Getting Unserious

Mahsa Bayat

MA-Fashion Communications

Getting Unserious Wordcount: 9732

Incorporation of visual humor and gimmicks in luxury fashion and the impact they have on audience perception and brand images.

Abstract Abstract: In the era marked by digital transformation and evolving consumer behaviors, going viral and catching the audience’s short attention span reshaped the marketing strategies employed by fashion brands. This research explores how luxury fashion brands use humor visually as a gimmick in their Instagram advertising campaigns to influence audience perception and catch their eyes by delving into the impact of humor, digital culture, and visual advertising on the luxury fashion industry.

The study’s objectives include reviewing the theoretical framework around the underlying themes, examining how luxury brands use humor, understanding audience reactions, analyzing humor’s impact on brand image, identifying success factors and ethical considerations, and providing practical recommendations.

Based on analyzing two specific luxury brands chosen, Gucci and Balenciaga, the findings highlight that humor in luxury fashion campaigns is perceived through elements like irony and playfulness. Gucci is praised for successfully blending luxury with everyday scenarios and trying to break the out-of-reach face of this heritage luxury house. At the same time, Balenciaga’s approach generates mixed opinions, emphasizing that ethical boundaries are crucial when using humor, and brand perceptions vary among every individual.

Humor is recognized as a tool for forming emotional connections with consumers, especially the younger demographic. However, concerns about potential controversies in brand campaigns underline the importance of societal norms and ethics. Reactions to humor in marketing remain subjective, emphasizing the multifaceted nature of humor’s role. When thoughtfully applied, humor can enhance brand identity, engage audiences, and shape brand perceptions by making the brands more relatable and act as an escapist actor for the audience.

Acknowledgment

I wanna thank me for doing all this hard work.

I would like to express my gratitude to my supervisor, Rose Davison, my fantastic principal lecturer, Pinky Bazaz, and all of the FMMC board members for their invaluable support throughout this research journey. I’m also grateful for the constant support and strength from my loved ones back in my home country during this challenging year.

Lastly, to all who see humor as a way to cope with reality...

TABLE OF CONTENT

1 2

Introduction Intreoducton

8

Aim

10

Objectives

12

Theoretical Framework

14

Liturature Review 2.1 Humor and Fashion

18

2.2 Fashion landscape in the era of virality

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2.3 Audience Perception and 32 Humorous Advertisements 2.4 Luxury fashion visual advertisements

3

36

Methodology 3.1 Philosophical Worldview

44

3.2 Strategy of Inquiry

46

3.3 Research Methods

48

3.4 Reflections

54

4 5 6

Primary Data Analysis 4.1 Findings

58

4.2 Discussion and analysis

72

Conclusion 5.1 Recommendations

82

5.2)Limitations and further research suggestions

86

References 6.1 Figures

90

6.2 Reference list

92

6.3 Bibliography

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Intro --- duction Fig.01

The intersection of humor, digital culture, and marketing has become increasingly relatable in the ever-evolving digital landscape. Taking that into consideration, incorporating humor as gimmicks and turning fashion into viral memes has emerged as a noticeable trend, shaping the aesthetics, messaging, and engagement strategies many luxury fashion brands employ. Also, Visual culture was sparked by the nature of global capitalism, which influenced people to consume not by looking at the function but by the meaning behind a product. Such behavior keeps developing as time passes, supported by technological advancement. Consequently, the fusion of fashion with humor, shock value, and internet culture references has created buzz and caught the attention of audiences around the globe. This raises the question of how exactly these elements impact the fashion industry and its audience’s perception.

The literature review is going to provide hindsight of fashion and humor connections over time by using the incongruity theory of humor (Schopenhauer,1818) as a framework alongside having an overview of the theory of gimmicks (Ngai, 2020) in the context of digital culture as well as delving into visual advertising, and touch upon how they are being utilized in Luxury fashion advertisements to engage with the audience by exploring the luxury fashion characteristics, its evolving Landscape and target audience.

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Fig.02

10

Aim

This research aims to investigate how luxury brands' use of humor -in the form of visual gags and gimmicks- in their Instagram campaigns influences the perception of their audience and their brand image. It seeks to understand the connection between humor, internet culture, and marketing strategies in the luxury fashion industry (by overviewing the existing literature) and exploring the audience's perception (by using qualitative primary data collection). The research focuses on how humor embedded within internet culture impacts the way luxury brands communicate and are perceived through social media since it is one of the most powerful communication channels between brands and their target audiences.

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To evaluate the influence of humor on the overall brand image of luxury: Another critical objective includes a detailed analysis of how humor, particularly shown through visual gags on social media, shapes the overall image and reputation of luxury fashion brands.

To offe r pract ical rec brands ommen on how dations audienc to effe to luxu ctively e enga ry fash use hu gemen ion mor to t and b The final r e a objective n n h d ance image: recommen revolves around th dations w ill e

engageme

practical, nt and refi guide luxury fashio industry-r n brands ne brand im elevant r in applyin age. ecommen g humor e dations. ffectively These to enhanc e audienc e

To iden tify the s humor through uccess assoc iated w brand c visual ith the gags a ampaig nd gim ns and use of such st micks the pot rategie ential c in luxu s in the ry h a d l l e i In additio g n ital era g e s n, identify o f : using ing the ke brand cam y factor paig

To review and analyze current theoretical frameworks related to humor and gimmicks in marketing, particularly within the luxury fashion history and the digital culture context: The first objective includes a detailed exploration of existing theories concerning humor in marketing in relation to aesthetics and semiotics. Aiming specifically to discover insights related to the evolution of humor in fashion in the context of digital culture.

strategies in

To investigate how luxury fashion brands use visual humor and gimmicks in their Instagram campaigns:

Through these objectives, this research intends to add valuable insights to the luxury fashion brand communication sector.

The second objective is to look at how leading luxury fashion brands incorporate humor, mainly through imagery, into their Instagram marketing strategies.

To understand how individuals interpret and engage with the use of visual humor and gimmicks in luxury brand campaigns: The next objective focuses on understanding how individuals perceive and interact with humor when it comes to fashion campaign images.

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s contribu ns while also addr ting to the essing eth today’s dig efficacy of ical conce ital discou humor-b rns assoc rse is wha iated with ased strategies in lu t this obje ctive inclu xury their appli des. cation of those

Fig.03

Objectives 13

Roland Barthes

Incongruity Theory of humor

Aesthetic theory Sianne Ngai

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theoretical

--- framework

Theory of the Gimmick

Semiotic Theory Sigmond Frued Arthur Schopenhauer

Theodor W. Adorno

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15

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Litreture --- review

17 16

Fig.04

2.1 Humor and Fashion: A historical perspective Fig.05

Humor is one of the most well-known communication strategies employed in advertising (Alden et al. 2000).

Despite the lack of detailed examinations, there have been significant links between the concept of humor and fashion throughout the time. Just like all, these intersections reflect the influence of cultural trends and societal shifts on clothing styles and trends (Steele, 2018), Meaning They are strongly influenced by the established values, conventions, and attitudes of a specific time and place rather than existing in isolation.

Basically, fashion serves as a dual-purpose mirror: it reflects the dynamics of culture and society while also responding to and sometimes even pushing back against the main influences of the moment. This connection between fashion and its cultural context also holds important associations for humor within fashion. Just as fashion itself is a reflection and response to societal shifts, humor can both mirror and comment on these same cultural undercurrents as an assistant.

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Looking back through history, two important movements in the 20th century, surrealism and punk, have had strong connections to theories of humor in their roots. According to Fijalkowski and Richardson (2016), the history of the surrealist movement is the history of testing the concept of revolution. On the other hand, punk rejects the fashionable and the attractive. As a result, it creates work that is decidedly anti-artistic and turns the normal dynamic between creators and audiences on its head (Gosselin, 2016).

Accordingly, the common point of both of these two movements lies in revolution and rebellion. They both intend to challenge the usual norms and bring a rebellious spirit into the typically glamorized fashion scene by using juxtaposition. The core concept driving this engagement is rooted in the Incongruity Theory of Humor, which suggests that humor arises from the unexpected and unconventional (Schopenhauer,1818).

To comprehensively understand the role of humor in the context of fashion, it is essential to explore the concept of incongruity, which offers a valuable theoretical framework.

As discussed and developed by Schopenhauer(1818) and Freud(1905), The sudden and unexpected juxtaposition of these incongruous elements generates a cognitive shift, leading to laughter and amusement. According to this notion, individuals find something amusing when it violates their expectations, challenging their mental schemas or established understanding patterns. The experience of incongruity creates a cognitive tension that is resolved through laughter, offering a pleasurable release, displayed in various forms of communication, including linguistic, visual, or conceptual gaps (Antinus Nijholt, 2015). This review will briefly delve into the existing literature on how humor evolved into a crucial aspect of the modern fashion landscape and how it is being employed in luxury fashion advertisements in the context of digital culture.

