DISSERTATION

IDENTITY
SUKVINDER KAUR

02
IDENTITY:
An investigation into the impacts of fashion media, identifying
how fashion tribes and subcultures have become forgotten
identities.
SUKVINDER KAUR . LEVEL 6 . FAS6050 . PROJECT PROPOSAL

IDENTITY
Abstract
This dissertation explores the impact fashion media has on an individual’s style;
developing into their personal identity. The research undertaken focuses on this
manipulation, obtaining views and feedback from the audience targeted and illustrating
changes that need to be made. This includes recognising the styles that have been
forgotten and overlooked (fashion tribes/subcultures) and incorporating them into
this representation of fashion. This dissertation will scrutinise and expose the fashion
industry for its false portrayal on what fashion and lifestyle consists of, allowing them
to recognise the demeaning power they have over their audience.
This analysis focuses mainly on the portrayal of fashion in media and how this contributes
to the development of a person’s identity. Research is aimed more towards the effects
and impacts through a visual, printed medium. A psychological perspective has also
been interpreted throughout to present a deeper understanding into to the impacts of
the objectives and how they affect an individual. The importance of self-expression is
then investigated; the observation into fashion tribes has been a significant subjectmatter,
exploring further a person’s style. This analysis establishes the many factors
that determine a personal identity, and how they are impacted by influences within
(Pinterest, 2017)
fashion media. Carrying out this research, the subject matter has been divided into 4
objectives in order to analyse key topics. The media platform of fashion magazines has
also been explored as they have a predominant role in the impacts of fashion media,
by altering the perception of fashion normality, through its use of visual elements and
subjective content.
03

04
T
HA
NK
YO
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A CKNOWLEDGEMENTS
Thank-You to the following people for your contribution to this
dissertation...
Alison Rapsey Course Director and Lecturer of Fashion Business and
Promotion - Birmingham City University - for helping to structure this
dissertation through your use of food-related analogies
05
All lecturers on the Fashion Business and Promotion course -
Birmingham City University - for your guidance through helpful/
insightful lectures
Rajbir Singh for providing a psychological perspective towards my aim

ABSTRACT
03
AKNOWLEDGEMENTS
04 - 05
(Theyallhateus.com, 2017)
GLOSSARY OF TERMS
07
06
C ONTENTS
(Instagram.com, 2017)
(I-d, 2017)
(apostrophe9, 2017)
(Pinterest, 2017)
INTRODUCTION
08 - 09
OBJECTIVES
10 - 11
METHODOLOGY
12 - 17
CHAPTER 1
‘Explore what makes up the image of an identity in the fashion
industry and how it is portrayed in media’.
18 - 25
CHAPTER 2
‘Identify current influences within the fashion
magazine’
26 - 33
CHAPTER 3
‘To look into the importance of self-expression amongst fashion
tribes’
34 - 43
CHAPTER 4
To investigate whether personal identities are products of fashion
media or a form of self-expression’.
44 - 51
CHAPTER 4 - CASE STUDY
SUSIE LAU
52 - 53
CONCLUSION
54 - 55
RECOMMENDATIONS
56 - 57
REFERENCES
58
BIBLIOGRAPHY
59
IMAGE REFERENCES
60 - 61

GLOSSARY OF TERMS:
BEHAVIOURAL SPECTRUM - Separating one category from the other is a matter of observational skill
(PSYCHOLOGICAL TERM)
BLOGGERS - Individuals who express their interests by documenting their lifestyles to a public audience, through
online platforms
CLONED STYLES - Copying or dressing alike/similarly to another person
CONGRUENCE - Quality or state of agreeing or corresponding
DEMOGRAPHIC - A particular sector of a population.
FASHION MAGAZINES - Printed look books that present the latest and current trends and news
FASHION INDUSTRY - The industry that deals with the world of fashion
HUMANISTIC APPROACH - The humanistic perspective is an approach to psychology that emphasizes empathy
and stresses the good in human behavior.
(PSYCHOLOGICAL TERM)
IMPLICATIONS - An occasion when you seem to suggest something without saying it directly
IDENTITY - Who a person is, or the qualities of a person or group that make them different
INCONGRUENT - Not suitable or not fitting well with something
MORAL DECAY - Term used to describe the decline or fall of the moral values of a civilization
MILLENNIALS - Older teenage generation, between the ages of 18 - 20s+
NEUROMARKETING - Subconscious brand advertising/promoting
NOSTALGIA - The longing for a past period of time (60s, 90s..)
07
RESOLUTION - a firm decision to do or not to do something, the quality of being determined or resolute, the action
of solving a problem
SOCIAL PLATFORM - A social platform is a web-based technology that enables the development, deployment and
management of social media solutions
SELF-EXPRESSION - of your personality, emotions, or ideas
SUBCULTURES - Different style groups in society and the way of life, customs, and ideas of a particular group of
people within a society
SOCIAL LEARNING THEORY - Social learning theory is the view that people learn by observing others and
explains how people learn new behaviors, values, and attitudes
TRICKLE-DOWN THEORY - Product adoption in marketing that affects many consumer goods and services.
It states that fashion flows vertically from the upper classes to the lower classes within society, each social class
influenced by a higher social class
THE ACTUAL SELF - To be aware of oneself is to have a concept of oneself
THE IDEAL SELF - self-actualization occurs when a person’s “ideal self ” (i.e., who they would like to be) is
congruent with their actual behavior (self-image)
Identity

