s book, “The Hipster Handbook” (2003) he composes a portrait of
what he considers the modern day hipster: “someone who possesses tastes, social attitudes, and
opinions that are deemed cool by the cool” (Lanham, 2003, p. 5). For example, Lanham lists
hipster’s likes, which include: retro pocketbooks, European cigarettes, and horn-rimmed glasses
(2003, p. 2). Dislikes include tanning salons, Disney sweatshirts, and strip-malls; in sum, all
things hipsters would consider mundane and mainstream (Lanham, 2003, p. 4). The educational
background Lanham outlines typically includes a small liberal arts college, where a football team
doesn’t exist. For other “clues you are hipster,” Lanham lists things like having “one Republican
friend,” complaining about gentrification even though you are a part of the movement, and
looking at gender as a loosely defined term (2003, p. 5). The “core elements” of hipster that
Lanham identifies include being aware and conscious of what you are wearing and having a
contempt for franchises and corporate culture. Music is elementary to hipsters, who insist upon
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knowing the latest music news and discovering the latest hot artist (2003, p. 12). “Acceptable,”
or at least typical occupations for a hipster include architect, gallery owner, bike courier, book
dealer, carpenter/furniture restorer, dog walker, editor, fashion designer, freelance writer, lifetime student, illustrator, musician, production assistant, website designer or developer, or any
other authentically creative field (Lanham, 2003, p. 102).
Lanham also details some elements of the hipster vernacular, like “hola” or “yo” as a
greeting (2003, p. 69). He also touches on the hipster’s stance on accessible facial hair (no
goatees, unless done ironically) (2003, p. 46), makeup (simplicity is key, unless it’s bright red
lipstick) (2003, p. 50), and hairstyles (retro styles are encouraged like James Dean or Jackie O)
(2003, p. 52).
Although Lanham’s Hipster Handbook pokes fun at hipster culture, it does get to some of
the core elements of the social movement: a serious consideration for authenticity, a
concentration on the creative, a disdain and distaste for mainstream culture or franchise,
expressions of individuality and self identity, and an embrace of irony over reason (2003).
This emphasis on irony is important to understanding the hipster culture. A lot of things
deemed “uncool” within the hipster subculture can become acceptable if they’re done for the
sake of irony, like wearing what some would consider a tacky holiday sweater because it’s a
tacky holiday sweater. Tolstad (2006) gives the example of White Castle, a classic “middle
America” food chain that serves fast food hamburgers. White Castle, as Tolstad points out, is
often considered “white trash” and something that hipsters would typically avoid, unless facing
the “white trash” for the sake of it being “white trash.” A trip to White Castle becomes not a
meal at White Castle, but something different. It becomes partaking in eating at White Castle as
a sign that there is an understanding about the associations that are generally understood when
someone eats at White Castle. Tolstad also points out that irony is “a situation of
communication, irony implies the presence of three parties; the one who performs the irony, the
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one the irony is addressed to, and the one who does not understand it as irony, that is, who
interprets the statement or action literally” (2006, p. 122). Therefore eating at White Castle
implies a certain “cool” factor, and a certain level of understanding.
Irony is tricky to understand, but in an odd way irony itself helps explain some of the
nuance and finesse of hipster culture. As Pryor points out, “hipsters hate fashion but take
meticulous care to achieve exactly the right degree of rumpledness” (2008, para. 2). Hipsters are
often criticized for their counter-culture obsession, which can turn into self-obsession (Haddow,
2008), and ironically has grown to become a mainstream style choice, which is the antithesis of
the hipster creed. Irony, as Lorentzen points out, is meant to “wink” at inauthenticity (2007), but
in the end might be what makes hipsterdom itself inauthentic.
This is somewhat destructive to the hipster philosophy because of the overarching role
authenticity plays in determining what is cool and what is not. Authenticity is important in all
aspects of the hipster culture, and is emphasized in all areas, from fashion to music to food and
beverage. The construction of authenticity within the narrative often relies on a connection to
symbols of blue-collar, working class America: “The American Apparel V-neck shirt, Pabst Blue
Ribbon beer and Parliament cigarettes are symbols and icons of working or revolutionary classes
that have been appropriated by hipsterdom and drained of meaning” (Haddow, 2008, para. 8).
Authenticity is also derived from expression of originality and individuality, which is ironic
because as a result of this idea hipsters often end up dressing just like one another.
What is interesting about this focus on authenticity is that hipsters are often criticized,
ironically enough, for a lack of authenticity, which is why the term “hipster” in certain circles
has come to be viewed as derogatory. Haddow points out that the lack of authenticity and the
easy-to-adopt culture has allowed the hipster trend to grow into a worldwide phenomenon
(2008). There is also a pervasive element of self-awareness among “followers,” or participants,
of the hipster scene, and that leads to a fear of being labeled as something that is inauthentic. But
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it is also because of the desire to want to be part of this “scene” that hipsters do all tend to wear
the same clothes, listen to similar music and adopt corresponding philosophies. So while the
movement seeks to, or at least claims to, grasp on to individuality and authenticity, it is often at
the expense of this individual expression. Which is why so many hipsters end up looking exactly
like one another – they’re dressing the part.
