Millennials, Social Identity and Fashion in
a Digital Age
N.C.F. Tjintjelaar 10718338 Master’s Program Communication Science Entertainment Track Supervisor: Renske van Bronswijk June 26, 2020
Abstract
The purpose of this thesis is to explore and analyze how Millennials behave, react and engage with fashion brands on digital platforms, and ultimately assess how their identities of the “self” are constructed in a digital age. The thesis adopts an interpretive, grounded theory approach, applying a qualitative design. The research refers to 10 in-depth interviews to gain insights on the representative of the Millennial generation, through their opinions, arguments, motivations and perceptions.
Diverging from managerial and organizational implications, this thesis aims to contribute new knowledge regarding individual user experiences and perceptions in consideration to the identity of the “self” and social media. Moreover, a focus will be emphasized on Millennials who are familiar with fashion and online brand experiences to reveal insights about practices based on the theoretical norms and explore deeper
understandings of the user-centric perspective.
With the notion that Millennial’s perceptions and behavior develop alongside
changing environments and lifestyles, it appears that Millennials have evolved and diverged from findings and perceptions of existing literature. Rather, they still emphasize a high importance towards notions of originality and authenticity, however, not being as brand conscious or as civically active as literature has otherwise suggested. Moreover, social media is used as a supplementary source of information rather than as the main channel of
inspiration and fashion consumption.
The findings of this study present valuable implications for psychologists or
sociologists of which Millennial perceptions and expectations are explored in the context of a digital age through fashion.
Keywords: Social media, purchasing behavior, Millennial motivations, Fashion, Social
Introduction
In the field of culture and fashion theory, literature addresses fashion in the context of self-identity, whilst exploring the phenomenon of how fashion shapes our attitudes,
preferences and identity (Oyserman 2009; Venkatesh, Joy, Jr., & Deschenes, 2010).
According to Akdemir (2018), clothing is a means of “identification” that symbolically draws distinctions between people to make sense of their social reality. Fashion and clothing is a field where a person’s appearance and the clothing garments they wear resemble and reveals a part of one’s cultural and social identity (Akdemir, 2018; Evans, 1989). Prominent social identity theorists posit that the “self” comprises of two platforms, namely the personal, and the social (Abrams, Thomas & Hogg, 1990; Tajfel, 1978). Personal identity refers to specific attributes of the individual such as “competence, talent and sociability” (Lantz & Loeb, 1998). Meanwhile, social identity refers to the part of an individual’s self-concept which finds
association in social groups and consequently, provides for value and emotional significance, according to Tajfel (2010). Tajfel’s (1978) Social Identity Theory explores how people interact among each other and interrelate their empirical experiences with themselves to exhibit their self-identity with various groups they identity with (Tajfel, 2010). However, the way we communicate, exchange information and behave due to emerging communication technologies, has significantly changed the entire landscape of fashion and society, altogether.
As digital communication technologies are omnipresent and people are more
connected than ever, the way we communicate, gather and share information and ultimately make decisions, is changing alongside the developments of Web 2.0 technologies (Helal & Ozuem, 2019; Power & Phillips-Wren, 2012). With the emergence of Web 2.0 technologies, two-way communication platforms come into place, providing users the opportunity to interact with each other in a digital space through the circulation of user-generated content (UGC) Kaplan & Haenlein, 2010; Fuchs, 2014). Social media platforms have empowered
consumers by giving them the ability to acquire information about a company, its products and competitor brands, which has resulted in them being more critical regarding their purchasing decisions. Social media has not only changed the way we behave and interact among each other, and inevitably, has also shaped the way we think about, and consume fashion (Helal & Ozuem, 2019; Nash, 2019; Zhu & Chen, 2015).
In a digital age where things are fast-moving, comes the rise of fast-fashion, or otherwise known as high-street fashion. Fast-fashion refers to fashion companies who use digital platforms and marketing initiatives to facilitate brand awareness and fuel the rise of consumerism (Jones & Livingstone, 2017; Nash, 2019). With the rise of fast-fashion,
however, a lot of criticism has come to surface such as for being environmentally unfriendly, involving slave labor or exploitation or appropriating race and culture (Suhrawardi, 2019). In this respect, one’s social identity may also determine whether he or she wants to engage with fast fashion.
Given the rise of social media platforms, new trends arise all the quicker, due to the affordances of social media and its ability to connect people and brands across geographical barriers (Helal & Ozuem, 2019). Digital media platforms such as LinkedIn, Instagram, Facebook, Pinterest and Twitter are used by more and more people each day accounting for more than 3.5 billion people worldwide using social media (Tjepkema, 2019). According to the existing literature, social media serves as a platform which facilitates the exchange of “free-flow” content between users and fashion brands (Helal & Ozuem, 2019; Kim & Ko, 2012), consequently promoting the allowance of user-generated content in which brand communities and reference groups are then formed, thus empowering consumers online (Brogi et al., 2013). Whereas formerly consumers would reply on traditional word-of-mouth, through recommendations from friends for example, with social media platforms, users are
able to use electronic word-of-mouth (eWOM) through the means of online reviews to gain product information and external references (Nash, 2019).
Generation Y, or better known as Millennials are a generation associated with social media, given their affinity and familiarity with new media technologies (Helal & Ozuem, 2019). Inevitably, Millennials are active consumers and highly involved with fashion
consumerism in a digital age, accounting for more than $1.3 trillion in direct annual spending, in the United States alone (Barton, Koslow & Beauchamp, 2014). According to Helal and Ozuem (2019), Millennials use social media the most to retrieve information on fashion trends. Millennials stand out from other generations in the importance they associate to ‘experiences’ in the brands that they engage with, in which they seek rich and sensory brand experiences which in turn evokes trust and attachment to brands (Brakus, Schmitt &
Zarantonello, 2019). Millennials are distinctive from former generations in the importance they attribute to self-image and self-expression via notions of social acceptance and status (Martin & Turley, 2004; Twenge, Campbell & Freeman, 2012).
