Perceived Authenticity through Short Video: Audience Perceptions of Emerging Independent Fashion Designers Self-Presentations
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
The prevalence of We-Media short videos has attracted emerging independent fashion designers (EIFD), a new force in the fashion industry directing their brand promotion to We-Media for amassing online followers. However, compared to famous content generators, EIFDs' creative, design-based visual appeal has not provided them with the significant edge. The former’s success is admittedly supported by the platform backstage algorithm. Yet, the content is the cornerstone for building relationship between the sender and the reception. The authentic perception of the content is one of the basic appeals for which the audience chooses to follow the source. Therefore, with the EIFD short video as the research content, this study is established from the audience's perspective to understand the different dimensions of their authentic perceptions of EIFDs short video. The study was conducted mainly in the form of the Q method. The collection of 52 Q samples were realized through the Focus Group Interview and literature review on multidimensional authenticity. Thirty-six subjects participated in the sorting of the Q-sets. Finally, four dimensions of audience authenticity perceptions of EIFDs were derived: ‘ingenuity’, ‘relevant’, ‘transparent’, and ‘experiential’. The corresponding short video content design strategies are suggested for effective communication of EIFDs and their personal brands.
Abstract
The prevalence of We-Media short videos has attracted emerging independent fashion designers (EIFD), a new force in the fashion industry directing their brand promotion to We-Media for amassing online followers. However, compared to famous content generators, EIFDs' creative, design-based visual appeal has not provided them with the significant edge. The former’s success is admittedly supported by the platform backstage algorithm. Yet, the content is the cornerstone for building relationship between the sender and the reception. The authentic perception of the content is one of the basic appeals for which the audience chooses to follow the source. Therefore, with the EIFD short video as the research content, this study is established from the audience's perspective to understand the different dimensions of their authentic perceptions of EIFDs short video. The study was conducted mainly in the form of the Q method. The collection of 52 Q samples were realized through the Focus Group Interview and literature review on multidimensional authenticity. Thirty-six subjects participated in the sorting of the Q-sets. Finally, four dimensions of audience authenticity perceptions of EIFDs were derived: ‘ingenuity’, ‘relevant’, ‘transparent’, and ‘experiential’. The corresponding short video content design strategies are suggested for effective communication of EIFDs and their personal brands.
참고문헌 (55)
- "We Media" (2003)[URL]
- 요가혜, "Research on ‘We Media’ Use Motivation of Emerging Independent Fashion Designer - focused on Fashion Designers from Shanghai China-", 기초조형학연구, 21(6), pp.323~337 (2020), 한국기초조형학회[DOI]
- The 47th China Statistical Report on Internet Development, "China Internet Information Center", ~ (2021)
- K. Cotter, "Playing the visibility game : How digital influencers and algorithms negotiate influence on Instagram", New Media & Society, 21(4), pp.895~913 (2018)[DOI]
- B. Duffy, ""Having it All"on Social Media : Entrepreneurial Femininity and Self-Branding Among Fashion Bloggers", Social Media + Society, 1(2) (2015)
- "Westbund x iziRetail., Chinese designer brand white paper", Ontimeshow, ~ (2019)
- "Can the new style of fashion commentary with growing voice break the ice?" (2021)[URL]
- A. Audrezet, "Authenticity under threat : When social media influencers need to go beyond self-presentation", Journal of Business Research, 117, pp.557~569 (2020)[DOI]
- S. Mudambi, "What makes a helpful review? a study of customer reviews on amazon. com", MIS Quarterly, 34(1), pp.185~200
- D. Ashton, "The New Normal of Working Lives" (2018)
- 김우빈, "SNS 패션 인플루언서 진정성이 팔로워 행동의도에 미치는 영향-팬쉽의 매개효과를 중심으로-", 한국의류학회지, 43(1), pp.17~32 (2019), 한국의류학회[DOI]
- M. Beverland, "The Quest for Authenticity in Consumption : Consumers’ Purposive Choice of Authentic Cues to Shape Experienced Outcomes", Journal of Consumer Research, 36(5), pp.838~856 (2010)[DOI]
- A. Marwick, "“They’re really profound women, they’re entrepreneurs”. Conceptions of authenticity in fashion blogging", 7th international AIII conference on weblogs and social media (ICWSM) (2013)
- A. Marwick, "Instafame : Luxury Selfies in the Attention Economy", Public Culture, 27(175), pp.137~160 (2015)[DOI]
- J. Ah. Lee, "What Makes Social Media Influencers Authentic? Understanding Perceived Authenticity of Social Media Influencers", Ph.D., pp.2020