Hipsterdom, as Haddow points out, is also one of the first counter cultures “to be born
under the advertising industry’s microscope, leaving it open to constant manipulation but also
forcing its participants to continually shift their interest and affiliations” (2008, para. 28). And
because the hipster philosophy is all about what is not trendy, the idea of being marketed to, or
associated with being an advertising target, instantly makes a product, as well as anyone using
that product, no longer cool, and certainly inauthentic. “Thanks to these contradictions, hipsters
find themselves always hurtling, psychically, towards a black hole of self-hatred, denial and
irony, both intended and unintended” (Pryor, 2008, para. 2). Which is why the term hipster has
become a dirty word – it’s uncool, it’s inauthentic. It’s been changed so that it now represents
exactly that which “hipsters” don’t want to be. It is why Haddow noted this exchange at a party:
“ ‘So... this is a hipster party?’ I ask the girl sitting next to me. She's wearing big
dangling earrings, an American Apparel V-neck tee, non-prescription eyeglasses and an
inappropriately warm wool coat.
‘Yeah, just look around you, 99 percent of the people here are total hipsters!’
‘Are you a hipster?’
‘Fuck no,’ she says, laughing back the last of her glass before she hops off to the dance
floor” (2008, para. 2).
Haddow illustrates the idea that often those who fit the hipster profile the most are those who are
most resistant to being labeled as such.
Hipster culture has faced something that other counter culture movements did not have to
encounter – a constant critique of itself while its being manifest as a social movement. With an
endless stream blogs and Twitter accounts aimed at poking holes in and poking fun at the hipster
movement, it has changed the mentality and manifestation of hipster culture in irrevocable ways.
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How this has manifest to change the ways in which brands try to connect with the hipster social
narrative will be explored in this capstone.
Case Study: Fostering Authenticity Through a Hipster Lens
As mentioned in the background section, authenticity is a touchstone of the hipster
narrative and social movement. From fashion, to beer brands, to music and shoes, authenticity
directs individuals within the hipster culture on how to make consumer decisions. To foster
authenticity, hipsters focus on ways to encourage self-expression and individuality, but also
focus on the roots of American “blue collar” culture, music and creativity, and important social
causes. Brands also focus on using consumers’ stories as a “part of the process of selfauthentication,” even allowing consumers to shape advertising (Beverland, 2009, p. 58).
As discussed in the literature review of this paper, authenticity can be bolstered through
five elements: tradition, naturalness, quality, originality, and a call to consumers to action
(Visconti, 2010), or enhanced through three dimensions: quality leadership, heritage, and
sincerity (Beverland, 2009). And as Beverland (2009) notes there are also 10 different types of
stories brands use to generate authenticity: founding, family, conflict and struggle, creation,
history, community, place, consumers, and product service. The hipster brands in this case study
use stories about foundation, creation, community, and consumers to help build authentic
narratives. These stories are also used as a way to connect the brands with wider hipster themes,
and mark these brands as belonging to the hipster social movement. Through strategic
partnerships, communication tactics, and an emphasis on history, these brands all demonstrate
how brewing authenticity allows a brand to provide credible products, and make products
credible within hipster subculture.
These case studies will explore how three brands, TOMS Shoes, Pabst Blue Ribbon, and
Converse (see figure 5) generate authenticity while working within a hipster lens. TOMS Shoes
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sells simple rubber soled shoes in the promise that for every shoe sold the company will match
that purchase with a donation of a pair of shoes to a child in need. TOMS demonstrates how a
brand can use originality and origins to foster authenticity, as well as build a brand community
by urging consumers to action. Pabst Blue Ribbon is a beer brand with a long history and deep
roots in American “blue collar” homes, a history which when was quietly encouraged to generate
a feeling of nostalgia among consumers. PBR is also an example of how a brand can generate
authenticity by representing a type of social protest, in this instance as a protest against overt
marketing tactics. Converse, a sneaker company that’s been around for over 100 years,
demonstrates how a brand through emphasizing a heritage of iconic shoes and through a
connection to music can foster an authenticity unique among its competitors.
Figure 5: TOMS Shoes, Pabst Blue Ribbon beer, and Converse Chuck Taylor All-Stars
Source: (“Red Canvas Classics,” n.d.), (Alworth, 2010), (“Chuck Taylor All Star,” n.d.).
TOMS Shoes: Shopping for a Social Cause
TOMS Shoes is a company founded for a greater social purpose: to provide shoes to
people around the world who are without them. For every pair of their shoes sold, TOMS will
match that purchase with a pair of new shoes for a child in need (“One For One Movement - A
Pair Of New Shoes Is Given To A Child In Need With Every Pair Purchased,” n.d.). The
company was founded in 2006 after entrepreneur Black Mycoskie spent time in Argentina and
saw the countless number of kids who grew sick from infection caused by a lack of shoes.
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Mycoskie was compelled to action. After just one year, TOMS was a success, and the company
was able to provide 10,000 pairs of shoes to kids in Argentina.
Like a lot of shoe companies, TOMS sells a distinct and specific product, but unlike their
competitors, TOMS Shoes provide something unique that others can’t imitate – a social cause
(Newman, 2007a). As Mycoskie said, “Because of the new media and the Internet, our youth
culture is more aware of what’s going on in the world. In the next five years, we’ll see
tremendous growth in our business that’s voting with their dollars” (Newman, 2007a, para. 5).