With social media being used as a platform for consumer engagement, users can find information, inspiration and a sense of identification whilst discovering their ‘selves’ and social identities in the process. This thesis builds on the notion that one’s identity is
constructed and communicated visually through clothing and accessories to complement one’s sense of style (Briggs, 2001), in which clothing and fashion can be used as a tool to transition from one “cultural category” (McCracken, 2005, p.60) to another, in line with changing environments and lifestyles. This thesis seeks to explore how Millennials experience fashion and branding, and more importantly, how their social identities are therefore constructed, through perceptions of self-expression and social identification in a digital age.
Although plenty of research exists regarding the implementation of social media as marketing tools, alongside the managerial implications for organizations (Helal & Ozuem, 2019; Kaplan & Haenlein, 2019), a lack of knowledge regarding the emotional influencers behind Millennial’s purchasing behavior. Moreover, as suggested by Kim, Freling and Eastman, (2013) with social media serving as a dominant medium of communication in today’s context, it is pivotal to consider the role of social media in the way brands advertise and promote their content towards their target consumers, more importantly. Nash (2019) encourages future research to probe questions which allow for deeper insight of the “internal driving factors” (p.96), rather than just identifying the underlying driving behaviors. This thesis therefore focuses on the phenomena and emergence of social media in the context of how it shapes user perceptions, how users react, and the behaviors exhibited towards fashion, bearing in mind notions of Millennials’ identity and the self. On top of the existing dominant marketing, management, and organization-centric findings, this thesis wishes to extend the existing knowledge by dissecting individual, in-depth implications on Millennial consumer’s behavior on social media, whilst using the dominant existing literature as a means of drawing new insights and implications on media psychology. The importance of identifying an
alternative view from the dominant literature, is to explore the influence of new media
technologies through fashion marketing mechanisms on Millennials, to eventually understand their personal insights towards fashion branding and experiences in the digital marketplace.
. This thesis seeks to explore how Millennials experience fashion and branding, and more importantly, how their social identities are therefore constructed and shaped.
Social media and fashion are essential in the development of our social identities, therefore, this thesis intends on dissecting and examining the emergence of the social media platforms, and more importantly how it has shaped perceptions of self-expression and social identification. Therefore, this study aims to answer the following research question:
How does social media shape and form Millennials’ shopping behavior and social identities as active consumers of fashion brands?
Theoretical Framework
Millennial Generation
Millennials are a cohort made of individuals born between 1981 and 1996 (Dimock, 2019), and are distinctive from previous generations given their affinity with new media technologies (Helal & Ozuem, 2019). According to Bennett, Maton & Kervin (2008), Millennials are the first generation to entirely embrace social media as a main source of information, thus being associated to the term “digital natives”. However, according to multiple surveys, Millennials are just as likely to do their shopping at brick-and-mortar shops (CCV, 2020), as other generations. Likewise, a global survey conducted by Donnelly and Scaff (2013) finds that “many members of the digital generation prefer visiting physical stores to shopping online” (p.2), drawing on how despite Millennials being “online savvy
customers”, they still frequent brick-and-mortar stores. Moreover, 62% of Millennial shoppers already know what they want to buy having obtained information online (Bazaarvoice, as cited in Ashman, Soloman & Wolny, 2015, p.130), thus embracing the use of online technologies nevertheless.
Comparing to former generations, literature reveals how Millennials generally tend to be more concerned with social and environmental responsibility as an ethical consumer, compared to former generations (Furlow & Knott, 2009). Twenge et al. (2012) suggest how Millennials associate a lot of importance on self-image and self-expression, in terms of being consistent to one’s self-identity.
Despite appearing to be optimistic consumers, Millennials aren’t easily swayed, and exhibit brand consciousness and a loyalty to brands that they personally identify with (Grotts & Johnson, 2011). In the face the abundant choices Millennial consumers are provided with, they are more loyal to their favorite brands (Davies & Elliott, 2006; Smith, 2016).
Grotts and Johnson (2011) imply that Millennials use brands to convey expressions of themselves as part of the process of forming their identity. In line with this, scholars suggest that Millennials- as compared to previous generations- have a strong drive to consume due to social pressures of acceptance and belonging (Eastman & Liu, 2012; Grotts & Johnson, 2011; Young & Hinesly, 2012). A point of consideration however, would be to identify whether Millennials are truly more socially conscious than previous generations, or if this
consciousness is only realized through their perception of brands being the best mechanism to executing change. Perhaps, social media has enhanced or reshaped the way civic activism is expressed by Millennials altogether, as suggested by Kennedy and Sommerfeldt (2015).
Nevertheless, being authentic and originality is a concept that as suggested by Moore (2014), holds high merit for Millennials, just as much as for them as for every other
generation before them. Moore (2014) draws on the distinction of how Millennials distinctively go through a different process of striving to be “authentic to the self,” in
consideration to their portrayal online and offline, building on the questions as to whether the identities match up, “or if one, presumably your online one, is merely a persona?” for
example.
Millennials are motivated by the status a certain brand conveys as a way of improving their own physical appearance, which Grotts and Johnson (2011, p.284) refer to as a means of “self-completion” or “self-fulfillment”. According to Eastman and Liu (2012), the average level of status consumption was highest for Millennials, followed by Generation X and Baby Boomers.
