Postmodern Impacts on the Consumption Patterns, Activities and Theories

Yrd. Doç. Dr. Uğur BATI* Postmodern Impacts on the Consumption Patterns, Activities and Theories

Özet Abstract

Bu çalışma, postmodern olarak adlandı- This paper investigated the postmod- rılan tüketim biçimini araştırıp, postmo- ernist notion of consumption and at- dernizm sürecinde yaşanan bazı tempts to identify some of the konuları aydınlatmayı amaçlamaktadır. concerns raised by postmodern. The Makale kapsamında yürütülen araştır- study proposes a methodology based ma, tüketim etkinlikleri üzerindeki post- on showing sample case advertise- modern dönemde oluşan etkileri ortaya ments and consumption forms for the çıkarmak, bu tip bir tüketimin anlamını revealing postmodern impacts on con- araştırmak ve yapısını ortaya koymak sumption and for interpreting the amacıyla, bütünce olarak belirlenen meaning and understanding the struc- reklamları ve tüketim biçimlerini örnek ture of such consumption forms. In the olarak ortaya koymaktadır. Çalışma research, it’s stated that from the post- kapsamında, postmodern olarak adlan- modern perspective on consumption, dırılan tüketim biçiminin temel karakter- hyperreality, fragmentation, decen- lerinin üst-gerçeklik, parçalanma, tring of the subject, commodification öznenin merkezleştirilmemesi, nostaljinin of nostalgia and brand community metalaştırılması ve marka topluluğu bi- forms are essential characteristics. çimi olduğu belirtilmiştir. Bunun yanında, However, it’s reveal that this subject is konunun oldukça ayrıntılı olduğu vurgu- highly comprehensive and the evalua- lanmış ve bu nedenle konu hakkında tion of the conclusions would be a sub- daha ayrıntılı bir çalışma gerçekleştir- ject for a wider and more menin zorunluluğu ifade edilmiştir. comprehensive study.

Anahtar Kelimeler Key Words

Postmodernizm, tüketim, üst-gerçeklik, Postmodernism, consumption, hyperreality, parçalanma, marka topluluğu, nostalji fragmentation, brand community, nostalgia