Mycoskie hit the brand’s success on the nose. TOMS has found a voice by reaching out to
consumers through a narrative of individual expression, and through using a story bout
foundation, community, and in emphasizing a call to action that TOMS has found authenticity,
because as Visconti notes, “authenticity can be achieved when companies succeed in affecting
and orienting the behavior of customers (2010, p. 250)
As Ferenstein points out, TOMS allows you to shop, socialize, and save the world all at
the same time (2010). By wearing TOMS consumers can show support for a cause but also
display an understanding of social responsibility. TOMS has been so successful because “the rise
of social and eco-consciousness.” Due to the downturn in the economy, “people were looking for
innovative and affordable ways to make the world a better place…” (Perman, 2009, para. 4).
TOMS was able to capitalize on this trend, not in a way that exploited it, but in a way that called
consumers to action to effect a real change, and with minimal effort required on the part of the
consumer. And at the same time it allows the consumer belong to a group of like-minded
individuals who also wear TOMS shoes.
While expressing a desire to effect social change, TOMS has also provided their hipster
consumers with something else they want, a way to express their individuality. One way is with
customizable TOMS shoes that come in white with a set of paint-pen like markers. As Ferenstein
noted, “over 1200 universities have campus clubs dedicated to TOMS Shoes,” where they have
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“Style your Sole” events, where students come together and customize their TOMS shoes (2010,
para. 5). This community of TOMS enthusiasts have helped enhance the authenticity of the
brand, and invites TOMS fans to be part of this group. TOMS has also partnered with a number
of designers and companies to offer a wide variety of styles and options, which also allow the
brand to market to a larger consumer population. Mycoskie attributes a lot of the success of the
company to their original partnership with the Ralph Lauren brand Rugby (Shayon, 2011),
known as distinct to Ralph Lauren because of their edgier style. This early collaboration lead to a
wide spread PR exposure, as well as exposure to a ground of consumers who might otherwise
not have been interested in the TOMS brand. By providing shoes where these consumers already
shop, and in styles they might be more prone to wear, TOMS is fostering a sense of individual
expression for their shoes, as well as a chance for individuals to take part in an action for social
good. TOMS has also fostered partnerships with high-end fashion retailers and designers, like
the an exclusive collection available at Nordstrom Department Store, and a new collaboration
with Mary-Kate and Ashley Olsen’s high-end fashion label The Row. The collaboration with
The Row will feature a much more expensive line of shoes, priced around $98-$150, and fabrics
like herringbone, plaid, and cashmere. As Mycoskie said, “with The Row, we’ve found a partner
whose amazing interpretation of our classic [shoe] has truly taken our product to an entirely new
level” (Karimzadeh, 2011, para. 8). Extending the TOMS brand into new fashion avenues is
another opportunity for the TOMS wearer to express a sense of self, as well as a sense of social
change.
The TOMS brand doesn’t just foster individual expression; it relies on the story of the
TOMS community for marketing. TOMS notes publicly they’re rather spend a would-be
marketing budget on providing shoes to kids who need them. So instead, TOMS encourages their
consumers to provide them with content, which they feature across social media platforms. This
technique generates an in-group community of TOMS enthusiasts, especially noticeable during
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TOMS “One Day Without Shoes” campaign, where over a quarter million people participated in
events around the world (Boiter, 2010). The company posted pictures, stories, and videos on
their website and across their social media platforms as a way to build brand awareness through
“consumer empathy” (Boiter, 2010, para. 1). By making this consumer-drive content widely
available, TOMS is creating a brand story about individuality, an expression of social action, and
a community of fans.
The popularity of TOMS Shoes began early, but it was with the widespread access to the
company’s entrepreneurial founder, Blake Mycoskie, that the company really got noticed.
Mycoskie was somewhat well known before his work with TOMS for a stint on the CBS
Primetime hit The Amazing Race (“Bio Of Blake Mycoskie, The Founder & Chief Shoe Giver Of
TOMS Shoes,” n.d.). The TOMS/Mycoskie story is well know among consumers and industry
insiders alike. Through this foundational story, Mycoskie has lent the company a source of
credibility. Not only is the entrepreneurial spirit of the founding of TOMS highlighted in the
brand narrative, but Mycoskie himself appears as something of an entrepreneurial exemplar. One
article highlights Mycoskie’s unusual management style; he run and supports the brand’s social
networking sites, managing connections with consumers, athletes, and other like-minded
activists (Newman, 2007a). A Bloomberg Business Week article focuses on Blake’s “DoGooder’ business model (Perman, 2009). The interview focuses on how TOMS is different from
Mycoskie’s other five companies that he has started, because it combines his love for
entrepreneurship and a desire to help others. As Mycoskie says, “My thinking was that TOMS
would show that entrepreneurs no longer had to choose between earning money or making a
difference in the world. I wanted to prove that conscious capitalism is a viable business model
for innovators worldwide, and entrepreneurs can focus on being ambassadors of humanity”
(Perman, 2009, para. 7). With Mycoskie as the front man and face of TOMS, the brand was
given an authentic grounding; both from a business standpoint and also for the inspiration
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Mycoskie brings to the brand. Foundation stories are powerful because they imbue a set of core
values vital to the brand, and with Mycoskie as a front for the company he was able to imbue the
values of individual expression, community, and social good into the TOMS brand.
The brand’s authenticity has also been supported by influential social activist groups like
the Clinton Global Initiative (Perman, 2009), as well as celebrity endorsements like actress
Charlize Theron and blog empress Arianna Huffington (Brady, 2011b). With these
endorsements, strategic partnerships, and with Mycoskie as a face for the brand, TOMS has built
brand authenticity through stories of foundation, highlighting a call to action, and through a story
about a strong community of TOMS enthusiasts and a community of hipsters with an eye
towards social change, TOMS had branded the company authentic, and authentically hipster.
