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sustainability
Article
Fashion Everydayness as a Cultural Revolution in
Social Media Platforms—Focus on Fashion
Instagrammers
Sungeun Suh
Fashion Design Major, College of Arts, Gachon University, Seongnam-Si, Gyeonggi-Do 13120, Korea;
sesuh@gachon.ac.kr; Tel.: +82-31-750-5948
Received: 17 January 2020; Accepted: 4 March 2020; Published: 5 March 2020
Abstract: This study qualitatively analyzes the phenomenon of fashion everydayness as a cultural
revolution in the digital space as everyday life continues to expand into digital platforms. The analysis
proceeded in four perspectives based on Lefebvre’s theoretical framework: the festivalization of
everyday life, the artification of everyday life, the holistic stylization of everyday life, and cultural
revolution as a daily practice. Instagram, the case for this study and the most popular image-centric
social network, leads the digital aesthetics paradigm through creative acts that weave fashion into the
daily life of the individual. The study focuses on three fashion mega-influencers whose successful
careers began with blogs documenting their daily lives. The analysis showed that Instagram, as a
social platform, is a creative space for sharing everyday life with its appropriation of time and
space. In there, fashion visualizes the look of the everyday beyond the boundaries of time and space.
In practice, it suggests a digital cultural revolution: a composite lifestyle expressive of various tastes
and styles—a vital medium to inspire and sustain fashion everydayness. This has implications that
the information and communication technology of the digital age created a new cultural space and
that daily visualization through fashion will eventually produce sustainable cultural contents.
Keywords: cultural revolution; social media platform; Instagram; fashion everydayness; digital space
and time
1. Introduction
Culture continues to experience tremendous changes in communication methods and information
consumption as digital technology and social media develop and evolve. The mobile device has become
fundamental for everyday communication even as its presentational medium rapidly shifts from text to
images and videos. In turn, the concept of daily time and space has been reconstructed and reproduced,
following the operating mechanism and rhythm of information and communication media from the
computer and the Internet to cellphones and smartphones [1] (p. 615). From a linear and cyclical
conceptualization of time, the advent of digital space reconceives time now as simultaneous, fluid,
and transcendent [2] (p. 10). Digital space has claimed aesthetics as a creative space for individuals in
their everyday life—the space of cultural consumption, production, and distribution in present society.
In time, the idea of everyday life may also extend to virtual or augmented reality.
In sociology, everydayness is a core theme in works reconstructing the vitality, creativity,
and aesthetics of everyday life in postmodern society [3]. De Certeau, for example, stressed the
daily continuance of creative work in one’s life for rejuvenation and transformation [4]. On the other
hand, Maffesoli viewed the space of everyday life as a space of personal emotional creation and
presented the digital space as a domain of everydayness revelatory of the fundamental power that
constitutes society in the digital age [5].
Sustainability 2020, 12, 1979; doi:10.3390/su12051979 www.mdpi.com/journal/sustainability
Sustainability 2020, 12, 1979 2 of 18
Fashion has been recently attracting attention as a daily phenomenon that projects our everyday
lives on a digital platform. Posts from diverse, influential fashion Instagrammers and YouTubers are
projected as lifestyles and values of the millennial generation, accelerating the digital renovation of
the fashion system. Leading fashion theorists Agnés Rocamora, Eugenie Shinkle, and Reina Lewis
discuss similar themes in their works, focusing on fashion images and personal style of influencers in
the blogosphere as new fashion media. Shinkle [6] (p. 1) emphasized that digital image and fashion
interactives, wherein users can select and control via a computer interface, now seem ready to replace
the still photograph as a key media form of fashion.
Similarly, Rocamora [7] (p. 1) stated that fashion blogs have become key players in the field of
fashion, evident among personal fashion blogs documenting the blogger owner’s style. The medium
represents a significant space that encourages individual identity while establishing itself as a central
form of fashion blogging. In the era of new media, personal styles emerge from fashion recipients who
create their own image by transforming and combining fashion information through the representative
social media [8] (p. 2). Rocamora also consistently discusses the rise of the fashion blogosphere and
the impact of new technologies on fashion [9–11]. Additionally, Lewis said that the fashion blog is
an open network that provides an opportunity to introduce a variety of global and local fashion [12].
Luis, Ana-Isabel, and Ubaldo [13] discussed the critical influence of the rise of Instagram as the
fastest-growing social network in beauty and fashion brands. Wang, Ahmed, Deng, and Wang [14]
examined the overall performance achievement of social media marketing, even in Bangladesh.
The appropriation of time and space on digital platforms—blogging in this case—follows Henri
Lefebvre’s concept of cultural revolution in which innovation and change are pursued through
everyday creative practice. The digital platform has thus become a new place of digital everydayness,
and Lefebvre’s vision of overcoming alienation in everyday life through appropriation as the
identification of self the value of festivals and play, and as a resurgence of style and artwork,
is well suited to studying the everydayness of fashion in social media.
Within these contexts, this study qualitatively analyzed the role of fashion in visualizing everyday
life in social media and the concordant influence of digital space on the digital paradigm of fashion.
The focus is on Instagram as an image-driven digital media where people visually represent everyday
moments and as a platform for representing individual styles through fashion-centric images. With the
intent of following the trajectory of how a casual Instagrammer transition to a mega-fashion influencer,
Tavi Gevinson (@tavitulle), Susanna Lau (@susiebubble), and Chiara Ferragni’s (@chiaraferragni) blogs
were selected for the analyses. The selected blogs were analyzed following four perspectives, based on
Lefebvre’s concepts: the festivalization everyday life; the artification of everyday life; the holistic
stylization of everyday life; and cultural revolution as a daily practice.
2. Literature Review
2.1. Fashion in Everyday Life
Recently, the subject of everyday life has become more critical in fashion studies. According to
Buckley and Clark [15]:
“Fashion and everyday life are somewhat multivalent terms. Everyday life can refer to both
experience and synchronicity. The everyday experience is in its typical form today, as it was
yesterday and will be tomorrow; what constitutes everyday life changes according to the
time and place. Fashion was integral to everyday life in the 20th century, and its impact
grew as the century progressed. As a visual spectacle and material object, fashion offered
the potential for the extraordinary to occur in the context of the everyday, thus enabling
transformations in appearance and identities”. [15] (p. 1)
In conjunction, Lefebvre and Levich [16] considered fashion, along with food and housing, as “essential
for everyday life, as constituting autonomous subsystems and representing a diversity” [16] (p. 8).
