Evaluation

Thinking about design philosophically is an area that wasn't thoroughly explored prior to the module. Design was usually thought about practically and at face value, by learning about why designers design the way they do, it develops my own design process and will create solutions that have more depth in meaning. I.e creating a design that is entirely appropriate to the audience, context, purpose, functions and ambitions instead of creating a design that is appropriate at face value. During the course year however, my own interests in Graphic Design changed. After being exposed to OUGD404 Design Principles, I developed a growing interest in editorial design. And because my essay choice was based on branding, the module could have been an opportunity to learn more about the printing process and print designers rather than learning about how brands use advertising. Despite this shift, the research question as a whole made me more aware and knowledgeable on the techniques brands use to attract the consumer. Not only from the company's point of view but it also made me more aware of the behavioral patterns of consumers and what they look for in a product. The benefit of this research is not limited to the area of branding. Being that the essay question revolves around the relationship between the brand and the consumer, by learning about how advertising techniques influence the consumer, I can take these learning points into how my future designs can impact the viewer. Be it through the way its printed, how its presented, the context, application and other variables that can make a difference in making the design effectively achieving its aims

The module made me realise value and the benefit of looking at different opinions on one argument. I.e. looking at different opinions and evaluating their validity and how the argument fits in to the overarching theme. And much like the research, this value can be translated into my design process. How coming up with different ideas or looking at varying sources of inspiration to finalise on an approach that works best in effectively achieving the aim. 

Practically there could have been more work done in creating a more ambitious outcome and one that is more explicit in relating to the way it relates to the essay question. At face value the adverts have no real contextual background, it only when the designs are explained do the adverts relate to the question. This problem could be down to how general the aim of the practical outcome was. A more focused approach should have been done to specifically target an issue in the essay. More primary research on how adverts interact with consumers in the real world should have been done as well. This would have better informed how the advert would be presented and what kind of advert it would have been. This research into how and where these adverts are placed could also have been carried through into the secondary research, despite the analysis done on why the advert campaigns are successful, looking at where and how they display their advert would have been benefical as a way to get a gauge of how adverts are placed in the real world. Thus transferring this knowledge into the practical outcome, making it more contextually appropriate.

Overall, the practical outcome does relate to the essay question. The advert evidences the techniques used by brands to attract consumers and it highlights how people buy into their self image through the depiction of these brands as a crisp packet. Taking this experience in CoP into Level 05, my aims are to align my interests in Graphic Design to the essay question as well as to form a better connection between the essay and the practical outcome. This in turn will create a better resolution that effectively answers the question. 

Further adjustments

Further adjustments were made to the final adverts. In the Tommy Hilfiger crisp packet, a background of California's famous palm trees were added. This is to further convey the lifestyle that surrounds the brand and attract the consumer that would be interested in this collection. The palm trees instantly remind the consumer of California, the home of Hollywood, home of the celebrities and most importantly reflect that sense of ‘cool’ that brands aim to achieve. To add on this, from my experience in visiting California, the palm trees would also connote a laid back lifestyle because of the association. Life in the West Coast feels a lot slower compared to the East. With this connotation in mind, consumers may be attracted to reflecting a brand that likes to “take it easy” and encapsulates the always sunny California. 

  
In the Prada advert, a slight gradient was added to background. This was inspired by the work of famous famous photographer Willy Vanderperre. He has shot for the likes of Dior, Raf Simons and Jil Sander. By using a similar aesthetic fashion photographers use in their adverts, it would make the Prada crisps be seen in the aesthetic as high fashion adverts as well. This effect will better convey to the consumer what kind of brand Prada is.

Final Draft

What is the relationship between branding and The Consumer Self?

The relationship between branding and the consumer self is one that is mutually beneficial for both partners. Consumers develop a relationship with brands by regarding them as partners, providing them an opportunity to demonstrate individuality and social belonging. Brands in turn are treated as cultural symbols and are humanised in the eyes of the consumer, which become more valuable than their monetary gains. This essay seeks to explore this relationship by identifying how the term “branding” was established, how the relationship can be explained through brand loyalty and whether the relationship should only be defined by the consumer “self”.