User-generated Content (UGC) and eWOM
User-generated content could be a vote of confidence on behalf of the citizens of the web, as users are free to post or write product reviews in the form of positive or negative evaluations, allowing users to be entitled to their own opinion (Fournier & Avery, 2011; Helal & Ozuem, 2019). Meanwhile, Nash (2019) draws on how users tend to “respond, interact and follow brands” on social media as a means of consumer engagement, also drawing on the idea that brands utilize UGC to build trust around consumer perceptions (Malthouse, Calder, Kim & Vandenbosch, 2015; Warren, 2020).
Although UGC tends to be related and often confused with electronic-word-of-mouth, (eWOM), Cheong and Morrison (2008, p.39) draw on the distinction of UGC being
“generated” by users, meanwhile content could also be “conveyed” or otherwise shared through eWOM. Therefore, UGC and eWOM are interdependent as eWOM depends on the dissemination of (user-generated)- content, while simultaneously UGC has less influence without eWOM. The power of eWOM is illustrated in how consumers also come to defend brands against negative WOM (Colliander & Wien, 2013) also to the extent that negative eWOM tends to negatively sway a user’s perception of a brand (Moran & Muzellec, 2014). Meanwhile, according to Gunawan and Huarng (2015), a user’s purchase intentions are shaped by the perceived credibility and transparency of a source, thus playing an important role in the user’s decision-making process.
Convergence of media landscapes
Jenkins (2006) draws on a reality where the convergence of traditional and new media takes place. Jenkins (2006) suggests the notion of consumer empowerment regarding
Participatory culture, in Jenkins’s words, is a concept which draws on the affordance of new media technologies, allowing consumers as social actors to “archive, annotate, appropriate and recirculate media content” (2009, p.8). This shift in landscape shifts the focus of media literacy from “individual expression” to “community involvement” (2009, p.6). Whereas formerly, brands would collaborate with Hollywood celebrities, brands these days are working with social media influencers to build real relationships and achieve high levels of engagement and reliability (Nouri, 2018; Yodel, 2017, as cited in Lou & Yuan, 2019).
In line with this, according to Hall, Towers and Shaw (2017, p.504) a purchasing decision of a product which requires more involvement, requires consumers to “feel more connected” and “search more extensively,” as also suggested by Brakus et al.’s (2019) notion of trust and attachment being established through rich and sensory brand experiences. For this reason, Hall et al., (2017) draw on the affordance of social media, which Millennials prefer using, also touching upon Jenkins’ notion of community evolvement and participatory culture.
Tontini’s (2015) research describes criteria points of online shopping experiences that leads to customer satisfaction. Amongst the dimensions mentioned in Tontini’s (2015) research is the quality of the online platform, referring to three attributes namely its usability, navigability, accessibility and privacy.
Brand communities and Influencer Marketing
Through the circulation and co-creation of brand stories across different social media platforms, and Millennials existing on multiple social media platforms at once, it can be denoted that Millennials may relate to certain brands and use them as a reference to construct and express their own formations of the “self”. According to McAlexander and Koenig (2012), with users relating with brands on a larger and widespread scale, brand communities are built through collective stories, in which the amplification of eWOM through fashion
blogs or influencer marketing is spread, resulting in users positively reacting and perceiving the branded content, according to Corcoran (2010). As engagement within online
communities and social media continues to become a popular source of inspiration and outlet for fashion, online communities foster a virtual environment allowing users to share
information, gain insights on the latest trends in fashion (De Valck, Van Bruggen & Wierenga, 2009; Nash, 2019) and an impression of what they can expect from products regarding its value or subjective customer reviews before purchasing (Smith, 2016).
Micro-celebrities or better known as social media influencers are online brand ambassadors with large number of followers across one or more multiple social media platforms (e.g. Instagram, YouTube, blogs, Tik Tok) who have an influence over their followers (Varsamis, 2018). These platforms allow the “average” person to commoditize and brand themselves accordingly, a process that Couldry (2004) refers to as “celebrification” or the transforming of an individual from a “non-media” personality to that of a “popular media” personality. The mainstream media has established celebrification and appreciation for media personalities in our everyday popular culture. Perhaps this is due to the commodifying and commercializing of television personalities and public figures, consequently transforming the fashion and lifestyle industry through the past decades.
With influencer channels such as Youtube and Instagram, influencers are becoming increasingly creative with how they integrate partnerships with fashion brands, which users are becoming increasingly aware of (Nouri, 2018). Kutthakaphan and Chokesamritpol (2013) suggest that identification with social media influencers are derived from elements of
admiration, aspiration, association or recognition. It can be deduced that these are important factors for users to assess and determine how they perceive an influencer’s credibility.
According to Wolny and Mueller (2013), individuals that attribute a high brand commitment and fashion involvement with a high need for social interaction, tend to engage more frequently in eWOM and online communities. Consumer Culture Theory (CCT) explores the phenomena of a social reality mediated by consumerism and the brand
experiences Millennials take part in. Through this post-modern and dynamic perspective of society, consumers as social actors are influenced, while simultaneously contributing as (co-)creators to a brand’s narrative, its meanings and reputation alike (Gensler et al., 2013). According to Brakus et al. (2019), a brand experience is a subjective perspective of how Millennials comprehend a brand when interacting with brand-related products or service.
With the emergence of virtual communities, users’ search processes are transformed into a “source of community and understanding” according to Nash (2019), which as a result, taps into a user’s feeling of association or belonging (Kutthakaphan & Chokesamritpol, 2013). This means of social interaction and belonging, is what Halliday and Astafyeva (2014) describes as a central motive of Millennials joining (virtual) communities to build new
relationships; the feeling of belonging and desire for recognition and social interaction. As a result, Millennial consumers are empowered through eWOM, in which they can gather information, voice their opinions about a brand and moreover, associate with them, thus allowing for expressions of the “self” (Helal & Ozuem, 2019) through social media and digital platforms. This is what Mahoney and Tang (2016, p.9) describe as the participatory, globalized and civically engaging affordances of social media which users are provided with, whilst the ways users “gather and disseminate information,” are changing within this
converging landscape (Jenkins, 2006).