08
(Patternbank, 2017)

IDENTITY
INTRODUCTION
This analysis focuses mainly on the portrayal of fashion in media and how this contributes to the development
of a person’s identity. ‘Identity’ is an important attribute to an individual, therefore, assessing what influences
this in fashion media is key to viewing whether identity is, in fact, a form of conformism or self-expression.
Fashion media is a social platform where all types of fashion and style related news are distributed. This
is portrayed by fashion writers, critics, reporters, and could also be presented by public figures such as
celebrities or designers. Today’s media – specifically magazine/editorial – depicts an idealistic fantasy of a
lavish lifestyle; be that through industrial trends or celebrity lifestyles. Consumers/followers/fashion enthusiasts
are fixated on the influences presented, that they are often unconsciously subjected to this handling.
09
AIM: Throughout this dissertation, an investigation has been carried out to establish the impacts of fashion
through magazines/editorials, to determine whether a new approach can be brought into it.
FACT - “On average, US adolescents consumed over 10 hours of media each day in 2016”- LSN, (2017). This
statistic emphasises the role media plays in the millennial society, more importantly how it socially alters our
perception of what media reveals to its audience.
This dissertation also explores the role that fashion media has in the development of personal identity, due
to fashion-related factors. These factors include online platforms – in which fashion manifests itself into –
to target a broader audience. Another factor on an individual’s identity is the level of exposure to fashion
advertisement and promotion that they are subjected to, this essentially influences their perception of what
to wear and what to think; ultimately contributing to their identity. This will also be discussed in the following
analysis with research evidence, to suggest if this type of influence is indeed healthy or a false, misguided
view of what fashion should be.
As well as identifying these different types of fashion impacts, this dissertation will look at the importance of
self-expression through fashion-tribes and subcultures, to determine what this ‘make-up’ of an identity consists
of. It focuses mainly on the heritage of these self-expression’s and how it no longer is apart of modern-day
trends and style. The research conducted here will reveal whether these forgotten identities should remain
forgotten, or be incorporated and promoted through fashion media, to revive them.

(Pinterest, 2017)
10
(Theyallhateus.com, 2017)
(MODELS.com, 2017)
Reasons for carrying out this research – focusing on identities within fashion tribes – are to make
known the real-life impacts of fashion and enforce a change in media. An individual’s style has a
story behind it and it is of interest to determine that story. The main influence for this concept was
based upon the outlook of fashion media and the gap for every day, personal styles of ordinary
people.
Choosing to base this dissertation on a fashion-related topic emphasises an interest in this area as
a career choice; yet choosing to base this dissertation on a fashion-related topic that has relevance
and meaning to its audience, displays a knowledge of the modern era and the people within it. This
is an appropriate topic of choice as it highlights aspects of the fashion industry, unveiling the true
nature behind it.
In order to determine this, the subject matter will be assessed through 4 detailed objectives to
discuss the following:

IDENTITY
OBJECTIVES
(I-d, 2017)
1) Explore what makes up the image of an identity in the fashion
industry and how it is portrayed in media.
(APPEARANCE/STYLE/EXPECTATION)
11
2) Identify current influences of fashion within media.
(INDUSTRIAL TRENDS/CONFORMITY/FASHION/STYLE
MAGAZINES)
3) To look into the importance of self-expression amongst fashion
tribes.
(HERITAGE/SELF-EXPRESSIONISM/IMPORTANCE OF THESE
FORGOTTEN IDENTITIES)
4) To investigate whether personal identities are products of fashion
media or a form of self-expression.
(FASHION MEDIA V.S SELF-EXPRESSION)

12
For this project, the research taken place has been a balance
between first-hand investigations, face-to-face discussions, and
media analysis.
METHODOLOGY

IDENTITY
13
(Pinterest, 2017)

PRIMARY
SOURCES
Primary sources provided a more personal approach to collecting views and
opinions; meeting participants face-to-face resulted in a deeper understanding of the
impacts of fashion media.
14
INTERVIEWS
Interviews have been conducted to explore the personal stories
behind independent styles and the emotions that may be attached
to them. Interviewing various fashion/style enthusiasts has
opened a broader insight into this, as the thoughts and opinions
presented a fresh view on fashion behind the scenes. These
interviews took place with focus groups of older millennials, 18-
20s+, who themselves have different styles independent from
the norm. By using this method, qualitative data was generated
allowing for an in-depth insight into the thoughts of the targeted
audience. This also allowed for control over the discussion,
probing further positive points when needed.
.