Prior to the term branding, products were advertised simply as goods. In the machine-age, corporations were mainly focused in the production of these goods. It was only until the mid 1980s that new companies such as Nike and Microsoft challenged this notion and realised that what companies produced primarily were not things, but images of their brands (Klein, 2001:4). Marketing thus became the primary focus of new companies instead of the manufactured goods. This meant branding generic goods such as sugar, flour, soap and cereal, which had been previously scooped out by shopkeepers (Klein, 2001:6). The introduction of corporate logos and “personalities” such as Aunt Jemima allowed for a new channel of communication to the consumer for the company. And when the market became saturated with logos, companies began extending their brand into an “experience” to stand out. As Starbucks CEO Howard Schulz writes, the people aren’t there for the coffee, “It’s the romance of the coffee experience, the feeling of warmth and community people get in Starbucks stores” (Schulz, 1997:5). The significance of this was that brands were becoming more and more intertwined with the consumer’s everyday life. The constant interaction with brands imprinted their names into the consumer’s minds. It soon became that some items were known for the brand and not the actual name, for example Kleenex or Q-tips. This change in role thus affected the consumer. No longer were the public buying the best advertised product, they were buying into the brand image as well. And by association the consumer then effectively creates a self image through that brand. Thus the relationship between branding and the consumer self is formed.    

The relationship between branding and the consumer self can be explained through one’s brand loyalty and the association of the brand to the consumer’s self image. Consumer’s form a relationship with their brands through their own perceived self-image. The truth of the consumer’s own self image and effect of creating this loyalty between the two can be explored once a definition of what brand loyalty has been established. By establishing a definition of brand loyalty, it will justify the reasons why consumers choose their brands based on links between their own self image and the brand itself. Loyalty to a brand is conceptualized as being the intention to purchase a brand or a product and to encourage people to do so (Lau & Lee, 1999). For Walters and others (1989), loyalty is ‘the consumer’s propensity to buy the same product (brand) or to frequent the same shop whenever he needs this product’. Thus the relationship between the consumer and their brand loyalty can be seen as an emotional attachment to the brand. For the consumer attaches his/her own emotional ties to the characteristics of the brand which leads to repeated buying of the product. However, Achour (2006) argues that loyalty and attachment towards a brand are not necessarily synonyms. He states that ‘some consumers who are loyal to a brand are not necessarily attached to it: it is the case of those customers who are loyal to brand because they have no other alternative due to limited financial resources, availability of the brand, appropriateness of the shop where they go shopping etc.’ Thus we can see through these definitions that brand loyalty is the repeated purchasing of the same product regardless of the market options and or the repeated purchasing of the product because it is the best given option within their financial and environmental surroundings.

However, what establishes this brand loyalty, as Oliver and Bearden (1983) suggests, is the consumer satisfaction that affects their attitude after purchasing which thereby continuously influences the repurchase intention. Therefore, the sole objective of the brand as Aaker (1997) states, is to develop a strong brand relationship between the consumers and their brand through their brand identity, which in turn builds up brand loyalty.

Consumers build an individual relationship with their brands in much the same way that people initiate and nurture relationships with other people as Fournier (1998) suggests. The consumers want to build a relationship with certain brands when they regard the brand as beneficial or valuable to them (Park, S & Lee, E, 2005). Thus consumers form a brand relationship after they feel that the product offers good value and are satisfied with the product itself (Park, S & Lee, E. 2005).

The establishment of this relationship is also based on the consumer’s self-image. Sirgy (1982, 1986) outlines the importance of self-concept theory in consumer behaviour research by explaining 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. This is because of the comparison the consumer makes between his own self image and the brand’s stereotypical user of the brand (Sirgy, 1986; Sirgy and others, 1997). Overall this relationship between brand and consumer can be seen as a mutually beneficial one as it provides a win-win situation for both the consumer and brand company (Park, S & Lee, E. 2005). The consumer makes positive connotations between his/her self image and the brands image which in turn produces customer satisfaction upon purchasing which in turn establishes a relation with the brand ensuring further purchases.