Smith (2016) refers to social proof as the psychological concept that people associate to in the process of making decisions, in which most Millennials say they use social media to share information about products or services (Stadd, 2013). Or the other way around, when
seeking for references, would resort to the information around them regarding who’s wearing what, for example, a phenomenon that insinuates how users are fundamentally exposed to larger yet “tightly knit spheres of influence” (Smith, 2016, p.2).
For these above reasons, Millennials are shaped with a consistent set of expectations and values regarding the fashion-related articles they buy, Smith (2016) argues. Moreover, according to Gurău (2012), users that seek identification, would resort to brands and
communities as a means of advancing personal image based on the status that is attached to a brand, namely referred to as brand equity. This draws on what Grotts and Johnson (2011, p.284) refer to as a means of “self-completion” or “self-fulfillment”. Through this, status consumption occurs, namely the process of individuals striving to improve their image by buying items of high status (Eastman, Goldsmith & Flynn, 1999). Social media has spurred Millennials to share their identities through new media platforms and brand communities as a means of “accentuating” their individuality; individualism that is “socially appraised”,
however (Helal & Ozuem, 2019, p.54).
Methodology
Conceptual framework
Figure 1 is constructed to identify the degrees of online engagement, which is used as a reference to categorize interview participants into three types of users namely; active users, passive users and disengaged users.
Active users are identified through their frequent consumption of fashion articles online, while passive users prefer shopping at brick-and-mortar stores, whilst still using online resources as an alternative channel and source of information, meanwhile disengaged users never or rarely purchase fashion articles online.
By establishing a classification system, the following criteria must be met: (1) Distinct characteristics are appropriately used for classifying, (2) Categories are independent and mutually exclusive, (3) schema is useful (Hunt, 1976, as cited in Fern & Brown, 1984). Based on this criterion, the classification system facilitates the retrieval of data, in which the
characteristics identifies individual differences as based on a user’s online engagement. A comprehensive consumer purchase decision-making model most popularly known as the Engel-Kollat-Blackwell Model (EKB) used in core theory of consumer behavior. The EKB model considers five stages in the decision-making process of a consumer, namely problem recognition, information search, evaluation of alternatives, purchase decision, and post-purchase evaluation (Ashman, Soloman & Wolny, 2015, p. 128). This model is based on shopping in the traditional landscape, however in the context of this research being set in a digital age, this model serves as a prototype framework to consider the stages a Millennial consumer would go through, with the assumption of the cognitive process applying, regardless of shopping in a physical world or on an e-commerce platform.
In the process of evaluating how Millennials interact with brands online in consideration to their engagement level, it is vital to rethink the assumptions around the psychology of consumer’s decision making process in the sociology of consumerism within the digital paradigm. Throughout the research, participants are acknowledged as social actors, in which although it is expected to explore underlying patterns in Millennial’s behavior, based on Figure 1, the level of engagement and inherent Millennial characteristics has been expected to impact users’ perceptions differently. Therefore, an inductive approach is most suitable for this qualitative research.
Method
Research approach
Building on an inductive approach to this qualitative research, the thesis aims to theoretical findings on top of the existing literature to further explore and explore deeper insights on Millennial perceptions and experiences through fashion in a digital age. The thesis builds on a mix of quantitative and qualitative literature to build upon sensitizing concepts, which wis used to construct the interview guide identify and spark further inferences during the interview and analysis process.
With the aim of this thesis intending to gain in-depth understanding of Millennial users’ perceptions, experiences and behavior online, an interpretative philosophy is adopted exploring Millennials’ experiences through a small sample size. The objectivity of the research alongside its “credibility, dependability, confirmability and some level of
transferability” ensures the overall trustworthiness and validity of the research (Macnamara, 2016).
Data collection
Interview Design
Semi-structured interviews (Appendix B) are conducted in which questions are prepared and designed through open questions to promote and allow for new insights to arise and be elaborated on to make for distinctive findings throughout the interview process. The interviewer is free to incorporate follow-up questions to encourage deeper understanding of the participants when relevant to the scope of research, thus the flexible design in which the interviewer is not limited to the prescribed list of questions. The selection of participants will is not limited to a specific demographic or nationality, rather focus on Millennials aged anywhere between 23 to 39 years old. Meanwhile, case studies of real-life marketing material are implemented to spark insights and reactions out of participants.
An important factor to take into consideration is how this research takes place amid CO-VID19, a global pandemic caused by an infectious disease with many social, economic and political consequences. Due to the powerful impact, it has produced on a micro and macro scale, interview participants may mention a change or diversion from their “normal” behavior. Online shopping for example, could have become the only channel available in this
timeframe, which may affect the decision-making process, therefore the interviewer will take this into consideration. Most importantly, measures are implemented, in which interviews were conducted digitally using platforms such as Skype and/or Zoom to facilitate one-on-one interviews as the closest alternative to “face-to-face” interaction.
Population and sampling
Participants are recruited in the Netherlands, without the limitation to being of Dutch nationality. Moreover, participants will are acquainted with fashion as far as considering it as an important aspect to their identity, as this way the participant’s self-awareness and openness to sharing their experience is ensured. Participants varies between the ages of 23 to 39 years old to derive diverse individual experiences and perceptions. To insure and provide full confidentiality to participants, a contractual agreement and consent form (Appendix A) is provided, insuring the anonymity of the participant.