Pabst Blue Ribbon: Do Nothing. Be Authentic.
The resurgence of Pabst Blue Ribbon has a lot to do with hipster irony, and it has a lot to
do with the brewing company’s roots. But it also a lot to do with luck. As Rob Walker said,
“I’ve joked that if I were advising someone on how to recreate what happened to PBR,
the advice would be: Spend several decades building up and maintaining a mainstream
brand until it’s widely recognized, then let it go into a free fall for about 25 years. When
you’re finished with that: Make sure you’re in the right place at the right time and luck
into a new audience through no effort of your own. At that point you can begin trying to
replicate the specifics tactics that the folks at Pabst used to amplify their sales” (R.
Walker, 2008a, p. 8)
What’s significant about Walker’s point is that much of the brand’s success has been a windfall,
owed as much to inaction as to the company’s American roots. As much as the brand’s
marketing techniques in the last few years have mattered, what’s been the most important factor
in PBR’s rebound is the confluence of a beer with what’s considered a blue collar American
heritage, and a hipster narrative that seeks out this nostalgia, albeit perhaps somewhat ironically.
PRB has built brand authenticity not so much by encouraging the brand’s history, but by relying
on historical recall to make the brand authentic.
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In 2001 the brand’s sales had declined as they had been doing for a quarter of a century
since the brand peaked in 1975 (R. Walker, 2008b). But in 2002 the brand saw their sales rise
5.3%, with sales in Chicago alone rebounding 134%, and with even more pronounced sales in
Portland, a city usually with a taste for finely crafted brews and top of the line beers (R. Walker,
2008b). So what was the cause of this sudden PBR rebirth? Well, that’s not exactly clear from
the numbers. When PBR conducted field research they discovered that the beer, unbeknown to
the brand’s management team, had found a new loyal customer base: Portland bike messengers.
These bike messengers, often found at a bar near Reed College called Lutz Tavern, were
drinking PBR by the can because it was the cheapest beer in the bar at $1 a can. But while these
messengers drank PBR for no other real reason than the beer was dirt-cheap, what happened next
is another story.
As Walker notes, “early adopters to PBR tended to be just the sort of clever young people
who can easily decode the commercial pitches swirling around them,” (2008b, p. 103), and so
what PBR came to represent for this hipster subset was a beer that did not implore them “Tap the
Rockies” with a Coors Light. It was a beer without a marketing scheme; it was authentic. PBR’s
success was not in spite of a lack of marketing; it was because of a lack of marketing. Whether
PBR drinkers considered the beer a ironic retro throwback to white trash and blue-collar roots
didn’t really matter, what mattered was that they were drinking a beer not being sold to them.
Because PBR was embraced early on by bike messengers and other “out of the
mainstream” hipster consumers, the brand developed into a community, and acquired an air of
“social protest,” where drinking PBR stood for a way to fight against the onslaught of media and
advertising that otherwise seemed unavoidable. Drinking PBR was an expression of this type of
dissent, of an individual taking part in these “counter clash” movements, and of the individual
fighting off the “big bad marketing machine”. As Beverland notes, “just as authentic brands
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become part of history, they naturally become part of the communal landscape. Consuming such
brands often marks one out as a genuine community member” (2009, p. 56)
When PBR saw this trend emerging they knew their best bet as a hands off approach, or
to at least appear that way. Instead the company focused on fostering the grass-root social
networks that had sprung up around the beer to enhance a story of community. PBR knew they
always needed to “play the underdog” and under no circumstances market their beer in the
obtrusive or decodable way, as their competitors were doing (R. Walker, 2008b, p. 104). PBR
fostered this rebellious counter culture growth by building “minirelationships,” where the brand
initiated representatives of some subculture set in a small sponsorship effort (R. Walker, 2008b,
p. 105). For example, PBR sponsored a bike messenger tournament of bike polo (R. Walker,
2008b). By encouraging their market share among this “counter culture” set of consumers
through small forays into partnerships, PBR was able to extend their network, and increase their
sales, avoiding alienating their customers. This also built a brand story about community. As one
PBR fan noted, he liked the beer because PBR wasn’t insulting you (R. Walker, 2008b), and
through this created narrative the brand came to stand for something out of the mainstream, and
allowed people who drank the beer to express an important quality about themselves, and about
their social subculture.
PBR stuck close to their roots as a way to maintain authenticity, and therefore remain
attractive to a hipster audience. In a Business Week article, Ted Wright who helped work on the
PBR resurgence noted, “PBR was authentic because they were broke. When you're a salesman
and you don't have money, then ipso facto you are authentic. There's no radio, no TV, no guy up
there saying 'Hey, kids, PBR is cool!’ (Schwartz, 2010, p. 4). As Wright notes, it was also the
story of the history of the brand that made it attractive to the audience that was looking for a
brand without an aggressive marketing scheme (Schwartz, 2010). Fans of the beer like to think
of the brand as a 165-year-old brewing company, as a brand that connects back to “the good old
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days” of family run mom-and-pop shops rooted in American history and values (Kowitt, 2009).