Apart from relating to the consumer’s self image, brands utilize celebrities within their product marketing to entice customers. Advertising executives use a celebrity to benefit from his or her fame and gain a better memorization of the advertisement, which entails a better recognition of the associated brand (Achouri, A. & Bouslama, N. 2010). Take for example the recent collaboration between the two fashion houses H&M and Balmain. Within their advertisement campaign, they utilized celebrities such as Kylie Jenner, Jourdan Dunn and Gigi Hadid. Kylie Jenner is a member of the Kardashian family who are highly affluent in todays advertising industry. Her recognisability from the Kardashian family creates an audience that idolizes her and as such when placed on the ad campaign, will draw attention towards the collaboration. Also, Jourdan Dunn and Gigi Hadid are upcoming supermodels that have been sought after in the fashion industry. To place them on the ad campaign will boost the collaborations appeal and add to its exclusivity. Therefore, by having celebrities on the ad campaign, the H&M and Balmain brand aim to form a relationship with the the followers of Kylie Jenner and the fashion forward public. As mentioned earlier, when brands use celebrities for advertising, there is an association made between the brand and the celebrity. This association creates an opportunity for the consumer to emulate the celebrity or brand values. This is an increasingly significant strategy by which people lower in social hierarchy attempt to realize their aspirations towards higher status through modifying their behaviour, their dress and the kinds of goods they purchase (Miller, D. 1987). This point can also be applied towards the H&M and Balmain collaboration. Since Balmain are a high fashion house, it carries connotations of exclusivity and wealth. Two qualities that people in the higher social hierarchy acquire. Thus when Balmain collaborate with H&M, a brand made for the common people, the Balmain name becomes more affordable to those who wish to attain their products but don’t have the financial capability to do so. Therefore, by purchasing the goods made by the collaboration, the consumer associates the specific personality features to the brand, allowing the consumer to express a certain conception of him/herself, so as to require some value enhancing, symbolic benefits from a given consumption (Vernette, 2003).

Hence we can see that brands have an impact on the consumer’s behaviour as the consumer compares his/her image to that of the brand, whether implicitly or explicitly (Achouri, A. & Bouslama, N. 2010).

The definition of a consumer’s self image can be determined through two defining arguments, whether the consumer relates the brand to their actual self image or align their perceived image to suit the brands advertising. According to L’Ecuyer (1994), the theory of self-image refers to the way a person perceives himself, to a set of characteristics, personal features, roles and values, etc. However according to Sirgy (1985), when the image of the brand is perceived to be similar to the consumer’s self-image in terms of personality attribute types, the consumer tends to develop a favourable attitude towards the brand when deciding about a purchase act, or buying a product again. Thus we can see that from Sirgy’s point of view, the consumer does not aim to purchase a product that is entirely representative of his/her self image but rather one that is similar. Thus the idea of self image is a loose term when the consumer bases his/her self image to products that have ‘similar’ qualities. This argument is supported by Vernette (2008) as the consumer would express his/her self image by choosing brands the personality of which appears close to his/her own personality. Thus as it seems that the term self image is relied on the brand image as it is developed in their mind rather than on the inherent attributes and characteristics of the product (Dick and others, 1990).

The significance of analyzing the relationship brand image and self image is to identify the effect of the relationship on the consumer self. By identifying the effect of the relationship we can identify the type of relationship branding has on the consumer self.

Johar and Sirgy (1991) suggest that the relationship between a brand and the actual or ideal self produces a positive self-appraisal and has an influence on the level of actualization of one’s own present and ideal self, which occurs regardless of other people. At the same time, the association of a brand’s image and the social or ideal-social self can generate the satisfaction of fulfilling other people’s expectations, eliciting their positive appraisals. As we can see the relationship produced between the brand and consumer is a positive one as it raises their self esteem and can superficially raise them in the social hierarchy.