* [email protected] Introduction 1994; Baudrillard, 2004) or a late modern society (e.g. Jameson, 1994; Featherstone, It’s a fact that postmodernism is hard to 1996; Giddens, 1991), which is distinct in define, because it is a concept that seems quality from former structure of society in a wide sort of disciplines or areas of which is identified as modern, set con- study,including literature, music, art, com- sumption as a main aspects of such a so- munications, architecture, film, fashion, ciety. These discussions state that technology and sociology. It’s difficult to consumption and culture based on con- build it contextually and historically,or be- sumption are the basic characters of post- cause it’s not certain exactly when postmodernism rather than production. In modernism commences. Postmodernism relation to this, social theory is nowadays is such an intricate notion, or set of ideas, concentrating on consumption as playing that is highly controversial even among a key role in the way the daily life is con- postmodernists themselves. The term has structed, and it can be discussed that con- come into sight as a field of academic sumption practices have the central role in study since the mid-1980s. At this point, giving meaning to life through consump- from a literary perspective the main fea- tion (Van Raaij, 1993). Furthermore, when tures of postmodernism is only apprehen- we look at the social theories about every- sible by thinking about the movement day life practices including consumption, from which postmodernism appears to in recent years, many thinkers like Barthes, come into being. This means that post- 1990, 1999; Bocock, 1997; Debord, 1967; modernism is essentially an analytic notion Kellner, 1988; Jhally, 1988; Best, 1991; which emphasis the differences and diver- Harvey,1999; Firat, 1991; Jameson, 1994; sity of former movements. All the prem- Venkatesh, 1995; Baudrillard, 2003 have ises like ambiguity, simulation, collage, examined the relationship between con- pastiche, parody, bricolage, irony, playful- sumption and culture. ness de-differentiation, anti-foundational- It is suggested in these studies that in ism, desire, hyperreality and deja vu can be postmodernity the consumption of sym- considered as the qualifiers of the situa- bolic meaning, especially through the use tion called ‘postmodern condition’ that in of advertising, style of architecture, form an constant way, compose the daily prac- of entertainment, choices of consump- tice of the contemporary life. tion, etc., figure as a cultural commodity, In addition to these features, many allows the potential consumer with the scholars argue that that consumption is chance to assemble, perpetuate and com- the most crucial representation of post- municate identity and social meanings. modernism in contemporary life. Theo- These studies confirm that social ‘reality’ reticians who have formed a notion of is constructed for human beings through postmodern society (e.g. Firat and structurations that are crucially deter- Venkatesh, 1995; Van Raaij, 1993; Elliott, mined by the economic that, in turn, has 216 to be mediated by the symbolic (Harvey, the postmodern consumption and its 1999; 74). The signification of the con- foremost characteristics in which symbol- sumption, classification of the consump- ism and spectacle are dominant. More- tion and identification of cultural over, the article discusses the postmodern meanings and images that are intended for approach to consumption in the frame of the product constitute the postmodern as- hyperreality, retro style, brand community, pects of consumption and naturally pro- customization, fragmentation and decen- motion activities. In postmodern phase of tring of the subject. The article also argues consumption, the process of consump- that imagery consumption styles of post- tion is liberatory,paradoxically combining modernism which may further confuse an both the ‘real’ and the imaginary. In rela- already confused postmodern consumer. tion to this, in this type of consumption Based on these theoretical part, the article model called as postmodern, one can con- provides indicators of the nature of post- sume objects, symbols, and images. modern consumption and proposes a In the light of above-mentioned fact, methodology based on texture analysis for in this paper, we aim to provide a compre- interpreting the meaning and understand- hensive framework for the postmodern ing the structure of such consumption consumption style which is cultural styles called as postmodern. This second process and symbolic processes in con- part analyzes we aim to undertakes the sumption. This paper presents the some ambitious task of diagnosing the post- aspects of postmodern marketing and advertising which is the signifier of postmodern condition and its implications for modern marketing, too. In relation to this, consumption style by the help of selected we aim to go on to show how in various sample case analysis as a corpus. While domains of consumption activities be- making this, key features of postmodern come highly symbolic acts that are in- marketing and symbolic consumption and vested with meanings derived from brands in postmodern marketing are in cultural frameworks. For this aim, we try the key role of this subject. This part dis- to identify the cultural meanings and im- cusses the material condition of postmod- ages that are intended for the product. ern ads focusing on changes in the Moreover, this paper presents what sort of advertisements’ messages and consumer gender, status, age, lifestyle, time, and market especially in terms of key features place meanings are sought for the prod- of new type of marketing styles that is uct, what values and orientations in post- postmodern marketing. It is assumed that modern promotion practices and this thesis broadly intends to underline the especially advertising are applied? conclusions of the intersections of post- In the theoretical part of the study,we modern condition and postmodern im- deal with the theoretical issues concerning pacts on consumption.

217 Consumption and inant message found in all the brand ads ‘Postmodern’ Consumer Society and promotional acts are the same; buy, buy, buy. There is an important point In the past one hundred years however, about this. Through the mediation of con- the notion of mass consumption has re- sumption practices, we firstly buy to ac- vealed; enormous numbers of people now complish our needs: basic ones and not-so consume a variety of relatively cut-price, basic ones and not-needs. This last sen- industrially-mass produced products. A tence intends the crucial characteristic of suggestive change in the social and eco- contemporary consumption practices. Rel- nomic structure has emerged, where con- evant to this, concerned to consumption sumption activities has become “the idiom is nowadays the identification that the of daily life” (Ewen, 1976: 187). Radically, consumer does not make consumption mass consumption has altered the under- decision merely from products’ features standings, views and expectations of our but from also from their symbolic mean- society. Some important questions come ings (Douglas, 1982; McCracken, 1988; to mind; How did this happen? Where did Giddens, 1991; Dittmar, 1992; Gabriel and this prominent shift in society come from? Lang, 1995). As consumption constitutes Well, the move to a culture of consump- a key role in providing values and mean- tion was basically caused by the needs and ings for the creation of the consumer’s demands of production, the social turmoil personal and social world, so all the pro- and unrest resulting from a new industrial motional activities are identified as one of lifestyle, and the proliferation of promo- the prominent sources of these symbolic tional activities. values and meanings (Elliott, 1997). These Today’s society which is identified its cultural values and meanings are trans- mechanism about consumption is purely ferred to brands and brands often used as highly consumptive. People now consume symbolic resources for the construction of mass produced commodities in abun- consumer’s social worlds (Mick and Buhl, dance continuously. They are encouraged 1992). This is the process, so broadly and to consume, consume, and consume: we from this point of view,consumption has buy, use, and discard to live. They wear become a cultural ideal. There are many Ray Ban sun glasses, drive Honda cars, use indications of this tendency which recog- Nokia mobile phones, listen to CDs, eat nized ‘postmodern’ in essence that have packaged foods, live in apart houses, an impact on social theories and everyday watch Philips TVs, and so on. They are life practices1. bombarded by powerful advertising and Social theory is now focusing on con- promotional messages that tell them how sumption is the major premises of post- they should look, how they should act, modern culture (Firat, 1993). As what they should buy etc., etc. The dom- mentioned above, the postmodernism

