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Consuming Commodified Selves - Accelerated Identity Co-Construction

Dynamics Through Fashion Performances on Instagram

Article  in  Advances in consumer research. Association for Consumer Research (U.S.) · October 2018

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 Consuming Commodified Selves – Accelerated Identity Co-Construction Dynamics
Through Fashion Performances on Instagram
Jonathan D. Schöps, University of Innsbruck, Austria
ABSTRACT
This paper enhances the understanding of the bi-directional
relationship between performers as commodified selves and con-
sumers in digital environments. Drawing on performativity theory
this study illuminates accelerated identity co-construction dynamics
through visual fashion performances on Instagram. Analysis of inter-
view data identifies three such dynamics: affirming emulating and
immersing in dreams.
INTRODUCTION
Contemporary consumer culture has increasingly transformed
from a linguistic to an overall visual culture (Schroeder 2002). This
visual turn also manifests in increasing popularity of visual photo-
sharing platforms like Instagram, which is the fastest growing social
media platform with currently over 800 million monthly active us-
ers (Begu 2018; Instagram 2018). The nature of the digital environ-
ment of Instagram accelerates visual consumption by “pointing, tap-
ping, swiping, and glancing” (Carah and Shaul 2016, 83) – in other
words, scrolling quickly through the flow of images, tapping to stop
the flow, taking a quick glance at an image, and continue swiping.
But, how does this accelerated consumption affect consumers’ daily
lives? How does acceleration manifest in the construction of con-
sumers’ selves?
Prior research on visual performances mainly focused on the
site of production – the consumed, performers respectively (Kerrigan
and Hart 2016). These studies investigated digital identity formation
using dramaturgical approaches of impression management and self-
presentation techniques (Jensen Schau and Gilly 2003; Kerrigan and
Hart 2016), micro-celebrity practices (Marwick 2015), and blogging
(McQuarrie, Miller, and Phillips 2013; Scaraboto and Fischer 2013).
Yet, scholars increasingly argue that the most important site of an im-
age’s meaning is the audience referring to the “death of the author”
(Barthes 1977, 145; Rose 2012). However, research on identity co-
construction dynamics through visual consumption with a focus on
the site of the audience – the consumers – is scarce.
This study aims to investigate the bi-directional relationship
between performers as commodified selves and consumers, that is,
identity co-construction dynamics through fashion performances on
Instagram. Analysis focuses on in-depth narrative interviews supple-
mented with auto-driven photo elicitation (Heisley and Levy 1991)
to investigate consumers’ meanings ascribed to the visual consump-
tion of fashion and commodified selves on Instagram. Findings re-
veal consumers’ desired content, requirements for consumption, and
accelerated identity co-construction dynamics. Accelerated identity
co-construction dynamics encompass affirming, emulating, and im-
mersing in dreams. This study closes with discussing findings, and
pointing out limitations and future research possibilities.
THEORY
Consumers as commodities in postmodern society
Postmodern society manifests as “a society of consumers meant
for and made for their consumption” (Bauman 2005, 35). Accord-
ingly, consumer society embodies a process of commodification, that
is, consumers crafting themselves to become sellable and valuable
objects within the market. Consumers increasingly consider “being
a consumer commodity that makes them bona fide members of that
434
society” a desirable quality (Bauman 2007, 57). The rise of social
media further accelerated this process of commodification (Schwarz
2010). Influencers deploy manifold marketing practices to become
and remain sellable commodities – constantly trying to increase their
market value by “staying ahead of the style-pack” (Abidin 2016;
Bauman 2007, 99). Consequently, commodified consumers are al-
ways on the move, searching for something desirable and attention-
grabbing.
Yet, postmodern consumers are governed by the constant pres-
sure to reinvent themselves, refresh their offers, and change identi-
ties. Thus, contemporary consumerist culture prioritizes “parts” over
the “whole,” “short term” over “long term” respectively (Bardhi and
Eckhardt 2017; Bauman 2007, 69). Digital environments foster this
urge for self-endorsement. Instagram characterizes such a visual dig-
ital environment where consumers may frame digital commodified
selves for the consumption of others that do not necessarily reflect
“real life” identities (Marwick 2015; McQuarrie et al. 2013; Presi et
al. 2016; Rokka and Canniford 2016).
Performing and co-constructing identities in postmodern
society
Postmodern consumers experience an intertwined struggle
between conformity and individualization – a so-called “hybridiza-
tion” demanding conformity to individualization (Bauman 2005,
28). Thus, identity formation is an ongoing process where consum-
ers compose, decompose and recompose their identities by means
of repetitive social interactions (Howarth 2002). Social media fur-
ther reinforces repetitive social interactions on a daily basis (Larsen
2007). Digital performances not only inspire, but also encourage the
audience to replicate (Khamis, Ang, and Welling 2017). According-
ly, consumers not only seek constant change in material objects, but
also in their identities (Bauman 2005; Shankar, Elliott, and Fitchett
2009). They quickly discard and adjust their online identities if re-
jected by others. Consequently, consumption-oriented performative
acts on social media enable co-construction of ‘identity-in-practice’,
which is of short timespans, situation dependent, and thus temporal,
dynamic and fluid (Kerrigan and Hart 2016; Larsen 2007).
Performativity theory
This study draws on performativity theory (Austin 1975; Butler
1990, 2010) in order to investigate how individuals consume visual
fashion performances on Instagram, and how this consumption re-
lates to co-construction of consumers’ identities. The central idea of
performativity theory is that repetitive acts construct and form iden-
tities (Butler 1990). Accordingly, a performance comprises the rela-
tionship between performers, their actions and the audience (Butler
1990). Language, practices, and visuals frame performances of iden-
tities that, in turn, shape reality through the exertion of intentional
(illocutionary) forces and related intentional or unintentional effects
(perlocutionary acts) (Austin 1975; Schechner 2006). Thus, perfor-
mances reinforce and communicate identities within society – both
verbally and bodily (Austin 1975; Butler 1990, 2010).
In the context of this study, this implies that visual fashion per-
formances on Instagram as intentional (illocutionary) acts have a re-
lated and potentially unintended (perlocutionary) effect on consum-
ers’ identity formation. This study focuses on consumers’ narratives
related to visual consumption of fashion performances on Instagram.
Advances in Consumer Research
Volume 46, ©2018

