Is there a new type of fashion photography that only functions on Instagram?Chapter V: How consumers interact with Instagram Fashion Photography and how this differs from normal fashion photography?
In order to consider whether there is a type of fashion photography that only functions on Instagram, it is pertinent to look into the behaviours of the individuals that are invested in Instagram, especially with online fashion brands.
Consumers behaviour: Instagram
Luis V Casaló et al, researched into understanding consumer behaviour responding to a brand’s official Instagram account, examining the consumers intentions to interact and their actual interaction behaviours. This interaction was measured through the number of ‘likes’, tapping the heart icon, and ‘comments’ the individual/consumer left on the Instagram accounts being inspected. In order to achieve this Casaló et al collected data from eight-hundred and eight members of a fashion brand’s official Instagram account, and this was examined in two sections. The first, participants were required to answer an online questionnaire, which helped evaluate the consumers perceptions of the fashion account, the satisfaction and their interaction intentions. The second section was examined a month later where the number of ‘likes’ and ‘comments’ carried out by each participant for the specific Instagram account was measured. This data was then analysed, and it was concluded that hedonism: the search for pleasure, affected both satisfaction and intentions to interact with Instagram which also impacted actual behaviour. It is argued that originality is relevant to content characteristics in developing hedonism, which creates a satisfactory experience. (Casaló, Flavián & Ibáñez-Sánchez, 2017). This is relevant, as it has highlighted that photographs need to be unique on Instagram for individuals to be interested and thus interact with the image, improving popularity. This is important, as conventional fashion photography, tends to go along with the same techniques. For example, harsh lighting in an urban setting, or a model posing in a studio with white backgrounds. This therefore supports the idea that there is a new type of fashion photography authored for Instagram that has to be unique in order to grab the attention of the user. It is clear that brands have been forced to change their photography style for the consumers of Instagram, in order to gain ‘likes’, therefore corresponding with the idea of IFP.
Consumer behaviour: Online
In comparison, traditional fashion photography relationship between consumer and photography is different than that of Instagram. McCormick and Livett researched how two elements, ‘product viewing’ and ‘fashion information online’, can influence consumers’ behaviours. This was explored with the collection of qualitative data during twelve in-depth interviews which included both photo-elicitation: utilising imagery to create conversation and data, and projective techniques: allowing individuals to project their opinions onto others. This analysis was devised to determine how cues are likely to affect consumers interaction and influence on their shopping behaviours. It was discovered that the two elements investigated (‘product viewing’ and ‘fashion information online’), formed different experiences for the consumer. With product viewing, this allowed the consumer to personalise how they interacted with the clothing, stimulating a utilitarian effect: a moral theory that one action can be right or wrong depending on its outcome. The second area analysed was ‘aesthetic fashion information’, which was driven by the retailer giving advice and information about the clothing. This stimulated a hedonic effect: the idea that, after a positive/negative event the emotion reciprocates. It was concluded that fashion must combine hedonic entertainment with practical utilitarianism to create a satisfying experience. (McCormick & Livett, 2012). Although this experiment is not entirely relevant in deciding if there is a type of fashion photography that only functions on Instagram, it is crucial when comparing consumer interactions with both Instagram fashion and normal fashion. This experiment highlights the idea that individuals who actively look at fashion online, are seeking to view fashion. Therefore, they have a utilitarian attitude towards the clothes, a direct ‘yes’ or ‘no’ to the images in front of them, allowing them to create a positive or negative feeling towards the fashion brand itself.
To summarise, it is apparent that fashion photography online attracts a certain type of individual. Ultimately, a person who seeks a purpose with the clothes, instantly decides ‘yes’ or ‘no’ on whether they like the clothing, regardless of the image aesthetic. Whereas, with Instagram, individuals view the clothing without an intention to buying but with admiration for the clothes, brand and Instagram account. This signifies that fashion on Instagram, must be eye-catching and unique to gain publicity, whereas traditional fashion photography is there to present and sell the clothes. This further accentuates the possible existence of IFP.