Håkan Preiholt, PhD
Associate Professor
Stockholm University
School of Business
Kräftriket Building 2B
S- 106 91 Stockholm
Sweden
Phone: +46 8 16 15 41
Mobile +46 73 04 73 837
E-mail hp@fek.su.se
Who is controlling the fashion brand?
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Who is controlling the fashion brand?
Summary
In the world of business we have faced some dramatically changes due to the changes in
customer behaviour. Customers do not consume as most of the companies today are
planning for. And there are some obvious reasons for this. For instance the social media
has taken many companies by surprise. There are currently over 350 million Face book
users sharing over 2 million pieces of information each day, and over 200 million
bloggers posting content daily. We are sharing news, gossip, tips or videos, creating
positive, useless and negative messages like wildfire. With this immense amount of
information circulating within a seemingly infinite group of connected users, control of
the fashion brand has been taken out of the business.
Social Networking sites or Social Media allow the customer to spread word of mouth
loudly throughout an unlimited viral network, and generate interest that the company
cannot control at all. This means that the time of controlling a brand by the control of
traditional media like TV, radio, journals etc. is gone. In this day and age, the customers
hold the keys to building a brand, which means that the marketing communication has to
find new sources to hang on to in order to make the company’s message and intentions
controlled or at least believable.
The analyze is made on empirical examples of fashion brands, which is observed in a
process from the initial marketing communication plan to where the customer is in
control of the promotion mostly through “buzz marketing”, which destroys the surprise
effect in lunching new products.
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This is the case when information about collections and design comes out on the market
before the primary chows on the catwalk. Add to this the perhaps more critical
phenomena that the “buzz rumours” mostly hunts for good cheep garments of fashion
design. For such problems the method of process is very powerful in that it avoids the
classic trap in research of making statements through the investigation of cause and
effect. In this study the starting point is the traditional hierarchical structures of the
fashion industry such as it looks like. The managerial results will show alternative
marketing strategies, which might have an impact on how firms operate in the future in
their marketing regarding fashion brands.
Keywords: Webb, fashion, social interaction, digital media, social media, symbol.
Introduction
In the movement to the digital world of information and communication fashion brands
are facing alternatives in their positioning that was not visible before. The new structure
of fashion companies in relationship to their customers takes at least two forms. One that
love the bomb and heavily enjoy the digital computer world of information spread to
everyone everywhere in an endless interaction with consumers. The other line of
approach in this new era is to stick to the one way of communication that is the
traditional way in the world of fashion. In this case fashion houses kip and deliver their
information and news well controlled in time and in space. However, from the theory of
symbolic interaction, Blumer (1969) both of those alternatives the digital strategy and the
analogical traditional one can safely operate side by side simultaneously over time. This
very notion can be illuminated by the theory at hand and given us an understanding of
why some fashion houses are operating online where others are fabricating fashion
holding the news to a few.
Previous studies on the subject
Fashion content has recently become more and more diverse, and is therefore very
difficult to grasp in terms of its variety and performance. Today there are very few
disciplines and subject matters that have not been involved in fashion studies - from
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logical sciences to humanities. Historically, fashion has been studied as a trickle-down
effect by Spencer (1885), Veblen (1899) and Simmel (1904). It concerned an upper social
class that applied seasonal change to their dressing habits, in order to take control of the
current dressing trends. Another type of research has focused on the structure underlying
the development of fashion. One representative for such research is Levi-Strauss (1971).
This research addresses the struggle to find similarities in the fashion system by
comparing two collections side by side, and looking for the underlying similarities that
unify them. Similar to this approach is the system approach, mostly known from a study
by Barthes (1983) on fashion. It primarily concerned identifying different types of
garments.
Furthermore, postmodernism has radically changed fashion research and design.
Baudrillard (1994) argues that in fashion, we live in a world where we experience a kind
of reflection of reality. This reflection, which is known as ‘simulacra’, is then turned into
value for the customer in the consumption of fashion. Bourdieu (1984) focuses on the
role of social power and status relationships in fashion. The term here is habitués, which
is an individual document outline, a pattern of behaviour that is learned and that leads to
the individual making specific choices that lead to the reproduction of power hierarchies.
However, this only applies to fashion if we as human beings understand the inherent
power of what we wear and its significance, which is a very noteworthy point in the
research. Other sources of fashion include the idea that fashion is addressed by
discourses, Foucault (2000). A discourse study is a general term for a number of
approaches to analyzing the use of written, spoken or signed language. Fashion is then
interpreted on the basis of the meeting with the people, texts and images that change our
opinion about the different outfits that ultimately create fashion. The analysis mainly
concerns the language itself, which means that how we say things or express ourselves is
important for those studies. Derrida (1997) is another French postmodern philosopher; he
is known for establishing deconstruction. Thus, we have seen that the traditional system
that was the ideal for interpreting clothing has been replaced to a large extent by Japanese
avant-garde and postmodern deconstruction design, frequently represented by fashion
designers such as Ann Demeulemeester and Martin Margiela.