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QUESTIONNAIRES
Questionnaires are easy to replicate, meaning that data
can be collected from a large sample; generalising to
participants..
generation are known for being devoted to technology
and ‘living their lives through their smartphones’- Singal
(2017).
To gather a general overview of active styles and reasons
behind them, a questionnaire was created through
Survey Monkey and distributed through online platforms -
email and social media - as well as through a face-to-face
approach. A total of 100 people of the older millennial
generation, participated.
[SEE APPENDIX A FOR RESULTS FROM
PARTICIPANTS].
Using this method was strategic, reaching and engaging
with the generation through a platform they are familiar
with. Questions focused on how the participants identified
their style and how the portrayal of fashion in media
influenced their opinions. The use of open questions
produced qualitative data which provided unexpected
answers, gaining a new perspective.
15
This approach was appropriate as the millennial
(Twitter, 2017)

16
LITERATURE ONLINE RESOURCES
‘Nostalgia vs. Change’, an article featured online, discusses how, although
fashion is constantly changing and striving for something new, there is
still an element of nostalgia. For the past few years, fashion has heavily
incorporated this in new garments and collections, by bringing back
vintage pieces and past design styles. Nostalgia is a contributing factor
of identity, it is shown through self-expression of fashion tribes where
people choose to dress according to an era that has significance to them,
(for example Grunge/Rock, who adopt a style from the 90s). This fits in
with the aim of this dissertation, by developing thoughts on the reasoning
behind certain fashion tribes, linking to the longing of a past period.
As well as this, fashion industry websites – LSN – have been used to
explore the types of influences existing within fashion media. This is
significant as it focuses towards the impacts of fashion media, and how
The information that I gathered from this type of secondary source,
has enabled me to collate the many views and causes of style tribes
and subcultures; providing an in-depth analysis of fashion culture. The
influences of this subject were explored on a personal level, presenting
stories that link to nostalgia and the developing sectors that are often
overlooked. These factors were developed by theorists, for instance,
Tamagni, (2015) who socialised with fashion tribes that are active today, to
educate himself on the motives behind these movements, that go against
the norm. This use of literature offered an insight into the progressions
and impacts of fashion, defining social backgrounds that have led to the
changes in fashion over time.
these impacts affect an individual’s identity.
(Huckcdn.lwlies.com, 2017)

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SECONDARY
SOURCES
Secondary research helped in developing the reasons behind fashion tribes and their influences.
Utilising existing material provided validity to my findings, as these concepts have been tested and
authenticated by researchers and professionals.
17
(HUNGER TV, 2017)

18
1
CHAPTER
‘Explore what makes up the image of an identity in the fashion industry and
how it is portrayed in media’.
(APPEARANCE/STYLE/EXPECTATION)

IDENTITY
19
(Beautifuldecay.com, 2017)

20
(The Classy Issue, 2017)
CHAPTER 1.1
IDENTITY: Who a person is, or the qualities of a person
or group, that make them different from others.

IDENTITY
Theorist, Singal, (2017) suggests that society’s young generations are too involved with
social media/technology, rather than the goings on in real life. The population has
become disconnected from society but, in turn, have become more connected with the
society of media. An implication of this, is that media presents a false idea of what is
expected from young people, to fit into a trending environment.
For instance, public figures (celebrities/bloggers) influence people to revolve their
lifestyles according to their own actions and doings. This is related to neuromarketing
(subconscious marketing) where the public figures are subconsciously selling their
lifestyles. Brands know consumers are striving to express/present themselves in a
certain way, and therefore use this to play on their emotions and feelings. – (LSN, 2017).
Fashion media, particularly magazines and other publications, present these factors
visually. As online resources are easily accessible today, it is likely that millennials use
this tool to keep a watch on the latest fashion trends and updates.
As a result, this demonstrates the effects on an individual’s identity, through the
portrayal of media on its audience.
21
“ The organism has one
basic tendency and
striving - to actualize,
maintain, and enhance
the experiencing
organism”
- (Rogers, 1951)
Author’s Own Photography

CHAPTER 1.2
NEGATIVE SELF-IMAGE
22
Author’s Own Photography

IDENTITY
Furthermore, media is also affecting the
formation of social identity within young people;
more so as millennials are discovering who
they are during their late teenage years into
adulthood. This is controlled by internal and
external factors combined. With media outlets
such as the internet, millennial’s infatuation
with media has become an ‘extension of
everyday life’. – (Warsham, 2017)
Modern technology has allowed society to
gain access to a large volume of material
concerning the world of fashion. The fashion
industry aims to keep up with the everfast
pace communications by documenting
and dispensing information to the media
community. Being faced with this considerable
amount of information constantly from media,
can induce difficulty when determining the type
of person, one would like to be. Therefore, too
much exposure to these social influences, can
end up forcing, or even corrupting their own
identity into an artificial character, - Warsham,
L. (2017). Media can have an immediate effect
on one’s perception of social reality; this is
due to the level of interaction between fashion
media and its audience, which results in an
instant response.
Another focus is on media being made up of
visual expectations, through attractive public
figures. This portrayal in advertising will
continue to play a destructive part towards
a negative self-image. This is because the
audience will continue to perceive these
unrealistic stereotypes of an appearance, and
try to adopt them as part of themselves.
23

24
“TO
FIND
OUT THE
TRICKS
OF
FASHION
ONE
MUST
NOT LOSE
ONESELF
TOO
MUCH IN
IT.”