Sustainability 2020, 12, 1979 3 of 18
The everyday is a “set of functions that connect and join together systems that might appear to be
distinct” [16] (p. 9). Linked together, it results in the concept of “style,” including functions and
structures as integral parts of its form [16] (p. 8). If one can consider the relationship between fashion
and everyday aesthetics based on the content the former produces, fashion, “in everyday mode,” could
be interpreted as a configuration of lifestyle; fashion-as-lifestyle can be considered as the emblem of
this new state of things” [17] (p. 241).
Ash and Wilson [18] recognized the diverse ways in which fashion intersects with everyday
life, and identified fashion as one of the most immediate and everyday cultural manifestations.
In agreement, Buckley and Clark [15] consider fashion to be embedded and contingent in the practices
of people’s daily lives, both a personal expression of everyday life and a sociocultural phenomenon;
everyday clothes routinely worn by people reveal an ongoing engagement with fashion on a scale
from extraordinary to ordinary—either of which can be indicative of the everyday [15] (p. 7). There is
also the essential contradiction and tension in daily life: stable and impermanent but always in a
process and, therefore, imperfect [19] (p. 75). These contradictory characteristics of everyday life
relate to the double-sidedness of fashion: it can be ordinary and extraordinary, routine and special,
or essential and updated. We try not only to wear everyday clothes in the routine of life, but also to
express self-image in our own style. We also dress in more extraordinary ways to express the everyday
in special situations, such as festivals, events, and leisure activities.
Considering the trajectories of fashion in everyday life, “it is possible to explore the fault lines
or intersections of ordinary fashion with ongoing lives” [15] (p. 3). When a contemporary fashion
trajectory can be traced over the last century in the catwalk, the magazine, the boutique, the department
store, and the designer, fashion is present in the distinct, superior, specialized, structured activities [15]
(p. 9). When tracing fashion in everyday life, the everyday may be obvious: readily exposed by
rummaging through diaries, letters, photographs, and other such alternative sources instead of looking
at government records as Highmore mentioned [20] (p. 1). As our living space has expanded to the
digital space, everyday life and fashion are now traceable via social media platforms. Therefore, fashion,
everyday life, and the social media platform need to be discussed more in a syntagmatic analysis.
2.2. Digital Everydayness as Cultural Revolution
2.2.1. The Concept of Cultural Revolution
Lefebvre [21] asserted the necessity of cultural revolution in 20th-century society to create a holistic
lifestyle through everyday practice. Appropriation as a key concept of cultural revolution is crucial
to overcoming neglected daily routines; it refers to “the management of the body, desire, and time
without reliance on external bodies—an appropriate person is not alienated and is self-possessed” [21]
(p. 39). Appropriation as creative action is to derive potential from ordinary everyday life; as such,
the products of nature and the social turn into goods [21] (p. 77). “Appropriating social and natural
beings” is essential to human life and is opposed to the capitalist social order dominated by exchange
values [10] (p. 38).
“Everyday artwork” is a cultural revolution that refers to the creation of culture as a lifestyle [21].
In other words, Lefebvre’s cultural revolution is the reclamation of style and work created by one’s
whole being [2] (p. 3). Instagram expresses the various daily desires through fashion—a visual medium.
Influencers form visually unique identities through their fashion tastes and lifestyles, which means
establishing the holistic stylization of everyday life through one’s fashion image.
2.2.2. The appropriation of Time and Space in Digital Space
According to Lefebvre, the “appropriation of time has its own character. It does not come as
calculated; it comes when an activity brings fullness. These activities include aspects of self-creation
and talent to achieve harmony with oneself” [22] (p. 208–209). In the context of the appropriation of
time, he emphasized the need to restore the “rhythm of me” through a rhythm analysis of daily life [22]
Sustainability 2020, 12, 1979 4 of 18
(p. 20). Lefebvre also defined an appropriated space as “a space modified to realize the needs and
potential of a group” [23] (p. 58) and emphasized the need to recognize space as a social medium of life
open to ever-changing lives and numerous possibilities. De Certeau perceives social space as variable
according to human creativity and practice [2]. Aesthetics in spatiality are linked to the aesthetics of
everyday life. These aesthetic values are no longer carried out by privileged or professional artists
but are permeated into the daily life and space of ordinary people to improve the quality of life in
general [24].
The greatest change that had emerged in the advent of this digital era is cyberspace; social
media platforms as virtual and integrated spaces of everyday life in particular. As a lifestyle, fashion
appropriates the time and space of everyday life in a digital space and generates its own value. Fashion
has been also democratized in the digital space, no longer owned by privileged groups as how high
fashion was exclusively accessible for them. Social media platforms opened a way to various kinds
of fashion to the public, encouraging anyone to express and share personal fashion in everyday life
in public.
As social networks evolved into media platforms, its position and influence in the cultural
ecosystem increased [25]. According to the 2018 Netizen Profile Research Report of NAS Media [26],
Instagram, which freely presents uploaded pictures with an intuitive search engine that uses hashtags,
had the highest utilization rate of that year. Naturally, the formed trend is that users express and boast
of their daily life on Instagram [27].
2.2.3. Digital Everydayness and Fashion
Lefebvre and Levich [16] wrote:
“The everyday is situated at the intersection of two modes of repetition: the cyclical,
which dominates in nature, and the linear, which dominates in processes known as rational.
The days follow one after another and resemble one another, and yet here lies the contradiction
at the heart of everydayness: everything changes, but the change is programmed”. [16]
(p. 10)
The organizing principle of spatial composition in 20th-century industrial society was the control
of human beings according to unilinear time. The cycle of time and space was uniformly divided by
night and day, labor and relaxation, and so on [1,28] (pp. 614–615). Time in the digital age, however,
is current, transcendent, and immediate. In such an age, cyberspace embodies everything imaginable,
while physical space provides a safe basis for reality and materiality [29].
As digital society advanced, the convergence of these different sections of everyday life are given
representation from the differentiation and convergence of the physical and cyberspaces, the dissolution
of boundaries between the public and private, and the collapse of the time–space cycle of labor and
leisure that governed the industrial society. Now and wherever, citizens enjoy a new spatial system
that connects everyone in “my own space without space”; it also began a possible future where one
could live beyond the traditional boundaries of time [30]. Especially in social media, people are always
connected in real time and transcend the boundaries of public and private realms as well as work and
leisure. As social media platforms expand into everyday time and space, fashion also visualizes this
phenomenon on the social platform every day.
