Rebecca Louise Todd Fashion Marketing and Communication., Level 5 Fashion Consumer Culture 5FAMK002C Gabriela Pedranti and Alfred Quintan
Consumer Culture Research Book
Index
I. Introduction II. Literature review III. Methodology IV. The Brand V. The Country VI. The South African women (Target) VII. Brand Codes VIII. Cultural Codes IX. What does not work X. Opportunities XI. Conclusion XII. Appendix 1 XIII. References
One of the most significant current discussions in South Africa is how successful can foreign brands be in South African culture. This research paper will look at what may be some of the challenges with intergrating a European brand into a South African culture through a sociological and semiotical standpoint.
The focus of this paper will be the launch of Miriam Ponsa, a Barcelonian brand into the South African market. The first section of this paper will examine the target that is most appropriate for the brand based on research into the consumer culture of South African women. The second part focuses on the Brand and Culture codes that come into play when introducing a brand into a new market and finally the third section looks at the way these codes link in a map and the opportunities for Miriam Ponsa in South Africa.
Introduction
Previous research into the South African market has focused on the market itself and the successfulness of foreign brands within the market. However this research has not focused on the problems within both the brand and the market that may deter the success of said foreign brands. A major cause for concern in the South African market is the unstable economy that means many South Africans cannot afford to spend lots of money on luxury or imported brands. Trhough looking at the semiotical codes that can create opportunities for brands in other cultures, this paper aims to show that is not impossible.
Literary Review There are a wide range of studies on foreign brands in South Africa. However, since the focus of this research is on Miriam Ponsa and the South African market, these studies will not be reviewed in detail. In order to have a more in depth understanding of the South African market and the target group to engage, various sources of information were used. To start with the South African Statistics site, Statssa, held the general information about the population and some key statistics, however it was found that sources such as Mckinsey and Company were more beneficial 4
for consumer behaviours and a more in depth look at the South African consumer. Whilst sources such as Euromonitor and Nationmaster were useful in the additional statistics and opinions to fill out what was gained from the former two sources. Miriam Ponsa’s own collections and social media were the source of brand codes in order to analyse the brand and what they did various times and how this will have en effect on the consumer. On the other hand, South African magazines as well as article quotes held the culture codes that will play a role in the launch
of Miriam Ponsa. The sources used in this research paper are of importance as they have given the foundation to build brand opportunities for the brand in South Africa. Existing gaps in research currently include the codes that are the semiotical aspects of launching brands in foregin territory and the major impact these play in success. Future research should focus on key areas in South Africa that foregin brands should consider when launching in this country.
Methodology The study uses qualitative analysis in order to gain insights into the South African consumer culture as well as into the brand Miriam Ponsa. The qualitative method offers an effective way of bring in various sources and studies to develop a fuller overview and therefore more reliable conclusion. Research into Miriam Ponsa included the last two collections found on her social media accounts as well as the description from her website. On the other hand research into South Africa looked at magazines that included key words that were seen to be repeating in use
over a long period of time as this indicated it as a more reliable conclusion from the source. Beginning the research with an overview of the brand and the South African market and consumer culture meant that when looking into consumer codes, it is more understandable as to why these are occurring. This also meant that codes were more easily inderstood and developing these became easier.
difficult to begin the process of finding these culture codes and the opportunities that mapping them against the brand codes would bring. However four poteential opporuntiies for Miriam Ponsa in South Africa have come out of the following research paper.
The limited information into culture codes in South Africa and the semiotical approach to brands in South Africa meant that it was more 5
The Brand // Miriam Ponsa The main objective of this research paper is to discover whether launching the Manresa, Spain born fashion brand; Miriam Ponsa, in South Africa is a feasible opportunity for the expansion of the brand. Miriam Ponsa is an independent fashion designer who has family roots in the textile industry. Ponsas collections are embedded with this industrial spirit of old tradition from her family’s beginnings in the textile industry in the nineteenth century. Since Ponsas beginnings in 2000, her collections have been paraded on catwalks all over Spain, displaying some of the latest techniques
in textile manipulation; such as the dripping and marbling of latex. In the past Ponsa has used current topics of social discussion as drivers of inspiration for her collections, an example being the rice industry. The use of textile manipulation comes across in the collections that Ponsa produces. She uses textures and finishes of fabric in a new and interesting way, creating forms that are unique and use the chosen fabric to their advantage. Her collections have a young, cool and trendy feel to them and are therefore targeted to a more youthful audience of fashion conscious
and in the know women. However her use of simple and classic silhouettes makes her collection pieces adaptable to even those that do not follow current trends.