Applying this performative view onto identity co-construction dy-
namics provides an increased understanding of the entangled dy-
namic relationship between performers as commodified selves and
consumers in digital environments like Instagram.
METHODOLOGY
This study uses in-depth narrative interviews supplemented
by auto-driven photo elicitation to investigate consumers’ visual
consumption of fashion performances on Instagram (Harper 2002;
Heisley and Levy 1991). Criteria for the applied purposive sample
implied that respondents, first, had an own Instagram account, sec-
ond, actively engage with Instagram, and, third, belonged to the most
prevalent user group on Instagram – Millennials. Prior to the inter-
view, respondents were asked to select three fashion-related persona
brand accounts, which they frequently consume on Instagram. This
projective material was then integrated in the interviews generating
in-depth insights into respondents’ meanings ascribed to visual fash-
ion performances on Instagram, and related identity co-construction
dynamics.
The sample comprised 11 German-speaking respondents (age
range: 20–30; mean = 26; profession: student (6); nurse (2); manager
(2); doctor (1)) – ensuring a gender distribution congruent with Ins-
tagram’s user statistics – 68% female and 32% male (Aslam 2018).
Interviews lasted from 55 minutes up to 1.5 hours resulting in 161
pages verbatim transcripts. Data analysis involved an iterative pro-
cess of inductive categorization (Kreiner, Hollensbe, and Sheep
2006; Spiggle 1994) and abstraction to derive major themes arising
throughout respondents’ narratives.
FINDINGS
Narrative interviews brought forward insights into the multi-
faceted visual consumption of fashion performances on Instagram.
The following section entails a detailed account of desired content,
requirements for consumption, and performatively accelerated iden-
tity co-construction dynamics (Figure 1).
Desired content and requirements for consumption
Respondents frequently stated that they seek foremost variety
in content, that is, lifestyle performances related to fashion, travel,
food, sports, interior design, nature, photography, and even politics
/ activism. Fashion is rather an integral part within these thematic
categories and rarely consumed as stand-alone category. However,
respondents consider fashion a tool to express these lifestyle-related
themes. Compositional aesthetics and consistency of visuals have to
be visually appealing – yet, regarding photography itself, not regard-
ing display of fashion taste per se (Dolbec and Fischer 2015).
“For me it is very important with respect to Instagram accounts
in general that the quality of photography is good. I don’t like
accounts that are arranged unprofessionally. That is why I also
don’t follow some of my friends, because I am not interested in
that. I select very carefully, because it has to be visually appeal-
ing to me. That is extremely important to me. I am interested in
certain things, which may be the person itself, lifestyle, interior
design, fashion, or food.”(R5, female, 27)
Respondents additionally argued that representing naturalness
fosters repetitive consumption (Butler 1990). Contrary, respondents
do not value excessively staged unnatural performances as they con-
sider these as ‘calls for attention.’ Consumers prefer performances
they can relate to – ‘torn from real life’ and filled with emotions – as
R2 refers to a plus-size model account:
Advances in Consumer Research (Volume 46) / 435
“It seems very likeable to me that she shows herself as she is.
That she is simply posting images of herself without using Pho-
toshop or anything else, simply showing that every woman has
problems with her body in a certain way and that you can re-
gardless like yourself as you are and that makes her very much
likeable as a person to me.” (R2, female, 26)
Moreover, respondents stated that they immediately discard
persons who post too often, that is, multiple times a day, and replace
them by other accounts – “I like what you are doing, but don’t im-
pose on me” (R5, female, 27) – illustrating the accelerated consump-
tion dynamics in postmodern consumer culture (Baumann 2007).
Accelerated identity co-construction dynamics
Consumers explained their frequent usage of Instagram by re-
ferring to the ever-changing, constantly renewing nature of home
feed content. Relating to consumers’ urge for fast consumption, In-
stagram offers a visual environment enabling such accelerated con-
sumption:
“[...] and when I push the ‘follow’ button, then the recommen-
dations pop up. These are similar feeds, related types of blog-
gers respectively. And due to that you delve into the whole thing
quite fast, because you have a multitude of such persons very
fast.” (R1, female, 20)
Respondents further claimed that they prefer consuming images
over text – first, due to faster consumption, and, second, due to the
myriad of meanings images can convey (Schroeder 2002). However,
consumers’ narratives not only addressed accelerated dynamics of
the digital environment per se, but also accelerated identity co-con-
struction dynamics (Figure 1).
Figure 1: Accelerated Identity Co-Construction Dynamics
First, this study finds that the consumption of commodified
selves accelerates affirmation of purchases that cause internal strug-
gle within consumers’ conscience, that is, respondents reported cases
of uncertainty and twinges of conscience with respect to prior or
upcoming purchases.
“I set myself the goal to purchase an expensive watch when I
am done with my apprenticeship. I already decided for a spe-
cific Rolex, however it is a huge investment. But then I saw this
photo and experienced affirmation. I thought to myself, if Roger
Federer is wearing this watch it must be really beautiful.”(R6,
male, 27)
This quote emphasizes that consuming Roger Federer affirmed
R6’s decision already made of purchasing a Rolex – solving his in-
ternal struggle of desire vs. costs (Kozinets, Patterson, and Ashman
2017). Accordingly, consuming commodified selves accelerated
436 / Consuming Commodified Selves – Accelerated Identity Co-Construction Dynamics Through Fashion Performances on Instagram