The relationship between branding and the consumer self is not defined by the “self” but the social cultures present in society. As political scientist Aaron Wildavsky (1989:25) explains, “The question of identity may be answered by saying the individuals belong to a strong group, a collective that makes decisions binding on all members, or that their ties to others are weak in that their choices bind only themselves.” He explains that within democratic societies, there is a number of political cultures that revolve around certain sets of beliefs and values that control the consumer’s choice of lifestyle. He then goes on to divide our society into four distinct cultures, elitist, individualist, egalitarian, and fatalist. These cultures are created by the strength and weakness of group boundaries and the numbers and kinds of rules and prescriptions (Berger, 2007:43). Therefore, branding as a form of showing one’s individuality becomes incorrect in this context. It is rather the act of branding oneself to the inherent social group they belong to through purchasing lifestyle “brands” companies offer. As well as Wildavsky views on societies cultures, Mary Douglas, social anthropologist, also agrees in that there are social cultures within our society, however she argues that they can also be seen as consumer cultures. She argues that “cultural alignment is the strongest predictor of preferences in a wide variety of fields” (1997:23), stating that the choice of one’s lifestyle “brand” is based upon the social culture people associate themselves with. Her theory suggests that there is an inherent logic behind the shopping that people do and, furthermore it is shoppers, or consumer, who ultimately dictate what will be sold (Berger, 2007:46). She states that “The shopper is not expecting to develop a personal identity by choice of commodities; that would be too difficult. Shopping is agnostic, a struggle to define not what one is but what one is not. When we include not one cultural bias, but four, and when we allow that each is bringing critiques against the others, and when we see that the shopper is adopting postures of cultural defiance, then it all makes sense” (1997:30). Therefore, in this context, the determining factor in identifying oneself would be the association to one of the four antagonistic consumer cultures rather than one’s socioeconomic class and discretionary income (Berger, 2007:46). The significance of all this is that it questions the role of identity within the “consumer self” and thus changes the relationship between it and branding.

The ways in which brands use to target its consumers identifies the issue of whether the consumer self associates with the brand individually or the culture that surrounds it. As Naomi Klein states “By the mid nineties, companies like Nike, Polo and Tommy Hilfigier were ready to take branding to the next level: no longer simply branding their own products, but branding the outside culture as well.” (2001:28). Branding for them became about incorporating cultural ideas and reflecting them through their products. By doing so, it allowed for people to associate with the brand because they felt they associated with that culture. This can be seen in Paul du Gay et al, (1977:66) point on the Sony Walkman, “Sony began to customize the product, targeting different sorts of Walkman at different consumer markets or niches.” Thus by customizing the Walkman, Sony saw the benefit of aiming their product at people’s lifestyles. This practice can also be seen in advertisements. One product Fiske (1989) uses as an example are jeans, namely Levi's. He uses the imagery in an advertisement for Levi's where “three young people in a run down city street who are sharing the hard-living lives they have been born into” (Miles, 1998). He uses this advert to comment on the '...idea that whatever your station in life, the opportunities provided by capitalism, ...mean that anything is possible' (Fiske, 1989; 5-6). This practice of selling a lifestyle rather than the brand itself creates a consumer culture that makes the lifestyle a life project that displays their individuality and sense of style in the particularly of assemblage of goods, clothes, practices, experiences, appearance and bodily dispositions (Featherstone, 1991).