Whether this picturesque portrait of the Pabst Brewing Company is true or not doesn’t really
matter. What matters is that people remember their blue collar uncle drinking a six pack every
night, or a case of the beer in their retired grandfather’s fridge. It’s this sense of nostalgia for
what was retro, what was part of the working class roots of American culture, “mixed with a
quest for ‘cool’” that created this PBR revival (DDB, 2009). Whether it was true nostalgia, or the
hipster favorite irony, what was attractive about the beer was what its story of history. “Brands
with strong historic associations allow consumers to reconnect to notions of time, place, and
culture” (DDB, 2009). PRB stood for a “no-nonsense, no-frills” beer, and as taste of a generation
gone repurposed for a new generation that wanted to look back (DDB, 2009).
Pabst Blue Ribbon is an example of how the roots of Americana, and a counter culture
desire for individuality and self-expression, mixed with irony can bring a brand not only back to
life, but make it an authentic part of a larger social narrative. The PBR brand story illustrates that
through fostering community, and emphasizing history, a brand can built a real authenticity, and
in the case of PBR allow the brand to incorporate the key elements of the hipster value system.
Converse: Make Music, Get “Chucked”
For a brand that has been around and done as well as Converse has for the last century,
authenticity isn’t an ideal; it’s a way of life. As Rob Walker put it, “the coolness of Chuck is, at
this point, so legendary that it is taken for granted.” The company, which was founded in 1908,
grew in popularity and fame for their basketball sneaker, the Converse All Star, released in 1917.
The shoe became popular for its lightweight style, rubber outside and durable toecap that helped
stabilize the foot (Beck, 2008). The name “Chuck” Taylor came into play later, when, so the
story goes, Charles “Chuck” Taylor, a basketball player, bought a pair to play in and was such a
fan of the shoe he contacted the company with suggestions and ideas for improvement. Converse
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brought Taylor onboard and by 1932 Taylor’s signature was fixed to Converse’s flagship product
(R. Walker, 2008b). Taylor played for a variety of pro basketball teams while he worked at
Converse, always wearing his namesake shoes. He traveled around the country promoting the
shoe and the company, hosting basketball camps and showing the benefits of the shoe (R.
Walker, 2008b).
What’s interesting about the Converse Chuck Taylor shoe is that it’s known worldwide as
the “ultimate rebel sneaker,” but it’s been worn for generations by people who don’t necessarily
have a lot in common, like John F. Kennedy, Jackson Pollock, and John Belushi (R. Walker,
2008b, p. 92). The rebel cache associated with the brand is sometimes attributed to popular
counter-culture band, the Ramones. But in reality the band isn’t wearing Converse on the cover
of their 1976 album, but instead Keds sneakers. Whether or not the Ramones wore Converse
shoes or not, the association with the band has helped put Converse on the map in conjunction
with music, rock n’ roll, and counter culture values (R. Walker, 2008b).
To bolster authenticity, Converse has time and again returned to their historic relationship
with music as a fountain of credibility. As Beverland says, “Authentic brands collect historic
associations in the same way that a hurricane gathers strength over water. As such, they enhance
perceptions of heritage” (2009, p. 52). Converse gathers strength by linking to their historic
connection to music. These roots are leveraged to connect with consumers, like when company
celebrated the brand’s 100th anniversary. Converse “pulled together N.E.R.D.’s Pharrell
Williams, The Strokes’ front man Julian Casablanacs, and indie electronic up-and-comer
Santogold… to produce a song called ‘My Drive Thru’” (Newman, 2008, para. 2). The song was
available for free download at Converse.com and was promoted through other advertising
efforts. The idea was connected Converse to their rich rock ‘n roll roots, but also connected
Converse to the current popular music scene. Converse followed up this hit with another custom
song and video called “All Summer”, which featured indie bands like Vampire Weekend, Kid
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Cudi, and Best Coast (Newman, 2008). As Geoff Cortrill, chief marketing officer for Converse
said, “This year is the Converse century, and we're definitely celebrating our heritage of
challenging the status quo in art, sports and fashion. It was a nice ode to all the people who
helped build this brand” (Moran, 2008, para. 4)
Converse has redoubled its efforts to connect to music as source of authenticity and with
a story of the brand’s history with a project they call Converse Rubber Tracks. Converse
converted a 5,200 square foot loft in Brooklyn into a recording studio where artists are invited to
record their tracks for free, and royalty free (Sisario, 2010). Converse doesn’t claim or seek to
own the rights to any music produced in the space, but is aiming to provide a space for bands to
grow. This program was developed as a way for the Converse brand to not only be connected to
music through artists wearing their shoes and apparel, but also be a part of the creation process
(Sisario, 2010). While the music wouldn’t belong to Converse, their connection to the music
would naturally instill in Converse an authenticity, marking the brand as an influencer in the
music world. Should one of these brands succeed, the connection back to Converse will pay off
(Carr, 2010), connecting Converse to their musical roots, and the current music scene.
Another effort Converse made to sustain authenticity through connecting to a musicinspired history was when the company stepped in to save the 100 Club in London. The 100
Club has similar historic ties to music as Converse, having hosted bands like the Sex Pistols and
the Rolling Stones, as well as Paul McCartney in more recent years. In a press release Converse
said, “Converse and the 100 Club both share a love for music and this partnership is a great
opportunity to reunite the 100 Club with a generation who experienced history inside its walls, as
well as introduce it to a new generation with a vow to bring the best in music to its legendary
stage” (Owen, 2011, para. 5). Defending this historic home of rock ‘n roll helped cemented
Converse’s credibility.