218 perspective on consumption has recently form prevails. Therefore, consumption acquired the attention of many scholars should not be valued in relation to its use- (Brown, 1993; Van Raaij, 1993; Firat and values -products’ functionality or con- Venkatesh, 1993, 1995; Venkatesh, 1990; sumer’s functional needs-, but essentially Baudrillard, 2003). Truly, these scholars in relation to sign-values, as signification. have claimed that postmodernism may Thus, postmodern consumption experi- considerably affect the way that consump- ences lay stress on the dominancy of spec- tion practices are realized in consumer’s tacle and hyperreality forms rather than daily life. Besides, Sociologist Ritzer (1998: ‘real experience’ (Firat & Venkatesh, 1995: 1) comments that “postmodern society is 251). In the light of above-mentioned seen as being more or less synonymous view, the purpose of this paper has been with consumer society”. Ritzer remarks to provide an objective overview of the also Jameson (1994) and Featherstone emergence of a social phenomenon, (1996) as exemplars related to this com- called as postmodern consumer culture, ments. Importantly, Cova who is one of and to debate the influences this phenom- the most crucial researchers about post- enon may have on the consumption prac- modernism has interesting insights in that tices, particularly in the perspective of its subject: core characteristics.

“…Recent aspects of our life in general Methodology in the Search of and of consumption in particular have re- flected the existence of a major current, An Answer: “What are the the postmodern, that has lately run strong Postmodern Impacts on as we stumble toward the dawn of the new Consumption and millennium. Today our culture is postmod- Promotion Style’’ ern, our manufacturers are post-Fordist, our economies post-industrial, our gender In this work, we aim to interpret the epis- relations post-feminist, our literature post- temology of consumption, a specific part narrative, our politics post-Marxist, and of social theory called as postmodern cul- our physics post-Big Bang” (Cova, 1996: tural theory, by conducting an analysis of 494-99). the consumption literature as it has devel- oped so far. The analysis performed in the In the essence of these cites, theoreti- following pages will focus on how the cians imply the importance of a “central highlights of consumption have partly di- role in giving meaning to life through the verted the researchers’ interest from the symbolic consumption.” For instance, theory and focused it broadly on the French theoreticians Baudrillard affirms method. that for the consumers commodity-form It’s clear that few concepts have en- is the dominant to one where the sign- joyed more popularity both inside and