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Surrealism Fig.06

The Surrealist movement itself, as an artistic response to the chaos and disillusionment of the post-World War I era(Myron, Balakian 1961), embraced humor as a means of challenging societal norms and conveying unconventional ideas. This perspective is explained by Ades et al. (2015), where they delve into the movement’s ideology and artistic contributions. Surrealism, which essentially decodes as ‘beyond reality,’ followed in the footsteps of the Dadaist at and th s r a e movement (Rubin,1968). According to app ting ession cape the exis r’ r p e r Kertakova (2019), Surrealism’s goal was l ‘humo y to es cultura to liberate the human mind from the socio- a kind of wa ). Surrealist logical il 19 re oppressive boundaries of rationalism, they a Kertakova,20 icated on causal ( d e e t y r a t l i p l o a i e v s and It was strongly influenced by the r t gly such a rs tha cordin is ac nd behavio 81). Things psychoanalytical writings of Sigmund a , non y ,19 t l s i l t e u n r w e g k v e Freud (1905). In relation to the reflection nd Stoc ncon tions, a e ning ( positions, i a o s u t a i e s r d of the societal events, this movement juxta at thes r absur bizarre , irrational o e - that is wh their was completely in line with the massively s rs t in sequitu ns of nonsen nd represen spread great depression in the 1930s – ea sio expres ed to explor or which once again proves that imaginative v n hum e e sts lo i t w t r e a movements always show in a time when tion b remendously c e . n k n r o o t c w he g the n was n o i i ring t d h u r s a d a F i l , l Reg realism a Schiapare ) notes that r u S d an

by Els Pass (2011 ntribution d e t c a t co 40s. imp nd 19 st significan humor and a s 0 3 19 li’s mo may be her hiaparelli’s l e r a p a Schi shion e n. Sc ern Fa rd in desig designs wer d o m u to s e e. b d the a he tim nt-gar use of nt and ava s jokes at t ativity a ga re extrava y written off e of peak c uirky, q tim ntl freque he 1930s, a zed with the ravely t b z u During her studio b n the n and e v e d , o for her ginative, an ntional visi otions a e n v the im Her uncon h against the er to h . ac absurd rmist appro eautiful’ led ments. o b f ‘ e noncon onable’ and king achiev hamp uc ea hi of ‘fas s groundbr iends with D reatly g r u f o numer 010) She was rtists, which es, she a ,2 nc (Evans e Surrealist certain insta mple, a m in For ex rked . and so d her work; m e h wo ce th t influen laborated wi lvador Dali ss.” l o Sa er Dre t s d b n o a L even c “ h 7, she iconic pproac in 193 to create the list design a e first th ea er togeth ult, the surr iaparelli was . es ch As a r ed by Elsa S shion history c fa introdu s attempt in u o 21 humor Fig.07

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Punk

Fig.09

Fig.08

Directly following the surrealism era, the highly recognizable ‘punk’ youth subculture emerged, encompassing diverse ideologies, including fashion, art, literature, and film (Sklar, 2018). In the realm of fashion, these styles significantly built upon and expanded the techniques laid out by surrealist design. The subculture originated in the United Kingdom during the economically and sociopolitically challenging mid-1970s, coinciding with Margaret Thatcher’s governance(Hanscomb 2020). Humor played a pivotal role within this movement as a means of challenging and ridiculing the established political order while also serving as a form of liberation and creative expression. Consequently, as Bestley (2013) comments, the humor aligned with punk culture is predominantly satirical and infused with a comical essence.

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Fig.10

Fig.11

In addition, taking into consideration that fashion is a form of art (Steele, 2013), Adorno’s(1970) critical approach to aesthetics and his emphasis on challenging established norms align with some aspects of the punk nonconformist philosophy, which could be used as another framework in relations to humor. While Adorno’s (1970) theories were more abstract and philosophical, the punk movement in fashion brought these principles to life by embracing an unconventional style of dress and self-expression. Vivienne Westwood often stands out as a key figure associated with this movement. While acknowledging the broader sociopolitical factors contributing to its emergence, Westwood is a prominent name in the industry and effectively commodified the punk movement’s energy, aesthetic, and ethos, an ironic twist, considering that ‘anti-consumerism’ was a fundamental tenet of punk ideology. (Bestley,2013) Punk, in essence, can be considered the driving force that ushered humor into fashion. Subsequent fashion trends of the eighties, embodied by designers like Rei Kawakubo for Comme des Garçons, embraced and integrated the aesthetics and humorous characteristics pioneered by Punk. The ensuing sections of this discourse will delve into these connections and developments in greater detail.

Fig.12

Fig.13

Fig.14

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2.2 Fashion

landscape in the era o fv

irality

Fig.15

Due to the emergence of social media, there has been a significant change in the modern fashion industry; as highlighted

by Berger and Milkman (2013), social media have become powerful catalysts for content virality. Social media's instant sharing and engagement mechanisms align with the audience's desire for instant gratification (Kuss and Griffiths, 2011). This has driven fashion brands to employ attention-grabbing gimmicks and viral marketing strategies to capture users' short-lived attention spans. The use of gimmicks is one of these methods.

Ngai(2020) defines the gimmick as a unique and attention-grabbing technique or device that both attracts and offends.

It is a form of aesthetic experience that is characterized by its ability to appeal and repel simultaneously. This dual nature of gimmick, which can be both a captivating and annoying element, is the fundamental aspect of its psychological impact that can be associated with humor. Considering incongruity and oddness as the essential substance for humor(Schopenhauer,1818), shock can be seen as a manifestation of the broader perception of gimmicks.

Looking into fashion advertisements in recent times, shock value has become a more popular advertising strategy (Parry et al. 2013). In this context, it refers to a deliberate strategy employed in marketing and communication to provoke intense emotional reactions, such as surprise, astonishment, or discomfort, while also capturing the audience's attention.

However, as Hagenbuch (2015) elaborates, with regards to ads, many images contain

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Fig.17

s k c i Gimm

Fig.16

Fig.18

twists or surprises that generally would not be considered shocking and identify the reason in positive versus negative effect. For example, the Gucci campaign "The Beloved" could completely elaborate on this point. It took a playful and ironic approach by transforming the concept of late-night Hollywood talk shows. The familiar late-night talk show formatted a TV set featuring a well-known cast, including Harry Styles, Serena Williams Awkwafina, Dakota Johnson, and more, hosted by James Corden (Allaire, 2021).

This campaign showed a positive and endearing appeal by embracing the surprise factor and humor (As shown in Figures 15 to18).

Parry et al. (2013) also believe that the surprise that shock generates is most likely not pleasant and rather undesirable, emphasizing shock's role in engaging with audiences through both attraction and repulsion at the same time. "What turns a pleasant surprise into a shocking surprise

-and the New Fashion Movements: Fig.19

Fig.20

is the violation of some significant social norm." (Dahl et al. 2003). This could feature graphic or contentious images, concepts, or statements that go against usual norms. According to Dahl et al.

(2003), This can be done by challenging societal norms and pushing boundaries, aiming to engage and leave a lasting impression on viewers. Other scholars have discussed shock advertising in various sectors, including terms such as 'offensive advertising' (Chan et al., 2007; Prendergast et al., 2008), 'taboo in advertising' (Sabri and Obermiller, 2012) and 'advertising controversial products' (Fam et al., 2008). However, shock advertising has challenges. While it can capture immediate interest, it walks a fine line between effectively promoting a brand or message and crossing into offensive or inappropriate territory and failing to engage the brand's target audience, leaving them feeling confused, let down, or offended (McLeod et al.

2022). Such campaigns can also polarize audiences, with some appreciating the boldness and others feeling put off by it.

A great example of this kind of advert in fashion is The Dolce & Gabbana "DG Loves China" campaign. This campaign, meant to promote a Shanghai runway show in an ironic way, faced controversy due to an offensive video reinforcing Chinese stereotypes by showing a woman struggling to eat Italian food with chopsticks, accompanied by offensive remarks. Social media backlash led to product boycotts and the cancellation of the runway show, damaging the brand's reputation in China despite apologies (Ritschel, 2018).

