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Shefali Patel
Professor Strong
Fashion Retail and Branding Promotions
12 November 2015.
HANCOCK PG 198. Questions #1 & #3

#1) Cultural branding addresses the individuality of the consumer (Hancock 186). Douglas Holt
derived the concept. He explains how the concept of cultural branding is derived from brands that have
spun some compelling myths that they have become cultural icons (Hancock 186).
Identity values = value of products by means of self- expression
Accordingly to the theory, cultural activists, and individuals understand popular culture and subsequently
develop successful brands (Hancock 169). Brands are historical artifacts moving through time and
carriers of meaning (Holt 38). Many assumptions in other branding modules completely ignore the
cultural and historical context into the module. Most brands have the power to become icons because they
are admired by core customers and hence have a strong hold in the marketplace. They win competitive
battles not just because of the innovative technology or distinctive features, even though that is crucially
essential; they win because they have able to have a connection with culture and customers are able to
connect to that iconic culture. In other words they compete for culture share. Its a form of competition
that is particularly fierce in what marketers refer to as lifestyle categories, such as food, clothing,
alcohol, and automobiles. Here, the name of the game is symbolism: The strategic focus is on what the
brand stands for, not how the brand performs (What Becomes an Icon Most). And its the only form of
competition that yields icons. Their impressive market power is based on a kind of customer value we
dont think about very often: Icons are valued because, through them, people get to experience powerful
myths (What Becomes an Icon Most).
The making of an icon often revolves around a myth. Myths have always been important, some unique
historical character that one can look up to. They provide ideals to live by, and they work to resolve lifes

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most vexing questions (What Becomes an Icon Most). Icons are encapsulated myths. They are powerful
because they deliver myths to us in a tangible form, thereby making them more accessible (What
Becomes an Icon Most). When a brand creates a myth, most often through advertisements, consumers
come to perceive the myth as embodied in the product (What Becomes an Icon Most). So they buy the
product to consume the myth and to forge a relationship with the author: the brand. Anthropologists call
this ritual action (What Becomes an Icon Most).
Products such as clothing, home-dcor, beauty, leisure, entertainment, automobiles and s on.
Products that are ego expressive usually have an emotional connection with customers through cultural
branding. Some brand examples include Apple, Coca Cola, Louis Vuitton, Ralph Lauren, Burberry,
Porche and so on. Thus, when it comes down to it, branding is basically ideology, a collection of myths
manufactured by companies to stoke the fires of capitalism. Iconic brands usually sell us the idea that we
can make our troubles vanish by buying things. The irony is that in America, consumer ideology is our
culture, the very glue that binds us to one another and helps get us through the day (How Brands Become
Icons). Thus these are the ideas behind Douglas Holts cultural theory and examples that have become
brand icons through cultural branding.
#3) Scholar Gwendolyn ONeal has noted that fashions noted that fashions including all body
modifications and extensions, such as tattoos and piercings, are restricted and pre-chosen for individuals
by cultural gatekeepers (i.e. retail buyers). However, the individual decides how to blend available
elements to craft a pastiche, or style, which in turn creates fashion (Hancock196). ONeal states that the
future of fashion will not be limited to objects conceived through the manipulation of creative genius to
create a look or a mode that is palatable the masses (Hancock 196). Instead fashion will be constructed of
a persona milieu in which the individual manipulates his or her own dress body complex to create a
personal mininarrative, story, or brand (Hancock 196). She further argues that the acculturation process is
not localized, but is cross-cultural and global (Hancock 196). The various media outlets especially
television and social media allows customers to get immediate access to worldly events. Today, we are

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able to see fashion shows on Youtube and track trends from all over the world, something that would be
hard to keep track on before Internet.
Her ideas on future of fashion branding include:
1. Fashion branding will continue to communicate through the same traditional technique of story
telling though traditional mediums of advertising such as print advertisements.
2. Fashion branding will continue to create exclusive notions about their product through limited
runs, unique designs and son on
3. Fashion branding will continue to make experiences that have to be physically experienced by
consumers for their true essence to be understood (Hancock 197). At present the millennial
generation loves to experience it could be travelling, food or clothing.
4. Fashion branding will be about individualism. This we can already see coming through many
different brands. They focus on an individual need instead targeting an entire market. This is the
new strategy.
In my opinion, ONeals ideas are everything that we are seeing currently in the fashion industry. We see
the millennial generation attracted to brands such as Abercrombie and Fitch and Victoria Secret because
of the experiences they provide. I agree to ONeal on the fact that we tend to follow a lot of celebrities
and their fashion, however we select only those that we feel would suit us or make us feel comfortable or
utmost fashionable. For example, crop tops were a huge trend last year, many variations and prints but I
chose the shiffon crop tops with mega sleeves and mid cropped that I could also wear at work. I was
influenced by the idea of summer and the need of having crop tops in that season. I also follow all
celebrities that have curvy body but square shaped at the top. I see the kind of clothing they wear and find
those at Zara and mix-match trends. I also like the Marsala colour trend and bought throw pillow covers
to match with my sofa. Thus I agree that the fashion is pre-chosen by gatekeepers such as retail buyers,
but I alter the fashion trends and make variations to suit my personal body type.

HAMEIDE QUESTION #1

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Technology plays an important role in our lives today. In terms of retail, technology is crucial factor for
many brand extensions or new category product developments. Technology has changed the brands in
many unique ways that we can only imagine. Most of the technology is focused on enhancing the
customer experience. It has created exposure for many companies. For example many stores in Europe
have adopted virtual fitting rooms. The virtual fitting rooms let customers personalize their in-store
experience. It is through enablement of technology that customers are able to shop 24/7. They can
personalize what they want and how they want it. Additionally, they hijack marketing on behalf of the
company by adding personal experiences with the product online. The user is the drive and inspiration
behind the brand, and it is the user who eventually decides on the brand's positioning through the image
he or she creates for it (Hameide 265). However, by examining these roles, we notice that the customers
direct presence is at the early stages, before the brand is born through market research measures, as well
as at the end of the process, after the brand is developed, marketed, and its products sold and used by
them. (Hameide 265). They are an essential part of the main branding processes of any product.
Technologies do impact the brand in the form of creating new brand extensions, or rather a series of
microbrands. Think of microbrands as a group of satellite brands that are variations of the mother
brand. (Hameide 270).
Thus to conclude with, customers will always be a part of the branding process. The customer
will be the one that directs the brand positioning through the image he or she creates for it (Hameide 271).
If they do not like a product, they will openly express their views, which will then reflect on starting a
new product to satisfy their needs. They will continue to help the company come up with new designs.

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Works Cited
Hancock, Joseph. "Chapter 12." Brand/story: Ralph, Vera, Johnny, Billy, and Other Adventures in
Fashion Branding. New York: Fairchild, 2009. Print.
Holt, Douglas B. How Brands Become Icons: The Principles of Cultural Branding. Boston, Mass.:
Harvard Business School, 2004. Print.
"How Brands Become Icons: The Principles of Cultural Branding by Douglas B. Holt." PopMatters.
Web. 12 Nov. 2015. http://www.popmatters.com/review/how-brands-become-icons/
"What Becomes an Icon Most?" Harvard Business Review. 1 Mar. 2003. Web. 11 Nov. 2015.
https://hbr.org/2003/03/what-becomes-an-icon-most