219 outside academia in recent years than Central to above prominent premises, postmodern impacts on consumption. postmodern consumption practices pos- According to this view, postmodernism sess in a ground a number of distinctive has an increasing impact on the consump- characteristics are discussed by important tion practices including people’s prefer- theoreticians. Firat et al. (1995), best ences about their entertainment style, known researchers about postmodern accommodation styles, travel practices and consumption, argue that postmodern con- promotion of these activities, marketing ditions tend to be hyperreality, fragmenta- practice, and especially advertising. Post- tion, decentring of the subject, modernism consumption practices which juxtapositions and reversals of production have held in common state the fundamen- and consumption (Firat, Dholakia, and tal role of consumption to construct the Venkatesh, 1995: 40-56.) Second crucial social world (Featherstone, 1991). In ad- view about postmodern consumption dition to this, consumption activities are which is discussed by Stephen Brown symbolic and not exactly functional, or states that hyperreality, fragmentation, de- price-based essentially. In postmodernity differentiation, chronology, pastiche, anti- the distinction of products from their foundationalism, pluralism are the core basic function is determined by the signi- features of postmodern consumption fier from the sign. (Firat et al., 1995; (Brown, 1995: 106-107). In addition to Brown, 1995). The second crucial impli- these well-defined features, consumption cation for postmodern consumption of in the postmodern culture is also charac- this perspective is that postmodern con- terized by the commodification of nostal- sumers create their identity through con- gia, usage of collage style, postmodern sumption which has dynamics of self, the intertextuality of consumption text and symbolic meaning of goods and the role brand community style (Hirschman, 2000; played by brands. In this connection, other Kozinets, 2001; Cova, 1997; Cova ve Cova aims of study are determined as follows: 2002; Goldman ve Papson, 1994; Gould- • What is the general ambience of the ing, 2002; Holbrook, 1993; O’Donohoe, postmodern consumer culture? What 1994; Mick and Buhl, 1992; Stern, 1992). mood does it create? How does it do this? However, these mentioned characteris- • To study how consumer culture oper- tics of postmodern consumption penetrate ates in postmodernism, we’ll examine the each other. Therefore in these researches, phenomena that it structures, people’s characteristics of such a consumption style everyday consumption practices in the are collected into five headlines. According view of postmodern cultural theory. to these approaches, within the analysis of • What about aesthetic decisions of research, areas of this research focus to postmodern consumption, especially show the essential characteristics of post- related with the reality concept? modern consumption will be as follows: 220 1. Hyperreality; cording to this view, in a society of the 2. Fragmentation; spectacle “everything that was lived di- 3. Decentring of subjectivity; rectly has moved away into a representa- 4. Commodification of nostalgia; tion (Debord, 1996). Baudrillard who is 5. Brand community form of con- the theoretician of hyperreality form sumption. states this phenomenon as a representation of the thing replacing the thing and This research’s attention will be given ‘hyperreal,’ where signs refer only to signs to these major concerns in the postmod- in a society of the spectacle (Baudrillard, ern consumption styles with the help of 2003: 31). sample advertisements and consumption Absolut Vodka, Swedish Vodka, is to- forms selected as corpus. Selected corpus tally type of postmodern text with its consists of Absolut Vodka Berlin; Energizer many characteristics. It has abandoned the Bunny; Le vi’s; Harley-Davidson advertise- basic principle of modern marketing, ments, and the promotion of Harley Own- which motivates firms to promote their ers Group which is the brand community of advertising only those elements of public Harley-Davidson brand. culture that is consistent with the various meanings of the brand like trust and price. Products as Image in the As an example of postmodern text or hy- Hyperreality Forms with the perreality forms, Absolut Vodka campaign case of Absolut Vodka put into agendas the pleasure of the ads, with little or no value including the It can be said that hyperreality is the most “meaning” of its images. Absolut, depicted prevalent representation of postmod- in Figure 1 is special point for the style of ernism on the postmodern consumption iconic campaign. In this elite advertise- scene. In the postmodernist perspective, ment that ran in select publications, Abso- it’s accepted that people look for the “sim- lut advertisement has focused on the ulated reality” rather than an extant real- iconic bottle shape as the representation ity (Baudrillard, 2003). It is stated in of Berlin Wall’s downfall. This advertise- fat-free fat, beefless beef, decaffeinated ment of brand has showed the represen- coffee, alcohol-less alcohol, and sugar-free tation of Absolut’s bottle design in a butter (Brown, 1999). Postmodern con- unique way. Absolut is bent upon attaching sumption images, in which reality is rep- the “bottle” icon to any person, pop art, resented as a hyperreality, are constructed famous personalities, architectural feats, through the deprivation of authenticity place, or thing that achieves recognition in and purity essentially (Baudrillard, 2003) the popular cultural world of societies. For As a postmodern form, hyperreality no- example, one advertisement of the brand tion is directly related with Guy Debord’s features Hollywood icon James Dean as notion of the society of the spectacle. Ac- the bottle icon. Another shows Neil Arm- 221 strong stepping out on the moonscape-in cal marketing period of past. Today’s con- fact on the bottle- In the campaigns brand temporary consumer is extremely differ- easily try to create identification with the cus- ent from modern cultural theory which tomers. Brand its world famous advertising emphasizes the centredness of individual campaign use metaphor and humour. (Firat and Shultz, 1997: 183-207). The consumer which exists in the centre of the Decentring of the Subject with modernist movement is an individual with the case of Energizer Bunny a mind that can be free from the natural, much centred, self-conscious, emotional The self and identity discussion is vital limitations of the body and has unity of subject for postmodern cultural theory. goal or aim. (Rorty, 1979). But in post- The self is discussed in postmodernity in modern project condition has changed. terms of its place and dominancy for so- With postmodernist movement, the con- cial system but also its relation with consumer is not conceptualized to be the cen- sumption as something the person creates, tre of the postmodern cultural project. partially through consumption (Giddens, Therefore, an acceptance of customer and 1993; Gabriel and Lang, 1995; Thomas, consumer decentredness intends that seg- 1997; Solomon, 2002; Goulding, 2003). mentation, targeting and positioning have The postmodern consumer practices are moved, changed. Moreover, in this new realized primarily turning self into symbolic formation subject is inconstant not au- project, which the individual must essen- thentic and is no longer centred (Gergen, tially construct with symbolic materials. 1991). Thus, subject in the formation of Consumer lives in a symbol-rich environ- postmodern consumption has ability to be ment and the meaning connected to any represented by different images, objects event, person or object is clinched by the and person. Postmodern subject may be clarification of these symbols. This is also represented different selves by switching part of socialization process. And, in this products that represent the images (Blat- socialization process the position of sub- tberg and Deighton, 1991: 5-14). Here, ex- ject is crucial. When we think of mod- ample of Energizer advertisement as a ernism period while subject was in the case analysis shown in Figure 2 indicates centre, with the postmodernist movement that postmodern consumption style which a notion called as decentring of the sub- is playing personalities of postmodern ject has been argued nowadays. consumers through “look-alike” images of A decentred subject is the opposite of advertisements to provide energy, excite- centredness where individuals are imper- ment and fun. In the postmodern cultural ceptibly identified by their segmentation project which lays stress on decentredness class like social class, age, occupation, de- of the subject, stabilization of identity for mographics, etc. But, this is the expression individual is now arguable. The cinematic- of classical segmentation criteria of classi- play heroes of postmodernism like Bat-

