Networks Course blog for INFO 2040/CS 2850/Econ 2040/SOC 2090 (2024)

How Diffusion Influences the World of Fashion

“Fashion is ‘not just in clothing, but in all spheres’ of life.” – Georg Simmel

Introduction to Diffusion in Fashion

As referenced by Atik and Firat, scholars have long recognized fashion as a phenomenon affecting many aspects of our lives. What is more interesting, is the process of diffusion within fashion that impacts the behaviours of clothing brands around the world. Diffusion in the world of fashion has existed for the past few decades, and the role that it plays has amassed an immeasurable impact within the industry at large. Therefore, the portrayal of diffusion in fashion made by Atik and Firat is defined as “the process of social diffusion by which a new style (of fashion clothing) is adopted by some group(s) of consumers”, where this process of diffusion has transformed into a principle of the marketing institution.

The study of diffusion, in general, explores the individual decision-making that leads people to become similar to their neighbours. Given that an individual’s interactions with the rest of the world happen at a local, rather than a global, level — they often don’t care as much about the full population’s decisions as about the decisions made by friends and colleagues. To further dive into this concept, the course textbook highlights the developed principles of diffusion that show how, “at an aggregate population level, becoming similar to one’s neighbours can arise from the behaviour of individuals who are seeking to maximize their utility in given situations.” These principles of diffusion are particularly imperative to the fashion industry, as “trends” are major phenomena that brands tap into in order to generate consistent traction as well as revenue in their audiences. To apply this macro concept to the fashion industry, Atik and Firat define the three main theories of fashion trend diffusion: trickle-up, trickle-down, and trickle across.

Fashion Diffusion Theories Over the Years

First introduced by Paul Blumberg in 1970, the trickle-up theory implying “an upward flow of innovative influence from lower to higher status levels, a process which he calls the Status Float phenomenon”. Examples of this through history can be seen through Afro-American culture spreading in American society through music (jazz, blues), fashion (print fabrics and hairstyles) as well as dance. The theory argues that the dominant majority has always borrowed cultural artifacts from the minorities, no matter the status. The same idea can be applied to the fashion industry. With the rise of young internet influencers, the industry is seeing more economical options for individual style expressions – with one of the biggest ones being thrifting. Shopping for and wearing second-hand pieces have started with consumers in a lower-class due to their decreased disposable income, and has slowly trickled its way up as a trend for those in the higher-class as well.

The trickle-down theory was developed a century ago from a sociological perspective when Simmel “observed that new fashions transferred from the upper social classes (leisure) to the lower ones (industrial).” The theory is built to highlight class differences and fashion as a tool to differentiate themselves from the industrial class. It was assumed that leisure classes present a new style, which later comes into vogue for the lower classes to copy or “trickle-down”, therefore challenging upper classes to find new styles and create space again. This theory can also be evidenced through contemporary examples, as Luxury and Haute Couture brands often set future trends through runway shows and fast fashion brands follow through with unbranded pieces with vaguely similar silhouettes to appeal to a lower-income demographic.

The last theory is trickle across – a notion that the adoption of a particular fashion will spread horizontally within several socioeconomic classes at the same time. Collective taste served as the motivation behind this theory and as exemplified in the twentieth century, mass production together with mass communication makes fashion available to all of the socioeconomic classes. For fashion lovers like myself, shop windows function as validation of all else that is observed. If an item is in the shop window, then it must be ‘fashionable’. Shop windows that are on the ‘hottest’ and upscale shopping streets and centres are especially powerful in communicating to fashion-seeking consumers; those who desire to be ‘in fashion’ and like to participate in high fashion. These consumers’ desire not to miss out is a strong motivator.

Personal Remarks & Conclusion

Through the lens of Atik and Firat, I was able to see that “each constituent (including the consumer) of the marketing institution gets its clues from the other entities” as to what is up and coming in the fashion world. The standardized diffusion theories on fashion are clearly applicable and rational before the pandemic; however, I can’t help but wonder how the changes in our daily lives have shifted or completely changed those ideologies.

With regards to the trickle-down theory, for example, many Haute Couture and luxury brands such as Gucci, Saint Laurent, Off-White, among others, are forgoing their runway shows and Pre-Season showcases in favour of exclusive catalogues and digital displays instead. Through this action, they are removing the interactivity and intimate connectivity with the brand from fashion influencers. The result could reduce the admiration of lower-class consumers due to the lack of exclusivity and covetedness which leads to fast-fashion and economy brands not replicate new styles released. Additionally, it could increase the creativity of bottom-tiered fashion companies such as Zara, H&M, and ASOS to create their own designs for inspiring high-end brands to adopt. This could result in a reversal of roles within the chart such that the original trickle-down effect could be instead transformed to be a trickle-up effect, where fashion trends start with the young or lower-income groups.

Paradigms of this phenomenon can already be seen through TikTokers creating their own personal designs and brands. #CottageCore has been trending since the beginning of Summer 2020, and TikTok creators have been dreaming of a life in the countryside with long flowy dresses, flowers in their hair and floral prints galore. With over 3.4 billion creations to date, creators are showing their viewers how to make cute dresses to how to style #cottagecorefashion. As a result, higher-ended brands are following suit, with the french brand Jacquemus featuring in their newest collection signature straw hats, girly peplum dresses, whimsical childlike gingham, and baskets to match which carried seasonal vegetables. The collection offered an escape back to the farm-life that the designer knew growing up, and for everyone else, offered an idyllic image of life without the hustle and bustle of the city that is normally associated with fashion shows. The same patterns and themes could be seen in Dior, Louis Vuitton, andCollina Strada as well.

To conclude, when the pandemic is over, I would also be interested to monitor the elasticity of the industry by observing how the altered diffusion theories may or may not continue with the changes established throughout the pandemic period.

Citation: Deniz Atik & A. Fuat Fırat(2013)Fashion creation and diffusion: The institution of marketing,Journal of Marketing Management,29:7-8,836-860,DOI:10.1080/0267257X.2012.729073

Comments

Leave a Reply