CHAPTER 1.3
PSYCHOLOGY
IDENTITY
25
(Blog Oficial.com, 2017
Enhanced beauty through the use of industry
models in magazines, illustrates a belief in the
importance of attraction within its audience.
This links to an established psychological
approach – the ‘humanistic approach’.
Psychologists, such as Carl Rogers, developed
the idea of the ‘actual self ’ and the ‘ideal self ’ to
explain basic human functioning. The actual self
is the individual’s perception of themselves based
on their experiences and lifestyle, whereas the
ideal self is what they strive to become. Rogers
explained that if the individual could maintain
a consistency between these two (congruence)
it would lead to a healthy well-being, however
if the ideal self is unobtainable (incongruence),
it would lead to low self-esteem and low selfworth.
This can be applied to fashion media, as
their idea of what an identity consists of, is an
unrealistic goal, leading to incongruence and
their audience feeling maladjusted. – (Rogers,
1951)

CHAPTER 2
‘Identify current influences within the fashion
magazine’
(INDUSTRIAL TRENDS/CONFORMITY/FASHION MAGAZINES)
26
(MODELS.com, 2017)
(Theyallhateus.com, 2017)

IDENTITY
Fashion Magazines: Publications devoted to fashion, style, beauty and other fashion
influenced content. Fashion magazines are a medium filled with material, that
provides an insight into the 'current' world of fashion. They are the key components
in the fashion industry.
Fashion’s biggest impact is through the use of fashion magazines. Acting as the
trademark in the fashion industry, magazines represent the industry’s current and
most appealing pieces. The significance of this chapter is to make known the impacts
of fashion media through its most dominant approach. It will discuss the history and
change of the magazines over time, brand marketing, content and how this ultimately
contributes to the formation of its audience’s identity.
27

CHAPTER 2.1
HISTORY
28
Magazines first began as look books in the 1670s, to illustrate
fashion of the time. The publishing’s became the direct
ancestor of modern fashion reports, and by the end of the 18th
century, they were the fashion journals/diaries every enthusiast
wanted; elite in publication and well-illustrated, yet highly
priced. Today's 21st-century publications have since increased
its dependence on advertising; focusing on the high spending,
fashionable clientele. No longer look books, the fashion
magazine has developed into a guide, instructing its readers
on what to wear and how to wear it to keep up with society.
According to Terry Jones, “It isn’t what you wear but how you
wear it”, this demonstrates how magazines visually control
their audience by deciding how they should be dressing. This is
another influence of fashion media
- (Fashion Magazines, 2017).

CHAPTER 2.2
IDENTITY
Brand
MARKETING
Magazines are also used as a form of brand connectivity; this is where brands recognise
the feelings of their consumers, addressing it through magazines. They do this by visually
appealing to the audience; showcasing a range of products (clothing collections, beauty
etc.) to expand their image, creating new emotion amongst the visual generation. Over
time, markets have matured in understanding their consumer's preferences for content
discovery and consumption. The Trickle-Down theory comes into play here with
industry influences – fashion collections, designer goods, celebrity styles – making their
way down to an audience from the high-end areas of the industry, down to the consumer
environment. By this process, the audience is subjected to believing these objects are the
necessities of the moment, whereas, in fact, this is manipulation existing within fashion
media.
Brands produce content that is worth publishing, into a story format for topics of
importance. It is a medium for brands to tell more about themselves and for that
reason, being featured in a publication such as magazines, offers a strategic method
to solidify their relationship with the audience, all the while building brand equity -
(Online Marketing Blog - TopRank®, 2017). Fashion alone has the capacity to influence
its audience on their appearance, however by collaborating with major brands which
concern more than just clothes (perfumes, watches, jewellery etc.) their influence has
expanded to other materialistic objects. As these are the components for making up
an individual, encouragement through the fashion magazine, therefore, impacts the
development of a personal identity.
29
(Pinterest, 2017)

CHAPTER 2.3
MAGAZINE CONTENT
30
This encouragement is primarily presented through the content of magazines,
its glossy pages filled with exclusive material and visually aesthetic images.
Most importantly, however, a front cover with the latest popular figure, alongside
subheadings screaming to be read, are enough to entice a reader’s interest. Many
of the events that exist in the world of fashion, are also recorded in magazines for
more exposure and keeping their audience ‘in the know’.
Fashion week, celebrity styles and industry trends, are a few of the numerous
demands, illustrated in the magazines for consumer insight. This is valuable
intelligence to the reader as it is direct from the source, first-hand, letting the
audience in on the movement. It is aimed at millennials, as their younger selves
were obsessed with social media, but now have come to prefer this insight from
paper. This results in the fashion industry becoming heavily reliant on magazines
to promote the next ‘current’ thing. – (Singal, 2017) In addition to this, as the
industry relies on magazines for promotion, the audience/consumer relies on
magazines for motivation and inspiration.

