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Association for Consumer Research ASSOCIATION FOR CONSUMER RESEARCH Labovitz School of Business & Economics, University of Minnesota Duluth, 11 E. Superior Street, Suite 210, Duluth, MN 55802 Masculine Fashion: Prescription and Description Susan Kaiser, University of California, Davis, USA Janet Hethorn, University of Delaware, USA Ryan Looysen, University of California, Davis, USA Daniel Claro, University of Delaware, USA The presentation will focus on the interplay among prescription, description, and inscription in social constructions of masculine fashion. Based upon (a) archival, critical discourse analyses of men’s magazines (e.g., Esquire, GQ, Details) and (b) interviews and surveys with U.S. male consumers, we explore the complex relationship between institutional and everyday discourses of style. Findings include an historical “ebb and flow” in the level of prescription and description in fashion media discourse. We compare the prescriptive and descriptive language used by contemporary media and male consumers, and analyze this language in relation to visual inscriptions of masculinity. [to cite]: Susan Kaiser, Janet Hethorn, Ryan Looysen, and Daniel Claro (2007) ,"Masculine Fashion: Prescription and Description", in E - European Advances in Consumer Research Volume 8, eds. Stefania Borghini, Mary Ann McGrath, and Cele Otnes, Duluth, MN : Association for Consumer Research, Pages: 305-310. [url]: http://www.acrwebsite.org/volumes/14035/eacr/vol8/E-08 [copyright notice]: This work is copyrighted by The Association for Consumer Research. For permission to copy or use this work in whole or in part, please contact the Copyright Clearance Center at http://www.copyright.com/. European Advances in Consumer Research (Volume 8) / 305 SPECIAL SESSION SUMMARY “It’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry”: Fashion and Consumer Agency, Revisited Diego Rinallo, Bocconi University, Italy SESSION SUMMARY of consumer behavior as a separate field of inquiry independent of The title for this special session was inspired by the recent marketing activities, consumer researchers may be losing sight of movie “The Devil Wears Prada”, which narrates the misadventures the ways in which consumers and marketers negotiate cultural of young university graduate Andy Sachs who obtains a job as meanings in relation to each other in the marketplace”. Putting assistant to powerful fashion magazine editor Miranda Priestly. marketing back in the picture, in our view, is key to an improved This movie is of special interest for the ACR community as in one understanding of consumer culture. of its most dramatic scenes Miranda–whose character is inspired by When speaking of fashion, these same remarks apply. While Vogue America’s editor-in-chief Anna Wintour–denies the idea of a few studies have investigated agency vs. structure in the consump- consumer agency. In the scene, Miranda and some of her assistants tion of fashion (Thompson & Haykto, 1997; Murray, 2002), the are deciding between two similar belts for an outfit and Andy, who joint investigation of consumers, marketers and the media as they got a job “a thousand girls would kill for” despite not being a negotiate cultural meanings is still in an embryonic state. The goal fashionista, sniggers because, in her opinion, they are almost of this special session was to introduce new research findings that identical. Here is Miranda’s reaction. improve our understanding of how consumption of fashion is influenced–sometimes in invisible ways–by marketplace actors. Miranda Priestly: Something funny? All the papers in this session analyze the construction of fashion in Andy Sachs: No, no, nothing. Y’know, it’s just that both those two different moments of cultural production: marketplace dis- belts look exactly the same to me. Y’know, I’m still learning course and everyday consumption. The papers draw on a variety of about all this stuff. disciplinary and methodological approaches that should appeal to Miranda Priestly: This... ‘stuff’? Oh... ok. I see, you think this a broad audience interested both in fashion and, more in general, to has nothing to do with you. You go to your closet and you institutional constrains to consumer choices and to consumer con- select out, oh I don’t know, that lumpy blue sweater, for strains to marketer choices. More in detail: instance, because you’re trying to tell the world that you take Søren Askegaard, Deniz Atik and Stefania Borghini introduce yourself too seriously to care about what you put on your back. the session with a study on consumer desires and fashion based on But what you don’t know is that that sweater is not just blue, interviews with both fashion consumers and designers. Intrigu- it’s not turquoise . it’s actually cerulean. You’re also blindly ingly, they found not only that the fashion systems constrains unaware of the fact that in 2002, Oscar De La Renta did a consumers as the meaning of fashion-related choices is continu- collection of cerulean gowns. And then I think it was Yves St ously resignified, but