How Cultural Producers makes their Cultural Decisions in Modelling?
The cultural producers in the modeling industry usually make their cultural decisions based on the taste and personal preferences of the customers, trends in the fashion industry, as well as their strategy identity. These identify some of the major considerations for the cultural producers in the modeling industry in making their cultural decisions (DiMaggio and Walter 149). The fashion modeling sector is an example of the creative economies, and its markets are symbolic products. The fashion models are useful symbols for the definition of the cultural identities of the products in the markets. The fashion houses usually communicate their symbolic styles through advertising and can also be easily observed from the catwalks of the models.
In the occurrence of the fashion shows, the fashion producers showcase their collections to the various audience including celebrities, critics, buyers, and editors. For the catwalk shows, the fashion producers can show their style and market identity. It is assumed that personal state can drive creativity and fashion preferences. Individuals often perceive that they are only exercising their interests, but their selection are socially bound and responses to other peoples’ decisions. The fashion producers often interact and works together with other persons, interacts with social networks and aligns to the tastes which are important to the production of culturally acceptable fashion designs.
Selection of Fashion Models
The fashion houses decide the models to select for the fashion shows depending on their strategic position considerations and personal taste of the stakeholders. The selected models must fit the strategic cultural model of the fashion producers as well as the personal preference. The personal performance of the selecting the fashion models depends on the information available in the social networks (Godart and Ashley 676). Social network makes it possible for the fashion producers to share information and decisions which grow the fashion selection within the fashion houses. Most importantly, the fashion producers also depend on their instincts, perception, and personal taste. When they feel compelled to do certain things, it is appropriate for the producers to identify the right fashion models for the catwalk shows. Working in the creative industry, the fashion producers describes th9er work in the models of taste and adoption of their personal reactions to beauty.
In the decision of selecting the fashion models, the fashion houses also rely on the shared sources of fashion inspiration. They spend the most time in reading magazines and reading through periodical journals in bookstores. It is recommendable for the fashion producers to the connected to the global fashion world. The active participation in the social networks gives them the quality information to make their fashion modeling decisions. For example, regular face to face communication is important in promoting the creative industries including the fashion industry (DiMaggi and Walter 151). Thus, the fashion houses can rely on shared information to select their models. Also, some fashion producers could depend to follow other popular fashion companies in the markets. It refers to the concept of option mechanism which gives producers the opportunity to follow other producers’ tastes and preferences. However, the personal state of the producers relates to the status considerations.
Finally, the fashion houses also select their models depending on the strategic vision of the organization. The strategic vision ensures that the models picked are the right kind for the specific catwalk, and they are exemplary in their producers. The fashion houses believe in the strategic vision which ensures that they play in the rules and regulations of the modeling industry (Godart and Ashley 675). The fashion producers must understand and support the autonomy of their operations even they could be influenced by the social conditions.
I think the way the fashion houses choose their models did not surprise at all. It is because I expected them to rely on the identified methods to choose the right models. For instance, the use of shared sources of information from friends and social networks is an expected criterion for selecting the models. The social networks give the fashion producers the opportunity to understand the general preferences of the customers in the market. It gives information about the recent fashion trend in the society to ensure that the selected models fit into the specific catwalk shows.
Being a creative industry, I also expected that the fashion houses would rely on their personal taste and reactions to beauty to select the models. It is because modeling relies on the creativity of understanding the personal convictions about beauty and preferences to certain shows of the fashion houses. Therefore, I was not surprised by the selected criteria for selecting the models among the fashion houses.
DiMaggio, Paul J., and Walter W. Powell. “The iron cage revisited: Institutional isomorphism and collective rationality in organizational fields.” American Sociological Review 48.2 (1983): 147-160.
Godart, Frédéric C., and Ashley Mears. “How do cultural producers make creative decisions? Lessons from the catwalk.” Social Forces 88.2 (2009): 671-692.