The Country // South Africa On the other hand of this research is the South African market. In 2015, statistics saw the countries consuming class grow to nine million households, accounting for $191 billion in private consumption. However in comparison to other major economies in Africa, at an annual private consumption growth rate of 2.8 percent in the past five years and only 1.6 percent in the past year, they are recorded as being slower. According to research released by McKinsey & Company (2016), South African consumers are under financial strain due to higher prices and an average inflation rate of 5.4 percent in recent years and 6.4 percent in
2016. As well as balancing low real growth in wages, averaging about 1.3 percent in the past five years (McKinsey & Company 2016). The research and surveys of 1000 South Africans performed by McKinsey & Company (2016), discovered behavioural shifts in South African consumers as a result of the above statistics and financial insecurity felt across the country. Â They found there are four main qualities that consumer centric brands should keep in mind in order to see success. The first being that there is a trend for South Africans to actively search for savings; the are seeking out
sales, promotions and are delaying purchases for these saving opportunities. The second being that South Africans are becoming more brand loyal, even if that means finding their favourite brands at discounted prices elsewhere (McKinsey Global consumer Sentiment Survey, 2016). The third consumer trend outlined, is the trading down to cheaper brands instead of their preferred brands. However about 5 percent decided to upgrade in certain categories like alcoholic beverages and cosmetics, suggesting that higher end brands can do well even in a depleted market. Finally, consumers shop across channels and find value at discounters.
There appears to be a shift to modern retailers and away from small independent retailers. As the search for value for money grows, there is seen a channel shift to discounters and hypermarkets, where consumers expect to find lower prices (McKinsey & Company, 2016). One of the major suggestions that came out of the research into the changing consumer culture in South Africa, was the need for a very clear target.
The Target // Defining a clear target is considered to play an important role in the success of a consumer centric brand in South Africa. Defining the target for Miriam Ponsa in South Africa will be done through research into the market and discovering what South African women can afford, where they buy, why they buy and how we can reach them. As African women’s buying power grows due to a shift in historical roles to a more modern women; we are able to see that women have begun controlling household spending decisions. Since this shift was recorded, there 10
have been key drivers for the female consumer, these being: convenience, price and fashion (Euromonitor International, 2012). As mentioned above the modern African Women is becoming an increasingly powerful and controlling figure in South African households, having more of a say in the household spending habits and decisions and taking control of her own future through a higher education and money making job opportunities to create her own disposable income and security. However, even with this growing prominence in the market, the income gap still has a notice-
able presence, and according to Euromonitor International Statistics, men have almost double the disposable income that women have (Euromonitor International, 2012). In an article posted by Statistics South Africa (2017), it recorded that male headed households spend more on clothing and footwear than women, which is expected as male headed households have a higher average income than female headed households; with a R1000 difference in the money spent (Statistics South Africa, 2017).
South Africa has also seen the rise of the middle class which has had an added impact on consumer culture in South Africa. This has seen a rise in the importance of convenience for the busy and working consumers. In South Africa this convenience is obtained through the growing mall culture, with access to many amenities all at once in one place. Along with enjoying convenience, they seek instant access to information and technology and remaining connected via social media (Euromonitor International, 2012). This leading into South African women being ever more concerned with staying connected and looking good.
Following the trends in the market (Appendix 1) we will define the target that Miriam Ponsa should look to communicate with in the South African Market.  Due to the shift towards a more modern women becoming increasingly popular, the target should be a working, single or married women with her own disposable income. These women would include women between the ages of 25-40. The brand should have an online presence making the brand accessible throughout the country. The brand should look to have a store in a shopping mall to appeal to women’s need for convenience in their busy routines.
This fulfills not only the need for convenience but also the growing mall culture. Targeting women who look outward on the world of fashion as their influence will bring in those women who look to obtain a western appearance.
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Target Audience Population
Cape Town Population: 3.47 million
South African Population: 54.96 million
Cape Town Women: 1 909 327
Female Population: 28 million
Formal Sector workers (women)
Age distribution
Professional/technical 9% = 2 520 000 Managerial 12% = 3 360 000 Administrative 28% = 7 840 000 Service 15% = 4 200 000 Total Population of women that can afford Miriam Ponsa: 17 920 000
25-29 years: 2 516 635 30-34 years: 1 992 804 35-39 years: 1 758 420 Target Audience in South Africa: 6 267 859 women 12
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Target Profile // Demographic Age: 25-40
Country: South Africa
Gender: Female
City: Cape Town (Fashion Capital)
Income: own disposable income / 2 Family incomes (middle to high)
- Online store to appeal to more rural locations/other cities - Cape Town: Because that is where most South African design ers are based and come from therefore the desig ner consumer market is there.
Relationship status: single, working women / married working women
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Geographic
Psychographic
Behaviours
What they like: Working, going out with their girlfriends, eating in small/trendy cafes., spending their saturdays browsing the malls, look to obtain a western look
Decision Process: Shop for price, convenience and fashion, use fashion as a showcase of what they have, therefore enjoy shopping in new places
Where the shop: Shopping centres (Malls)
Why they shop: to maintain appearance and ligestyle, to obtain a western style, spend their own money on what they like
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All about the signs // Semiotics is the study of how meaning is created through signs, symbols and signification and not what it is.
Signified is a concept or meaning taken from the sign in which is was communicated through (connotation).
Throughout this part of the paper some semiotic terminology will be used, so in order for clarification the key terms will be defined from the Merriam-Webster dictionary (2017).
Finally code which is a system of signals or symbols for communication that are used to represent assigned or secret meanings.
The first being signifier: this is a symbol, sound or image that represents an underlying meaning (denotation).