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Ngai(2020) also argues that the gimmick reflects broader cultural trends, including the desire for novelty, the impact of capitalism on aesthetics, and the ways in which individuals engage with the overwhelming amount of information in the digital age. In this age, when the Internet language is a nearly entirely new linguistic form that has emerged (Crystal, 2001), Visualisation is a very powerful tool for communicating a message, whether it is for entertainment, information, or any other reason. At the same time, this realm of communication is relatively understudied due to the short-lived nature of netrelated phenomena. Besides, Laaniste(2005) points out that it could also be explained by a general tendency to look at visual communication along with computermediated content irreverently because it mostly occurs in the mass media. As mentioned earlier, an overwhelming amount of information characterizes the contemporary digital age, and consumers are bombarded with content, advertisements, and choices (Lindstrom, 2012). In this context, the gimmick serves as a tool for brands and creators to cut through the noise and grab the limited attention spans of audiences (Berger & Milkman, 2012).

Adding this hectic pace of information consumption to how Ngai(2020) highlights that the gimmick often emerges as a product of capitalism, driven by the need for commercial appeal and market variation, is where Internet culture and memes play a key role.

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m e M

Dawkins(1976) defines a meme as "an idea, behavior, style, or cultural practice that spreads within a culture." he used this term to describe the way cultural information and ideas transmit within societies the same way as genes transmit genetic information. On the other hand, Blackmore(2003) has developed the definition furthest by emphasizing that the meme is actually a parasite that cannot be destroyed or fought against. This notion of memes has since been adopted and adapted in various fields, including internet culture, to refer to viral and widely shared ideas, images, or content online. In today's internet landscape, memes are characterized by humor, satire, or commentary on various aspects of contemporary culture (Shifman, 2013). They serve as a means of conveying shared ideas, trends, and inside jokes among internet users. Their conciseness in communicating the ideas made them an integral part of internet culture and significantly impacted online discourse and communication.

: e r u t l u ec 29

Fig.22

In the fashion marketing context, Gucci is a good context example of employing memes-driven advertising memes as a gimmick in its marketing campaigns.

They often incorporate memes and internet humor combined with popular internet memes to resonate with the online generation. They launched "User-Generated Memes" and invited fans to create memes inspired

by Gucci products, taking advantage of the rising popularity of memes on social media at that time.

The campaign generated widespread engagement and sharing of Guccithemed memes, boosting brand awareness and putting Gucci as a brand in tune with internet culture and stronger audience connection.

Fig.24

Fig.23

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Fig.25

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2.3 Audience Perception and

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and Safer (1977) suggested.

Humor could also be a powerful tool for advertisers, especially when dealing with ads that have weaker messages or when there is a need to redirect attention.

It helps overcome advertising shortcomings and boosts positive attitudes toward the ad. However, advertisers should be careful, as using humor can sometimes lead to a reduction in the audience’s focus on brand-related information (Eisend 2009).

Humorous Advertisements:

There are many studies in the literature about the influence of humorous advertisements on people’s perceptions, which is an interesting yet complex subject. However, it has not been viewed exclusively within the fashion industry.

Scott et al.’s research (1990) reveals that funny ads have the ability to seize viewers’ attention more effectively than their serious counterparts.

This heightened attention often prompts viewers to consider the ad more profoundly (Lammers et al. 1983; Madden and Weinberger 1982; Speck 1987), potentially swaying their opinions about the advertised brand or product. However, Chattopadhyay and Alba (1988) raise a pertinent challenge of comprehending how these deep thoughts mold individuals’ viewpoints. Unlike straightforward ads, humorous ones inherently possess more ambiguity and openness to diverse interpretations, particularly when they derive humor from relatable, everyday situations; as pointed out by Hershkowitz (1977), in such scenarios, viewers can form various personal connections with the ad, giving rise to a group of distinct and different cognitive responses.

Therefore, the more cognitive engagement triggered by humorous ads could lead to more favorable shifts in attitudes, but only when embedded within circumstances naturally inclined toward positive thinking, as Leventhal

Fig.26

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Narrowing this subject down to visual form of humor requires an overview of the impact of imagery on individuals’ perception. A number of works investigate the fundamental characteristics of an image that influence human perception. There are various visual elements, including color schemes, composition, and symbolic representations, significantly shape the way people perceive images (Sharma et al., 2011). Mick (1992) also declared that the comprehension of an advertisement has an effect on consumers’ viewpoint toward the message. Besides, the investigations by Van Mulken et al. (2014) point to the conceptual

complexity of the visual structure, the sense of visual metaphors in advertising visually, and how they can stimulate creative thinking and cause particular emotional responses. That pinpoint can be seen through Barthes’s (1957) Semiotic theory by taking these metaphors as myths. He defines the term “myth” as a communication system conveying a message.

According to him, any element or concept has the potential to become a myth when it is presented through a specific discourse.

On the other hand, Van Mulken et al. (2014) also found that predictability had a negative influence on Advertisements with metaphors.

In addition, in line with the complexity of visual structures and the use of metaphors in advertising, Berlo et al. (2023) underline the role of coherence and creativity in visual advertisements to enhance their persuasive impact, emphasizing the importance of effectively conveying messages through visual elements and creative approaches. Although the literature indicates that funny ads can grab people’s attention, engage them on a cognitive level, and potentially alter their perceptions, it is important to recognize the complexity that arises when humor is open to diverse interpretations, particularly when it draws from everyday situations.

Fig.27

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2.4 Luxury fashion visual advertisements:

characteristics (Hines & Bruce, 2007).

Drawing upon Barthes's (1957) semiotic theory, these characteristics often appear in symbols, signs, and metaphors to communicate messages that go beyond the surface.

However, “The Internet plays a significant role in fuelling the universal appeal of luxury brands to a global consumer group.” (Okonkwo, 2016). taking the new internet culture globalization of consumers into account, values like heritage and country of origin lose their traditional definition. In this digital realm, where content like images, videos, and personal viewpoints constantly circulate, luxury brands’ primary focus is on formulating strategies to influence the ongoing digital transformation.

In this context, Making the most of the opportunities presented by social media while maintaining control over their brand’s online presence becomes the goal (Brambilla et al. 2022).

"

B

-eing unique is what counts when it comes to luxury, as defined by Kapferer and Bastien (2009) as an expression of creative identity and passion for the creator; luxury brands need to have a different approach to marketing than traditional marketing since the role of advertising is not to sell (Kapferer, Bastien 2009). Providing unique visual interaction points is an important strategy to communicate brand identity (Lee et al. 2018) when it comes to luxury.

That verifies the importance of Semiotic and aesthetic theory as a framework to delve into the literature around visual advertisements. Nevertheless, before discussing visual advertisement in luxury fashion brands specifically, knowing this sector's characteristics that make it distinct is needed. A distinctive brand identity, like the origin and heritage and also the craftsmanship, which refers to the designer's role, is the common point of research on luxury fashion brand

Luxury should have a very strong personal and hedonistic component; otherwise it is no longer luxury, but simple snobbery.

(Kapferer, Bastien 2009, p314)

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Fig.29

Global luxury goods trends report shows that This resulted in a shift in recent years, often referred to as "new luxury." which reflects a move away from noticeable consumption to focusing on creating meaningful luxury experiences and building a brand lifestyle (Passport, 2016). Instead of being all about accessibility, luxury is increasingly seen as a way for individuals to reward themselves and find enjoyment, as Doran (2013) suggested. Additionally, Chevalier and Mazzalovo (2012) argue that the true essence of luxury lies in its ability to stand apart from the ordinary and offer something unique and exclusive. This approves Adorno's (1970) emphasis on the aesthetic experience as a form of critical engagement that disrupts established norms and expectations. It is where luxury brands could face the challenge of finding the right balance between using mass media while still maintaining the exclusivity and distinctiveness that define their offerings, as discussed by Brambilla et al. (2022). This balance between accessibility and exclusivity shapes the visual stories told by luxury fashion brands today.

Fig.30

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Method --- ology

Fig.31

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Research Question, Research Question, Research Question, Research Question, Research Question, This study attempts to delve into the effect incorporating visual humor and gimmicks in luxury brands' Instagram campaigns has on audience perception and brand image.

To accomplish this objective, a qualitative research design was implemented incorporating two stages: Stage 1- analysis based on Semiotics and Stage 2- Conducting Interviews.

This chapter outlines the philosophical worldview, strategy of inquiry, and research methods and the reason why these approaches have been chosen.

How does the incorporation of visual gags and gimmicks in luxury brands’ Instagram campaigns influence the audience perception and brand image?