IDENTITY
31
(I.pinimg.com, 2017)

CHAPTER 2.4
IMPLICATIONS AND RESOLUTION
32
(Patternbank, 2017)

IDENTITY
Glossy, high-end magazines are strictly celebrity
or industry-model focused and orientated; this
is suggestive to the reader that the appearance
of these models is the norm in society, and
deviating from these norms would be classed as
unfashionable or abnormal. Magazines are losing
the allure they once had, this is because they are
not containing the relevant information on the
subject matter of fashion itself; becoming heavily
dosed in advertisements. Rather than being the
look books for the current fashion, they have
evolved into meaningless publications, promoting a
false representation of fashion.
Though these influences may seem favourable to
the industry, they can implicate pressures, coaxing
an audience or consumer to change their lifestyle
or even self-image; to fit into a falsely grand and
stylish domain. This can be changed by improving
the balance of neuromarketing. Fashion magazines
can promote fashion without advertising a fixed
image of how fashion should be, and explore a
range of real lifestyles. The gap in this market
is missing the incorporation of everyday fashion
enthusiasts on the streets in the real world.
Despite this matter, local high-street magazines
have a more mainstream approach. There is not
always the high-end model on the cover or used for
style/appearance in promotional content, and there
are realistic comparisons for fashion/beauty that are
suitable for the audience. There is also an element
of local interaction with everyday streetwear and
street view, tapping into what readers are really
interested in. This is a more appropriate approach
to the audience, as impacts of fashion media, such
as its false interpretation of what fashion is, is now
displaced with a more accurate and real perception
of what fashion means to an individual.
To conclude, it is evident that fashion magazines
have a predominant role in the impacts of fashion
media, by altering the perception of fashion
normality, through its use of visual elements and
subjective content.
33

34
Fashion Tribes: A number of people with a distinctive sense of style, presenting their association
with a group style. These members are completely devoted to this lifestyle that they
create a subculture.
Fashion tribes were formed and directed by ‘specific economic, political and ideological
forces’. - (LoveToKnow, 2017). The group’s identity as a collective is self-attributed, yet an
age, gender, social class or ethnicity must be considered. This is significant to the main
topic of identifying how fashion tribes and subcultures have become forgotten, because
fashion tribes are a form of self-expression with individual style.
CHAPTER 3
‘To look into the importance of self-expression
amongst fashion tribes’
(HISTORY/SELF-EXPRESSIONISM/IMPORTANCE OF THESE
FORGOTTEN IDENTITIES)

IDENTITY
35
(Fucking Young!, 2017)

CHAPTER 3.1
HISTORY OF THE TRIBES
36
Subcultures in Britain mainly effected working-class youths after World War II; the
'troublesome teenage hooligan' era. This was mainly through styles with regional and
demographical influences, such as the hooligan groups - Manchester 'Scuttlers' and
Birmingham 'Peaky Blinders' - with the uniform of large boots, bell-bottom trousers
and a peaked cap worn over a donkey-fringe haircut. 'Fashion Tribes' - Tamagni,
(2015), describes this type of movement as having 'attention, prestige, and power...' by
encouraging other young people to express themselves creatively and independently.
The need for the tribes to belong to a group, gave them a sense of confidence in society
and displayed strength as a collective. This movement is presented in Walter Hill’s,
(1979) movie ‘The Warriors’, where street gangs of New York represent subcultures, with
distinctive styles that incorporated elements of their environment. This linked to a political
battle between the subcultures, competing for influence and power.

IDENTITY
“THE FIRST SKINHEADS
WERE TOUGH, BUT YOU
GET WHAT THEY CALL A
‘LAST RESORT’ ELEMENT
TO SKINHEAD CULTURE,
WHICH IS THIS SELF-
DEFENSE MECHANISM.” -
MIKE SKINNER
(Dazed, 2017)
37
(Facebook.com, 2017)

38
(Dazed, 2017)

