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"One of the main differences between then and now is that today, we live in a consumerist society and an era of hyperindividualism. Audiences are addressed as ‘consumers’ and they themselves are brands." (Farmiloe, 2023)
Fashion is no longer solely about utility or aesthetics—it is increasingly about identity. In a culture shaped by fast capitalism and social media, fashion brands have appropriated the symbolism of subcultures to construct commodified, market-friendly narratives. This trend has contributed to the erosion of authenticity in fashion and the dilution of subcultural expression. As Hebdige(1979) argues, street style has historically been a powerful form of self-expression and resistance. However, in the current digital landscape, these styles are often recontextualized as microtrends which are stripped of any ideological substance and sold back to consumers as ready-made identities.
This research is justified by the increasing tension between authentic cultural expression and its commodification in a brand-saturated marketplace. As Banet-Weiser (2012) highlights, branding today is less about selling a product and more about selling an experience or identity. Brands’ reliance on subcultural aesthetics for profit raises concerns around cultural dilution and identity manipulation (Hebdige, 1979). At the same time, consumer resistance is growing in the form of slow fashion and anti-brand sentiments, necessitating a critical review of how identity is constructed, deconstructed, and resold in contemporary fashion.
To critically examine the commodification of identity in fashion branding and how this affects subcultural authenticity and anti-consumerist fashion today.
Objectives:
• Identify how fashion brands commercialise subcultures through digital media.
• Explore the impact of social media aesthetics on the erosion of subcultural identity.
• Assess how consumers perceive brand-driven subcultural narratives.
• Examine consumer interest in anti-brand and slow fashion movements.
• Investigate whether fashion can exist authentically outside of commercial branding frameworks.
"Youth cultural styles may begin by issuing symbolic challenges, but they must inevitably end by establishing new sets of conventions; by creating new commodities, new industries or rejuvenating old ones" (Hebdige, 1979)
The relationship between fashion and identity has long been explored in cultural studies. Davis (1992) asserts that fashion is a communicative system used to articulate shifting identities and negotiate social belonging. This semiotic function of fashion allows wearers to send messages about their social, political, and cultural affiliations. However, as Hebdige (1997) notes, fashion is not simply clothing—it is a cultural phenomenon shaped by institutions, media, and economic systems. Thus, identity in fashion is both personal and institutional, emerging within broader structures of power and commerce.
Subcultures historically used fashion as a form of resistance, distinguishing themselves from the mainstream through distinctive dress, music, and ideology (Crane, 2000). Punk, goth, hip-hop, and grunge are examples of style-based subcultures that emerged with specific socio-political
motivations and anti-consumerist sentiments. According to Craik (2009), these subcultures constructed “symbolic boundaries” through clothing choices, positioning themselves against dominant fashion systems.
However, these expressions of resistance have increasingly been appropriated by fashion brands. Arvidsson (2006) discusses how brands mine cultural materials to generate symbolic value, effectively neutralising the radical origins of subcultural styles. This process transforms anti-mainstream expressions into profitable commodities devoid of their original meaning.
In today’s fashion landscape, brands no longer just sell products—they sell identities. Banet-Weiser (2012) argues that authenticity itself has become a branding strategy. Fashion brands construct emotionally resonant narratives and offer curated lifestyles that appeal to consumers’ desire for 9.
individuality and belonging. This shift marks the emergence of “brand culture,” where identity is a consumable experience mediated through marketing and digital culture.
Moore and Birtwistle (2004) provide a clear example through their study of Burberry’s transformation. Once a symbol of British tradition, Burberry rebranded itself by appropriating street "Chav" aesthetics, aligning with the youth to re-enter relevance after ditching the iconic check print. This deliberate co-option of subcultural identity illustrates how branding strategies appropriate cultural symbols for economic gain.
Social media has accelerated the commodification of identity by fostering fast-moving, aesthetic-centered micro-trends. Trends such as “blokette-core,” “clean girl,” “mob wife aesthetic,” and “office siren” dominate TikTok and Instagram, promoting highly visual lifestyles rather than coherent ideologies. As highlighted by Vogue Business (2025), micro-trends are rapidly
giving way to “vibes”—fluid, consumable, and fleeting identities that align neatly with marketing goals.
Kaiser (2012) describes this as a form of “aesthetic labor,” where individuals are encouraged to visually perform identity through self-curated digital content. Yet, these performances are often shaped by brand influence and algorithmic visibility, limiting their authenticity. The result is a homogenised culture of visual sameness masquerading as diversity.
Even sustainability and anti-consumerist ideologies are being co-opted by brands. Brydges and Hanlon (2020) critique how sustainability has been commodified, arguing that conscious consumption is often marketed without meaningful systemic change. Brands use language, imagery, and influencer partnerships to promote a façade of ethical fashion while continuing exploitative practices.
This greenwashing parallels the commodification of subcultural authenticity. Brands appropriate not just the look of subcultures but also their values —repackaging rebellion, individuality, and anti-establishment ideals into curated campaigns. As Tseëlon (2001) argues, marketing has the power to neutralise meaning, creating sanitised versions of complex cultural phenomena.
For this research, I will adopt a qualitative approach to explore how fashion consumers perceive and respond to the commodification of identity through branding. A qualitative methodology is best suited to investigate social meaning, personal narratives, and cultural interpretation (Creswell, 2007), all of which are central to understanding subcultural fashion and self-expression.
I will use ethnographic strategy, combining both offline and online research tools to study how branded fashion identities are shaped, communicated, and internalised. A key component of this strategy is netnography, which I will use to observe and analyse digital communities and content on platforms such as TikTok, Instagram, and Pinterest. These platforms are central to the rise of aesthetic-driven micro-trends and offer insight into how identity is visually performed, consumed, and shaped by brands and algorithms.
In addition to online observation, I will conduct one-on-one interviews and carry out focus groups with fashion consumers that align themselves with a community/ culture. These will help me understand how participants connect with subcultural style, interpret branded content, and navigate ideas of authenticity in their personal fashion choices.
To analyse the qualitative data, I will use thematic analysis (Braun and Clarke, 2006) to identify recurring patterns, tensions, and emerging narratives. I will also pay close attention to semiotic elements—including language, visuals, and symbols—that contribute to the construction of branded identity narratives (De Saussure, 1966). This methodology will be used to inform a creative output.
Rawat, K. (2025) 'CTRL+ALT Tactical plan.' Nottingham Trent University, Nottingham
SGen Z and younger millennials place high value on authenticity, individuality, and ethical consumption. However, their modes of expression are heavily influenced by online culture and branding, creating a tension between genuine identity exploration and curated self-presentation.
TBrands now build identities through interactive digital campaigns, influencer partnerships, and curated narratives, which blend seamlessly into consumers’ online experiences.
EWhile slow fashion aligns with anti-consumerist ethics, it often comes with a higher price point, making it less accessible economically. This creates a tension between ideological alignment and accessibility.
Many brands use environmental narratives as part of their identity without backing them up with meaningful change, contributing to greenwashing.
PEDiscussions around identity politics and cultural ownership influence how subcultures are represented in fashion. Brands that misrepresent or exploit cultural identity could face public and political backlash.
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