Research Question, Research Question, Fig.32

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Research Question, 43

the research aim is to investigate the influence of visual humor and gimmicks in luxury brands' Instagram campaigns and the factor that is being looked at is audience perception, this research adopts an interpretivism philosophy due to subjective experiences and interpretations of individuals in response to visual clues. Given (2008) states that Ontological and epistemological views in the interpretivism paradigm decline that the external objective reality could exist independently from an individual and their gained knowledge. An interpretivist view believes that human knowledge is built as a result of their interpretation of experiences in and of the world, rejecting the objectivist idea that knowledge is simply there to be identified and gathered (Given, 2008; Pascale, 2011). In addition, Interpretivism, as explained by McChesney and Aldridge (2019), emphasizes the importance of understanding the meaning-making processes of individuals. In the context of luxury brands' marketing campaigns, visual elements can be open to various interpretations, and this study seeks to decode these diverse perceptions.

According to Creswell & Poth (2018), reality is socially constructed; the researcher's role is to make sense of or interpret that reality rather than test hypotheses. Since People perceive their environment based on their personal history and the way they view society., "qualitative researchers seek to understand the context or setting of the participants through visiting this context gathering information personally" (Creswell 2014, 9). Given that the research seeks to explore how individuals perceive and interpret visual elements within luxury brand Instagram campaigns, Interpretivism aligns with the goal of delving into the subjective experiences of the audience.

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3.1 Philosophical Worldview: Interpretivism

As

Fig.33

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3.2 Strategy of Inquiry: Qualitative Triangulation "All qualitative studies seek to understand the individual and their personal interpretations of the subject's experience. The research involves holistically viewing the individual, taking into account the context of the person's experience."

(Pulla, E. Vincent Carter 2018, p.11).

Literature Review

Interviews and Questionnaires

M e Tr thod ia ng olo ul gic at io al n

Content Analysis

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Qualitative research includes interpretive measurable practices that make the world visible (Denzin, Lincoln 1994). Since this research delves into the influence of visual elements and audience perception, the selected strategy is methodological triangulation.

Triangulation, as introduced by Patton (1999), is a qualitative research approach that involves using multiple data sources and methods to enhance the credibility and validity of research findings. “If the same result is obtained from different sources

of data, people are likely to have more confidence in the result” (Wang, Alex 2009, p2).

The reason for choosing triangulation in this study is to ensure the reliability of the research outcomes and evaluate the achieved data from semiotic analysis in the first stage with the subjective and multi-layered nature of audience perception by interviews when it comes to visual elements. This sequential triangulation method aligns with the research’s interpretivist philosophical worldview, which emphasizes understanding individuals’ subjective experiences and interpretations (McChesney, Aldridge 2019).

This study will utilize data sources through two different stages: Stage 1 will involve semiotic analysis to uncover the hidden meanings within visual elements, and Stage 2 will include interviews to explore how individuals perceive and interpret these visual cues differently based on their personal backgrounds, which also give them a chance to describe their insights in detail (Holloway, Wheeler, 2010). This approach, rooted in Interpretivism, acknowledges the diverse understandings that visual elements in two chosen luxury brand campaigns, Gucci and Balenciaga, can evoke and how they can create subjective judgment in the mind of the audience. Through triangulation, the study aims to provide a reliable understanding of audience perception and its impact on brand image.

Furthermore, the use of triangulation also reflects the socially constructed reality, with research playing the role of interpreting these different constructed realities (Creswell & Poth, 2018). That is the reason why the two-stage qualitative approach has deliberately been chosen. That being the case, the Semiotic analysis method sets the foundation by objectively dissecting the visual elements, while interviews support a deeper exploration of the subjective audience experiences. This sequential approach ensures a comprehensive understanding of the research question, combining objective analysis with subjective perspectives.

Fig.34

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In this first stage, Semiotic Analysis has been employed as the research method. Semiotics is the study of signs and symbols and their interpretation within a specific cultural and social context (Barthes, 1977). According to Blakeley et al. (1977), the procedure of semiotic analysis could be characterized as dissection followed by articulation, the rebuilding of the denoted image, or "intellect added to the object." Given that Instagram is an image-based platform and the visual gags and gimmicks rely heavily on semiotic elements, this method is particularly suitable.

Contextual Understanding of humor through visual expressions:

As Highlighted by Zakia and Nadin (1987), The field of semiotics offers a structure for analyzing and examining how signs function in a specific context. That enables dissecting and decoding the visual signs and symbols used in chosen Instagram campaign photos. By examining the visual language that is employed, it was possible to identify repeated themes, metaphors, and attentiongrabbing visual strategies and find a pattern within each of these brands’ styles of humor.

Additionally, as Sturken and Cartwright (2018) pointed out, Semiotic analysis made

Preparation for Interviews:

Steinar Kvale and Svend Brinkmann (2009) indicated that the findings from the semiotic analysis have served as a foundation for the interview stage. It also helped formulate targeted interview questions based on the signifier and signified themes.

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placing the visual elements within their cultural and social context possible. This contextual Understanding is crucial for knowing how the audience interprets these visuals.

Fig.35

Sample selection and data collection:

Why these methods have been chosen?

3.3 Research Methods: Stage 1 - Semiotic Analysis

The selection of the photos for analysis is the initial step.

Selection will be based on the objectives of the study and the resources that are available (Penn, 2000). For the qualitative semiotic analysis of Instagram imagery, 40 Instagram posts were selected from the brands Gucci and Balenciaga in total. Twenty of them were selected for the Gucci Instagram account from the years 2018-2020.

For Balenciaga, eight pictures have been selected from one specific campaign (year of Tiger 2022 capsule collection Instagram campaign), and the other 12 pictures have been selected from 20202023 Instagram posts. All of these photos were analyzed

according to the primary key themes identified in the secondary literature. Chose these two brands due to their relevant content to the research’s focus on visual gimmicks and gigs, their well-known humorurous aesthetic reputation among other luxury brands, and their significance in the fashion industry. Moreover, the NVIVO software was used to code the visual content, categorize it based on the given key themes, and facilitate in-depth analysis of the collected data.

Fig.36

49

Sample selection and data collection:

Stage 2 - Interviews

Why these methods have been chosen?

The second stage involves Interviews with these two brands’ target audience, meaning those who have engaged with these two luxury brands’ campaigns and followed them on Instagram.

50 Fig.37

A diverse, representative sample of six participants who followed both Gucci and Balenciaga’s Instagram accounts was selected for the interview stage of this research. The selected sample included individuals from different demographics, such as age, gender, and country of origin. The intention behind this selection was to capture a broad range of perspectives based on different backgrounds and experiences related to luxury fashion and the impact of visual humor and gimmicks used by both

brands on every individual following the Instagram account. To facilitate these interviews, a user-friendly online platform, Microsoft Teams, was used. Prior to the interviews, participants provided their consent for both audio and video recording for accurate data transcription and analysis. Just like the first stage, NVIVO software was used to code the interview transcripts, categorize them based on the given key themes, and facilitate the analysis of the collected data.

Interviews provide an opportunity to collect rich qualitative data on participants’ perceptions, attitudes, and emotions regarding the Instagram campaigns (Holloway, Wheeler, 2010). Through open-ended questions, subjective experiences can be obtained.

According to Gibbs (2018), Interviews allow us to clarify and validate the findings from the semiotic analysis, the way in which participants can elaborate on their interpretations of specific visual elements and provide nuanced insights.

Interview Design: A semi-structured interview format was used to gather qualitative data. The interview questions was designed based on the first stage and also aimed to evaluate the findings from the semiotic analysis, gain insights into diverse audience perception about the selected photos, and explore participants' personal experiences and reactions to gimmicks in luxury fashion.

51

Data Analysis: The interview data was analyzed using thematic analysis techniques as outlined by Braun and Clarke (2006). This involved an in-depth process of going through the interview transcripts, generating initial codes, searching for repetitive themes and patterns, reviewing and filtering themes, and then defining and naming the key themes (Braun & Clarke, 2006). NVivo software facilitated the data management process of coding and categorizing interview excerpts based on emerging patterns.

The themes identified in the thematic analysis lightened resemblances and divergences in how participants perceived and made sense of humor and gimmicks in luxury fashion marketing.

These interview findings were then systematically compared and cross-referenced with the initial semiotic analysis of visual content to enhance 52

Fig.38

validity through triangulation. This mix of insights from the subjective, qualitative interview data with the ¬semiotic decoding of signs and symbols provided a multi-faceted understanding of the research question, strengthening the reliability of the findings (Patton, 1999). Furthermore, in line with an interpretivist approach, this mixed-methods process acknowledged the socially constructed nature of visual meaning (Creswell & Poth, 2018) by juxtaposing different constructed realities – from semiotic readings to individual audience interpretations. Ultimately, thematic analysis of the interview data, integrated with semiotic analysis, enabled a trustworthy interpretation of how humor devices in luxury brand marketing shape diverse perceptual experiences and brand image perceptions.