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Moreover, Featherstone’s (2007) observations emphasize the concept of the specific
fashion. There is a belief that the individual's consciousness about his or her appearance
has become more a result of constantly measuring against and comparing him or herself
to idealized images of the body. That is, the ability to interpret impressions from the
outside world has become an important skill for the modern individual, which means that
fashion exposure is essential for these people. It is also interesting to note that there are
authors who have a relatively broad perspective in terms of studying fashion. Kawamura
(2007) is one of the people attempting to treat fashion as a matter of fashionology,
making it a specific subject in research and education. Hers mentioned theories concern a
system of cultural globalization that has replaced the Western costume system. The
cultural globalization system being studied employs production and consumption of
fashion, as well as institutions and individuals. This approach is highlighted throughout
the fashion collective dimensions along with the designer's role in controlling fashion. To
conclude, there is a huge interest in fashion studies and fashion writing at the moment,
which will result in light being shed on the mystery of fashion.
Research process and data collection
In this paper, fashion will be illuminated in terms of chosen marketing approach for
operating fashion houses. The empirical bases are observations on how fashion firms act
in the world of the Webb. It is hard to spot on what the actors are thinking from time to
time. However, what we can do is to note what they actually are doing to handle the new
situation where the digital world is here to stay. The central point in such observation is
the meaning the customers of fashion pay to the garments. And theoretically those
meanings are created as a process along where the customer comes in acceptance of the
new things and changes in fashion. This process of fashion design can be spotted both in
the world of digital interactive information on the Webb and in the world of analogy
where there is no interaction of fashion information between the fashion house and its
customers. This means that the empirical observations are done to illuminate the role of
symbols for fashion houses in terms of symbolic interactionism on the marketplace.
Theory
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In the study of fashion, focus is on the changes that take place in the introduction of the
Webb. Observations of fashion design, which are classified into categories depending on
the meaning we as consumers assign to them, address this issue. The theory that is used
in the analysis is known as symbolic interactionism, Blumer (1969). Fashion is then
defined as a desire to stay up with the times and express the tastes that are emerging in a
changing world. One reason to choose such a theoretical approach, which is connected to
social interaction, is to avoid the classic trap in research of making statements through the
investigation of cause and effect. An early attempt was made by Goffman (1957) to see
society as a theatre where we always try to play our social roles as well and convincingly
as possible. Studies of social roles and social interaction come very close to clearing up
what fashion can be.
Further on in this study, symbolic interaction will include the theoretical context upon
which the analysis is based. It is basically a matter of setting out fashion design when the
Webb comes in to the marketing communication. Symbolic interaction is here used to
interpret this issue. In the first phase, human beings act toward things on the basis of the
meanings they ascribe to fashion in this case. In the second phase, the meaning of such
things is derived from, or arises out of, the social interaction that one has with others and
society. Symbolic communication means that meaningful gestures are used consciously
by the individual, which are essential in communicating the message so that it is
perceived in the same way by a sender and receiver. Finally in the third phase, meaning
and symbol become the created individual style. This is the result of the meanings being
processed in and modified by an interpretative process used by the person when dealing
with the things he or she encounters.
The categories of fashion houses in this study are defined qualitatively in terms of there
way to create meaning in fashion and to their customers. They have different merits in
terms of the theory in use, which is symbolic interactionism, Blumer (1986[1969]). The
purpose is then to recognize fashion trade strategies in the world of digital
communication on the Webb.
Analysis
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The symbol of seasons is frequently used in fashion to create meaning in our shopping.
The weather is then the important factor to buy fashion. In short it is about designers
release their fall collections in the spring and their spring collections in the fall. This
means that the lead-time from design to the store takes several months, which means that
the garments announced in the fall are ready for sale in the springtime. The seasons are
symbolic for a certain design that creates a sense of meaning to us in the world of
fashion. Theoretically there is an individual meaning in getting things, which arises from
the social interaction that one has with others and the society and there we have fashion.
Finally, these meanings are modified throw an interpretative process in dealing with the
things he or she encounters, which is used in marketing of fashion.
In the introduction of the Webb and in the development of social media it is today
possible to watch the show in a Ipad-app and in the mean time shop directly from the
catwalk. Christopher Bailey the designer at Burrbery, designer Norma Kamali and the
Polo Ralph Lauren Rugby Brand are only a few examples to have application for the
Apple iPhone. All this means that we as customers can buy the spring collection already
in September, which means that the customer is now running a seasonal schedule of its
own. And from the theory of symbolic interaction this is a disaster in that the symbol of
fall, winter, summer and spring collections are getting less meaning when a customer can
get all the information and never be surprised. The lack of such meanings and social
processing in fashion will lead us all to the boring effect. When we can buy everything
directly with our Ipad from the catwalk we are already bored when the garments finally
come to the store. To get away from this boring effect fashion firms can get away leave
seasons as symbol for fashion design. This means that they can create new symbols to
come back into control of their brands and design. For instance they can create new
seasons, which has nothing to do with the weather. One such an example is the heavy
Webb designer Rad Hourani who does not stick to seasonal roles controlled by the
weather at all. Instead he is creating alternative symbols like to given numbers to the
garments connected to events and fashion shows. And of coarse there are many other
alternative of symbols that can operate as a communication focus given meaning to the
customer in this industry. To invent alternative symbols to the weather in fashion seasons
season is important. This is because the symbolic interactionism is strictly focusing on
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symbols. And when the role of weather is declined due to the introduction and the
influence of the Webb this means that some other symbol must take its place and the
fashion designer has to invent it. Empirically and so far we can guess that Hourani brand
is to be stable over time. And most important here, he is in control owe his own brand in
the digital world.