According to Statista (2020), people in the Netherlands are most likely to buy fashion or sport goods through e-commerce websites, of which more than 25% of retail sales are made up of online purchases. This indicates that Millennials in the Netherlands are generally well-acquainted with online platforms, of which only 20% of respondents indicate they’ve never purchased fashion articles online.
Non-probability sampling is done to draw a purposive sample, after having pre-qualified the validity of a participant. With the diverse nationalities as part of the sample, different cultural backgrounds is expected to dissect interesting findings, whilst diversifying the age range and gender as much as possible. The aim is to maximize data accuracy and generalizability whilst minimizing bias. The recruitment takes place through word of mouth, incentivizing them with a digital €10 ASOS gift card.
The sample is therefore representative of the Millennial generation yet provides for a diverse data set given the wide age range and free nationality allowance, moreover
categorizing different Millennials based on the three engagement levels (Fig. 1). With purposive sampling being a time and resource efficient means of collecting data, 10
interviewees are representative of the larger pool, which allows for more in-depth information within the course of the interviews.
Data Analysis
Thematic coding provides for a systematic, ordered and logical analysis. The qualitative data is analyzed in smaller samples and will be simplified into key words and phrases, which is then categorized or grouped into themes based on similarities. Based on the emerging patterns, the overarching themes are used to construct a new framework. The process is facilitated by ATLAS.ti which depends on the interviews being transcribed word for word to ensure data accuracy.
The study builds upon the conceptual framework with namely the three sensitizing concepts: Conscious awareness, purchasing motivations and involvement as a consumer. Conscious awareness refers to the cognition that a participant refers to in the present moment, in which one may discover epiphanies they may not have thought of, until the present moment when prompted with probing questions. This leads to in-depth justifications considering themes such as identification, self-expression and inspiration seeking for example.
Meanwhile, purchasing motivations are assessed and criteria points are identified. Lastly, the involvement as a consumer refers to the level of commitment one attaches to a brand, whether in the form of civic activism or perhaps associating to a brand given its status or a community it has around, for example. These sensitizing concepts provides for a
framework for analyzing empirical data, giving the researcher an idea of how observed findings could fit into different conceptual categories.
To assess Millennials’ purchasing motives and their perceptions towards online content, in relation to their social identity and its development.
Considering the exploratory nature of this thesis, with this research objective in mind, it intends on providing a complete and detailed description of the research topic, to address the overarching research question.
Results
By exploring the perceptions and behavior of Millennials online, common themes shared among most respondents came to surface. This section will illustrate each theme with direct quotes from the in-depth interviews, with the aim to address the objective of this study, which is to assess Millennials’ purchasing motives, perceptions towards online content and how their social identities are shaped in the context of social media and fashion.
Enjoyment and Affordances
The interview began with questions inquiring respondents how frequently they buy fashion-related products online. Those that frequently found themselves buying online, viewed shopping as a means of leisurely or recreational enjoyment, moreover drawing on the notion that fashion to them, serves as a means of self-expression. This recreational perspective towards fashion is exhibited in which a respondent describes fashion as a “creative outlet”:
…it’s nice to mix and match different type of clothing items, allowing me to dress up as a creative outlet
online shopping draw on the convenience of online shopping regarding its navigability and accessibility, whilst eliminating the risk of a product not being available in a size or colour, as explained by one of the respondents:
So when I shop online, it usually has to do with a sale… and usually in store, it’s always seeing if you’re in luck, but to see something online it’s usually of more greater variety, and information regarding how many pieces are still available, while in store you’d have to be lucky to find something in your size... or colour, or model...
Meanwhile, respondents that preferred brick-and-mortar stores as opposed to online shopping, described the risk and fear of a product not fitting or looking as desired, which these respondents preferred avoiding whilst being able to get immediate possession over a product. This way, according to respondents, the risk of dissatisfaction is eliminated and one wouldn’t have to “wait for the things to arrive,” as a respondent argues. Moreover,
socialization is an important element of brick-and-mortar shops offer, with aspects such as the ease of communication, staff knowledge and the added value of customer service, namely important factors which online shopping does not offer, respondents assert.
…when going to the brick and mortar store, I’d always listen to one of the shop employees, as they usually have a sense of what it is that I’m looking for, so, I think I’m one of the few millennials that does like being helped by shop keepers…
...well for me, you simply can’t buy a suit online. A suit must be tailored for you, there’s always some customization or alters…
Lastly, an important factor for Millennials overall, is the price to quality ratio of a product. Overall, most respondents are presumptuous of the correlation between high status brands and higher quality material, yet very conscious of this preconception.
…because sometimes if you look at Polo Ralph Lauren, you see people on a boat, you know, literally doing Polo, which is a sport on horses, so yeah and boats what not, all of which are sports and hobbies associated to the wealthier class in the Western society …brands definitely try to associate with status related things... thus a preconception of higher status relating to higher quality goods
Respondents’ consciousness is exhibited through the importance emphasized towards namely the quality to price ratio, unique selling point and brand narratives, which in turn, one may conclude, provides the Millennial consumer with a sense of gratification.
I feel like the clothing in high street shops, there was definitely a time where I felt they were in line with the price point, but... now I feel they are overpriced for what they are, given that I have now been exposed to less-er known and less established brands, artisan or local brands, that can produce the same quality, but sell at a better price point... and have a story to tell…
These comments suggest that Millennials are conscious of their role as a consumer, in which an active sense of awareness is emphasized towards the quality of a fashion product, with the realization of the notion that also less known or “esteemed” brands may also hold merit in terms of the quality.
Lifestyle
Respondents that perceive fashion as an integral part of their lifestyles, using it as a creative outlet or means of self-expression, utilize social media as an active, if not main source of information and/or inspiration. A participant draws on the feeling of
“self-fulfillment”, in which personal satisfaction is derived in the context of fashion being a leisurely activity and extension of the “self”.