53

L

3.4 Reflections:

Limitations:

E

Ethical Considerations:

Fig.39

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Although none of the stages of this research have surrounded any sensitive topic or individual, ethical principles have been upheld to ensure the privacy and consent of all participants, as well as the responsible handling of data. Before conducting interviews, participants received complete information about the research’s topic, aim, and objectives, along with a draft of the interview question. They were fully informed of their right to be taken out from the study at any time without facing any consequence and signed a consent form accordingly. With regards to Anonymity and Confidentiality,

participants mentioned their name as well as their age and occupation mentioned on the transcripts for more accurate data categorization, but all the names and further personal details have been blacked out from the trascripts and consent forms as they agreed to be anonymized on the consent form that they have been given prior to the interview session. (See appendix 2 for consent forms and transcripts).

Furthermore, participants have been kept informed about the research in detail, and they understand that their input will contribute to academic knowledge.

It is essential to acknowledge that considering the number of brands that have been chosen to analyze was just two, the sample size for content analysis was relatively limited due to the inadequacy of time and also the unavailability of some Instagram posts due to both brands Gucci and Balenciaga deleting them. As a result, the findings might not be universally applicable. However, the reason for selecting these 2 European luxury fashion brands was to be able to focus on these brands as detailed as possible by analysis based on quality rather than quantity. Second, despite efforts to include a diverse range of participants, there may still be limitations in terms of demographic diversity within the sample. Although, due to the subjective nature of this research topic and its interpretive worldview, possible bias was inevitable, triangulation of multiple data sources helped immensely to enhance the validity of the data gathered. This study has focused on

specific timeframes for content analysis (all images selected from 2018-2023), mainly because humor and gimmicks as a marketing strategy on social media have been adopted by luxury fashion brands emerging in the last five years.

The last significant limitation that needs to be considered is that the primary focus of this research has been based on a Western context, as both of the brands Gucci and Balenciaga have European heritage.

Although triangulation with interview data forms diverse perceptions and ethnic backgrounds based on their own definition of humor, findings may not capture the details of perceived humor in luxury fashion advertising in global settings. Despite all the limitations mentioned, this research intended to provide insights into the role of humor and visual gimmicks in luxury fashion advertising on Instagram with an interpretive approach.

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primary data --- analysis Fig.40

56

57

Fig.42

4.1 Findings:

Fig.41

The semiotic analysis, followed by a thematic categorization, provided a detailed decoding of the brands’ use of humorous visual elements. It revealed patterns in the type of signs, symbols, and stylistic approaches and appeals. Investigating the images in their cultural references context also provided insight into how target audiences may interpret and find meaning in these visual strategies, preparing the data to be examined by the actual audience on the next stage of the research and assisting the development of interview questions for further investigation into consumer interpretations.

Fig.46

Here is the table of the data gathered from the semiotic analysis of the sample images from Gucci and Balenciaga:

Research Method

Qualitative

Research Software

NVIVO

Advertising Field

Luxury Fashion Advertising

Advertising Type

Social Media Campaign (Instagram)

Number of posts

20 Posts per brand

Time Frame

2018-2020(Gucci) 2020-2023(Balenciaga)

Brands Key Themes

Gucci Balenciaga visual gag - parody - irony - satire - kitsch camp - absurdity

Table.1 - Semiotic Analysis

This stage of research employed semiotic analysis to decode the humorous visual cues in Instagram posts by two luxury fashion brands, Gucci and Balenciaga. The sample included 40 Instagram posts - 20 posts from each brand over the period 2018-2023. The posts were selected based on their relevance to the research focus on visual humor, following the key themes related to humor that were identified from the literature. These included:

#visual gag #parody #irony #satire #kitsch #camp #absurdity

Fig.45

Fig.44

The visual content of the Instagram posts was examined using semiotic analysis to decode signs, symbols, metaphors, and themes, and NVivo software was used to code and categorize the visual data based on the key themes. Here is the table of the data gathered from the semiotic analysis of the sample images and the identified key themes:

58

Fig.43

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In Balenciaga’s Instagram campaigns spanning from 2020 to 2023, the brand took a unique and absurd approach to the world of fashion. Campaign images during this time used several distinctive visual elements that contributed to the new brand’s creative identity. They handpicked models who characterized a mix of certain unique and emotionless facial expressions. Quite like their contemporaries at Gucci discussed earlier, the models at Balenciaga came across as if they had successfully embodied futuristic and distorted apocalyptic chic, consequently introducing an attention-grabbing shock factor into their visuals. Moreover, consistent with their peculiar approach, Balenciaga unabashedly played around and showcased its brand logo in a displaced manner. Instagram campaigns throughout this period show that they used surrealistic elements. Whether it be the employment of oversized props or unusual accessories or even crafting fantastical settings, these surrealist touches had potential intrigue and curiosity amongst the content consumers. Moreover, their unique comedic perspective on cultural references with signs of absurdity has been seen through their Instagram posts. The blend of humor, logo manipulation, and surrealism that was combined with witty cultural references that Balenciaga employed created a narrative that was both captivating and convention-challenging.

[Gag. Balenciaga: Instagram Campaigns 2020-2023

Balenciaga emerged as a pioneer within the fashion world, encouraging audacious creative thinking and presenting fashion as a playground for imaginative expression straying from traditional confinements. This approach transmitted joy, groundbreaking innovation, and a touch of irony, all whilst being in the realm of luxury fashion. By doing so, Balenciaga broadened its allure to cater to a broader, more diversified audience, reshaping the boundaries of luxury clothing.

Fig.47

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61

[Playful.

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Gucci 2018-2020: Instagram Campaigns 2020-2023

In Gucci's Instagram campaign photos analyzed during the 2018 to 2020 period, the brand adopted a notably playful and imaginative approach to fashion. This was achieved through various visual adoptions, including the selection of fashion models, which were a blend of diverse styles and eras. It was almost like they were merging vintage looks with futuristic elements. This bold contrast added an element of unpredictability to their companies. Gucci Logo also played a role as a signifier.

Unlike several luxury labels that handle their logos with utmost seriousness, Gucci chose a more playful stance. They made use of their well-known double G logo in amusing and exaggerated forms. This unconventional treatment of its brand symbol introduced a fun factor into its identity.

Moreover, analyzed ad campaigns often incorporated surreal and dreamlike features such as oversized props, unconventional accessories, or fantastical surroundings. These surreal additions drove a sense of awe and imagination, pushing the limits of high fashion possibilities. They also used pop-culture movies or historical figures within their artworks; however, what made this unique was their distinctive humorous or ironic take on these references instead of just straightforward homage, adding an intriguing twist to each one.

By injecting humor in playing around with the iconic logo, embracing surrealism, and giving cultural references a fresh take, Gucci created a narrative that stood out, allowing them to position themselves as trendsetters encouraging creative, bold thinking within the fashion world they painted an image for the audience where fashion played canvas role ultimately conveying joyful, innovative touch irony through luxury fashion expanding its appeal for a larger group.

Fig.48

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Based on the thematic analysis employed in interviews by the qualitative analysis software NVIVO, five key themes have been identified. This thematic analysis was applied to structure and categorize the repetitive patterns and viewpoints expressed by the interviewees.The key themes

innovative edgy

amusing

were:

youthful

fun

relatable viewed

Theme 1: Perceptions of Brand Image Balenciaga was known for using terms like “fun,” “youthful,” and “relatable” (See Appendix 2-participant 1), demonstrating a more comedic and creative brand persona. The brand’s personality, described with words like “entertaining,” “edgy,” and “funny” (See appendix 2-participant 2,3,5), highlights perceptions about Balenciaga being an innovative pioneer that merges humor with its aesthetics and sets the trends. This relatable, youngat-heart brand image stands apart from traditional luxury fashion clichés. Gucci, on the other hand, emerged as “artistic,” “classy,” and “timeless” (See appendix 2-participant 1,6), drawing attention to tradition, sophistication tied with a subtle touch of humor reflected by being “bold” and “delightful.” Words like “glorious,” “cinematic,” and “rich” (participant 3) also illustrate Gucci as an established house of cinematic visuals rooted in history art. Acknowledged for brave and bold marketing (participant 5), Gucci was still

Balenciaga

viewed as epitomizing timeless luxury, using humor to enrich its identity.

The perceptions of these brand images uncover fundamental differences in their positioning. Balenciaga was seen as forwardthinking, funny, and groundbreaking - a pioneer of nonconformist luxury styles and promotions. On the other hand, Gucci stood out more for its artistic qualities, prestige, and lasting power, emphasizing its heritage and cinematic visual exquisiteness.