The practice of selling a “lifestyle” towards the consumer only highlights the superficial differentiation in consumer based product design has lead to creating a false identity and a culture within itself. This is based on a term named 'consumer capitalism’ which is a product of companies using their advertising and marketing to sell the product on the basis of superficial design differences. It in turn creates an emerging culture where fashion and product designers can ‘...command a significant degree of cultural capital...' (Miles, 1998:42) despite whether the people can afford it. This culture dictates how the consumer wants to see themselves as through the purchasing of specific goods aimed at their subscribed lifestyle. Therefore, from this argument as a whole we can see that the consumer self is identified by the lifestyles they choose. The relationship between branding and the consumer self then becomes dependent on the cultures evident in society. Both the brands and the consumer self associate themselves with a culture and attempt to market themselves through it. This change from consumer self to consumer culture was not present from the start of this relationship however. Initially, consumers could identify themselves through their products where it be from fashion, food or type of car. But as more and more companies grew international and increased in manufacturing, the market today is filled to the brim with consumer products that crosses cultural boundaries and create international trends. Consumers then become a personification of the mass produced products they purchase. They are indistinguishable from one another within their culture or social hierarchy are less and less individual despite their efforts. Thus the relationship can no longer be viewed within the scope of the “self” but rather the surrounding social factors that influence the consumer.

The relationship between branding and the consumer self is a relationship that has evolved since the mid 1980s. From the early days when branding was just a term for creating an image for the product, it has become a term that extends itself to the creation of lifestyles, trends and movements that crosses international borders which in some cases does not even require a product itself. Brands today are integral to our daily lives and surrounds us fully. Along with this evolution saw the change in the consumer. Consumers were once simply buyers of goods for necessity, as brands became more influential and persuasive, the consumer’s behaviour changed, spawning the desire for self image and self fulfilment through these goods. As a result, the the relationship between these two has evolved. No longer can the “self” be just a partner in this relationship. The relationship between branding and the consumer self is a relationship that has extended beyond the companies and consumers that market themselves and has become a force that transforms the cultural landscape of societies.

Bibliography

Aaker, J. L. (1997). Dimensions of Brand Personality. Journal of Marketing Research. Vol. 34, No. 3 (Aug., 1997). p.347-357.

Achouri, A. & Bouslama, N. (2010) The Effect of the Congruence between Brand Personality and Self-Image on Consumer’s Satisfaction and Loyalty: A Conceptual Framework IBIMA Business Review. Vol. 2010 p. 1-16. Available from http://www.ibimapublishing.com/journals/IBIMABR/2010/627203/627203.pdf. [Accessed on 21 November 2015]

Berger, A. A., (2007). Ads, Fads, & Consumer Culture. 3rd ed. United States of America: Rowman & Littlefield Publishers.

Douglas, M. (1997). “In Defence of Shopping,” in Pasi Falk and Colin Campbell, eds. The Shopping Experience. London: Sage.

Dick A., Chakravarti, D. and Biehal, G. (1990), Memory based inference during consumer choice. Journal of Consumer Research. [Online] Vol. 17. p.82-93. Available from http://leeds-faculty.colorado.edu/Chakrava/..%5CChakrava%5CPublished%20Articles%5CMemory%20based%20inferences%20during%20consumer%20choice.pdf. [Accessed 22 November 2015].

Featherstone, M. (1991). Consumer Culture and Postmodernism. London: Sage.

Fiske, J. (1989). Understanding Popular Culture. London:Unwin Hyman

Fournier, S. (1998), Consumer and Their Brands: Developing Relationship Theory in Consumer Research. Journal of Consumer Research, Inc. Vol. 24. p.234-249.

du Gay, P., Hall, S., Jones, L., Mackay, H., & Negus, K., (1997). Doing Cultural Studies: The Story of the Sony Walkman. London: Sage.

Graeff, T. R. (1997). Consumption Situations and the Effects of brand image on Consumers’ Brand Evaluations, Psychology and Marketing. Psychology & Marketing. Vol. 14 (1). p.49-70.

Johar, J. S., Sirgy, J. M. (1991). Value-expressive versus utilitarian advertising appeals: When and why to use which appeal. Journal of Advertising. Vol. 20 (3). p.23-33.

Klein, N. (2001). No Logo. London: Flamingo.

L’Ecuyer R. (1994), Le développement du concept de soi, de l’enfance à la vieillesse. Montréal : Presse de l'Université de Montréal.

Miller, D. (eds.) (1987). Material Culture and Mass Consumption. Oxford: Basil Blackwell Ltd.