IDENTITY
CHAPTER 3.2
INFLUENCE OF MUSIC
As well as this political concept, music emerged into various subgenres (Rock,
Urban, Indie), which acted as an escape for music enthusiasts, and from this, allowed
them to create a new subculture. An example of this is the 'Metaler' image; the
heavy metal genre assembled the ‘Rock’ subculture during the 1950s. The crossover
between biker, indie and glam, caused a rise in global fashion – LoveToKnow, (2017).
These subcultures were known for their typical dress of black t-shirts with band
logos, faded denim jeans, and leather or denim jackets. This was seen as a form of
alienation and hyper-individualism, as the styles from these subcultures went against
the norm. This defined contemporary youth.
39

CHAPTER 3.3
FASHION
TRIBES TODAY
“YOU
DON’T GO
OUT IN ORDER TO
40
SEE, BUT IN
ORDER TO BE
SEEN.”
- AELIN
THE RESTLESS IMAGE, (1973)

IDENTITY
Today, fashion is a matter of a socially demanded
change. Over time, the theory of tribes/subcultures
have become a background movement, being
less in the press as the fashion industry has taken
over. As much as it was a common norm to see
on the streets, tribes today are seen as unusual
or phases that teenagers will or should eventually
grow out off. Most millennials now tend to dress
like their style icons seen in the fashion industry,
such as celebrities and models. It has now become
a need to dress that way, linking back to chapter 1
– wanting the lifestyle presented in fashion media –
diminishing the sense of individuality the youth once
had.
41
Demographic continues to affect these tribes today,
however, Tamagni, (2015) suggests that this effect
can be either positive or destructive to a person’s
expression of identity. Living in an environment
with many diverse cultures and social outlooks,
can make it difficult for tribes to act on their style.
Different demographics in cities are an example,
some are used to new fashions being expressed,
whereas others who are not familiar with this may
find it unusual.
(Fucking Young!, 2017)

CHAPTER 3.4
NOSTALGIA
42
In addition to this, nostalgia has become a
longing concept for many fashion brands.
Although fashion is constantly striving for
something new, there is still a market for
past fashions and ‘vintage’ styles.
For the past few years, fashion has
heavily incorporated this in new garments
and collections; an example being Marc
Jacobs, who integrated grunge elements
on the Perry Ellis catwalk, New York.
The 90’s are heavily nostalgic in fashion,
which will continue to be reinterpreted
and reimagined. However, a nostalgic
version of the past is not always an
accurate depiction of an era. It has
become a ‘stylised, idealised, sterilised
version of it’. - (Wheeler, 2017). The
authenticity of this nostalgic reference to
past fashions is deficient, as the industry
is overshadowing it with a modern
interpretation.
“Fashion is a paradoxical design form that
is both driven by a desire for the new and
a love of nostalgia”. - (Buick, N. 2017).
Fashion tribes also rely on nostalgia
for style inspiration; the 90’s grunge
subculture utilises areas of nostalgia
through their use of old fabrics and
vintage dress sense. They use this as
they yearn for a past period in their
life that they can materialistically keep
referring to through their appearance;
keeping that memory alive. This presents
how past experiences contribute to the
current identity of an individual, allowing
them to express themselves.
(Valentine, 2017)

IDENTITY
(PAUSE Online, 2017)
43
NOSTALGIA: Living in the moment.
Sentimentality and longing for a period of the
past...
A former time in one's life; yearning to return to a
specific time in the past...
"Can often lead to idle speculation" - J. Paul Getty
(BrainyQuotes, 1976)

CHAPTER 4
‘To investigate whether personal identities are products of
fashion media or a form of self-expression’.
(FASHION MEDIA V.S SELF-EXPRESSION)
44

IDENTITY
45
Influences are everywhere. In modern-day, the power to have an effect on an
individual can result in a change of opinion and beliefs. With social media being
the largest and most popular platforms for sharing and observing the latest in
what is 'current', it is easy to be led into a socially disfigured world. This is familiar
to the older millennials as Singal (2016) outs their younger selves as being
obsessed with social media.

CHAPTER 4.1
PSYCHOLOGY
46
This relates to the ‘Social Learning Theory’.
Social learning theory is the integration of
psychology and the fashion industry. It assists in
developing results in one’s perception of self and
their behaviours, plus targets objectives within
the business model.
In this case, environmental influences presented
in media can impact the behaviour of an
audience. Interestingly, this theory correlates with
environmental factors in fashion through social
norms, communities or influences on others.
For instance, friendship groups - two or more
individuals who share similar characteristics with
mutual interests, interacting together - take effect
of this. They tend to follow one another to fit in,
often subconsciously generating cloned styles.
life and makes it more attractive...’. (Konig,
1973) The author goes into how the illusion of
appealing fashion can be a ‘powerful stimulus
to the economy’, but eventually leading to
‘moral decay’. Konig moves onto describing the
behavioural spectrum to be determined by sociocultural
factors. He relates his opinions to social
environments influencing behaviours.
‘Our daily lives are hedged in the abundance
of social rule and standards’. Fashion media
is its own environment, therefore, those who
are associated with it are exposed to the
impacts of it, which consequently alters their
behaviour according to these influences. Thus,
demonstrating the Social Learning Theory
principles.
‘For some, fashion opens up diversities of
PERSONAL FACTORS
- Feelings
- Expectations
- Attitudes
ENVIRONMENTAL FACTORS
- Social Norms
- Community
- Influence on Others
HUMAN
BEHAVIOUR
BEHAVIOURAL FACTORS
- Skills
- Practice
- Self-efficiency