Kawamura [31] noted that the impact of technology is evident in every interactive sphere of our
lives, including how individuals, particularly the youth, socially interact within fashion communities.
Rocamora [7] (p. 1) said that personal fashion blogs have established itself as a central form of fashion
blogging by posting photos of bloggers documenting their style in everyday life. Rocamora [9,10]
also discuss the rise of the fashion blogosphere and the impact of new technologies on the mediation
of fashion. She showed the relevance of the concept of the mediatization for understanding the
contemporary field of fashion and its relation to digital media, in fashion production and retail.
Sustainability 2020, 12, 1979 5 of 18
The mediatization of fashion reaches out to ordinary practices of the self, a mediatized self through the
use of digital cameras, the same as wearing cosmetics [11].
This study proposes a conceptual model of fashion everydayness on the social media platform,
particularly the Instagram case, as a creative cultural revolution through the appropriation of time and
space in the digital space (See Figure 1).
Sustainability 2020, 12, x FOR PEER REVIEW 5 of 17
Cultural Revolution
Fashion
Fashion Everydayness
in Fashion in
Everyday Life Instagram Social Media
Platform
Appropriation of Time and Space
in Digital Space
Figure 1. Research Model.
Figure 1. Research Model
3. Methodology
3. Methodology
Ormston, R., Spencer, L., Barnard, M., and Snape, D. [32] discussed the major characteristics of
Ormston, R., Spencer,
qualitative research and the L.,importance
Barnard, M., and Snape, D. [32]
of understanding discussed the issues
key philosophical major in characteristics
the development of
qualitative research and the importance of understanding key philosophical issues
of social research. They focus the use of the following: non-standard and adaptable data generation that in the development of
social research.toThey
are sensitive socialfocus the use
context, of thethat
analysis following: non-standard
retains complexity and and adaptable
nuance data generation
and respects that
the uniqueness
areof sensitive to social
each participant context,
or case, and mostanalysis that retains
especially, complexity
qualitative research thatand includes
nuance detailed
and respects the
descriptions
uniqueness of each participant or case, and most especially, qualitative research
of the phenomena being researched, grounded in the perspectives and accounts of participants (p. 4). that includes detailed
descriptions of the
This study phenomena
qualitatively being researched,
analyzed grounded
the role of fashion in the perspectives
in visualizing everyday life andonaccounts
social mediaof
participants (p. 4).
and the concordant influence of digital space on the digital paradigm of fashion. First, the sociological
This study
discourse qualitatively
on daily life andanalyzed
previousthe role ofon
studies fashion
fashionin visualizing
and everyday everyday
life arelife on social media
examined, and the
and the concordant influence of digital space on the digital paradigm of fashion.
concept of the appropriation of time and space, digital everydayness, and fashion phenomena based on First, the sociological
discourse
Lefebvre’s on daily
theory life
ofand previous
everyday lifestudies on fashion
are discussed. The and everyday
paradigm oflife
theare examined,
cultural and theestablished
revolution concept
ofinthe
social media platforms was derived from four concepts: the festivalization of everyday life;on
appropriation of time and space, digital everydayness, and fashion phenomena based the
Lefebvre’s theory of everyday life are discussed. The paradigm of the cultural revolution
artification of everyday life; the holistic stylization of everyday life; and cultural revolution as a daily established in
social media
practice. platforms
These was derived
four perspectives are from four concepts:
the framework the festivalization
of analysis for the Instagram of everyday
case study life; the
selected.
artification
Jensenof everyday
[33] discussed life; the
thatholistic stylization
qualitative of everyday
research methodslife; thatand cultural
combine revolution
theoretical as apractical
and daily
practice. These four perspectives are the framework of analysis for the Instagram
approaches as alternatives to the methodological limitations and criticisms of questionnaire-based case study selected.
Jensen [33]research
quantitative discussed thatfield
in the qualitative
of media research methods
research. that [34,35]
Kozinets combine theoreticalthe
introduced and practicalof
discipline
approaches
netnography as alternatives
as a qualitative to theresearch—the
methodological limitations
conduct and criticisms
of ethnography overofthe questionnaire-based
internet—a method
quantitative research in the field of media research. Kozinets
specifically designed to study cultures and communities online. Miller and Slater [34,35] introduced the discipline
[36] definedof
netnography as a qualitative research—the conduct of ethnography over
Netnography as a combination of the internet and ethnography. Netnography is carried out in parallel the internet—a method
specifically
with a varietydesigned to study cultures
of methodologies, including andparticipatory
communitiesobservation,
online. Miller and Slater
interviews, [36] defined
discourse analysis,
Netnography
archive analysis, and field trips. In this paper, the case study was conducted by analyzinginthe
as a combination of the internet and ethnography. Netnography is carried out parallel
fashion
with a variety of methodologies, including participatory observation, interviews,
images and contents of influencers on Instagram’s social media, based on the analysis of archives in discourse analysis,
archive analysis, and
the methodology offield trips. In this paper, the case study was conducted by analyzing the fashion
netography.
imagesIn and contents of influencers
Visual Methodologies, Rose on Instagram’s
[37] highlights social
themedia,
influencebasedof on the analysis
images given its ofmeaning
archives in and
the methodology of netography.
construction (p.32). Martínez, Llodrà, and Jiménez [38] highlight the impact of social media on target
In Visual
image Methodologies,
formation. Rose [37]
This study treated highlights the
Instagram—or theinfluence of images
site of image according given to its meaning
Rose—as theand
most
construction (p.32). Martínez, Llodrà, and Jiménez [38] highlight the impact of social media on target
image formation. This study treated Instagram⎯or the site of image according to Rose⎯as the most
representative image centric form of social media that expresses various aspects of everyday life in
the digital era. The focus is on Instagram as an image-driven digital media platform where people
visually represent everyday moments and as a conduit for representing individual styles through
Sustainability 2020, 12, 1979 6 of 18
representative image centric form of social media that expresses various aspects of everyday life in
the digital era. The focus is on Instagram as an image-driven digital media platform where people
visually represent everyday moments and as a conduit for representing individual styles through
fashion-centric images. With the intent of following the trajectory of how a casual Instagrammer
transitions to a 12,
Sustainability 2020, mega-fashion influencer, Tavi Gevinson (@tavitulle), Susanna Lau (@susiebubble),
x FOR PEER REVIEW 6 of 17
and Chiara Ferragni’s (@chiaraferragni) Instagrams were selected for the analyses.