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Not only does Converse use their connection to iconic musicians and legendary rock ‘n
roll as a source of credibility, but also their history connected to legendary icons. In a campaign
to celebrate the brand’s 100th year called “connectivity,” advertisements featured the likes of
Hunter S. Thomas and James Dean, as well as Jackson Pollack and JFK (Sandison, 2008). Geoff
Cottrill said, “The campaign is bold and iconic, saluting those people – past and present – who
push the boundaries of creativity, who inspire originality and who embody the values of the
brand” (Sandison, 2008, para. 7). The idea of leveraging a celebration of “then” for a “now”
market allows converse to link to the history of their company (Beck, 2008). The focus on music
icons and legendary figures also allows Converse to connect with hipster culture by highlighting
these “counter-culture” heroes.
Converse has also found an authentic voice by offering their community of consumers an
avenue for self-expression, and in doing so have utilized a story of community to breed
authenticity and connect to hipster values. This individuality has surfaced in a number of ways.
One example was the “Get Chucked” campaign, where taglines like “God Save Queens” and
“Who Shot J.V.?” (a reference to the luxury menswear designed John Varvatos who has an
on-going collaboration with the brand), were a means of expressing the individuality of the
Converse community. Stephen Niedzwiecki, the president and creative director for Yard, the
company in charge of the campaign said the goal of the campaign was to garner attention for
“distinctive images” and “cheeky, irreverent copy” which would help Converse cut through the
clutter and build buzz (Newman, 2007b, para. 4). In conjunction with the “Get Chucked”
campaign, Converse launched a series of microsites where consumers were directed to mini sites
based on their past web-browsing history. Instead of a main campaign site, Converse produced
20 of these mini sites, like the Converse Spelling Bee, or the site called “Out of Your League
Girl” where a guy gave advice on how to get a girl out of your league (Morrissey, 2008). These
sites were purposefully quirky, and served to mirror the individuality and authenticity of the
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Converse community, because as Beverland notes, a story of community “adds to perceptions of
sincerity, while sustained associations with particular communities reinforce notions of heritage”
(2009, p. 56).
Another story of the Converse community is the new line of shoes set to release in 2011,
called Helen. The Helen shoes are “a new spin on its heritage Jack Purcell shoe” (Brady, 2011c,
para. 2), named after Jack Purcell’s wife Helen. Converse teamed up with international designer
Marimekko, famous for their elaborate textiles and prints (Brady, 2011c), to produce this new
line of shoes for women. Converse has also mimicked this idea with a “design-your-own”
section of their e-commerce website (Beck, 2008), where consumers can add color, images, and
other details to customize their iconic shoes. These are examples of the ways in which Converse
has harnessed the individuality of their brand community to build authenticity.
Converse is so invested in their community of customers they’ve even turned over their
advertising to their fan community. The president of one of Converse’s advertising agencies,
Grey Stern said, “Converse is a brand that is uniquely qualified to rely on its consumers to
express themselves creatively. It’s always been work by creative people; the brand itself is a
symbol of creative expression” (R. Walker, 2008b, p. 91). Converse set up conversegallery.com
where brand fans were asked to come up with spots for a Converse ads. “We’ve given [our
consumers] the biggest canvas we have to express themselves – our advertising” (R. Walker,
2008b, p. 91). The company received over 1,500 film entries. Winning entries came from a range
of consumers, like an aspiring film student, as well as a delivery truck driver (“Brands Ask Web
Users To Fill In The Creative Blanks,” 2006). By giving their consumers the biggest place and
stake in the brand’s image, Converse made the brand a product of the community.
Converse’s branding and marketing activities have fostered authenticity by using the
brand’s history and connection to legends of rock ‘n roll and icons of the past. And through
focusing on the brand’s community, Converse has turned the brand into more than just a shoe
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company, but a lifestyle brand. These efforts have also allowed Converse to connect to the core
values of the hipster narrative.
Summary
What TOMS Shoes, Pabst Blue Ribbon and Converse demonstrate is that by connecting
with a community of brand enthusiasts, by harkening back to the brand’s history, by emphasizing
tradition and customer stories, brands can participate in a larger subculture to develop an
authentic brand voice. These case studies simultaneously associate with their social context,
while framing the brand as authentic.
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CHAPTER 6: A BRAND IN TWO WORLDS
What’s Different about Ray-Ban?
Ray-Ban was unique in its ranking among survey respondents in that it was equally
considered both a preppy and hipster brand. This unusual duality is reflected in the ways
Ray-Ban has sought to foster brand authenticity. From compelling stories based on the brand’s
creation, their connection to American heritage, and an emphasis on their consumers and
individual expression, Ray-Ban has created an authentic brand with feet in both the world of
preppy values, and the realm of hipster cool. Another interesting note is that Ray-Ban really does
have products with a history in both mainstream culture (e.g. preppy culture and the Aviator
sunglasses) as well a connection to iconic counter culture rebels (e.g. hipster culture and the
Wayfarer sunglasses) (see figure 6). This duality that exists within their history is due in part to
an array of product choices, and it has led to Ray-Ban’s appearance in both “The Hipster
Handbook” (Lanham, 2003) as well as the “The Official Preppy Handbook” (Roberts et al.,
1980) and it’s updated counterpart “True Prep” (Birnbach & Kidd, 2010).
Figure 6: Ray-Ban Aviators & Wayfarer Sunglasses
Source: (“Aviator Large Metal,” n.d.), (“Original Wayfarer,” n.d.)