For a few respondents, Balenciaga, with a brand new approach from its root heritage, symbolized a refreshing and relatable luxury for a younger audience, whilst Gucci stands for traditional luxury principles with bits of playfulness on the side. These varied interpretations of brand images illustrate how each fashion house has nurtured an individual identity and position. The study spotlights the influence that brand images have on consumer opinions and their role in fashion brands asserting themselves in a competitive market setting.

The interviewees expressed varied perceptions of the two brands images and positioning. Two word trees show these varried perceptions:

Gucci Fig.49

described timeless vintage

64

artistic brave bold 65

Theme 2: Attitudes Towards Humor and Gimmicks: When it comes to Humor and Gimmicks in advertising, most of the individuals interviewed felt positively about it – but with some critical objections. Many described humor as something carefree, escapist, or unexpected that brings out a smile (participant 1,4,6). People genuinely appreciated how humor can make exclusive brands appear more familiar and relatable regardless of not being affordable. It is remarkable when an elegant fashion house cracks jokes about everyday things to laugh at.

However, a few participants expressed worries regarding controversial promotion campaigns that violated boundaries or seemed unethical

just to grab attention (participant 2,3,5).

Particular instances sprung up to mind - like Balenciaga employing kids’ faces on grownups or Gucci appropriating cultures to show the irony. Therefore, while humor can be a great way of communicating the stories, going overboard for the sake of hype concerns several interviewees. Fundamentally, interviewees welcomed enjoyable surprises that resonated genuinely with audiences yet were firmly against shock tactics that exploit or violate. Still, the general approach appeared centered on making themselves relatable in a competitive field.

Fig.51

Theme 3: Emotional Engagement

Fig.50

66

The interviews revealed that humor and gimmicks can strongly impact consumers’ emotional engagement with luxury brands, for better or worse. When incorporated thoughtfully, humorous marketing tactics were found to inspire positive emotions like amusement and joy (participant 1, 4,6), capture audience interest and attention (Interviewees 1, 4), and build relatability that deepens brand connections (participant 1,2,6).

However, controversial errors or campaigns perceived as unethical were noted to provoke

disappointment or even outrage from consumers (participant 2, 6), undermining emotional engagement.

Overall, interviewees indicated that while humor done cleverly and ethically can drive positive emotional responses and bonding, provocative or offensive marketing risks backlash and irreparably damaging brand perceptions (participant 3, 5). A thoughtful approach was therefore advised to ensure humor generates uplifting engagement rather than offense.

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Fig.52

The interviews revealed some generational and social gaps in responses to visual humor and gimmicks in luxury marketing. Younger luxury audiences, such as Gen Z, were perceived as more likely to appreciate bold, unconventional campaigns (participant 1, 6), whereas older generations were seen as pessimistic towards absurdity and prioritizing heritage and tradition in luxury (participant 2). Beyond demographics, diversity in reactions among individuals’ own social circles was noted, suggesting personal tastes also shape perspectives (participant 3, 4). Additionally, contrasts appeared even among participants, bringing up the subjectivity of responses to humor and the need for brands to understand their target demographics.

Theme 5: Context and Execution

Theme 4: Demographic Differences

f cle

se a nd p ositi ough ve im tful i s sh pact mple aped (par Desi men by re ticip re to t a ant 2 cent tion unde (par , 4, 5 cont rstan t i r cipa ) over d br nt 3, sies and 5) (par narr t ative icipa s (pa nt 2, rticip 6) ant 5 ) Rea

68

ce o

The significance of execution and branding context came up consistently in the interviews. Clever, ethical humor that generated positive responses was appreciated (participant 2, 4, 5), while thoughtful implementation was advised to avoid misjudgments (participant 3, 5).

Some interviewees expressed curiosity about the narratives and context behind visual campaigns, wanting to understand creative intentions (participant 5) better. Additionally, perceptions were influenced by recent controversies, demonstrating how brand missteps can shape reactions going forward (participant 2, 6). In summary, interviewees emphasized that context matters when marketing humor, from ethical considerations to understanding brand narratives. Thoughtful execution was encouraged to intrigue rather than alienation. The interviews highlighted that resonating humor requires not just creativity but also cultural awareness, ethics, and authentic branding stories that connect with luxury consumers’ values.

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Triangulation: Cross-referencing these data sources highlighted differences between intended and perceived meanings.

While Balenciaga deliberately invoked surrealism, some found this simply nonsensical. Furthermore, triangulation revealed nuances around impacts.

Semiotics evidenced Balenciaga’s bold redefinition of fashion codes. Interviews then qualified this—while some appreciated the innovative spirit, others saw a fake grab for attention. Triangulation between the two data sources also uncovered generational differences.

Younger consumers favored bold humor, whereas older interviews wanted sophistication, even if Gucci and Balenciaga aimed to merge these. Additionally, ethical risks emerged. Semiotics revealed potential cultural appropriation, which interviews confirmed could offend, highlighting unintended pitfalls of visual humor. In summary, by integrating semiotic and interview analyses, impactful insights into humor devices, audience interpretations, brand images, and ethical implications surfaced. The integration provided multilayered perspectives unattainable from any single method, evidencing triangulation’s value.

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Fig.53

71

The current analysis reveals how two recognized luxury fashion houses are adapting their representation of brand characteristics and identities to resonate with contemporary cultural and digital shifts, be it by retaining their aura of prestige and exclusivity (Gucci case) or questioning all the regular standards applied in the luxury fashion industry by somehow mocking it. Subsequently, the qualitative data highlights a notable departure between traditional luxury brands like Gucci that continue to emphasize longstanding pillars of heritage, sophistication, and cinematic artistic excellence and shift it towards the younger generation’s taste by adding elements of fun. Gucci’s evolution reveals a cautious balancing act, incorporating subtle notes of humor and absurdism without compromising the core visual codes that signal its status as a legacy house encoding the essence of Italian craftsmanship and glamour.

Contrastingly, the analysis indicates that disruptive innovators like Balenciaga are undertaking a bold redefinition of luxury codes by pioneering a highly experimental, ironic, intentionally absurd, and somehow disturbing aesthetic language that radically departs from conventional notions of luxury heritage.

/ Strategic implementation is key.

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Fig.54

By saturating a more avant-garde, humorous, and exaggerated stylistic flow with paradoxical anti-elitist undertones, Balenciaga captures the imagination of young demographics seeking to change the narrative of luxury by disruption and re-forming established orders of taste and class in the modern age, which is a successful yet Supported by young generation.

Therefore, while artistic excellence and distinction remain foundations, their representation evolves across generations. The analysis indicates luxury branding today is not static but negotiated across traditionalist forces aiming to reshape codes, or else it loses relatability. Humor emerges as a channel for connection rather than a compromise of brand status. Ultimately, maintaining luxury leadership now depends on recognizing cultural gaps and adapting symbolic representations to align evolving notions of exclusivity with brand essence.

4.2 Discussion and analysis:

Representation of Brand Characteristics:

The findings reveal substantial insights into how humor and gimmicks are being incorporated into luxury fashion marketing and influence perspectives on this emerging trend. While humor appears to offer benefits in making exclusive brands more relatable and emotionally engaging for audiences and creating a sense of escape from reality, especially in younger demographics after the pandemic and its social aftereffects, it also has the potential of risks regarding misconceptions due to the multifaceted nature of understanding humor based on cognitive and social backgrounds. so:

Fig.55

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When thoughtfully incorporated, humorous advertising themes offer luxury brands creative opportunities to engage consumers meaningfully. Tactics like visual gags, irony, and absurdism, when cleverly executed, can inspire positive emotions like amusement, capture audience attention, and build perceived relatability with consumers. This strengthens brand connections and loyalty, especially among younger demographics appreciative of bold branding. Used strategically, humor provides a valuable contemporary enhancement to luxury fashion advertising.

The Prymary data analysis shows how luxury fashion brands may thoughtfully incorporate humor as an impactful contemporary theme within advertising campaigns to make deeper engagement with target audiences in this cultural climate. Specifically, the data indicates avant-garde incorporations of comedic devices, including visual wit, parody, irony, and controlled absurdism, when regulated to align with brand core values and audience perspectives, provide channels for brands to create narratives that meaningfully resonate. Campaigns activating absurdist juxtapositions, exaggerations, and clever intertextual references encourage positive emotional reactions like pleasure while

74

Fig.56

How Luxury Fashion Brands Could Use Humor as a Theme?

And what are the benefits of Using It? increasing impressiveness and perceptions of relatability. When strategically embedded within brand stories, this reflects humor’s potential to intrigue psychological connections, heighten intuitive responses, capture short-lived attention spans, and modernize luxury advertising to avoid disengagement through elitist clichés.