The data
The data were
werecollected
collectedfrom
from14,277
14,277images
imagesuploaded
uploadedon onthe
thethree
threeInstagram
Instagramaccounts
accountsbetween
between
January 2013 and December 2019. Four fashion experts (including
January 2013 and December 2019. Four fashion experts (including two professors and two PhD two professors and two PhD
students) reviewed fashion images based on the research framework
students) reviewed fashion images based on the research framework set up from the theoretical set up from the theoretical
background,collecting
background, collecting 450
450 images,
images, with
with random
random 20–30
20–30 images
images of of each
each Instagrammer
Instagrammer from from each
each year.
year.
In the process of collecting relevant images, images introducing designer collections,
In the process of collecting relevant images, images introducing designer collections, publicizing events, publicizing
events,
and and featuring
featuring productsproducts
or placesorwithout
places without Instagrammers
Instagrammers themselves themselves were excluded.
were excluded. Once
Once similar
similarare
images images are clustered
clustered by topic,
by topic, the one most the representative
one most representative
of that topicofwasthatselected.
topic was selected.
These These
450 images
450 images were then subjected to an integrated secondary assessment
were then subjected to an integrated secondary assessment and were categorized into four groups and were categorized into
four their
then groups then their
images, images,
content, content,
hashtags, andhashtags,
comments and comments in were
in conversation conversation
reviewedwerebased reviewed
on the
based on the detailed context of the analytical framework. Subsequently,
detailed context of the analytical framework. Subsequently, the 18 representative images that are the 18 representative images
that are specifically
specifically analyzedanalyzed in this
in this study arestudy
thoseare those
that mostthat most exhibited
clearly clearly exhibited
fashionfashion everydayness
everydayness in the
in the
four four perspective
perspective of cultural
of cultural revolution
revolution onmedia.
on social social media.
This study
This studytakes
takesa conceptual
a conceptualand qualitative researchresearch
and qualitative methodology to discuss fashion
methodology everydayness
to discuss fashion
everydayness on the social media platform with Instagram case studies as the digitalThe
on the social media platform with Instagram case studies as the digital cultural revolution. study
cultural
also focusedThe
revolution. on three
study influencers
also focusedglobally recognized
on three by personal
influencers globally fashion practices
recognized by on the Instagrams
personal fashion
and establishing their own aesthetic identity (See Figure 2).
practices on the Instagrams and establishing their own aesthetic identity (See Figure 2).
Figure2.2. Research
Figure Research Methodology
Methodology Model.
Model.
4. Results and Discussion: Fashion Everydayness in Selected Instagrams
4. Results and Discussion: Fashion Everydayness in Selected Instagrams
4.1. The Festivalization of Everyday Life
4.1. The Festivalization of Everyday Life
According to Lefebvre [39] (p. xxviii), a festival, like a revolution, marks both a break in everyday
According
life and to Lefebvre
a rehabilitation [39]everyday.
of the (p. xxviii),He
a festival, like a revolution,
also emphasized marks both
the importance ofa“leisure
break inactivities”
everyday
life and a rehabilitation of the everyday. He also emphasized the importance of “leisure activities”
and “work–leisure unity” in everyday life [39] (p. 29). Leisure as a festival is an energy for creative
production outside the framework of spatial organization, as well as the rationality and efficiency of
capitalist time and economic production. Through this festival, Lefebvre pursued the practice of
transforming the everyday, producing a new space in the day-to-day [40].
Sustainability 2020, 12, 1979 7 of 18
and “work–leisure unity” in everyday life [39] (p. 29). Leisure as a festival is an energy for creative
production outside the framework of spatial organization, as well as the rationality and efficiency
of capitalist time and economic production. Through this festival, Lefebvre pursued the practice of
transforming the everyday, producing a new space in the day-to-day [40].
Similarly, Instagrammers transform their daily lives into festivals by dissipating the boundary
between work and life. Ferragni and Fedez’s post at Kudadoo Maldives Private Island (Figure
Sustainability 2020, 12, x FOR PEER REVIEW
3)
7 of 17
demonstrates the blurred boundaries between the public and the private as well as work and leisure.
Ferragni may
Ferragni may bebe on
on private
private vacation,
vacation, but
but she
she is
is also
also promoting
promoting herher label’s
label’s new
new swimsuit
swimsuit collection.
collection.
In this way, they present a certain fashion style and subsequently promote related products.
In this way, they present a certain fashion style and subsequently promote related products. Special Special
occasions also become an opportunity, such as Ferragni’s post of her family donning
occasions also become an opportunity, such as Ferragni’s post of her family donning Batman Batman costumes
for Halloween
costumes (Figure 4). On
for Halloween Instagram,
(Figure 4). Onthe festivalization
Instagram, of everyday life
the festivalization ofshows that personal
everyday life showsspaces
that
and daily activities can become special and extraordinary, representing play.
personal spaces and daily activities can become special and extraordinary, representing play.
Figure
Figure 3.
3. Ferragni
Ferragni and
and Fedez
Fedez at
at Kudadoo Maldives Private
Kudadoo Maldives Private Island.
Island. Reference:
Reference: https://www.instagram.
https://www.
instagram.com/p/BsIFbMXBI4h/ (accessed on
com/p/BsIFbMXBI4h/ (accessed on 2 March 2019).2 March 2019).
Figure
Figure 4.4.Ferragni’s family
Ferragni’s in Batman
family costume.
in Batman Reference:Reference:
costume. https://www.instagram.com/p/
https://www.instagram.com/p/
BpmIye7FqFn/ (accessed on 2 March 2019).
De Certeau
De Certeau proposed
proposed everyday
everyday lifelife as
as aa set
set of
of practices
practices that,
that, although established, offer
although established, offer the
the
potential for creativity [4]. As for making do with this everyday culture, people
potential for creativity [4]. As for making do with this everyday culture, people have also been have also been making
with it: with
making transforming and inventing
it: transforming by appropriating
and inventing and redeploying
by appropriating [13] (p.
and redeploying [13]9).