Miles, S. (1998). Consumerism as a way of life. London: SAGE Publications Ltd.

Park, S & Lee, E. (2005) Congruence Between Brand Personality and Self-Image, and the Mediating Roles of Satisfaction and Consumer-Brand Relationship on Brand Loyalty. Asia Pacific Advances in Consumer Research. [Online] Vol. 6. p. 39-45. Available from http://www.acrwebsite.org/search/view-conference-proceedings.aspx?Id=11859. [Accessed 21 November 2015]

Oliver, R. L. & Bearden, W. O. (1983) , The Role of Involvement in Satisfaction Processes. Advances in Consumer Research [Online] Vol. 10. p. 250-255. Available from: http://www.acrwebsite.org/search/view-conference-proceedings.aspx?Id=6098. [Accessed on 22 November 2015]

Schulz, H. (1997). Pour Your Heart into It. New York: Hyperion.

Sirgy, J. M. (1982). Self-Concept in Consumer Behavior: A Critical Review. Journal of Consumer Research, p. 287-300. [Online] Available from http://ujangsumarwan.blog.mb.ipb.ac.id/files/2010/06/SirgyJCR-1982.pdf. [Accessed on 22 November 2015]

Sirgy J. M. (1985), Self image/Product image congruity and consumer decision making. International Journal of Management. Vol 2. p.49-63.

Sirgy, J. M. (1986). Self-congruity: toward a theory of personality and cybernetics. New York: Praeger.

Vernette E. (2003). Études Marketing appliquées: De la stratégie au mix : analyses et tests pour optimiser votre action marketing. Dunod.

Vernette E. (2008). Les atouts et les pièges de la personnalité de la marque. Décisions Marketing. Vol 49. p. 24.

Walters C.G., Bergiel B.G. & Sheth J.N. (1989), Consumer behavior : A decision-marketing approach. Mason: South-Western publishing CO.

Wildavsky, A. (1989). “A Cultural Theory of Preference Formation” in Authur Asa Berger, ed., Political Culture and Public Opinion. New Brunswick, NJ: Transaction.

Practical Resolutions

In the final resolution the idea to have the advert depicting supermarket shelves was not chosen, instead a single crisp packet. This is because the supermarket shelves don’t draw much attention to the design of the packet but rather the amount of food items being sold. The advert should highlight the techniques used by brands that influences the consumers self-image rather than demonstrating the amount of brands in the industry.

From the research done on brand ad campaigns and the feedback given on ideas, these two compositions represent the final production of the practical approach. Tommy Hilfiger and Prada were chosen because they represent the two distinct consumer base from the research. Tommy Hilfiger aims to align itself with the younger generation, whilst Prada clearly aims for the affluent consumer both financially and socially. In both examples key identifiers that make walkers crisp packets recognisable are retained. This is so that the reader has a explicitly told that these adverts are on crisp packets. In both of these examples as well, the nutrition information was changed.

In the Tommy Hilfiger packet, the information was changed to being hip, popular, trendy and exclusive whilst for Prada, elegance, perfection, affluence and wealth. These characteristics were chosen based on what both brands communicate through their advert and want to make their consumers feel. In both packets the "opening" in the middle has been altered from the original design to allow more view for the consumer of the product/identity their buying. That's where both similarities end however. On the Hilfiger packet, the original colour scheme of a cheese and onion flavour has been changed to match the brands logo. This is evidenced through the dark blue borders and red and white mid section. 

The Walkers logo has also been changed to match the typography of Hilfiger. What grabs the readers attention however is the hashtag #90sRevival. This was done based on the observations from Calvin Kleins ad campaign which had the hashtag #mycalvins and Burberry's heavy involvement with digital platforms that proved effective in successfully their re brand. And because Tommy Hilfiger is aimed at a similar consumer base to both these brands, the addition of the # is appropriate. In the middle of the packet, the clothes and models peek through the opening. This is to give the consumer an idea of what they're buying and through the suggestive poses as well, add sex appeal to the brand. 