Another common way to create symbolic interaction along wit this theoretical thinking is
to cooperate with the customer. That is to let customer be a coo producer or even coo
designer in the fabrication of garments. Behind such strategy is the fact that customers
today are much updated on what is going on and are interested to get some influence on
the fabrication of their garments. This way of creating meaning for the fashion consumers
is based on the idea that the customer knows what to buy, how they wont it, and from
who the will have it. And this might frequently be the case at least according to Jill Puleri
the retail expert on IBM who gives us the picture that eight of ten customers have this
ambition to be involved in the flow of production somehow, which also corresponds to
resent research, Backlund (2011) where the customer is a creative producer. This means
that the answer on the question “who is controlling the fashion brand?” is in favour to the
customer in this case.
However, there are examples of fashion houses that stick to the traditional way of
building excitement around the creation of fashion and the upcoming collections. That is
to keep away from the Webb as communication tool on the marketplace May be Tom
Ford the late designer from Gucci proves to us this idea to stick to the seasonal exposure
and outfit instead of jumping into the digital fast fashion development. In his case he
chooses to go back into the mature fashion way to deliver mode to the market. For
instance, the first pictures from the catwalk on fall should not be in media until the end of
the year and then in hard copies. It is about a process of several months from the first
show to the day we have access to buy the garments. Or we will be aware of the garment
month before it is for sale, which brings a process of meaning in terms of symbolic
interactionism this very meaning. Here we have a designer in control of the collections
from the fashion weeks to the sale of the outfit. This process sticks to the customers act
towards fashion on the basis of the meaning they ascribe to garments, which can be
symbolic interactionism giving live to the desire for fashion garments..
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Findings
There is no dept that the Webb has changed the picture in marketing communication in
the fashion industry. However, what is mark here is the decline of the concept of making
up seasons in fashion. Making up seasons is the symbol of consumption garments
depending on the weather. The weather is the leading parameter to establish fashion from
time toi time. What is observed is the fact that the fashion industry opens up the
possibility for customers to buy garments directly on the Ipad watching the catwalk. This
means that fashion byes can pick up and jump over seasonal design buying for instance
spring intend from September issue in the fall. Hopefully that spring designed garments
are warm eunuch to wear in the fall the year before. However, this behaviour from the
customers perspective jeopardise the seasonal concept in fashion, which rest on the most
fundamental fixation the weather. Up to now the fashion industry has the monopoly in
deciding seasons on what to wear and when controlling fashion. Yet from this study it is
evident that this stability is broken, which might it be unclear who is controlling the
fashion brand.
Managerial results
Firms that choose to face the social media and the digital world on the Webb are having
customers who do not have to stick to seasons such as spring, summer, fall and winter.
Therefore those firms and fashion houses have to create alternatives making symbols to
get meaning in shopping fashion. It can be garments calculated for certain events and
sales in place and time. In not doing so probably other actors in this industry will play the
game of creating symbols and meaning to the customers such as journalists,
photographers, cerographists, stylists, etc.
Limitations
The study may be limited by the plain use digital media in terms of symbolic
interactionism in the society. The study illuminates the existence of such interactions by
the use of secondary data and cases to back up the logic in the used theory. Further on,
there is no focus on the economic value of fashion changes or the frequency of
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purchasing certain garments in terms of personality or status consumption. Finally, there
is no focus on bloggers, which certainly has an importance for this field of research.
However, the outcome of the study is showing changes in the designers’ view of how to
handle the new world of the Webb, which might to some extend jeopardise the
fundamental communication strategies in this trade.
Further research
This study has shown some noticeably changes in fashion industry due to the upcoming
use of the Webb. However, further research on the same subject can very well be on the
role of the bloggers. One such example is “Marketing fads and fashion”, Phil (2011). It
shows how consumers are able, by engaging in prosumption activities, to exert a high
degree of influence and act as institutional entrepreneurs. Further for the social
networking in its essence there are several references where, Rettberg (2009) is an option.
Resent research also illuminates the main difference between the roles of the actors
which is changed from norm following consumers of fashion to creative producers of
fashion, Backlund (2011), which also gives hints on who is controlling the fashion brand.
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