(p. The duality
9). The dualityof
fashion is to express everyday life as a festivity, a means of releasing latent desires
of fashion is to express everyday life as a festivity, a means of releasing latent desires onto the onto the ordinary.
In the digital
ordinary. space,
In the fashion
digital transforms
space, everyday life
fashion transforms in this way:
everyday a cultural
life in this way:revolution
a culturalofrevolution
art and style,
of
play and festival.
art and style, play and festival.
The social
The social platform
platform represents
represents the the festival
festival of
of everyday
everyday lifelife in
in expanded
expanded time
time and
and space,
space, “digital
“digital
space fluidity”
space fluidity” [41][41] that
that allows
allows users
users to to extend
extend daily
daily horizons
horizons beyond
beyond time
time and
and space
space in in aa tight
tight
network. This is particularly seen from influencers’ Instagram posts before their
network. This is particularly seen from influencers’ Instagram posts before their commercial success. commercial success.
Instagrammers commonly
Instagrammers commonlystart startrepresenting
representing everyday
everyday fashion
fashionin intimate spaces,
in intimate like their
spaces, like own
theirhouse,
own
and be and
house, recognized by friends
be recognized around.around.
by friends
As the everyday space of “house” appeared as the main location for Instagram shoots, spaces that
used to be regarded as very private—bedrooms, toilets, kitchens, decks, and yards—are transformed
into special studios. In Figure 5, a young Tavi Gevinson photographed herself on the deck of her
house. This particular photo is among the first ones she posted when she started blogging at the age
of 11. The use of kitchens and dining rooms as an aesthetic space is also prevalent in Instagram. Here,
Sustainability 2020, 12, 1979 8 of 18
As the everyday space of “house” appeared as the main location for Instagram shoots, spaces that
used to be regarded as very private—bedrooms, toilets, kitchens, decks, and yards—are transformed
into special studios. In Figure 5, a young Tavi Gevinson photographed herself on the deck of her
house. This particular photo is among the first ones she posted when she started blogging at the age of
11. The use of kitchens and dining rooms as an aesthetic space is also prevalent in Instagram. Here,
in Figure 6, Lau is drinking coffee in a very café-like dining area. The bathroom is also always one of
the popular spaces presenting one’s self-image fashionably. In Figure 7, Gevinson calls her reflected
image “pants and shower curtain and life.”
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Sustainability 2020, 12,
12, xx FOR
FOR PEER
PEER REVIEW
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of 17
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Figure
Figure 5.Eleven-year-old
5. 5.
Figure 5. Eleven-year-oldGevinson
Eleven-year-old Gevinson on
Gevinson on aaa house
on house deck
house deck (second
(second photo
(second photo
photo in
photoin
in the
inthe slideshow).
theslideshow).
the Reference:
slideshow).Reference:
slideshow). Reference:
Reference:
Figure Eleven-year-old Gevinson on a house deck (second
https://www.instagram.com/p/BSWSd6MBIWr/
https://www.instagram.com/p/BSWSd6MBIWr/
https://www.instagram.com/p/BSWSd6MBIWr/ (accessed
(accessed
(accessed on
on
on 15
15
15 March
March
March 2019).
2019).
2019).
https://www.instagram.com/p/BSWSd6MBIWr/ (accessed on 15 March 2019).
Figure 6.
Figure 6. Lau
Lau in
in aa dining
dining room.
room. Reference:
Reference: https://www.instagram.com/p/2yAJ7PKar3/
https://www.instagram.com/p/2yAJ7PKar3/ (assessed
(assessed on
on
Figure Lau
6. 6.
Figure inina dining
Lau a diningroom.
room.Reference:
Reference: https://www.instagram.com/p/2yAJ7PKar3/ (assessed
https://www.instagram.com/p/2yAJ7PKar3/ (assessed onon
27
27 March
March 2019).
2019).
27 27
March 2019).
March 2019).
Figure 7.
Figure 7. Gevinson
Gevinson in
in aa toilet.
toilet. Reference:
Reference: https://www.instagram.com/p/4GndyBG_TC/
https://www.instagram.com/p/4GndyBG_TC/ (accessed
(accessed on
on
Figure
Figure 7. 7. Gevinsoninin
Gevinson a atoilet.
toilet.Reference:
Reference: https://www.instagram.com/p/4GndyBG_TC/
https://www.instagram.com/p/4GndyBG_TC/ (accessed onon
(accessed
15 March
15 March 2019).
2019).
15 15 March
March 2019).
2019).
Instagrammers set
Instagrammers set the
the latest
latest trends
trends of
of eating
eating and
and drinking
drinking alone
alone in
in aa relaxed
relaxed and
and stylish
stylish manner.
manner.
Instagrammers
Instagrammers setthe
set thelatest
latesttrends
trends of
of eating
eating and drinking
andanddrinking alone
alonein ina arelaxed
relaxedand stylish
and manner.
stylish manner.
Such
Such posts seemingly
posts seemingly encourage
encourage followers
followers to admire
to admire and enjoy their
enjoy their own
own leisure
leisure time.
time. The
The same
same can
can
Such
Such postsseemingly
posts seeminglyencourage
encourage followers
followers totoadmire
admireandandenjoy
enjoytheir ownown
their leisure time.time.
leisure The same
The can
same
be said
be said with
said with maintaining
with maintaining fashionable
maintaining fashionable appearances
fashionable appearances
appearances in in otherwise
in otherwise common
otherwise common circumstances
common circumstances
circumstances suchsuch as
such as
as
canbebe said
walking a with
dog, maintaining
grocery fashionable
shopping, or going appearances
to school in
(Figure otherwise
8). This is common
because circumstances
the moments such
captured as
walking aa dog,
walking dog, grocery
grocery shopping,
shopping, or or going
going to
to school
school (Figure
(Figure 8).8). This
This is
is because
because the the moments
moments captured
captured
walking a dog, grocery
on Instagram,
Instagram, shopping,
as aa routine
routine or going
of everyday
everyday tocan
life, school (Figure
be seen
seen as aa8). This is because
“festivalized” the moments
moment. In other captured
other words,
words,
on
on Instagram, asas a routine of of life,
everyday life, can be
can be seen asas “festivalized”
a “festivalized” moment.
moment. In
In other words,
Instagram provides
Instagram provides a space
space toto transform
transform thethe everyday
everyday ordinary
ordinary into
into the
the extraordinary,
extraordinary, even
even into
into
Instagram provides aa space to transform the everyday ordinary into the extraordinary, even into
one’s ideal
one’s ideal image.
image.
one’s ideal image.