The Prada crisp packet was done in black and white to reflect the high fashion photography that is frequently used for luxury brands. A black and white colour scheme is often by brands like Prada because of what it connotes. Black is a color that is authoritative and powerful and can evoke strong emotions. White projects purity, cleanliness, and neutrality. These two add to the overall sophistication and elegance that these brands strive to achieve and uphold. For the Walkers background logo, the yellow areas were altered to give a more saturated hue that resembles gold. This is to exude wealth and appeal to the upper class. The red banner that usually goes across is changed to black to keep in line with the overall black and white colour scheme. Furthermore by having it as a black background, it further establishes Prada's typography as a sophisticated brand. The tagline Milanese Chic is to draw on the Italian origins of the brand and what the brand gives to the consumer. The choice to include Prada's origin is because of the connotations Italy has with not only fashion but its culture. When people think of Italian made clothes, one thinks of fine craftsmanship, high quality materials and fashion forward design. Therefore to add Prada's origin would help elevate the brands sophistication and price. In the cut out section, the model was chosen because of her typical high fashion look seen in luxury brand adverts. This is conveyed through immaculate makeup, hair and clothes, sharp photography and the focus on clothes. 

Do these practical resolutions answer the question of whether consumers have a self identity? To an extent. The question of whether consumers possess a self image or identity is too broad to answer absolutely. How consumers interact with their chosen brands differ from person to person. And there are many factors that go into the process in which the consumer decides to buy the product as discussed in the essay. What this resolution does highlight however are the tactics in which brands use to manipulate and attract consumers. Its these tactics that sway consumers to align themselves with the brands image and ultimately gets their business.

Practical research

Even though the comments in feedback suggested to display the packaging as lifestyle adverts, it would be more effective to have the packaging display the brands that connote these lifestyles. This is because a more explicit connection between the two would better communicate the idea that brands sell you a lifestyle through their advertising. Therefore to move on, research was done on the different styles of adverts brands use to help convey a certain lifestyle choice to consumers. 

It is clear from even just this selection of adverts that Nike aims to sell an active lifestyle choice for the consumer. This is evident through the adverts clear depiction of sports being played and the quotes the ads include. In the adverts, the appropriate Nike sportswear is displayed so that the consumer can envision him/herself in the attire and feel confident that wearing Nike will lead to a better active performance. This confidence in performance is implied through the body language of the athletes. In all of the adverts, the athletes are shown to be in a "winning" position, a position that implies that the athlete is performing at his best and at an advantage. Furthermore in each sport shown, the position of the body is purposely chosen to display the body language that is most recognisable of that sport. For example in sprinting, the critical moment in determining the win is the launch off the start line. And in the first advert, Oscar Pistorious is seen to be displaying a launch off the start line, not whilst in mid stride on the running track. Also seen in these Nike adverts are the empowering quotes that go alongside with the famous slogan "just do it". This advertising technique is to help give confidence to the consumer and to improve Nike's image. By constantly showing these quotes and slogan, the consumer is manipulated into thinking that Nike is a brand that empowers the consumer, supports greatness and creates athletes. As a result it can be implied that the quotes on the advert are transferred subconsciously into the sportswear. E.g. by wearing Nike's running gear, the consumer can become "the bullet in the chamber" or emulate Roger Federer whilst playing tennis. 

This use of an empowering quotes and atheletic body language can also be seen in other sportswear brands for example Under Armour. And much like Nike, Under Armour also utilise celebrity endorsement. Stephen Curry is an American professional basketball player for the Golden State Warriors who is currently setting records in his playing career as well as achieving the NBA's most valued player award. Having a basketball player of his stature means that he has a fair share of fans who want to emulate him. By putting him as the face of Under Armour, it draws the attention of his fans who would want to wear the sportswear he endorses and as a result boost sales for Under Armour. 