- S. Cunningham, "Being ‘really real’ on YouTube : authenticity, community and brand culture in social media entertainment", Media International Australia, 164(1) (2017)
- M. Dekavalla, "Gaining trust : the articulation of transparency by You Tube fashion and beauty content creators", Media, Culture & Society, 42(1), pp.75~92 (2019)[DOI]
- P. Maares, "The labour of visual authenticity on social media : Exploring producers’ and audiences’ perceptions on Instagram", Poetics, 84, pp.101502~ (2021)
- Annual report on the development of new media in China No.11, "H. Yu", ~ (2021)
- G. Newman, "Kinds of Authenticity", Philosophy Compass, 11(10), pp.609~618 (2016)[DOI]
- "How short should short videos be? Three major platforms set off a battle for definition" (2017)[URL]
- J. Dijck, "The Culture of Connectivity: A Critical History of Social Media", pp.5~6 (2021), China Renmin University Press (CRUP),
- H. Zhou, "Can Xiao Hong Shu, which prohibits showing off wealth, remain popular?", LADYMAX, ~ (2021)
- "What's the recent situation of designer brands and buyers in the aftermath of the epidemic?"[URL]
- D. Zhang, "Research on Online Channel Selection and Marketing of Independent Fashion Designer's Brand", M.S., pp.2018
- D. Dutton, "The Oxford Handbook of Aesthetics", pp.258~274 (2005), Oxford University Press
- D. Grazian, "Handbook of Cultural Sociology" (2010), Routledge
- K. Grayson, "Consumer Perceptions of Iconicity and Indexicality and Their Influence on Assessments of Authentic Market Offerings", Journal of Consumer Research, 31(2), pp.296~312 (2004)[DOI]
- N. Wang, "Rethinking authenticity in tourism experience", Annals of Tourism Research, 26(2), pp.349~370 (1999)[DOI]
- J. Kolko, "Thoughts on Interaction Design", pp.65~71 (2011), Elsevier
- M. Beverland, "Projecting Authenticity Through Advertising : Consumer Judgments of Advertisers' Claims", Journal of Advertising, 37(1), pp.5~15 (2008)[DOI]
- G. Fine, "Crafting Authenticity : The Validation of Identity in Self-Taught Art", Theory and Society, 32(2), pp.153~180 (2003)
- E. Goffman, "The presentation of self in everyday life", pp.19~ (2020), PEKING UNIVERSITY PRESS
- "It's time for domestic independent designers to transform Maggie Ma finds a new retail way" (2020)[URL]
- N. Baym, "Personal Connections in the Digital Age", pp.121~ (2021), China Renmin University Press
- E. Ryu, "Social Media Influencer’s Reputation : Developing and Validating a Multidimensional Scale", Sustainability, 13(2), pp.631~ (2021)
- D. Craig, "Wanghong as social media entertainment in China", pp.141~156 (2021), Palgrave macmillan
- A. Guèvremont, "Creating and interpreting brand authenticity : The case of a young brand", Journal of Consumer Behaviour, 17(6), pp.505~518
- Shayan Fouladi, "Determining the factors affecting brand authenticity of startups in social media", Qualitative Market Research: An International Journal, 24(3), pp.396~419 (2021), Emerald[DOI]
- J. Reade, "Keeping it raw on the ‘gram : Authenticity, relatability and digital intimacy in fitness cultures on Instagram", New Media & Society, 23(3), pp.535~553 (2020)[DOI]
- R. Berryman, "Crying on YouTube : vlogs, self-exposure and the productivity of negative affect", Convergence : The International Journal of Research into New Media Technologies, 24(1), pp.85~98 (2018)[DOI]
- J. Moulard, "What Makes a Human Brand Authentic? Identifying the Antecedents of Celebrity Authenticity", Psychology & Marketing, 32(2), pp.173~186 (2015)[DOI]
- Y. Argyris, "The effects of the visual presentation of an Influencer's Extroversion on perceived credibility and purchase intentions—moderated by personality matching with the audience", Journal of Retailing and Consumer Services, 59, pp.102347~ (2021)
- A. Dias, "The Role of Brand Authenticity on Social Media for Fashion E-Tailers", M.A., pp.2019
- "Ken-Q Analysis" (2018)[URL]
- A. Zabala, "When and how to use Q methodology to understand perspectives in conservation research", Conservation Biology, 32(5), pp.1185~1194 (2018)[DOI]
- S. Brown, "Political Subjectivity: Applications of Q Methodology in Political Science", pp.192~ (1980), Yale University Press
- T. Du Plessis, "A theoretical framework of corporate online communication : a marketing public relations(MPR)perspective", Ph. D., pp.2005
- S. William, "The study of behavior; Q-technique and its methodology", pp.73~ (1953), University of Chicago Press
- J. Gong, "Quantitative analysis of qualitative problems : Q method implementation discourse", Industrial safety, 8, pp.89~92 (2017)
- S. Brown, "The SAGE encyclopedia of social science research methods, vol. 3", pp.887~888 (2004)
- D. Hu, "What is the struggle of the fashion influencer industry?", Vogue Business, ~ (2021)
- M. Lazzarato, "Radical thought in Italy: A potential politics", pp.133~147 (1996)
- J. Walther, "Relational Communication in Computer-Mediated Interaction", Human Communication Research, 19(1), pp.50~88 (1992)[DOI]
- 이주희, "1인 미디어 이용자들의 라이브 스트리밍 방송 시청 동기 및 사용자 반응에 관한 연구 후기 수용 모델(PAM)을 중심으로", 한국광고홍보학보, 20(2), pp.178~215 (2018), 한국광고홍보학회[DOI]