the affirmation to purchase this watch without having to look for
alternative sources of affirmation. Similarly, this study finds that
performative acts of commodified selves unintentionally affect post-
purchase affirmation in terms of uncertainty, and even motivation
for work out (Austin 1975) (Table 1).
Second, this study finds that consumers emulate consumed vi-
sual performances in terms of places. Respondents predominantly
associate fashion with travelling. “I really like that I can see different
kinds of fashion in different countries and that is why I associate it
[fashion] with travelling” (R5, female, 27). However, fashion only
plays a minor role in this case. Consumers rather engage in lifestyle-
oriented place co-branding (Sevin 2014). Performative acts of com-
modified selves travelling the world accelerate consumers’ quests for
adequate motives when visiting similar places:
“[…] The funny thing is when I was on my way to London I
quickly browsed through Instagram, and then remembered his
account [iamgalla], and there is this photo of him. There I saw,
for instance, this place – this arc from which you can see Big
Ben. And then this photo came out in the end.” (R9, male, 25)
Accordingly, this quote illustrates the accelerated emulation
enabled through the consumption of commodified selves on Insta-
gram (Table 1). Thus, the performer’s intention of depicting a jet set
lifestyle unintentionally results in visual networked co-branding of
specific places (Austin 1975) – visual performances of places that a
lot of consumers would like to have on their own accounts. Respon-
dents frequently stated that they reminisce about their own travelling
experiences when they see a similar photo.
Third, this study finds that consumers immerse in dreams when
consuming commodified selves on Instagram. Consuming commod-
ified selves elicits wanderlust and longing within consumers. Most
respondents state that they do not have the financial means to live the
lifestyle of Instagram performers – yet, Instagram offers a possibility
to delve into virtual journeys:

Table 1: Findings
Examples of Interview Data
“I set myself the goal to purchase an expensive watch when I am done with my apprenticeship. I already decided
for a specific Rolex, however it is a huge investment. But then I saw this photo and experienced affirmation. I thought
to myself, if Roger Federer is wearing this watch it must be really beautiful.”(R6, male, 27)

“I have this light pink blouse with birds on it. I always thought to myself that it looks really shitty, but then I
Affirming repeatedly saw it on Instagram and it changed my perception of this blouse. So in the end I thought to myself that it
cannot look that bad and now I am wearing it.” (R3, female, 24)

“Well, every now and then I am quite lazy when it comes to running, especially when it rains. Then I shrink away
from running. But then I look on Instagram and see these people working out and think for myself, “alright, let’s go
for working out.”” (R3, female, 24)
“If I know that I am travelling somewhere soon, then I explicitly look for other people’s content of these places.
I go to the browse bar, put in the place first, i.e. London, and then set the location to London, and then I immediately
get the “most popular posts” of London. Similarly, I check for hotels or restaurants, i.e. London, there is this famous
restaurant that I saw on Instagram. And then I check hashtags in similar vein. The funny thing is when I was on my
way to London I quickly browsed through Instagram, and then remembered his account [iamgalla], and there is this
photo of him. There I saw, for instance, this place – this arc from which you can see Big Ben. And then this photo came
Emulating
out in the end.” (R9, male, 25)

“For instance, I am planning to go on vacation this summer, this means that I followed a multitude of travel ac-
counts to seek inspiration in what I like and where I think to myself, “wow, I would really love to take this photo, too”
or food, if I don’t know what to I should cook, I might find something on Instagram that appeals to me, where I say to
myself, “ok I’m cooking this for myself now.” (R5, female, 27)
“Just as I said, Instagram is such a small separate world and I think it is a beautiful place where you can sub-
merge and say “okay now I am not the person who has to get up early in the morning for work or such things,” but
on Instagram I am a person who can also show other people due to likes, that I really appreciate what they do. It is a
community and I am a part of it. I may become in some way another person on Instagram.” (R5, female, 27)