Another brand that heavily uses celebrity endorsements is Calvin Klein. In their recent ad campaign, Calvin Klein utilised the power of celebrities, namely music artists, to target the younger generation. This is evident through the choice of artists that the younger generation subscribe to and the use of the hashtag #mycalvins. In the adverts, the Calvin Klein underwear is surprisingly not the focal point, but rather the celebrities themselves. With a generation that is obsessed and exposed to the lives of celebrities, placing the figures front and centre in the ad is an effective way to capture the audiences attention. Once captured, the viewer then fixates on the apparel Calvin Klein is advertising. The use of the I _____ in my calvins is a tactic by Calvin Klein to get form an interaction between the consumer and the advert. By having the gap in between the I and in, it suggests for the viewer to pose in his/her calvins and insert their own word. The hashtag #mycalvins only encourages the user to post the picture onto social media thereby increasing Calvin Kleins brand exposure and advert campaign. It is clear through the use of celebrities and hashtag that Calvin Klein wants to appeal to the younger generation. The use of celebrities give Calvin Klein a "cool" factor and transform the brand into one that is current hip and trendy, something which the younger generation look for in a product. Again, through the use of celebrity endorsements, Calvin Klein also target the celebrities fan base, further increasing sales and following. 

Guess is a brand that also desires to appeal to a younger generation. In this recent collaboration with rapper A$AP Rocky, Guess sought to capitalise on the 90s revival that has been sweeping the younger generations fashion choices. It is a denim-heavy collection with quintessential 90’s influences seen in oversized denim jackets, overalls and logo-centric styles. In the advertisements however, what differs Guess's ad campaign from the other examples is of their clear creation of a lifestyle surrounding the apparel. In the other examples, consumers are advertised the products, in this Guess collaboration, the consumer is shown what lifestyle these products emulate. Guess are targeting the younger generation who are sociable, cool, effortless and carefree. And because someone like A$AP Rocky is collaborating with Guess, it elevates their brand image making them relevant once again. 

To further evidence how the 90s is making a comeback in the fashion industry, Tommy Hilfiger who were one of the 'it' brands in the 90s are reviving their line Tommy Jeans. Fronting this campaign is current it model Lucky Blue Smith and Hailey Baldwin. From a consumers point of view, adopting this 90s revival would convey to others that you are "hip and trendy", you observe the fashion movements and are current with the times. Furthermore because this is only going to be a "capsule collection", along with A$AP's Guess collaboration, these fashion pieces are exclusive and sought after. So to own one would make you feel "special". 

In the opposite spectrum, luxury brands aim to implicitly communicate a lifestyle or identity towards its audience. As shown in Saint Laurent Paris's ad campaign, the photography is black and white, the models don't look at the camera and the poses are unenergetic. What this creates is a laid back, effortless cool factor for Saint Laurent that doesn't need to shout about its clothes through celebrity endorsements or online hashtags. Unlike other fashion brands, luxury brands aim to reflect prestige, heritage and high quality. I.e when other brands adapt their advertising campaigns to attract a new consumer or refresh their stagnant image, luxury brands maintain that high fashion look through its high impact photography, respective model types and immaculate clothes. This consistency is needed to establish the brands prestige and heritage. Furthermore the consumers who subscribe to higher end luxury brands are unlikely to be drawn to brands that follow on trends. They want a timeless quality with their clothes that reflect the high price. 

To illustrate that high fashion luxury brands use the techniques stated above here are some other luxury brands that utilise a similar advert aesthetic. 

Therefore from this research on brands what does it mean for the consumers self image? First of all it is apparent that brands have a clear aim in how they want to advertise their product. Through a certain visual style, celebrity endorsement or by adapting with the times, brands purposely create an aura surrounding the product that is aimed to appeal to its consumer base. By creating this aura it effectively establishes a certain lifestyle or identity for that product. Through this method, it is clear that the brands create lifestyles and identities for consumers to latch onto. And even though when consumers unintentionally change the intended identity of the brand, e.g how Burberry became related to hooliganism and chav culture, the fact that the brand reinvents itself means that there is a certain persona the brand has and wants to communicate to its audience.