IDENTITY
(Static1.businessinsider.com, 2017)
47
The quote below is a preview of a discussion
with a staff member at Tommy Hilfiger,
on her friendship group within the brand:
“I’ve noticed I have started to
dress like what the Tommy image
is all about, without even realising
I’m doing it. It’s subconsciously
at the back of my mind.”
- Tommy Hilfiger
Staff Member, (2017)

CHAPTER 4.2
PERSONAL FACTORS-
48
Furthermore, society has a silent yet specific expectation of
appearances, where personal factors are affected. With the
need to fit in with society, attitudes towards “looking the
part” often overtake the rational mind. However, insecurities
also become products of this, such as wanting only to dress
for comfort or to be invisible. To explore these factors
further, a questionnaire was put together to ask an audience
about their style and the reasons behind it. Results showed
that many interests in fashion were related to constant
changing of styles, which transfers a sense of confidence.
The participants were also questioned on the inspirations
behind their dress. The chart below shows the results of data
collected from multiple choice answers:
Thoughts on how fashion is portrayed in media today
showed that many believed it to be very one-sided. When
questioning this further, the participants went on to describe
fashion media as ‘very restrictive and specific, fashion is
only shown if it is being sold...’, ‘celebrity dress is heavily
influencing people because of social media’. The final result
of this research was to obtain an overview, of whether the
participants felt fashion was the main part of who we are. ‘...
clothes are the first thing people notice when they see us...
we are judged much by our choice of dress that we put this
pressure on ourselves of feeling like we need to belong in a
fashionable society’.
These results proposed that revolving around or with social
influences, makes up a form of self-expression of a person.
Constantly being faced with many of the factors considered,
can effectively influence one’s perspective on fashion;
physically or subconsciously.
Fig. 1

IDENTITY
(Whowhatwear.co.uk, 2017)
(Flickr, 2017)
- (KONIG, 1973)
Our daily lives are hedged in the abundance of social rule and standards’.
49

50
WHY
BLOGGERS
BLOG
(WEBSTA, 2017)
Bloggers are an example of those who are constantly influenced by
social environments. They document their daily lifestyle with
photography and personal reviews. Since the audience for this platform
has become highly renown, the bloggers have used this to their advantage
to make their opinions heard; giving them a ‘silent voice’.
However, bloggers would have gotten their inspirations from somewhere.
An interview took place with an aspiring fashion and lifestyle blogger,
to gain insight into these inspirations and see what makes them want to
document their lives so publicly.

IDENTITY
Bloggers
CHAPTER 4.3
'I feel as if social media is taking over, brands are
marketing and promoting here more. There is more
visual aid on Pinterest and Bloggers...’.
- Fashion and Lifestyle Blogger 2017)
51
[SEE APPENDIX B FOR FULL INTERVIEW]
From this interview, it is evident that being influenced by other bloggers encourages a new generation to want to do
the same, rising to the same level of popularity and recognition as them. In comparison to magazine publications,
bloggers have a more direct bond and connection with their audience, whereas magazines have used this to
their advantage by collaborating with them, merging their knowledge and fan-following in editorial features. This
strategy has gained popularity with readers, old and new, as the bloggers’ followers have built up an interface between
magazines and readers, whilst reaching a new audience. The loyal following are considered valuable to reach out to.
The following case study demonstrates a collaboration between a rising blogger and a magazine
editorial:

CASE STUDY:
SUSIE LAU
‘Style Bubble’
Susie Lau is the number 1 blogger to fashion insiders
and at 31 years old, is now the industry’s leading voices. Her
blog ‘Style Bubble’, featured with creative outfits and her sharp
opinions has resulted in her collaborating and contributing to
editorials and publication, the likes of Elle UK and Business of
Fashion.
52
Starting her blog in 2006, posting her thoughts, personal
experiences, and observations on fashion, Lau became editor
of Dazed Digital; website of ‘Dazed and Confused’ magazine
from 2008-2010. Whilst still working full time on her blog and
other freelance projects, the blogger continues to write for Elle
magazine.
- (Stylebubble.co.uk, 2017)
Interestingly, Lau’s dress sense and lifestyle were a form of
self-expression, which she advertised publicly through her blog.
As a result, she became an influence of fashion media for her
audience. This suggests that personal identity can be a product
of both fashion media and self-expression.