Meanwhile, through the interviews it is apparent that most of the participants within the sample use user-generated content as part of their decision-making process to search for information on products, reviews and reference pictures or when seeking styling inspiration from platforms like Pinterest or Instagram.
…yeah, every time that there’s a review written on the article or item or piece of clothing or whatever, I do always read them... and they actually may sway my opinion as well
…because I always look at Pinterest, for like inspiration, it’s always just on, when I open my laptop it’s always there, and obviously when I have my phone with me the first thing I do is open Instagram, and a lot of them is fashion related content, so I think quite often, if it’s not shopping then it’s probably just like kind of discovering more styles online and, looking for more inspiration hey, to add to my closet.
Especially respondents that suggested high levels of social media engagement and online shopping, had the tendency to speak of fashion as a pivotal leisurely element of their lifestyles. However, for participants that were less engaged, it is apparent that fashion is regarded as more of a supplementary aspect to their lifestyles, not spending as much time and money on fashion, and therefore, being more critical towards fashion in relation to social media.
For example, for passive and disengaged respondents, homogeneity was a concern in association to deriving information and inspiration from social media, with the fear of their individuality and autonomy being compromised. For this reason, these users deliberately limit their use of social media, rather, using it as an alternative channel or last resort when shopping or looking for information.
I think social media has kind of split people into particular groups of a certain way of dressing, which limits the person to their own individual chance to figure out what they think suits them best…
Social Identity
Generally, most of the Millennial counterparts expressed different thoughts regarding their activism in context of brands’ CSR and ethical purchasing. All the respondents
acknowledged a brand’s social reputation in relation to its CSR activities in their decision-making process, however, some respondents more than others. Despite all the respondents being familiar and aware of a brand’s social reputation, their stance and degree of activism differs per individual, depending on their personal ethical and moral beliefs. One’s social responsibility isn’t per se determined by their social media engagement levels. A participant goes to suggest how a product being “sustainable” is appreciated, but because it doesn’t align with her ethical or moral perspectives, she therefore argues how it doesn’t play a deciding role in the purchasing decision process. This shows a high degree of self-awareness of one’s own social identity, which will be further elaborated on in the consequent theme.
It’s a good bonus, and nice selling point, but for me it certainly isn’t a deciding factor. Eco-friendliness isn’t exactly in my profile or self-portrait, and therefore doesn’t determine the clothes I wear, for example, I am more concerned with whether my new sneakers has a good reputation in the hip-hop industry, so I can wear it to dance class...
Meanwhile, another participant draws on how his preferences are to have a minimalistic and eco-friendly wardrobe, reflecting and drawing on his individual identity. This comes to show how a Millennial’s social identity is reflected in their purchasing choices as a consumer.
Regardless of the underlying motivations, all participants view fashion as a means of self-presentation; some for leisure and others as an extension of their professional identity. As discussed earlier, most, if not all, the participants connoted a high importance towards the quality of products, alongside the brand narrative and feelings a product may spark, providing for a sense of gratification. With Millennial consumers connecting emotionally with fashion brands, communities, both offline and online, are built bringing people with common interests together.
…something I’m getting quite acquainted to, I’ve been actively reading through some watch forums, their opinions and what not… I think it’s a nice community to be a part of because there are a few things that revolve around their community and they are quality, status and passion, three things that I find important myself.
In line with the previous notions of fashion being used as a means of self-expression, active participants draw on how using platforms like Youtube or Pinterest for inspiration contribute to the development of one’s identity regarding how they dress and express themselves through clothing, for example.
...for me it’s just like how I could be more creative when it comes to styling my outfits by browsing on Pinterest or watching Youtube videos of fashion influencers…
In line with Millennial’s concern towards homogeneity and the importance they attribute towards autonomy, authenticity and individuality, it can be asserted that Millennials are critical and cognizant consumers. Moreover, it is evident that as mindful consumers, they would develop “self-concepts” in terms of the way they aspire to present themselves in the
precedence towards their social identity, expressing the reluctance of having to “conform” to social norms and expectations.
…you have like the pressure to conform to society, the pressure to kind of fit in, like in the market if you know what I mean? It’s just like you have to look a certain way kind of thing?
Self-expression
Leading on to the next theme is self-expression, a theme that proves to be very present in the context of fashion in a digital age for Millennials. As evident throughout the data findings, fashion serves as an extension of one’s ()identity, using it as a means of self-expression. In line with the previous findings of Millennials associating a high regard towards their own individuality and not wanting to “conform to society”, self-expression plays an important role to Millennials. Regardless of fashion being used to emphasize a more “professional” identity, as a creative outlet, or for whatever other reason fashion plays a pivotal role in the process of Millennials’ self-expression, with social media having detrimental impacts, according to respondents.
…I enjoy sharing parts of myself on social media, namely lifestyle related, which involves fashion, food and travelling. And as much as I think it’s a great way to do so, I must criticize social media’s tendency to perfectionize or romanticize our lives, framing it in an idealized or… hmm… a perfect life that we’d like to live, but don’t necessarily have… because life simply isn’t perfect!”
… I have to admit, I do like nice brands, and I do use social media to sometimes show-off… you know, those new designer shoes I bought or I’d like… post a picture of myself once in a while wearing a nice outfit while travelling to the Bahamas for example... Social media has influenced me towards a superficial perspective, need I mention…
Participants acknowledge the large role that social media and fashion play in their lives, drawing on how social media tends to frame the “good” aspects of people’s lives. Meanwhile, one participant also draws on how through this process, social media tends to make people more materialistic and superficial. All-in-all, Millennials’ desire to express their “selves” in the best light is encapsulated, as suggested through their concern of
“self-concepts” and “self-presentation”.