Sustainability 2020, 12, 1979 9 of 18
on Instagram, as a routine of everyday life, can be seen as a “festivalized” moment. In other words,
Instagram provides a space to transform the everyday ordinary into the extraordinary, even into one’s
ideal image.
Sustainability 2020, 12, x FOR PEER REVIEW 9 of 17
Sustainability 2020, 12, x FOR PEER REVIEW 9 of 17
Sustainability 2020, 12, x FOR PEER REVIEW 9 of 17
Figure
Figure 8. Gevinson
8. Gevinson going
going to to school.Reference:
school. Reference: https://www.instagram.com/p/Ub078am_aY/
https://www.instagram.com/p/Ub078am_aY/ (accessed
(accessed
on 15 March
on 15 March 2019).2019).
Figure 8. Gevinson going to school. Reference: https://www.instagram.com/p/Ub078am_aY/ (accessed
Figure 8. Gevinson going to school. Reference: https://www.instagram.com/p/Ub078am_aY/ (accessed
SuchSuch posts can
on 15 March 2019).
posts
on 15 March alsoalso
can 2019). be be a means of unearthing the alienated parts of everyday life. Bloggers Lau
a means of unearthing the alienated parts of everyday life. Bloggers Lau
and Ferragni showed that fashion can be produced, even in situations where women’s fashion is
and Ferragni showed
Such posts that
caninalso fashion
be a means can be produced, even in situations where women’s fashion is
alienated, such as
Such posts pregnancy
can also be a meansand of
of
unearthing
child care. In the
unearthing
alienated
Figure
the
parts dons
9, Ferragni
alienated
of everyday
a casuallife.
parts of everyday andBloggers
life. funky look:
Bloggers
Lau
Lau
alienated,
and
mini
such asshowed
Ferragni
satin dress,
in apregnancy and child
that trucker,
denim fashion can becare. In Figure
produced, even 9,in Ferragni
situations dons
a pairwhere
a casual
women’s and funky
fashion is look:
and Ferragni showed that fashion polka-dot mesh stockings,
can be produced, even in andsituations of black
where Dr. Martens.
women’s fashion Heris
mini alienated,
satin
stylish dress,such
looksuch a denim
as
is a as in
stark trucker,
pregnancy
contrast with polka-dot
and child mesh
care. In stockings,
Figure 9, and
Ferragni a pair
dons aof black
casual Dr.
and Martens.
funky look: Her
alienated, in pregnancy andthe typecast
child care. Inaccorded
Figure 9, to Ferragni
pregnantdonswomen. Lau’sand
a casual post of herself
funky look:
stylish look
mini
wearing
mini satin
isa metallic,
satin adress,
starkacontrast
denimpink
dress, a sheer
with
denim trucker,top the
trucker, and typecast
polka-dot mesh
sunglasses
polka-dot mesh
accorded
asstockings, to pregnant
stockings,
and aher
she breastfeeds pairwomen.
of black
and a pairchild
of black
Lau’s
Dr.
(Figure
Dr.10)
post ofHer
Martens.
echoes
Martens.
herself
that
Her
stylish
wearing
of a look is Even
metallic,
Ferragni’s. asheer
stark contrast
pink
during top with
timesand the
when typecast
sunglasses
fashion accorded
as
may shebe to pregnant
breastfeeds
timid and herwomen.
child
passive, both Lau’s
(Figure
postspost
10) of herself
echoes
celebrate that of
the
stylish look is a stark contrast with the typecast accorded to pregnant women. Lau’s post of herself
wearing
natural
Ferragni’s. a metallic,
changes
Even in
during sheer
female’s
timespink
whentop fashion
bodies. and
In sunglasses
this way,
may astimid
fashion
be sheimages
breastfeeds
and her both
expressed
passive, child
on (Figure
the social
posts 10) echoes
platform
celebrate thethat
emit
natural
wearing a metallic, sheer pink top and sunglasses as she breastfeeds her child (Figure 10) echoes that
of Ferragni’s.
everyday Even
desire from during
In times when
a preconceived fashionimages
routine, may beexpressed
timiddesire
and passive, both posts celebrate thea
changes in female’s
of Ferragni’s. bodies.
Even during this
timesway,
when fashionwhether
fashion may be thattimid andon isthe
beauty
social
passive, forplatform
both the sake
posts of it, everyday
emit
celebrate orthe
natural
festival changes
and a in female’s
restorative forbodies. In this
everyday way,tofashion
energy penetrateimages
a expressed
pre-given on the social platform emit
reality.
desirenatural
from achanges in female’s
preconceived bodies.whether
routine, In this way,thatfashion
desireimages
is beauty expressed
for theon the social
sake platform
of it, or a festivalemitand a
everyday desire from a preconceived routine, whether that desire is beauty for the sake of it, or a
everyday
restorative for desire
everyday fromenergy
a preconceived
to penetrateroutine, whether that
a pre-given desire is beauty for the sake of it, or a
reality.
festival and a restorative for everyday energy to penetrate a pre-given reality.
festival and a restorative for everyday energy to penetrate a pre-given reality.
Figure 9. A pregnant Ferragni. Reference: https://www.instagram.com/p/BgCOGQMDE-o/ (accessed
on 8 March 2019).
Figure
9. A9. A pregnant
pregnant Ferragni.Reference:
Ferragni. Reference: https://www.instagram.com/p/BgCOGQMDE-o/ (accessed
Figure
Figure 9. A pregnant Ferragni. Reference:https://www.instagram.com/p/BgCOGQMDE-o/ (accessed
https://www.instagram.com/p/BgCOGQMDE-o/ (accessed
on 8 March 2019).
on 8 March 2019).
on 8 March 2019).
Figure 10. Lau breastfeeding. Reference: https://www.instagram.com/p/BYlmSZUlGgw/ (accessed on
27 March 2019).
Figure 10. Lau breastfeeding. Reference: https://www.instagram.com/p/BYlmSZUlGgw/ (accessed on
FigureLau
10. Lau breastfeeding.
breastfeeding. Reference: https://www.instagram.com/p/BYlmSZUlGgw/
https://www.instagram.com/p/BYlmSZUlGgw/ (accessed on on
Figure27 10.
4.2. The Artification
March 2019).