IDENTITY
“I try not to think about it like that. I know other bloggers do set
out to create a brand for themselves, but for me, it’s better that I
have a voice and I’m known for a certain point of view rather than
the way I look or ‘brand’ myself.”
53
(Instagram.com, 2017)

CONCLUSION:
54
To conclude this dissertation, the research evidence
presents a clear image of an identity, being impacted by
what is seen in media (flawless models, up-keep with the
latest trends). There are influences in media which lead
to a negative self-image, and the use of psychological
theories justifies this. Social platforms and other mediabased
forums were then examined to see its effects on
the millennials. It was discovered that, due to the level of
exposure towards these fashion media-based influences,
the millennials were in fact heavily impacted by them;
as a result, their personal identities were purely an
imitative version of what they saw to be fashionable. The
participants responses in the questionnaire conducted,
reiterate the idea that people tend to base their styles on
what is presented in fashion media.
This then develops further by showing the impacts of
fashion in media, through its most dominant approach
(fashion magazines). It demonstrates the same themes
of the negative self-image; as the audience are feeling
incongruent, as their ideal self – what is portrayed in
the magazine – is unobtainable. The focus is aimed
more towards the effects and impacts through a visual,
printed medium. It has a fixed perception (size 0 and
flawless beauty), of being the norm in society; this inhibits
the diversity of men and women established in these
editorials, making the mainstream of its audience, unable
to relate or draw inspiration from these publishing’s,
which is initially the intended aim of the fashion
magazine. This is supported by the research evidence,
illustrating their concerns towards the lack of plus-sized
models and every-day people in fashion media (as shown
in Appendix A – the questionnaire findings).
Looking at the importance of self-expression is then
investigated; the observation into fashion tribes has
been a significant subject-matter. Fashion tribes are
groups of people with a distinctive taste in style, found
within society. In comparison to fashion media, such as
magazines, the tribes are not advertised or forceful. They
have been pushed into the background of fashion – once
shaping fashion itself – now overlooked and forgotten.
The historical context included, demonstrates how the
movement was once a form of self-expression; where
individuals escaped from the criticisms of society through
distinct and bold styles, and was also heavily orientated
on within the fashion industry. The importance of selfexpression
is evident through the literature review of
Tamagni’s ‘Fashion Tribes’, as well as the concept of
nostalgia which linked these subcultures with the feelings
of different eras.
Investigating whether identity is greatly determined by
impacts/influences of fashion media, or the product of
self-expression, has resulted in a combined outcome.
Comparing both approaches, it is conclusive that forms
of self-expression (such as blogs/bloggers – explored in
Chapter 4), have evolved into fashion media influences
towards their audiences. This is because the audiences
are now exposed to the influences of the blogger, relating
back to the Social Learning Theory defined earlier,
their behaviour will now be impacted and correlated
with that of the blogger’s; therefore, their sense of style
will be greatly determined by blogger’s sense of style.
The research evidence from Appendix B (interview
with fashion and lifestyle blogger) shows how blogger’s
themselves are inspired by other bloggers, so the
audience who are inspired by them, would want to reach
the same level of popularity, which in turn, will lead to
more people being influenced.
Overall, this analysis has established the many factors
that determine a personal identity, and how they are
impacted by influences within fashion media. Moreover,
it scrutinises the importance of self-expression, and
how they should become relevant focal points within the
fashion industry today; rather than forgotten identities.

IDENTITY
55
(Pinterest, 2017)

56
(Pinterest, 2017)

IDENTITY
RECOMMENDATIONS:
Now that the implications of fashion media on the
development of personal identities have been
recognised, a future aim from this would be to allow
fashion media to incorporate new components, such
as elements of real-everyday people. Instead of
the stereotypical model focus, people with different
characteristics (height, weight, gender) should be
featured; adding realism to the industry and promoting
congruence with their ideal selves, which are now
attainable. This will then be advertised and marketed,
promoting a positive-outlook on self-image. The
audience are then provided with new perspectives,
allowing them to relate to what they are being
exposed to.
Bringing back the incorporation of fashion tribes will
bring a new viewpoint upon fashion; adding to the
culture that exists already, the subcultures will help
to define a new look within fashion, bringing back
elements from different eras, as well as new collective
styles. Eliminating them as forgotten identities,
subcultures bring new meaning to fashion by bringing
in the old and the once seen expressionism. They will
do this by expressing styles with drive and purpose;
ultimately encouraging others to express themselves
creatively, openly and artistically.
Featuring these new aims in social platforms such
as magazines, will allow millennials to also be in on
the movement, providing a new perspective will allow
for them to be expressive in their own styles, rather
than cloning what they see in fashion media. This will
create diversity within individual identities, increasing
confidence in self-expression.
As the main audience of these social platforms are
older millennials of 18-20s+, their discovery into
fashion will be less forceful and more positively
influential, as they develop into their own personal
identities. With there being less cloned-styles, there
will be more uniqueness and originality within styles.
These aims help to motivate the use of selfexpression
through the addition of subcultures, and
their representation through social platforms within
media; ultimately bringing a positive outlook on what
fashion media presents.
57

58
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