222 man and Superman, dream-heroes of the rarely resembles of media formats like Zorro, cyber-punk heroes of Matrix are advertisements, programs, media, music examples of subject-less notion of post- videos, situation comedies. It’s claimed modern project. Energizer Bunny which is that these media products have no situated the most important icon of the century unified or defines themes in postmodern for pop culture is the replacement of epistemology. Especially, disconnected human with non-human object which is and multi-form life styles of postmodern animal. In the ads bunny-figure is used in consumer are in important place for the the context of western films. Bunny and its discussion. Postmodern cultural theory mallet struggle with its enemy in the funny characterizes the fragmentation of iden- environment. This is the type of post- tity and fragmentation of individual into modern individuality which implies decen- a multitude of personalities. This is a way tredness. for a chance or preference towards different ways of constructing identity, being, Fragmentation Rethinking the and life styles by realizing different con- Invention of Collage with the sumption activities in different times. In case of Harley-Davidson related with this, a notion called as ‘bricolage market’ is discussed for a long time In terms of the postmodern approach to within marketer’s environment (Firat ve consumption, fragmentation of segments Shultz, 1997: 183). into smaller parts, and the positioning The consumer is further fragmented in these products for different segments are terms of the different images one repre- the basic characteristics. In accordance sents in different situations and at differ- with this, its own complement of carefully ent times. The same image, same clothing, positioned products is commonplace same manner of speaking and acting, (Brown, 1995). Initially,in the fragmented same personality will not make the person environment the mass market is replaced likeable and/or presentable in all situa- by niche markets, by smaller market, by tions since the cultural expectations from micro markets, segments increasingly ho- the different roles one plays (parent, lover, mogeneous in character. Increased global friend, employee, manager, teacher, shop- competition, combined with rapid techno- per, etc.) are quite different. (Brown, 1994: logical change, flexible manufacturing sys- 27-53). And then, the fragmentations tems and real-time data analysis and around consumption practices in our communication makes possible the cus- everyday life experiences, we see that they tomizing of individual products, with the dominate the advertising forms especially. consequent increase in product offerings Consider our examples shown in the Fig- and product categories (Thomas, 1997: ure 3. Our sample advertisement is “Build 54). The notion of fragmentation defines your Harley” Harley-Davidson advertise-