Roots in Counter Culture: Authenticity in the Expression of Hipster Individuality
One of the key components of the Ray-Ban brand is that their unique ability to allow
consumers a chance for individual expression, something which has been encouraged through a
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wide variety of product styles, as well as interesting ways to individualize the more iconic styles
like the Wayfarer sunglasses. The Wayfarer, which was made an icon of American culture by
Audrey Hepburn in Breakfast at Tiffany’s and Tom Cruise in Risky Business, has found a modern
day nostalgic resurgence among counter-culture consumers like hipsters. But in order to foster a
level of individuality, Ray-Ban partnered with five modern pop artists, for a campaign they call
“project colorize” (Hein, 2008). Featured on billboards throughout New York City and around
the country, “project colorize” offered consumers a chance to wear classic Wayfarer sunglasses,
but with a touch of personality and personal expression. Ray-Ban extended the “colorize”
campaign by offering consumers a chance to be the artists, with special paint-pen markers used
to paint your own Wayfarers (Bell, 2008) (see figure 7).
Figure 7: Artist Maya Hayuk Ray-Ban Wayfarer from the Project Colorize Collection,
and The Custom Paint-Pen Wayfarer Kit
Source: (“Maya Hayuk x Ray-Ban Wayfarer Collection,” 2009), (Spear, 2009).
This idea of individual expression, as well as fostering a community of Ray-Ban
enthusiasts was further emphasized with Ray-Ban’s “Never Hide” campaign (see figure 8),
which kicked off with a video in Times Square that showed homemade images of people
wearing Ray-Bans (O’Loughlin, 2007). As The New York Times said, “The idea is to find a way
to encourage younger consumers, particularly those ages 18 to 25, to assert their individuality by
revealing their sense of personal style” (Elliott, 2007, para. 3). Chuck McBride, the executive
director for Ray-Ban’s creative agency, said the goal behind the campaign was to convey the
idea that “the most fashionable thing is being yourself,” and to encourage this, the campaign tells
consumers “don’t hide” (Elliott, 2007, para. 7). To capture the campaign, Ray-Ban sent a
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photographer out into the streets of New York to take pictures of people wearing Ray-Bans and
expressing their individual style. The photos, which would be included in promotional material,
were meant to be “little declarations of independence” that says, “this is me, this is who I am”
(Elliott, 2007, para. 14).
Figure 8: Ad Examples from Ray-Ban’s “Never Hide” Campaign
Source: (“Ray-Ban Never Hide Colorize Campaign,” 2009)
The stories self-expression and of a community of consumers express is a form of
authenticity for Ray-Ban, and a way of creating credibility among hipster consumers who are
looking for opportunities to belong to an authentic community, as well as authentically connect
with a nostalgic American heritage (perhaps ironically). Ray-Ban found success among hipsters
by using their fans because, as Beverland notes, “acknowledging the role of fans in the brand
story recognizes the reciprocal relationship between the firm and consumers in the brand’s
success” (2009, p. 59)
Historic Roots: An Expression of Preppy Americana
Ray-Ban’s now famous Aviator sunglasses began as an answer to a call from the U.S.
Army Air Corps to make “anti-glare goggles suitable for high-altitude flying” (Lapidos, 2009,
para. 3). The frames Ray-Ban created had the classical shape and metal frames that are
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ubiquitous today. In 1937 the sunglasses were rebranded and sold to the general public, and the
glasses received a burst of cultural cache and PR recognition when General Douglas McArthur
wore them in the Philippines during World War II (Lapidos, 2009). Celebrities helped enhanced
the popularity of the Aviator throughout the 1960s and by the 1980s received a nod to their
military history when Tom Cruise donned them in 1986 hit movie Top Gun
The Wayfarer, as mentioned earlier, has a similar American heritage story: worn by
Audrey Hepburn, John Belushi and Dan Aykrod in The Blues Brothers, and again by Tom Cruise
in Risky Business (Brunelli, 2007b). What is significant about both the Aviator and Wayfarer,
and about the Ray-Ban brand, is this connection to American culture. Ray-Ban has capitalized on
this connection to breed authenticity by including these elements in the creation story of the
company. As Beverland notes stories of creation, “reinforce perceptions of heritage. Heritage in
this case concerns an established track record” (2009, p. 58). Ray-Ban is building on their track
record with the re-releases of both styles of sunglasses. Wayfarers were re-released in 2007, after
their original launch in 1952. Ray-Ban created a lot of buzz around the re-release, including a
“coming-back-out” party at a New York night club where celebrities like Jimmy Fallon, Mischa
Barton, and legendary photographer Mick Rock wore the glasses and promoted the revival of the
style (Brunelli, 2007b). Similarly, Ray-Ban re-launched their Aviator eyewear collection in 2010
with six updated takes on the classic style. The goal behind the re-launch was to connect the
creation of the 60-year Aviator with current fashion trends, which is why Ray-Ban updated the
glasses with new colors, frames, and different types of lenses (see figure 9). To celebrate the
release of this new collection, called Ray-Ban Aviators: The Essentials, Ray-Ban hosted a
concert at Music Hall in Williamsburg Brooklyn, where Iggy Pop & The Stooges headlined
(Laliberte, 2010). Ray-Ban, much like Converse, has a legendary connection to rock ‘n roll
throughout the brand’s history, with everyone from Mick Jagger to Blondie having worn their
classes (Laliberte, 2010). As Sara Beneventi, the global brand manager for Ray-Ban said, “We
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tried to partner with bands that are in line with Ray-Ban values… Iggy Pop is considered an icon
in the music world, as we consider our Aviator an icon in the eyewear world” (Stephenson, 2010,
para. 9).