According to Sandra Choi, creative director of luxury footwear and accessories Jimmy Choo, “Humor makes a difference to the monotony of what is already out there.

Furthermore, it is something you would not expect from a luxury brand. That is what makes it surprising because people have this preconception that luxury is just meant to be severe and perfect.” (Chitrakorn, 2015) Significantly, these benefits depend on coherent implementation, avoiding hollow gimmicks.

Ultimately, humor offers luxury houses a pathway to evolve storytelling to engage audiences and bring them closer to the brand while retaining sophistication.

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Humor Codes for New Generation:

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Connecting with Younger Luxury Consumers Through Thoughtful Humor Devices is vital as the younger generation has the buying power to reshape the luxury market. Embracing humor can certainly make for a powerful communications strategy for the new-gen consumers. As Jeremy Scott, creative director of the Italian label Moschino, said, a message delivered with humor is more effective than one without (Chitrakorn, 2015).

As analyzed within the findings, certain humor tactics better known and perceived by audiences the audience offer luxury fashion brands effective ways to grab the attention and loyalty of younger demographics who tend to appreciate bold, unconventional advertising For example, irony allows a luxury brand to critique its approaches. By strategically own pretentiousness and satirize exclusivity from within incorporating humor modes in a mature yet inclusive way. By saying the opposite of like irony, sarcasm, selfdeprecating humor, and dark what they mean, helps luxury comedy, luxury branding has houses build stronger in-group connections with their the option to reregulate stuffy younger exclusive consumers who may be skeptical of traditions of exclusivity and make them feel more relatable elite luxury perceptions. can also enable and participatory. a luxury brand to mock its inflated prestige notions with a down-to-earth, pragmatic, caustic tone that signals that we do not take ourselves too seriously. Younger customers also appreciate when a luxury brand is willing to poke fun Fig.57

ironic humor Sarcasm

When strategically matched to a luxury brand's tone, these edgy yet thoughtful humor tactics can compellingly resonate with younger demographics seeking luxury messaging that feels willing to selfreflect and invite more inclusive dialogue. The suitable humor devices let luxury advertising engage youth through refreshing narratives that speak to their generational values without compromising the core prestige.

self-deprecating

at its own elitism through humor rather than behaving like some untouchable infallible god. This touch of self-mockery makes premium luxury feel more accessible and human.

dark comedy

Additionally, subtle touching on societal taboos shows that a luxury brand acknowledges the broader social conscience and struggles today's youth care about beyond wealth and elegance.

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Fig.58

Challenges to Authenticity: While humorous gimmicks and stunts can help grab consumer attention in the short term, overdependence on such tactics poses risks to long-term brand authenticity and integrity in luxury marketing.

Consumers today, especially younger demographics, are increasingly wary of brands that come across as relying too heavily on superficial gimmickry and hype 78

while lacking sincerity. Luxury houses, in particular, must walk a fine line between generating buzz through bold, viral-friendly campaigns while also conveying heritage, craftsmanship, and genuine passion for their values. If a brand is perceived as prioritizing flash over the authentic, deep connection, consumers may become doubtful and reconsider loyalty. The most effective path is likely thoughtful campaigns that incorporate playful innovation to engage modern tastes while also honoring

lineage, quality technique, and real brand purpose that resonates across traditional and youthful audiences.

By balancing exciting boldness with staying true to their roots, luxury fashion marketers can potentially overcome demographic divides and maintain prestige with broadening generational appeal.

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Conclusion:

/

conclusion

Fig.59

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Fig.61

5.1 Recommendations:

Recommendations for Luxury Fashion Brands: The analysis indicated that humor can be effectively applied to captivate audiences when creatively aligned with brand philosophy. When tho thoughtfully executed on digital communication channels, visual puns, irony, and absurdism can inspire positive emotions, capture interest, and build perceived relatability—but using them as gimmicks cks risks pushing away audiences if perceived as publicity stunts. Generational targeting is also crucial. While Gen Z and young Millennials appreciate bold subversions, older, more traditional con consumers require nuance. Overall, four recommendations emerge from the primary data analyzed:

- Incorporate humor strategically: Use select techniques like parody and irony every now and then to modernize brand narratives, not indiscriminately. Coherence with identity is the key.

- Know your audience:

Fig.60

Research generational humor codes and target specific demographics. Avoid one-size-fits-all jokes.

Customize humor aesthetics based on consumer insights.

This study has investigated how luxury fashion brands are incorporating visual humor and gimmicks in Instagram campaigns and the impacts on audience perceptions and brand image. Through triangulation of semiotic analysis and interviews, insights emerged on opportunities and cautions around strategic humor uses. Key conclusions and recommendations follow.

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- Mind the authenticity: Balance showmanship with heritage and brand values. Align humor with true brand passions and origins. Sincerity and consistency matter more than instant buzz.

DO. Fig.66

Fig.67

Fig.68

Fig.69

DONT! - Reflect on ethics: Pushing boundaries can inspire but also offend. Using references can be incredibly impactful but should be carefully proceeded on cultural appropriation. Stimulate smiles through uplifting humor true to brand values.

Fig.61-65

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5.2 Limitations and Further research suggestions While this study provides initial qualitative insights, limitations are inevitable.

The small sample requires more extensive follow-up studies. A Western-centric focus also sets the background for exploration across global contexts. Finally, a long-term observation and data collection could also track impacts on this topic over time. Specific future research directions include: • Larger samples of brands and consumers for enhanced generalizability • Cross-cultural comparisons of humor perceptions and effects • Long-term brand tracking after viral humor campaigns • Neuroscientific studies on subcortical reactions to humorous stimuli • Intersectional analyses of identities shaping humor interpretations

Fig.71

Overall, the research indicates that humor offers luxury fashion marketing an abundant creative territory but demands ongoing conceptual and experiential analyses. Mindful humor resonating across demographics may help build authentic connections in an increasingly chaotic attention economy. However, risks remain of alienating key audiences. Luxury brands must tread carefully but courageously on the edge of humor blade.

In summary, this research has illuminated how luxury fashion brands like Gucci and Balenciaga are boldly yet strategically harnessing visual humor's doubleedged potential, pioneering disruptive innovation while trying to retain heritage.

Significant debates remain regarding the impacts on prestige and relatability.

However, when skillfully matched to consumer culture, humor appears to offer imaginative pathways for escapist storytelling that thoughtfully blends entertainment with artistic tradition on the digital stage. The laughing shall continue, though what truly tickles the masses remains open to creative exploration and scholarly interpretation.

86 Fig.70

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15-18 Fig15 to 18: Gucci , 2023. Gucci Recreates James Corden’s Talk Show for New Campaign.

Available at: https:// www.harpersbazaar. com/uk/fashion/ fashion-news/ a36207516/guccijames-corden-talkshow/. [Accessed 12 September 2023].

19 Fig.19: Larsson, E., Swedish School of Textile SS19.

Available at: http://fstories.com/swedishschool-textile-ss19/.

[Accessed 12 September 2023].

Fig.20: Dolce & Gabbana, 2018. Available at: https://www. theguardian.com/ fashion/2018/nov/21/ dolce-gabbanacancels-catwalkshow-amid-ad-rowracist.[Accessed 12 September 2023].

21 Fig.21: siduations, 2023.

Available at: https:// www.instagram.com/p/ CpWKYvmvejZ/?igshid =MTc4MmM1YmI2Ng %3D%3D [Accessed 12 September 2023].

22-25 Fig.22 to 25: Gucci, 2017. High Fashion Memes Are Now a Thing Thanks to Gucci. Available at: https://www. harpersbazaar.com/ fashion/designers/ news/a21477/guccimemes/.[Accessed 12 September 2023].

26 Fig.26: Anon, Scan 08.

Available at: https:// www.hungertv.com/ editorial/a-neweditorial-spotlightingrussias-sustainablefashion-brands/ attachment/scan008/..[Accessed 12 September 2023].

27 Fig.27: MAR+VIN, Available at: https://vogue.globo. com/vogue-negocios/ noticia/2023/05/ negros-sao-apenas-10porcento-da-liderancadas-agencias. ghtml. [Accessed 12 September 2023].

28 Fig.28: Zank, B., 2016.

Available at: https:// www.instagram.com/p/ BGmnlaNBHfo/.

[Accessed 12 September 2023].

29 Fig.29: Balenciaga, 2023.

Available at: https:// www.instagram. com/p/CteFGnJoH_N/ [Accessed 12 September 2023].

30 Fig.30: Kang, H.W., 2019.

Dual. Available at: https://models.com/ work/vogue-koreadual/1148342.

[Accessed 12 September 2023].