223 ment. This is the typical view of ‘collage recycling earlier genres and styles in new advertisement’ form. The purpose of this contexts broadly (advertising, film/TV Harley collage is to cause the consumer not genres, and fashion, architecture, images, with a centred idea or cognition in a frag- typography, and hair styles). Nostalgia mented way. It’s the representation of commonly refers to a psychological char- fragmented moments of consumption ex- acteristic of individuals who occur to have perience and an expansion of fragmenta- a desire or interest for the past (Davis, tion. The notion of customization and 1979). Nostalgia is not only memory; it’s collage related with fragmentation are the an idealized past which belongs a social or tool here. Within the concept of collage, personal experience. It’s popular with ‘the death of the wholeness’ is under con- postmodern cultural theory with the area sideration. To lay stress on the concept of of cinema (Lee, 1993), advertising (Stern, mass-customization, Harley-Davidson mo- 1992; Brown, 1999), and consumption torcycle is constructed by smaller parts of (Davis, 1979; Goulding, 2002). This com- it- like wheels, tire, handle bars, bag, keys, mon conception emphasis on ‘packaging etc. - by realizing collage. As a matter of history’ for the promotional aims. This fact, these parts of motorcycle have style is called as ‘packaged past’ or ‘retro formed not only a whole Harley motorcy- style’ which implies the presentation of cle, but also a Harley user. In fact, this is social, cultural and popular icon of the the stressing of individual’s choices to cre- past (Ooi, 2001). ate unique identity. This advertising of The dynamics of nostalgia are related Harley-Davidson motorcycles is a metaphor with postmodern epistemology that en- for individuality clearly. This ads meta- capsulates the tangible and intangible as- communicates indifference to instant look pects of the events, people, and objects or the style. Differing from the modern for the consumption effectiveness. The tradition of this advertisement, it portrays agendas behind history, we see that many goods with signs of individuality. The examples are seen for brands which use blankness in the Harley-Davidson ad is itself these concepts. Jeep Wrangle- automotive turned into a signifier for the customiza- firm- celebrates its fiftieth year with a net tion. on the market which is the retro jeep model taken from fifty years ago. Harley- Retro Marketing and the Davidson is an ‘authentic’ American motor- Commodification of Nostalgia cycle firm has celebrated its 100th with the case of Levi’s Jeans anniversary year with big events about brand’s heritage. Absolut, the Swedish Nostalgia and retro style are today popu- vodka, has put on the market in the world lar subjects for postmodern consumption with a big advertisement campaign, form- practices. Nostalgia and retro styles mean ing with an imaginary history of the

224 brands. Moreover, Porsche firm put on According to this view, people are choos- market S-Type model again looks like im- ing to join in different social, proximate mortal Mark II model), Lee Jeans (firm put and temporary groupings which are ap- on market 101 S model which is used by propriate for creating the social link or in- legend Marilyn Monroe), Arzum, Eti teractivity among people. Thus, apart Wanted, Ford Transit, BMC, etc, are other from individualism the second view of examples from Turkey and around the postmodernism state that social dynamics world. In our sample depicted in Figure 4, and characteristics of postmodern society Le vi’s, jean firm, is promoting itself by consist of various experiences, emotions, means of 1960’s old type-motor-guy. He’s and sharings within various groups. Com- looks like the clone of James Dean who munity and ‘tribes’ metaphors are used to represents the crazy-guy image of 1960’s explain these dynamics. and the brand image of Le vi’s. Its slogan Brand community which is the subjects refers to past models and image of the of this part as a postmodern consumption brand which is ‘Our models can beat up form is related with this second view. A their models’. This case is the style of the brand community is a specialized, non-ge- last generation, the excitement of the ographically bound community, based on next, and, this is the brand image of Le vi’s a structured set of social relationships in the past, and the image of the today. among admirers of a brand (Muniz ve O’Guinn, 2001: 412-432). According to Brand Community as a Part of this, as a specialized form, the core of Postmodern Consumption brand community consists of branded Aesthetics with the case of good or service. The model of ‘brand Harley Owners Group communities’ is constructed by the research of McAlexander and Schouten It is claimed that the pressure of con- (2002, 38-54) about brand loyalty of Har- sumer society and the fragmentation of ley-Davidson motorcycles. But, Harley-David- society, in fact, individualism is accepted son is not the single example about this as one of the most important characteris- model. Whether their product is a com- tics of postmodern society by many re- puter, an automobile, a sport’s equipment searchers (Firat and Shultz, 1997; Firat and or a jean, an increasing number of compa- Venkatesh, 1993; Elliot, 1997). Although nies try to construct a brand community it’s assented that the importance of one’s around their brands to provide long-last- own difference and one’s own individual- ing brand loyalty. Therefore, a growing ity is the essence for postmodern theory, number of brands, from Volkswagen Beetle another view claim that our era can not be to Citroen 2CV, from Snap-on which is re- understood as a period of individualism pairmen service to Grateful Dead which is totally (Cova and Cova, 2002, 595-621). rock music group and also a powerful