“What I like so much about this account is the fact that she posts a lot of pictures where I think: “Ahhh this
Immersing in could be me!” because you don’t see her on the pictures. [...] you don’t see her face, and when I look at these photos,
Dreams I think for myself: “Ahhh I’d love to sit there right now.” Somehow this makes me identify myself stronger with these
pictures.” (R1, female, 20)

“What animates me to consume Instagram is that it isn’t so stressful, that it is a distraction, and that you can
delve into a different little world, which sets itself apart from everyday life, and which is a little bit dreamy. […] These
are feelings where I say to myself, “wow just life your life! Just do it! I really would like to do it the way these people
do.” (R5, female, 27)
 Advances in Consumer Research (Volume 46) / 437

Examples of Projective Visual Data

Affirming

Emulating

Immersing in
Dreams
438 / Consuming Commodified Selves – Accelerated Identity Co-Construction Dynamics Through Fashion Performances on Instagram
“Well, unfortunately I don’t have the financial means for trav-
elling. I think that you can’t have it all, but maybe it animates
me to take charge of my own life and pursue my dream of trav-
elling. This means that I travel virtually as I look at all these
things. As I said, I associate fashion very much with travelling.
So in a way, I definitely travel virtually.” (R4, female, 28)
Correspondingly, immersing in dreams also triggers a ‘just do
it – live your life!’ mentality within consumers. Even though mo-
mentarily not within reach, visual performances exhibiting close ex-
ternal focalization, that is, the audience can see the same things in the
same way as the performer (Rose 2012), align the consumer with the
consumed – identities the consumer might never be able to achieve
(Table 1). Thus, performers’ intentional depiction of travel lifestyle
unintentionally leads to consumers’ immersion in dreams about pos-
sible future selves (Austin 1975).
DISCUSSION
The empirical investigation illustrates how the digital environ-
ment of Instagram enables accelerated identity co-construction dy-
namics between performers as commodified selves and consumers.
Interestingly, this study finds a discrepancy between the intended
commercial force of visual Influencer-driven advertorials, namely
promoting products, and unintended related effects in consumers’
identity formation (Abidin 2016; Austin 1975). Thus, this study
sheds light on the complexity of meanings consumers ascribe to
digital consumption of fashion – protruding far over the classical
realm of fashion.
Consumers in this study predominantly do not buy the adver-
tised products, but rather take ‘bits and pieces’ out of the sandbox
of consumed commodified selves and performatively fashion their
selves through repetitive visual consumption on Instagram (Butler
1990). Consumers seek affirmation of decisions already made that
yet cause internal struggle. Furthermore, under the arising duality
between consumers and commodities, individuals become both ob-
ject and subject (Bauman 2007) – especially when emulating. Meta-
phorically speaking, consumers delve into the digital environment of
Instagram immersing themselves into different possible selves and
worlds. Consequently, the dynamics of Instagram allow for instant
accelerated identity co-construction dynamics related to multiple
temporal selves – past, present, and future (Kerrigan and Hart 2016).
Past in the sense of solving a post-purchase dissonance or reminisc-
ing about visited places. Present in terms of impromptu consulta-
tion on popular photo locations or best restaurants in town. Future in
regard to taking charge of one’s own life and dream about possible
future selves. Consuming commodified selves on Instagram thus
potentially accelerates co-construction of consumers’ multiple, fluid
and temporal identities.
This study has two main limitations. First, this study focuses on
the site of the audience. Second, findings are still exploratory. Future
studies could take into account both performers and their consumers,
confronting both with ascribed meanings vis-à-vis, namely inten-
tion and reception of specific posts – in other words, connecting the
consumed and the consumer. Visual analysis of projective material
could further illuminate identity co-construction dynamics (Rokka
and Canniford 2016).
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