27 March 2019).
of EverydayReference:
Life (accessed
27 March 2019).
In Lefebvre’s
4.2. The Artificationtheory of cultural
of Everyday Life revolution [21], the full reconstruction of concepts such as work,
4.2. The Artification
creation, of Everyday Life style, value, and human existence are necessary [19] (p. 348). His
freedom, appropriation,
In Lefebvre’s theory of cultural revolution [21], the full reconstruction of concepts such as work,
In Lefebvre’s theory of cultural revolution [21], the full reconstruction of concepts such as work,
creation, freedom, appropriation, style, value, and human existence are necessary [19] (p. 348). His
creation, freedom, appropriation, style, value, and human existence are necessary [19] (p. 348). His
Sustainability 2020, 12, 1979 10 of 18
4.2. The Artification of Everyday Life
In Lefebvre’s theory of cultural revolution [21], the full reconstruction of concepts such as work,
Sustainability 2020, 12, x FOR PEER REVIEW 10 of 17
creation, freedom, appropriation, style, value, and human existence are necessary [19] (p. 348).
His posit, “Let the everyday become a work,” no longer refers to an artistic object. Instead, it is to know
posit, “Let the everyday become a work,” no longer refers to an artistic object. Instead, it is to know
and understand oneself, to set their own conditions and express them as such with their bodies, desires,
and understand oneself, to set their own conditions and express them as such with their bodies,
time, and
desires, spaces.
time, This is This
and spaces. artification as appropriation:
is artification the actthe
as appropriation: ofact
becoming one’sone’s
of becoming own own
artwork [21]
artwork
(p. 355–356).
[21] (p. 355–356).
Aesthetics in spatiality are linked to the aesthetics of everyday life. Aestheticizing the emotional
Aesthetics in spatiality are linked to the aesthetics of everyday life. Aestheticizing the emotional
circulation of everyday humans through reinforcement of the aesthetic function of the everyday spatial
circulation of everyday humans through reinforcement of the aesthetic function of the everyday
environment, means liberating the lifestyle of the masses with flexibility, diversity, and solidarity.
spatial environment, means liberating the lifestyle of the masses with flexibility, diversity, and
However, these
solidarity. aesthetic
However, values
these are no
aesthetic longerare
values carried out bycarried
no longer privileged
out by or professional
privileged orartists but are
professional
permeated into the daily life and space of ordinary people to improve the quality of life in general [24].
artists but are permeated into the daily life and space of ordinary people to improve the quality of
In the case of Instagram, it is a medium accessible to everyone but begins in private. The general public
life in general [24]. In the case of Instagram, it is a medium accessible to everyone but begins in
can traceThe
private. the general
lifestylepublic
of an influencer
can trace theas iflifestyle
it were of
a diary, capturing
an influencer as their past,apresent,
if it were and futuretheir
diary, capturing via
visual images and videos.
past, present, and future via visual images and videos.
In Figure 11, Lau is seen lying down on a handmade boucherouite rug, wearing a waterfall knit
In Figure 11, Lau is seen lying down on a handmade boucherouite rug, wearing a waterfall knit
by JW Anderson that matches the rug’s design on her Instagram (@susiebubble). The rug and her
by JW Anderson that matches the rug’s design on her Instagram (@susiebubble). The rug and her knit
knit artistically meld into each other, making Lau look as if she were part of a single piece of artwork
artistically meld into each other, making Lau look as if she were part of a single piece of artwork
itself. In
itself. In aa similar
similar manner,
manner, Gevinson’s
Gevinson’s post post ofof herself
herself as
as a
a Cabbage
Cabbage PatchPatch Kid
Kid with
with creepy
creepy doll-like
doll-like
lips painted over her own and posing under some plants in her garden (Figure 12), can be taken
lips painted over her own and posing under some plants in her garden (Figure 12), can be taken as
as an example of how one artificate themselves. In this example, artification occurs with Gevinson
an example of how one artificate themselves. In this example, artification occurs with Gevinson
pretending
pretending to to be
be aa doll,
doll, photographed
photographed in in aa space
space depicting
depicting everyday
everyday life.life.
Figure 11.
11. Lau lying
Lau down
lying on aon
down boucherouite rug. Reference:
a boucherouite https://www.instagram.com/
rug. Reference: https://www.instagram.com/p/
p/xKpg3HKahd/
xKpg3HKahd/ (accessed
(accessed onon
2727 March
March 2019).
2019).
Figure 12. Gevinson
Figure 12. Gevinson pretending
pretending to
to be
be aa Cabbage
Cabbage Patch
Patch Kid
Kid (first
(first photo
photo in
in slideshow).
slideshow). Reference:
Reference:
https://www.instagram.com/p/BSWSd6MBIWr/ (accessed on 15 March
https://www.instagram.com/p/BSWSd6MBIWr/ (accessed on 15 March 2019). 2019).
Instagrammers also utilize multiple digital and visual techniques to express themselves; they are
not limited
limitedtotomaterial
materialresources
resourcesinin
digital space.
digital Fashion
space. images
Fashion on Instagram
images make
on Instagram everyday
make life look
everyday life
like art, expressing it as an imaginary or virtual image that transcends everyday life. For instance, Figure
look like art, expressing it as an imaginary or virtual image that transcends everyday life. For instance,
13 shows Lau in a pale pink dress with a haze of pink clouds behind her. In her post, she captioned it
as “A morning of milk vom and poonami means I’ve momentarily escaped into a haze of pink clouds.”
Gevinson has a similar post (Figure 14) of herself in a dress with a floating UFO print. Here, Gevinson
captions the post as “being a prepubescent alien.” This is backed by what Suh and Kim [8] (p. 134)
discussed that dreams and imagination are inspirations for the imaginary self, and that social mediaSustainability 2020, 12, 1979 11 of 18
Figure 13 shows Lau in a pale pink dress with a haze of pink clouds behind her. In her post,
she captioned it as “A morning of milk vom and poonami means I’ve momentarily escaped into a
haze of pink clouds.” Gevinson has a similar post (Figure 14) of herself in a dress with a floating UFO
print. Here, Gevinson captions the post as “being a prepubescent alien.” This is backed by what Suh
Sustainability 2020,
Sustainability 2020, 12,
12, xx FOR
FOR PEER
PEER REVIEW
REVIEW 11 of
11 of 17
17
and Kim [8] (p. 134) discussed that dreams and imagination are inspirations for the imaginary self,
and
is that social
is aa virtual
virtual space
space media
where
where is it
a can
it virtual
can space where
be realized.
be realized. Anditadvanced
And can be realized.
advanced And advanced
digital technologies,
digital technologies, digital
such
such technologies,
as visual
as visual literacy,
literacy,
such as visual
contribute to
contribute literacy,
to the
the artistic contribute
artistic creation
creation ofto the artistic
of Instagram’s creation
Instagram’s visual of Instagram’s
visual images.
images. visual images.
