In the essay, one of the main arguments that have been discussed is the issue regarding the consumers who align their perceived self image to the brands they buy. This is evidenced in the paragraph which sets out to explain the relationship between the consumer's brand loyalty and the association of the brand to the consumer’s self
image. However the notion of the consumer's perceived self image is not initially explained. It is only when the process of how the consumer establishes brand loyalty, does his/her perceived self image become a factor. This is because the consumer's perceived self image is a determining factor in the buying of a product. This is supported by Sirgy
(1982, 1986) who outlines that consumers who perceive the product image
to be consistent with their actual self-concept are likely to feel motivated to
purchase and consume that product. Therefore from this statement, it is also inferred that the consumer does not have an original thought or perception of his/her self image when buying of the product. The consumer's self image is influenced and manipulated to a point where he/she aligns to the brand's selling of a lifestyle and identity rather than the brands being at will of the buyers decision. This argument was chosen to be taken practically because of its varying opinions on the matter, the inclusion of advertising techniques that brands use to target audiences and how the consumers perceive themselves before buying a product. Therefore to investigate this question practically, the resolution should question the idea that consumers have no perceived self image and convey the aims to the viewer.
The main concept that hopefully questions this idea is to create a advert that depicts a "factory" creating new trends and looks for the fashion industry. The aim of this advert is to highlight the idea that what the consumer buys is not his/her interpretation of identity but a mass produced product that the brands want you to subscribe to. The idea that consumers buy a pre packaged lifestyle and image through the subscription of certain brands. This can also highlight how much influence brands have on the consumer. To be able to manipulate the consumers mindset that it can alter the consumers perception of identity with every new trend they produce. By having this advert in a factory setting, it also comments on how the fashion industry is constantly churning out these ideals and that the fashion industry is a large scale process that thrives on the consumers willingness to buy.
Taking this idea for feedback, there were comments of what experimenting with the type of factory that is depicted in the advert. Traditionally when one thinks of factories, one imagines that of as shown below.
With a brightly lit environment, heavy machinery and a belt line where the final product assembles for packaging. The feedback suggested that this doesn't necessarily have to be the adverts setting. The advert could take on a more metaphorical approach in that the scene could that of a cattle slaughterhouse. Where the advert could depict cattle slowing being funneled into the slaughterhouse. In this iteration of the concept, the advert would be aimed more at the illusion of free choice.
Because having cattle being forced into the slaughter house, it would suggest that the consumer has no choice in buying the products. In the essay this notion is not absolute. In some instances, due to financial or environmental concerns, that person has no choice but to buy those products. But because society is so globally influenced those instances are rarely the case. For this arguments sake, people have more choice than ever to buy their own identity. What this slaughterhouse concept does hold is that the consumer is given the illusion of free choice. This illusion is a factor in determining whether or not the consumer has a perceived self image. To not have free choice means the consumer ultimately buys what is manufactured for them.
Following on from this slaughter house concept, another idea was to have the advert depict a butcher shop. In this concept, the consumer is sold the products of the fashion industry being the hung meats. How the industry carves up its business and sells it to the public. Taking this concept further, the hung meat in the shop will be replaced with clothes rather than than literal meat. This is so the overall concept is communicated more effectively and explicity to the viewer.
This also leads to the final concept proposed, in which the advert could pose as a supermarket where consumers buy the products of the fashion industry. This was inspired by my visit to Leeds Art Gallery, where I saw the work of Andreas Gursky.
Gursky is famous for his large format architecture and landscape colour photographs. The perspective in many of Gursky’s photographs is drawn from an
elevated vantage point. This position enables the viewer to encounter
scenes, which are ordinarily
beyond reach. This general perspective has been linked to the artworks relationship with globalization. In terms of using his work as inspiration to the practical brief, the advert could resemble that of a supermarket shelf, displaying a multitude of brands selling the same product. This concept could question how the consumers identity comes pre-packaged and sealed as a convenient way for you to purchase. Being that it is in an supermarket environment, the brands access is easy and approachable. In order to relate this idea to the essay's fashion influence throughout, the fashion brands would replace the product brands and be superimposed onto it.
1. Throughout the 4 manifestos, there is an overriding message to bring the purpose of Graphic Design to a higher level. In this corporate world, graphic design has succumb to creating pointless adverts for consumerist products. Tibor Kalman explains that graphic design has been "relegated to a role of corporate servitude, carrying out corporate
strategies and increasing stock prices. Creative people are now working
for the bottom line". These include products that Ken Garland lists as cat food, stomach powders, detergent, hair restorer, etc. The mundane and trivial aspect of these products has lowered the purpose of graphic design to a tool for the corporate agencies. This point is supported by Adbusters who also comment on the tarnished image of graphic design. But due to the time at which their manifesto was written, the products they list are reflective of the society they live in. For example, cigarettes, credit cards, sneakers and butt toners. Its a list of superficial goods that inessential at best. In Experimental Jetset's manifesto, this point is made clearly by their statement of how graphic design is shifting towards a immaterial terms such as ‘visual communication’, ‘information architecture', etc. It is moving away from its physical dimensions
2. In the painting of Napolean Crossing the Alps, Napolean is depicted as a glorious leader for the imperial army. This is shown through a range of aspects that include his facial expressions to the background of the painting. While riding his mighty steed, Bonaparte is seen to have a calm facial expression. It shows that the French public should have faith in Bonaparte in leading to victory, he is calm in the face of adversary. The beam of light shone down, illuminate and brings the paintings focus to his grand outfit and majestic steed. His outfit flows and exudes a certain level of wealth that is reminiscent of monarchs and aristocrats. It consists of deep blues, bright shiny golds and a shade of orange that almost looks soft to the touch. This establishes him as a leader because of this material difference as compared to his fellow countrymen in the background. The background within the painting also add to the grandness of Bonaparte. The empty but stunning view of the Alps help focus the attention onto Bonaparte. It makes him look as a courageous and bold leader.
3. In Adbusters First Things First manifesto, Adbusters are making a plea for creatives to revive the original purpose of graphic design, to challenge the consumerist society they live in to create a better designed world free of monetary intentions. This manifesto update that carries a more urgent tone to that of Ken Garlands First Things First. Rather than suggesting that creatives change their ways, Adbusters are demanding that they do. This is seen through the language used within the manifesto and their more assertive tone of voice. Further more the list of products described within each manifesto is reflective of the society they live in and shows how it progressed. From the mundane household items in Ken Garlands examples, to the more superficial, self image based products in Adbusters.
4. Tibor Kalman's Fuck Committees is a manifesto that comments on the society we live in today and highlights the loss of graphic designs artistic merit. Due to the emergence of capitalism, our society has become one of consumerism. Corporations that lead this consumerist rise has taken over the culture of America. No longer are Magazines, Tv shows or architecture made by the creatives but are vetted and built by the corporations that seek to increase stock prices and carry out corporate strategies. Graphic design and creative as a whole has been shifted to work for the bottom line. Kalman highlights how creative people produce work that is more so of intellectual property and content rather than tangible forms. It highlights how in todays society everyone is trying to "sell" something to you to buy rather than to encourage creations. But despite this, creatives are asked to find "cracks in the wall" by Kalman. To go against the system and to build a culture for the future not for monetary purposes.