Conscious Awareness
Passive and disengaged users aren’t concerned with the developments of fashion products as those that viewed fashion as a leisurely component of their lifestyles. Rather, they see fashion merely an essential.
…I would buy clothes... simply because I need them. For me, it’s uhm... it’s of importance for me to buy clothes, only when it’s absolutely essential…
Meanwhile, it is evident that active users were more conscious about the way fashion articles made them “feel” while engaging with brands, thus taking part in emotional
consumption and relying on the experiences, and therefore being fashion conscious. This fashion consciousness focuses on the deeper dimensions of a brand, such as how a participant draws on a brand which she refers to as “quirky, individualistic, artsy, and simply different”, whilst being able to “tailor” it to her sense of style, rather than focusing on the mere status a brand label connotes. While those that are more active online are more concerned with “more than” just the brand, participants that were not as engaged, namely passive or disengaged users expressed brand consciousness. This brand consciousness is expressed through participant’s desire to buy brands which connote to a certain “status”, to be respectable and
I like brands that hold a certain esteem because they suggest that I am well put-together… that way I feel I can be presentable ermm… looking formal to the part that people know I’m here to discuss business…
Referring at how Millennial’s self-awareness is expressed through the desire of
wanting to be autonomous in their choices in context of being afraid of conforming to society, this shows a high degree of respondents understanding the roles fashion and social media play on the forming of their own identity. This conscious awareness allows participants to realize that being unique in the face of the public is important, without having to conform to social norms and pressures by wearing what other people are wearing.
…you have like the pressure to conform to society, the pressure to kind of fit in, like in the market if you know what I mean? It’s just like you have to look a certain way kind of thing?
Although, one participant draws on how he is mindful of not drawing too much attention in the professional workplace. This too, expresses a high degree of conscious awareness, acknowledging that it is important to wear “work-friendly” attire. This said, it could be noted that Millennials are generally consciously aware, and depending on their own perspectives towards fashion and social media, why they intentionally opt for some brands over others.
I do have a certain style and a certain image, so I do tend to buy within a vision that I have depending on how I want to present myself, as a properly dressed, businessman… some brands they are also very well suited in the workplace… like Tommy Hilfiger for example…
Respondent’s conscious awareness is also evident in the way they perceive (online) advertising and sponsored content. The findings suggest that regardless of users being active
or disengaged, Millennials are equally as critical and conscious of the affordances of social media. One participant draws on how he is fully aware of brand companies tracking him through the means of cookies and targeted ads. Interestingly, he appreciates it, acknowledging the idea that target ads, too, are tailored to him.
Target ads through my cookies being tracked…I admittedly do appreciate if I can be honest, because I feel they’re tailored to my search preferences, rather than getting some random banner at the side of my screen…
Another respondent draws on how he is less susceptible to influencer marketing or influencers posting pictures of sponsored products, pointing out that it is perhaps more appealing to the “younger” generation. This realization and awareness is evident in Millennials as active and mindful consumers, understanding the marketing mechanisms around fashion and social media, and comparing themselves to their younger counterparts.
I do not follow a lot of Instagram influencers, so I think that’s also because... uhm I feel that it’s something that the new generation is more likely to do, as they’ve grown up with the wave of social influencers being a thing... I’m not as susceptible to this trend if I may.
Comparatively, another respondent suggests how the “benchmarks of society” don’t resonate with her, missing a certain connection with advertisements and the trends around her, insinuating how she doesn’t aspire to be “like everybody else” and therefore sees herself as an autonomous consumer, who isn’t susceptible to modern marketing tactics.
... I’m not the kind of consumer that looks to these figures, to ones that you’ve shown me... uhhh, you know, the universal benchmarks of society they just don’t apply to me as to how I want to present myself, I just don’t feel very like, connected to influencers online in general because all they’re concerned about is making money for a product they’re sponsoring or looking good…
Moreover, referring to former findings suggesting how Millennials attribute a high importance to their own autonomy, it is also expressed by respondents that despite social media being an influencing source of information/inspiration, to avoid homogeneity or “falling in the crowd”, individuals tend to tailor their dressing style to their own taste.
…for me it’s a combination of my own style, which I’ve had in the past... as it’s great to refresh my ideas of what to wear, how to wear… but it’s important for me to stay true to my own identity, as I strive to be unique, my style needs to be… me… you know!
While some respondents embraced social media advertisements, some were neutral, while others expressed a resistance towards promotional material. One of the respondents expressed her concern knowing Google voice recognition devices installed in her home are always listening. Consequently, she deliberately downloads AdBlocker to block out any advertisements coming her way when browsing the web or scrolling through mobile applications.
…I’ve also depersonalised ads, with the use of an AdBlocker... so whenever I’m on Facebook or Google or YouTube, whatever, I wouldn’t get targeted advertisements… I think it’s because our Google Home devices are listening to us…
Discussion
It can be asserted that most, if not all respondents, derived a certain form of
gratification through the consumption of fashion-related articles. Moreover, according to the findings, it is evident that (active) respondents who spent more time doing fashion-related
accessibility, two of the affordances that Tontini (2015) suggests in his research. Meanwhile, passive and disengaged users, preferred brick-and-mortar stores as suggested by Donnelly and Scaff (2013), verifying the notion that despite Millennial counterparts being online savvy customers, it doesn’t stop them from frequenting brick-and-mortar stores. In addition to this, the findings of this research draw on the affordances of socialization and tangibility.