31

39

48

56

67

Fig.31: Pompei, F., Courtesy of AVAVAV, 2022. AVAVAV Spring 2023 readyto-wear. Available at: https://www..com/ article/avavav-beatekarlsson-spring-2023milan-fashion-week. .[Accessed 12 September 2023].

Fig.39: Anon, Untitled.

Available at: https:// www.pinterest.com/ pin/488781365822399 9713/. [Accessed 12 September 2023].

Fig.48: Peckmezian, M., 2020. The Office Party.

Available at: https:// www.vogue.co.uk/ fashion/article/guccioffice [Accessed 12 September 2023].

Fig.56: Gelwich , V., 2022.

Luca Aimee & Jac Jagaciak by Vitali Gelwich for Better 5PM Suit Campaign.

Available at: https:// fashionfav.com/fashion/ vitali-gelwich-juliepelipas-bettter-5pmsuit-campaign/.

[Accessed 12 September 2023].

Fig.67: Avedon , R., 1965.

Jean Shrimpton, Hair

by Alexandre, Paris Studio. Available at: https://www. artnet.com/artists/ richard-avedon/jeanshrimpton-hair-byalexandre-paris-studioF1rxVskMe7oTNU7D-T_ WJA2.[Accessed 25 September 2022].

32 Fig.32: Penn, I., 2016. The a to Z of Issey Miyake.

Available at: https:// metropolismag. com/viewpoints/ the-a-to-z-of-isseymiyake/.[Accessed 12 September 2023].

33 Fig.33: Caleb Shane, 2022. A self-directed Project by Tyler Omeed Mazaheri Featuring Look 2 from the Balenciaga Resort 2022. Available at: https://tylermazaheri. com/Balenciaga.

[Accessed 12 September 2023].

34 Fig34: Balenciaga, 2023.

Available at: https:// www.instagram. com/p/CteFGnJoH_N/ [Accessed 12 September 2023].

35 Fig.35: Courtesy of Lyst, 2022. World’s Hottest Brands, According to Lyst. Available at: https://www. papermag.com/guccihottest-brand-lystreport#rebelltitem10.

[Accessed 12 September 2023].

36 Fig.36: Gelwich , V., 2022.

Luca Aimee & Jac Jagaciak by Vitali Gelwich for Better 5PM Suit Campaign.

Available at: https:// fashionfav.com/fashion/ vitali-gelwich-juliepelipas-bettter-5pmsuit-campaign/.

[Accessed 12 September 2023].

37 Fig.37: Fitz, H., 2019.

Theories of the Deep Understanding of Things. Available at: https://theoriesof.tumblr.com/ post/184366784432/ hannah-fitz. [Accessed 12 September 2023].

38 Fig.38: Balenciaga, Balenciaga Spring 2020 Ad Campaign Film by Will Benedict.

Available at: https:// theimpression.com/ balenciaga-spring2020-ad-campaignfilm-by-will-benedict/.

[Accessed 12 September 2023].

40 Fig.40: Porodina, E., 2019.

Adriana Lima Poses in Surreal Looks for Vogue Arabia. Available at: https://www. fashiongonerogue. com/editorial/adrianalima-vogue-arabiacover/. [Accessed 12 September 2023].

41 Fig.41: Peckmezian, M., 2020. The Office Party.

Available at: https:// www.vogue.co.uk/ fashion/article/guccioffice [Accessed 12 September 2023].

42 Fig.42: Courtesy of Gucci, 2020. Available at: https://www.instagram. com/gucci/?hl=en.

[Accessed 12 September 2023].

43-44 Fig.43-44: Balenciaga, 2023.

Available at: https:// www.instagram. com/p/CteFGnJoH_N/ [Accessed 12 September 2023].

45 Fig.46: Courtesy of Gucci, 2018. Available at: https://www.instagram. com/gucci/?hl=en.

[Accessed 12 September 2023].

46 Fig.45: Courtesy of Gucci, 2019. Available at: https://www.instagram. com/gucci/?hl=en.

[Accessed 12 September 2023].

47 Fig.47: Balenciaga, 2023.

Available at: https:// www.instagram. com/p/CteFGnJoH_N/ [Accessed 12 September 2023].

49 Fig.49: Courtesy of Balenciaga, 2023.

GLOVE LARGE TOTE BAG IN BLACK. Available at: https:// www.balenciaga. com/en-gb/glovelarge-tote-bag--black7411842AACT1000. html.[Accessed 12 September 2023].

50 Fig.50: Van Rij, S., Eyes on The street the work of Sarah Van Rij. Available at: https://www.wefolk. com/features/sarahvan-rij. [Accessed 12 September 2023].

51 Fig.51: Courtesy of Gucci, 2020. Available at: https://www.instagram. com/gucci/?hl=en.

[Accessed 12 September 2023].

52 Fig.52: Opening Ceremony FALL 2022 Menswear Campaign. Available at: https://www.vogue. com/fashion-shows/ fall-2022-menswear/ opening-ceremony/ slideshow/ collection#13.

[Accessed 12 September 2023].

53 Fig.53: Noir Kei Ninomiya, 2017. Noir Kei Ninomiya 20172018 ready-to-wear Collection. Available at: https://www.vogue. com/fashion-shows/ fall-2017-readyto-wear/noir-keininomiya. [Accessed 12 September 2023].

54 Fig.54: Gucci, 2018. Unveiling the New Gucci Eyewear Campaign. Available at: https://www. facebook.com/GUCCI/ posts/unveiling-thenew-gucci-eyewearcampaign-featuringni-ni-shot-by-colindodgson-i/1015645 5485496013/. [Accessed 12 September 2023].

55 Fig.55: Siedentopf, M., 2021.

Resale Revolution: Alessandro Michele Unlocks the Thinking behind His Gucci Vault. Available at: https://www.vogue. co.uk/fashion/article/ gucci-vault.[Accessed 12 September 2023].

57 Fig.57: Dukovic, P., 2023.

The Button-Pushing Impresario of Balenciaga. Available at: https://www. newyorker.com/ magazine/2023/03/27/ balenciagas-buttonpusher.

[Accessed 12 September 2023].

58 Fig.58: Mert & Marcus , Simmonds, C., 2022.

The Exquisite Gucci Campaign. Available at: https://www.gucci. com/us/en/st/stories/ article/exquisite-guccicampaign.[Accessed 12 September 2023].

59 Fig.59: Balenciaga, 2023.

Available at: https:// www.instagram. com/p/CteFGnJoH_N/ [Accessed 12 September 2023].

60 Fig.60: Dufort, J., 2023. Gigi Is Our chouchou!!

Available at: https:// www.instagram.com/p/ Cw0NCrSMbax/.

[Accessed 12 September 2023].

61 Fig.61: Marco, Y. et marco, 2023. Jacquemus Invitation! Available at: https://www.instagram. com/p/CpLFSuRMZ-6/.

[Accessed 12 September 2023].

62-65

62

Fig.62-65: Lee , A., 2018.

Helmut Lang pre-Fall 18personalspersonal Ads Dating Campaign.

Available at: https://i-d. vice.com/en/ article/435vvp/helmutlang-just-launched-alegit-90s-style-datingservice. [Accessed 12 September 2023].

66 Fig.66: Dufort, J., 2023b. Le Chouchou. Available at: https://www. instagram.com/p/ CtrYa6LM7ZD/.

[Accessed 12 September 2023].

68 Fig.68: Gucci,'Face Mask' Balaclava Jumper 2019. Available at: https://www.standard. co.uk/news/world/ gucci-in-racismrow-fashion-giantdeeply-sorry-for-blackbalaclava-jumperthat-resemblesblackface-a4059951. html. [Accessed 25 January 2023].

69 Fig.69: New York: Strobridge Litho. Co, 1900. Wm. H. West’s Big Minstrel Jubilee. Available at: https://commons. wikimedia.org/ wiki/File:Minstrel_ PosterBillyVanWare_ edit.jpg.[. [Accessed 12 September 2023].

70

71 Fig71.: Balenciaga, 2023.

Available at: https:// www.instagram. com/p/CteFGnJoH_N/ [Accessed 12 September 2023].

72 Fig.72: Kawakami, K., 2020.

Unuseless Japanese Inventions, the Art of Chindogu. Available at: https://twitter.com/ artsxdesign/status/.

Figures

Fig.3: Piczo, 2017. Remaking the past. Available at: https://metalmagazine. eu/en/post/article/ metal-no-37remaking-the-pastby-piczo. [Accessed 12 September 2023].

5

20

Fig.70: Jacobs, C., 2023. Vogue Italia September Issue.

Available at: https:// www.instagram.com/p/ CwxCmR4NEQZ/?img _index=2. [Accessed 12 September 2023].

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