Figure 13.
Figure 13. Lau
13.Lau with
with
Lau pinkpink
pink
with clouds
clouds as aa backdrop.
as
clouds backdrop. Reference:Reference:
Reference:
as a backdrop. https://www.instagram.com/
https://www.instagram.com/
https://www.instagram.com/p/
p/BRqkRHblH9i/
p/BRqkRHblH9i/
BRqkRHblH9i/ (accessed
(accessed
(accessed on
onon 27
2727 March
March
March 2019).
2019).
2019).
Figure 14.
Figure
Figure 14. Gevinson
14. Gevinson pretending
Gevinsonpretending aa prepubescent
pretending prepubescent
a prepubescentalien.
alien. Reference:
Reference:
alien. https://www.instagram.com/
https://www.instagram.com/
Reference: https://www.instagram.com/p/
p/BM72ELtDHod/
p/BM72ELtDHod/ (accessed
(accessed on
on 15
15 March
March
BM72ELtDHod/ (accessed on 15 March 2019).2019).
2019).
4.3. The
4.3. The Holistic
Holistic Stylization
Stylization of
of Everyday Life
Everyday Life
For Lefebvre,
For Lefebvre, cultural
cultural revolution
revolution refers refers to to the
the transformation
transformation of of the
the outside
outside world
world as as well
well as as
everyday life
life to
to create
create aa new,
new, holistic
holistic lifestyle
lifestyle [42].
[42]. HeHe emphasized
emphasized the
everyday life to create a new, holistic lifestyle [42]. He emphasized the symbolic value of the “whole” thesymbolic
symbolic value
value of the
of “whole”
the “whole” as
a complex,
as aa complex,
as linking
complex, linking from
linking from the smallest
from the tool
the smallest
smallest toolto the
tool togreatest
to the works
the greatest of
greatest worksart and
works of learning
of art
art and [21] (p.
and learning 8).
learning [21] “Everyday
[21] (p.
(p. 8).
8).
artwork”
“Everyday
“Everyday isartwork”
a culturalis
artwork” isrevolution
culturalthat
aa cultural refers tothat
revolution
revolution the refers
that creation
refers of
theculture
to the
to creation
creation as of
a lifestyle
of culture as
culture [21]. In other[21].
as aa lifestyle
lifestyle words,
[21]. In
In
Lefebvre’s
other words, cultural
Lefebvre’s revolution
cultural is the reclamation
revolution is the of style
reclamation and ofwork
style
other words, Lefebvre’s cultural revolution is the reclamation of style and work created by one’s whole created
and work by one’s
created whole
by being
one’s whole [2]
(p.
being
being3). [2]
Instagram
[2] (p. 3).
(p. expresses the
3). Instagram
Instagram variousthe
expresses
expresses daily
the desires
various
various through
daily
daily desires
desiresfashion—a
through visual
through fashion—a
fashion—amedium.visual
visual Influencers
medium.
medium.
form visually
Influencers
Influencers unique
form
form identities
visually
visually unique
uniquethrough their through
identities
identities fashion tastes
through their and
their lifestyles.
fashion
fashion tastes This
tastes and means
and establishing
lifestyles.
lifestyles. This means
This meansthe
holistic stylization
establishing the
establishing of
the holistic everyday
holistic stylization life
stylization of through
of everyday one’s
everyday life fashion
life through image.
through one’s one’s fashion
fashion image.
image.
In Figure
In Figure 15, 15, Lau’s
Lau’s signature
signature
signature bangsbangs and and top-knot, including her
top-knot, including
top-knot, her clutch
clutch printed
printed with with herher name
name
(SUSIE!), define her style identity.
identity. Her other posts often depict such
(SUSIE!), define her style identity. Her other posts often depict such identity; for example, Figure 16 identity; for example, Figure 16 isis
a collage of Lau’s
collage of Lau’s
a collage unique
Lau’s unique street
unique street style
street style
style as as a global
as aa global fashion
global fashion influencer.
fashion influencer. Ferragni
influencer. Ferragni became known
Ferragni became known for her for her
signature motif
signature motif“a
motif “awinking
“a winkingeye
winking eyewith
eye withlong
with long
long lashes,”
lashes,”
lashes,” and
and andeven
eveneven launched
launched
launched a whole
aa whole
whole collection
collection
collection of aa of
of shoe
shoea shoe
and
and
bag label featuring such design (Figure 17). She similarly showcases her jet-setter lifestyle as a globala
and
bag bag
label label featuring
featuring such such
design design
(Figure (Figure
17). 17).
She She
similarlysimilarly
showcasesshowcases
her her jet-setter
jet-setter lifestyle lifestyle
as a as
global
global
influencer
influencerinfluencer
(Figure 18).
(Figure (Figure
18). Figure
Figure18).19
19Figure
shows 19
shows shows updating
Gevinson
Gevinson Gevinsonher
updating updating
her style in
style her
this style
in this in this
dressing
dressing room
room dressing
post, as
post, asroom
most
most
post, as most
influencers
influencers doinfluencers
do on aa daily
on do
daily basis. on Her
basis. a daily
Her basis. Her
published
published published
collection
collection collection
of articles,
of articles, of articles,
interviews,
interviews, photo
photointerviews,
editorials,
editorials, photo
and
and
illustrations (Figure
illustrations (Figure 20) 20) from
from thethe now-closed
now-closed online online magazine,
magazine, Rookie,Rookie, cancan bebe seen
seen as as the
the penultimate
penultimate
example of
example of the
the holistic
holistic stylization
stylization of of everyday
everyday life. life. Both
Both style
style book
book andand magazine
magazine depict depict Gevinson’s
Gevinson’s
signature style but recreated with the purpose of influencing
signature style but recreated with the purpose of influencing the lifestyle of the teenager. the lifestyle of the teenager.You can also read