225 brand can deepen brand loyalty by creat- the reasons that consumers buy a Harley? ing or supporting ‘brand communities’. What do Apple, Citroen, Harley Davidson, Within above-mentioned groupings, post- and LEGO have in common? Brand’s ex- modern consumer can find values, inter- pertise and Harley users utter that they buy activities and relationships constructed by this vehicle thanks to its spirit. Spirit, here, means of brand identities. At this point, is marked by brand’s identities. Brand’s ‘’consumer find that there can be real identity is signified by a shared values, rit- value, for example, in bringing consumers uals, consciousness, and traditions, and a together with each other and the company sense of moral responsibility. All these in situations where they can share experi- components are provided by brand’s vari- ences, opinions, and ideas...Companies try ous events and facilities. During their or- to provide giving their customers some- ganizations and facilities, Harley users went thing they really care about. It’s all about to numerous rallies on their Harleys. In a reciprocity,” notes McAlexander who is basic principle, they discovered the “Har- one of the theoreticians of brand commu- ley experience”-including interacting and nity model. sharing with their fellow motorcycle en- When we look at our case depicted its thusiasts. Moreover, Harley educator who advertisement in Figure 5, we can see spe- is selected from Harley owners teach new cial promotional style called as ‘pure post- Harley owners such skills as basic and ad- modern.’ It’s the calling of Harley- Davidson vanced driving skills and driving off-road, brand to its enthusiasts to join a Harley-ad- the company went all-out to form a social venture. It’s the calling of Harley enthusi- atmosphere built on an understanding of asts to their son. Relative to this, slogan of the concerns, values, and lifestyles of their the advertisement is ‘Son, You’ll Go far in owners. “This says to the owner is clearly, This Organization’. It’s the promotion of ‘this brand cares about consumers.” In a brand community which is Harley Owners conclusion, in this festivals and organiza- Gr oup constructed around Harley-Davidson tions it’s created a special relationship brand. Maybe, Harley-Davidson is not the among the enthusiasts, the brand, and single one which puts into practice brand other customers. community model, but the unique. Apart from brand management perspective, Suggestions For Future HOG-types communities which are Research ephemeral usually, consist of members who are searching for identity. Brand pro- Although postmodernism provides im- moters or brand users admit that Harley- portant and valuable perspectives on and owners don’t want only performance, insights into contemporary consumption price, innovation or high technologies understanding, we have to state that this which are functional things. So why are subject is highly comprehensive and the