Figure 9: Ray-Ban’s “The Essential” Aviator Collection
Source: (Laliberte, 2010)
This emphasis on celebrating Ray-Ban’s history will again be used in the spring of 2011,
when Ray-Ban launches their “Icon Collection,” a re-issuing of their other iconic frames. The
collection will include styles like the small rounded style that John Lennon made famous, as well
as the Caribbean and Vagabond styles made popular in the 1960s, and the cat glasses style from
the 1980s (George, 2010). This connection to Ray-Ban’s heritage is really a connection to the
preppy roots of this country, not for the sake of nostalgia, but for the purpose of enabling an
authentic brand and authentic lifestyle to come together. Ray-Ban Aviators have for years been a
hallmark of preppy culture because they represent the preppy ideas: practicality, nonchalance,
and American heritage, which when brought together foster authenticity.
Authenticity: Staying True to Ray-Ban Roots
It is through fostering a sense of individuality, emphasizing the brand’s history, relying
on Ray-Ban’s legacy, and by focusing on their consumers that has made Ray-Ban, for almost a
decade, an authority on eyewear. In reissuing the Wayfarer, the Aviator, and soon their other
iconic glasses, the brand is using their historical cache as leverage for modern day authenticity.
70
From the Wayfarer’s on-camera history as rebel sunglasses through the 1980s, and with the
Aviator’s roots in Americana and military pride, Ray-Ban has been an indelible part of American
culture, and thus made itself a part of both preppy and hipster subculture. In framing the brand
through stories of founding, history, creation, and community, Ray-Ban is a exemplar of how
through partaking in two different subculture movements a brand can find a truly authentic
voice.
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CHAPTER 7: DISCUSSION
The Potency of Authenticity
The original focus of this capstone was to examine how brands, which consumers
identify as partaking in either the hipster or preppy social narratives (or in the case of Ray-Ban,
both), used the themes found in those social subcultures as anchors for their own branding
efforts. What is undeniable about all of the brands explored throughout these case studies is their
insistence on building authenticity, by using either the types of stories that Beverland (2009)
outlined, or the themes noted by Visconti (2010). These brands all focus on connecting with the
larger narrative trend they exist within while trying to find an authentic voice.
Authenticity is central for both preps and hipsters. For preps authenticity means true
belonging; belonging to an elite social circle and belonging to a coveted way of life. For hipsters,
authenticity is all about what is real; avoiding what is mainstream and the over-used.
The lesson drawn from these case studies is that true authenticity can’t be faked. A brand
needs to use what is natural to that company to build an authentic narrative. A brand does not
need to use every type of story or each different theme, but instead can find authenticity by
focusing on the few stories and themes that are real, and will provide the brand with a chance to
appear relatable and convincing to consumers. Consumers shy away from a brand they that seem
fraudulent, but these stories and narrative themes can help create layers of authenticity that a
brand can use to foster as a connection with consumers and connection to social trends.
The four elements that Visconti (2010) outlines for fostering authenticity (naturalness,
originality, guaranteed quality, and connection to tradition) can be found in some form or another
throughout the case studies detailed above, as can Beverland’s (2009) ten different types of
authentic stories. But more so what these case studies explain is how building authenticity can
anchor a brand to as social narrative. It is the potency of authenticity that is a take away from
72
these case studies, because it is through fostering a credibility and authenticity that these brands
have found success.
Study Limitations and Directions for Future Research
While this capstone was able to cover a wide range of case studies, there were some
limitations to the study. One such limitation was that only seven brands were studied, and within
only two larger culture narratives. More research on other cultural trends and other brands that
belong to those trends might be useful for illuminating further insights and providing more
examples. And within each of the brands examined, not all of their marketing and advertising
efforts, or their strategic partnerships were illuminated. Also, expert interviews with brand
managers from each of these brands might provide insightful guidance into some of the thought
behind some of the different strategies these brands employed.
It’s also important to note that while a survey was conducted to assess consumer opinion
about the different brands studied, a convenience sample was used and thus the findings were not
necessarily generalizable to the population at large.
An area for future research would be include consumer opinion on the reputation of some
of these brands, asking consumers in focus groups or through survey research what their take
away from different brands are. Do they find the brand authentic? Do they relate to the brand’s
story? It might also be of value to test what sorts of authenticity narratives are most persuasive
for consumers with regards to building future branding efforts. These sorts of insights might be
useful to brand managers when considering how to craft their own brand’s narrative.
Another area for future research is to look at more case studies cross-categorically.
Because while these case studies covered apparel, shoes, and one example of a beverage, more
insights might be found examining other categories within social trends.
73
Conclusion
This capstone helps to illuminate the importance of narrative and storytelling in a brand’s
development, and how important narratives and stories are for creating an authentic brand voice.
As Beverland says, “This process of storytelling differs fundamentally from traditional models of
brand management because it represents an open, pluralistic, emergent process” (2009, p. 60).
These case studies once again prove the power and effectiveness of storytelling. And this
capstone demonstrates how important it is to build authenticity using both ready-known narrative
themes, as well as within a ready-known social narrative. In doing so, the brands discussed
within this paper have found success, customer loyalty, and a way to develop more than just a
brand, but a lifestyle as well.
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