In his book “How Brands Become Icons”, Douglas Holt (2004) introduces a new branding model – known as cultural branding – to uncover how brands become cultural icons. He argues that icons form the bedrock of society’s “compass points” (Holt, 2004, p.1) – in other words, the iconic person or object is widely considered as the most convincing symbol of a set of ideas or values which the society views as important.
The use of cultural branding is indisputably driven by economic motives. Culture industries capitalize on the concept of iconicity brought about by cultural branding to cultivate and monetize icons. The advent of modern mass communications, ranging from print media in the 19th century to films and television, shifted the economic landscape to one that is largely dominated by the dissemination of cultural icons. As Holt aptly expresses, “the market gravitates to produce what people value the most” (Holt, 2004, p.2). Iconic brands such as Coca-Cola, Pepsi and Nike are essentially for-profit corporations with the common primary goal of earning profits through product sales. Hence, it is evident that cultural branding is rooted in the economic motive of producing what the masses want, in order to reap the highest economic returns from the masses’ consumption.
Moreover, Holt argues that brands which succeed in becoming iconic brands and/or cultural icons owe their success to their ability to perform identity myths. An identity myth is a story that is performed by the brand, which “consumers use to address identity desires and anxieties” (Holt, 2004, p.2) at a particular historical moment. In other words, brands provide identity value to their consumers as they serve as channels of self-expression that are rich in stories, which ultimately aid consumers in shaping their identities.
According to Holt, cultural branding is a model made up of a “set of axioms and strategic principles that guide the building of brands into cultural icons” (Holt, 2004, p.11). Victoria’s Secret is an iconic brand which exemplifies these principles. Founded in 1977, the brand was faced with various problems along the way before undergoing a complete brand overhaul, which led to its success as America’s largest retailer of women’s lingerie today.
Victoria’s Secret’s success is largely attributed to its ability to provide identity value by addressing the collective anxieties and desires of women to feel sexy and glamorous. The brand focuses on empowering women to feel comfortable buying lingerie, and also emphasizes that its lingerie is for the “everyday” American woman. As such, Victoria’s Secret addresses the tension between women’s desires of feeling sexy by wearing lingerie daily and the general perception that lingerie is solely worn on private special occasions for their partners.
By addressing this contradiction, the brand also performs the identity myth that women are allowed to feel sexy everyday by wearing lingerie for themselves. In doing so, Victoria’s Secret caters to women’s anxieties and desires by providing them with a comfortable lingerie shopping experience, as well as lingerie for everyday wear. When consumers experience and share the brand’s performance of its myth by buying lingerie, the act of wearing lingerie on a daily basis is a form of self-expression for these consumers, which contributes to the construction of their identities. In this case, women are expressing that buying and wearing Victoria’s Secret’s lingerie empowers them, and by believing that, they eventually foster strong emotional bonds to the brand.
The identity myth that Victoria’s Secret performs is set in a populist world, one where women’s desires to express their sexuality openly with lingerie is incongruent with common societal norms. This solidifies the authenticity of the brand’s myth, especially since the brand targets the everyday American woman, and not just one specific type. As more American women increasingly buy into the brand’s myth, it lends credibility to what the brand perpetuates.
Furthermore, this is in line with Holt (2004)’s argument that iconic brands perform as activists who lead culture. By communicating the message that women should be able to feel sexy and glamorous on a daily basis for themselves, the brand is encouraging women to, as Holt (2004) puts, “reconsider accepted ideas about themselves” (p.9). Victoria’s Secret relays the message that women should not feel insecure or embarrassed about expressing their sexuality in the way that they desire to with lingerie.
The Victoria’s Secret’s Fashion Show is an example of how it relies on breakthrough performances to create a long-lasting impression in the minds of its consumers. The annual fashion show revolves around the ideals of fantasy, sex and glamour, with beautiful supermodels – known as the Victoria’s Secret Angels – parading the brand’s exquisitely designed lingerie on an elaborately curated runway. The show is broadcasted on American network television during prime time, and includes performances by world-renowned singers. The Victoria’s Secret Fashion Show is a highly anticipated show that consistently reports millions of viewers tuning in each year, which highlights the brand’s ability to leave lasting impressions in the minds of its consumers.
Lastly, Victoria’s Secret enjoys a cultural halo effect. The identity value which the brand provides for its consumers enhances the brand’s reputation and status value (Holt, 2004, p.10), thus accounting for the tremendous success it enjoys today.
Klein (1999) offers a different perspective on brands in her book “No Logo”. She raises the increasingly prevalent issue of brand names holding more weight in the minds of consumers and their decision-making. She also highlights the shift in the advertising industry from an emphasis on promoting the product to one of creating brand identity. Manufacturing and product quality takes a backseat in relation to marketing. Moreover, she argues that advertising is increasingly becoming culture. While Holt (2004) stresses the importance of cultural branding and its benefits, Klein is critical of how brands are dominating the consumer industry and the culture industry, and how this may have repercussions for the consumer and culture. While Holt offers a comprehensive and useful perspective on cultural branding, Klein’s concerns are indeed justified, and prods a more critical analysis of cultural branding and its implications for society.
Reference List
Holt, D. B. (2004). How Brands become Icons. The Principles of Cultural Branding. Cambridge Mass.: Harvard Business School Press. (Chapters 1 and 2) (SB HF 5415.153/ SW HF 5415.153)
Klein, N. (1999). No Logo: no space, no choice, no jobs: taking aim at the brand bullies. New York: Picador. (Chapter 1 and 2) (SB HF 5415.152/ SB HF 5415.152