226 evaluation of the conclusions would be a • Consumption has to be studied for its subject for a wider and more comprehen- functional and symbolic features rela- sive study.For this reason, every essential tive to aesthetic aspects. characteristics of postmodern consump- • Relative to its symbolic aspects, it’s tion might be subject for different articles stressed that postmodern version of at a distant each other. Papers which ex- reality is different and the reception of emplify the aesthetic and philosophical images in which reality is represented side of postmodern consumption using as a hyperreality. In this framework, it’s content and semiological analysis will be stated that the differentiation between valuable to understand subject. Particu- the real and the represented disappears larly an ethnographic study that is carried in postmodern approaches. out about brand community will be bene- • It’s explicated that fragmentation is ficial to postmodern consumption activi- one of the visible characteristics of ties. Finally, we advice that a better postmodernism. In this fragmented understanding of the underlying post- structure, consumers are required to modern consumption practices and post- create meaning from consumption ac- modern consumers can be used by tivities and all the consumption activi- marketers to obtain competitive advan- ties include socially situated codes, tages in an unstable, changeable and com- concepts and myths. plex and unstable marketplace. • It’s claimed that postmodern consumers are required to create their Conclusion identity through a collage of fragmen- tary images and authentic images cre- This paper explored the notion of con- ated by nostalgic accents. sumption in postmodernity as it affects • It’s considered that by the continu- postmodern cultural theory. First, it in- ously changing consumption practices vestigated the general views to postmod- and places, the consumer is not con- ern cultural theory at the level of ceptualized to be the centre of the consumption. Second, it explained an gen- postmodern cultural project. eral glance to comprehend the current • It’s believed that brand communities ‘postmodern’ consumer society. Third, it to be real, interactive, significant struc- related this framework to postmodern ture that allow people to identify them- consumption conceptualizations and par- selves in terms of brand’s values, ticularly the essential characteristics of rituals, consciousness, and traditions in postmodern consumption. consumer culture. In the light of above-mentioned theoretical context, postmodern impacts to consumption practices approach to consumption are shown as follows: 227 Notes age of addressability”, Harvard Business Re view , Fall, pp. 5-14.). 1 The subject of this article is taken from the writer’s thesis named as “Har- Brown, Stephen (1994). Marketing as ley-Davidson Case in the Development multiplex: Screening postmodernism, Process of Consumer Culture: “The European Journal of Marketing. Brad- Semiological Analysis of Harley- ford: 1994. Vol. 28, Iss. 8,9; pg. Davidson Printed Ads in 100 Years and 27-52 Harley Owners Group (H.O.G.)” Brown, Stephen (1995). Postmoder n which was presented in Marmara Marketing. Londra: Routledge. University, Institute Of Social Sciences Brown, Stephen (1999). Retro-market- in the year of 2005. ing: yesterday’s tomorrows, today! Mar- 2 In fact consumption has also macro keting Intelligence & Planning, 17/7, pp. socio-economic contents, clearly. For 363-376 example, our country’s economic well being is largely measured by how much Cova, B. (1997), “Community and we are consuming. If our spending Consumption. Towards A Definition slows too much, the economics be- Of The ‘Linking Value’ of Product of come alarmed. Services”, European Journal of Marketing, Vol. 31 No. 3/4, pp.297-316. Bibliography Cova, Bernard & Véronique Cova (2002). “Tribal Marketing: The Tribali- Barthes, Roland (1990). Çağdaş Söylen- sation of Society and Its Impact on the ler. Tr., Tahsin Yücel, İstanbul: Hür- Conduct of Marketing.” European Jour- riyet Vakfı Publications. nal of Marketing, Vol. 36, N. 5/6, 2002, Barthes, R. (1999). The Old Rhetoric in pp.595-620. The Semiotic Challenge, Tr., Richard Davis, F. (1979). A yearning for yesterday: Howard, New York: Hill&Wang. “A sociology of nostalgia.’’ London: Col- Baudrillard Jean. (2003), Simulakrlar ve lyer MacMillan. Simulasyon.Tr.,Oğuz Adanır, İstanbul: Debord, Guy (1996). Gösteri Toplumu. Doğu Batı Publications. Tr., A. Ekmekçi ve O.Taşkent. İstanbul: Baudrillard, Jean (2004). Tüketim To- Ayrıntı Publications. plumu. Tr., Hazal Deliçaylı ve Ferda Ke- Dittmar, H. (1992). The Social Psychology İ skin, stanbul: Ayrıntı Publications. of Material Possessions: ‘’To Have is to Be. Blattberg, R.C. and Deighton, J. (1991, Hemel Hempstead’’: Harvester “Interactive marketing: exploiting the Wheatheaf.

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230 Cultural and Cross-Culture Consumer Venkatesh, A. (1999). ‘Postmodern Perspecties Behavior”, İçinde: J.A.Costa ve G.J. Bo- for Macromarketing: An lnquiry Into the Global mossy. (Der), Marketing in a Multicultural Inf. & Sign Economy,’ Journal of Macromarketing, World. California: Sage Publications. Vol.19. No:12, December, pp. 153-155. Appendix 1: Research Figures

Fig. 1 Fig. 2 Fig. 3

Fig. 4 Fig. 5 231 232