also that consumers pose constraints on Laurent, wasn’t it, who showed cerulean military jackets? And marketers, increasingly frustrated by the need to keep up with then cerulean quickly showed up in the collections of 8 increasingly changing consumer tastes. different designers. Then it filtered down through the depart- In the second paper, Diego Rinallo investigates the emergence ment stores and then trickled on down into some tragic casual of the metrosexual–a straight men adopting the aesthetic sensibili- corner where you, no doubt, fished it out of some clearance ties of gay consumers–and compares this media representation of bin. However, that blue represents millions of dollars and masculinity with the lived experiences of male consumers. He countless jobs and so it’s sort of comical how you think that found that the consumptionscape of straight men is made of ‘danger you’ve made a choice that exempts you from the fashion zone’ and ‘safe areas’ whose boundaries are continuously re- industry when, in fact, you’re wearing the sweater that was negotiated by marketers, the media, individual consumers and the selected for you by the people in this room. From a pile of stuff. ‘panoptical’ gaze of their significant others. The third paper, presented by Susan Kaiser, Janet Hethorn, In this scene, we can perceive echoes of one of the central Ryan Looysen, and Daniel Claro, addresses the interplay between debates in social theory: are individuals autonomous in their thoughts prescription and description in men’s fashion, through a longitudi- and behaviors, or are there deeper forces that influence how they nal critical discourse of men’s magazines which is compared with think and behave? Here, Miranda acts as a spokesperson for a strong consumer data based on interviews and a survey. The study on structuralist position. In her view, fashion institutions shape the which this paper is based draws on an ongoing multi-year study. actions of individuals, even those who, like Andrea, believe not to Extensive interpretations and write-ups for the findings here re- be influenced by fashion. The agency vs. structure debate is of ported are however complete. central interest also for consumer culture theory (Arnould & Th- Also the final paper looks into the world of men’s fashion with ompson, 2005) where a variety of studies has on the one hand a quantitative study that employs a web-based methodology for represented consumers as autonomous, interpretive agents who do visual research to empirically identify the ways through which not always passively accept the influence of marketers over their consumers and cultural gatekeepers (i.e., people working for vari- life while, on the other hand, other research has illuminated the ous fashion institutions) categorize men’s “looks”. Data collection institutional and social structures that systematically influence and analysis is complete for consumer data, but still underway for consumption. We however note the dearth of research that analyzes gatekeeper data. For the presentation, initial results from the com- the interplay between consumer and marketing practices. We thus parison will however be provided. concur with Peñaloza (2001: p. 394) that “in carving out the study 305 European Advances in Consumer Research Volume 8, © 2008 306 / Fashion and Consumer Agency, Revisited ABSTRACTS been mainly concerned with women (Davis 1992). For instance, fashion magazines still show many more pictures of women than “The Interplay of Institutional Forces and Consumer Desires men (Barnard 2002). On the producer side, the main category in the Moulding of Fashion” chosen was the fashion designers who have experience on women’s Søren Askegaard, University of Southern Denmark fashion design, aiming to develop a deeper understanding of their Deniz Atik, Izmir University of Economics vision of fashion, their perceptions of consumer desires, how/if they Stefania Borghini, Bocconi University can anticipate, construct, or even change consumer desires, which Recently, the Consumer Culture Theory (Arnould & challenges they are facing within the fashion system, and where Thompson, 2005) has witnessed a debate concerning the structure- they get their inspirations for new designs. agency relationship in the fashion process. One major contribution Our results indicate, that seen from the individual agent’s in the Journal of Consumer Research has focused on the central role perspective, the fashion system does indeed have the character of a of consumer agency in the meaning transfer process from fashion code that lives a life seemingly (but of course not really) independ- industry to consumers (Thompson & Haytko 1997), stressing the ent of the individual agents in the fashion system. Our consumers interaction between consumers’ private life worlds, schemes of are fashion-lovers who spend a great deal of time following trends, meanings and fashion practices and the symbolic material provided checking new styles etc. Indeed, the shifting character is the basis by the fashion industry.
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