Millennial consumers find it very important to get a “bang for their buck”, as a handful of participants mention price to quality ratio and suggesting a pre-conceived notion that the higher-status or more expensive a brand, the more likely it is to be of higher quality, as the data findings suggest. In addition, status consumption also derives from consumers wanting to improve their image, and therefore buy high status goods, which leads to status
consumption (Eastman et al., 1999; Grotts & Johnson, 2011). According to the findings, fashion is therefore used by Millennials as an extension of their identities, for both personal and professional enhancement. In relation to existing literature, Grotts and Johnson (2011) refer to this concept as self-fulfilment, a concept that is evident within this thesis’ findings.
Status consumption is evident within the data findings where Millennial participants where participants admit to their superficial or materialistic tendencies, using fashion through social media as a way of flaunting what they have and framing their lifestyles through an idealized lens. This goes back to Moore’s (2014) research where authenticity and originality are important concepts to the “self” in which Millennials consider whether their online portrayals of the “self” are accurate to that of who they really are. This also validates Smith’s (2016, p.2) concept of social proof, in which Millennials are subject to, especially on social media, where they are exposed to larger, yet “tightly knit spheres of influence”.
In contrast to existing literature’s notions of Millennials’ strong drive to consume due to social pressures of acceptance and belonging (Eastman & Liu, 2012; Grotts & Johnson, 2011; Young & Hinesly, 2012), the data findings suggest otherwise. Their desire to be
authentic and original surpasses the supposed social pressure of wanting to “belong” or feel “accepted” to the extent that social media is criticized by respondents regarding its potential to homogenize fashion tastes and therefore threaten one’s autonomy for creativity.
Moreover, opposed to what existing literature suggests regarding Millennials being more concerned with social and environmental responsibility (Furlow & Knott, 2009), it appears that Millennials are more concerned with their self-image and social identity, as Twenge et al. (2012) suggests, to the extent that only when one’s social identity reflects an environmental friendly or ethical stance, for example, is it a relevant criterion. Rather, the fear of homogeneity and having to conform to social norms and pressures was expressed.
Nevertheless, UGC and consumer reviews play an important role in the decision-making process of Millennials, as suggested by existing literature, in which it may positively as well as negatively sway a user’s perception of a brand (Moran & Muzellec, 2014).
According to the Gunawan and Huarng (2015), a user’s purchase intentions are shaped by the perceived credibility and transparency of a (UGC) source, however it appears through the thesis’ findings, that the quality of a product, brand narrative and feelings a product sparks are more important factors, with the notion that UGC alone does not serve as a main motivation in the decision-making stage.
Lastly, and most interestingly, regarding Jenkins’ (2006) convergence culture theory, it appears Millennial consumers aren’t as active participants as otherwise suggested. This includes a non-susceptibility towards influencer marketing or sponsored/targeted
advertisements as well as, notably, all participants of this thesis’ sample, not creating UGC or eWOM themselves, despite making use of it. The mentioned elements such as admiration, aspiration, association or recognition (Kutthakaphan & Chokesamritpol, 2013), in context of social media influencers, weren’t evident in the Millennial respondents. Whereas active users
did refer to influencers or reviews as inspiration/information sources, they ascribed a stronger sense of autonomy in their purchase decision-making.
All-in-all, it appears a lot of the existing literature’s assertions of how influencer channels such as Youtube and Instagram are being used by brands to commodify influencers may be plausible, however does not resonate with the majority, if not all the respondents. Couldry’s (2004) notion of “celebrification” isn’t evident through the data of this thesis.
Limitations and future research
Millennials have out-grown the former characteristics they were associated to in existing literature, depicting a phase of life in their younger years, and therefore why it is important to consider within the frame of this thesis. Given the results, it could be deduced that Millennials’ perceptions towards fashion and brands may have changed alongside their changing environment and lifestyles, as suggested by (McCracken, 2005). An underlying limitation of this research lies in the fact that a lot of literature used as part of the theoretical framework may prove to be dated, especially in context of a research that focuses on social media thoroughly and fashion in a digital age.
Moreover, the literature used to build on the theoretical framework and support argumentation were a merge of advertising, marketing and sociological journals both quantitative and qualitative, thus drawing multiple theoretical implications through the data findings. The thesis, however, intends on expanding the knowledge within the discipline of media psychology, taking on the dominant literature perspective, namely the managerial perspective.
For future research, it could be interesting to compare the insights across different generational cohorts, perhaps with Generation X counterparts, or Generation Z, for example. Moreover, because data findings of this thesis diverged from existing literature, a longitudinal
study over a longer period could bring interesting insights considering how individual perceptions, experiences and preferences change over time.
Grounded within social identity theory, convergence culture and management literature, this thesis managed to fill an existing gap in literature by shifting the perspective from a managerial implication towards that of Millennial users as the test subjects. With the thesis assessing Millennials’ shopping behavior and social identities in the context of social media and fashion brands, the findings of this thesis reveal the 5 common themes namely: Enjoyment and gratification; Lifestyle; Social Identity; Self-Expression; Conscious
Awareness. These 5 themes are central to the interviews conducted, all of which derive from the grounded theory approach taken, to explore the detail and perceptions of Millennial experiences on fashion through social media.
The participants suggested different gratifications of fashion, adopting fashion for different components in an individual’s lifestyle. Moreover, drawing on how social identity is shaped in this process, how self-expression is facilitated through social media and fashion, meanwhile expressing a strong degree of self-awareness and consciousness of the
mechanisms around them. These implications draw on how Millennials have grown older through time, and may therefore not fit into the former findings of existing research, thus setting the stage for future directions in media psychology and sociological studies.
Conclusively, it is evident that contrary to dominant literature’s assertions, Millennials are more autonomous, and less susceptible towards marketing mechanisms in the digital age. That said, a high level of conscious awareness is demonstrated, in which Millennial
individuals acknowledge the role of fashion and social media in the development of their social identities.
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