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The semiotic part of the research into the launch of Miriam Ponsa in South Africa looks to delve into the brand and cultural codes that will ultimately play a role in how the brand communicates to their audience.
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Brand Code
Baring Barcelona This brand code comes from Ponsa’s use of typical Barcelonian style. Which has a laid back vibe to it, where by anything goes to some. Miriam portrays this style through her use of silhouettes and the shapes she creates within these silhouettes to give this laid back vide that is typical of Barcelonians.
This style of silhouettes that is very Barcelonian expresses a chilled, effortless look whilst still looking put togeher. This put together part is what Miriam Ponsa has added to this style. She has given the Barcelonian style something else that makes it wearable anywhere whilst still keeping her Barcelonian style.
However, alternatively, this Barcelonian style could also be Ponsa’s way of using silhouettes that she likes to wear, she may have a more conservative fashion sense, that is not too revealing whilst still maintaining a trendy look. Pictured to the left: Miriam Ponsa Barcelonian Pictured above: Barcelonian Street style
The style is talking about her Catalunyan background and her life now in Barcelona and being inspired by the fashion she is surrounded by.
Her use of barcelonian style in her eyes could symbolise the love of the city and of her background and how that has also influenced her style eye.
Brand Code
Fab(ric)-tastically This brand code comes from Ponsa’s use of multiple textiles to create layers of textures in her garments. This gives her collections a very luxurious, high quality feel. Miriam Ponsa achieves this through the way she layers various textiles in one look, each with varying weights in terms of how it looks. For example a big knitted jumper over a thin silky shirt (left). The style talks about her families heritage in textiles. Her family owned a textile factory in Manresa and she grew up around textiles. This
is typical of Ponsa as she tries to encorporate her background into her work. She wants her work to say something. With the way she uses textiles she is showing her audience the way she uses her interpretation of her beliefs. For example the collection in support of the environment. Through her use of textiles she is expressing her beliefs in a new and interesting way, using her inspirations in an almost literal way. To the audience the use of textiles and the luxurious feel this portrays to the viewer, when
wearing Ponsa, you portray this idea that you have spent money on your clothes, that you care about the way you look in an effortless way. The collection shows where Ponsa as a designer has come from but alternatively her use of textiles could be her way of giving luxury and expense to her garments and in turn making the wearing feel empowered by quality. Pictured to the left and above: Ponsa and textured pieces
Brand Code
“Onions have layers” This brand code comes from Ponsa’s use of layering / draping of fabrics in her pieces. This techniques adds to the above to codes in giving a luxurious, effortless and fashionable feel. Miriam Ponsa does this through the layering of silhouettes, textiles and colours. Her mixing and matching of the three only adds to her identifiable collection. She achieves this differently through the multiple levels of layering that she uses. Layering is a way of giving garments depth and allowing the designer as well as the wearer
to show their identity and style through what they choose to layer on what. The style talks about people having the ability to show who they are through what they wear and gives the designer the ability to use their own designs to do the same.
For the person wearing the garments, it shows the viewer that they are fashionable but still show their idenitity through how they wear it, but also it shows the viewer that they are cool and effortless but understand fashion. Pictured to the left: Miriam Ponsa layering
The same way people have layers, Ponsa’s garments have layers. Layers of her history in textiles, in the inspiration she has drawn from Barcelona and Manresa. Her use of layers are representative of where she has come from and who she is now.
Pictured above: Barcelona layered street style
Brand Code
BLACK on Black-ish This brand code comes from Miriam Ponsa’s use of colour, particularily black. She plays with the idea of an all black outfit, that is known to look trendy and sophisticated, by giving it something else. Something new. Ponsa adds to an all black ensemble with layering of off blacks and sheer panels to give detail and depth as well as a new twist. She adds to this by changing up silhouettes and playing with how traditional garments are worn (left). This is Ponsa as it reflects not only her background in textiles but in her barcelonian style
and layering. The style is talking about trends and how people feel about what other people wear. It talks about the way we view particular colours and how they are used and where they are worn. In particular black; black is either seen as a sad colour or a sophisticated colour. Miriam plays on this idea in how she styles her models and the silhouettes she uses. This code may be representative of Miriam Ponsa’s shift to something new, the mourning of something passed. But could also just be her
representing the feelings that she has in that particular time or in winter (where the collection is from), through the use of colour and silhouettes. Pictured left: Miriam Ponsa black Pictured above: Street style black
“Young people in South Africa are no different from anywhere else in the world – and want to be seen to be wearing the latest fashion clothing and shoes, as soon as possible.” -Anita Stanbury (CEO of the South African Fashion Council
“The availability of these international brands in SA offers fashion-forward consumers a better shopping experience. Consumers can keep up with global trends, something SA-based fashion retailers fail to do as they order ahead of season.” -Buhle Ndweni (Finweek 2015)
Foreign Fads South African magazines use the rest of the world to attract readers, this suggests that South African magazines feel like their readers would rather read about foreign fashion and suggests to the audience that foreign fashion is more important. This could symbolise a trend towards foreign fashion by South African women and magazines but could also suggest a lack of industry in SA. This may be because South Africans have always been influenced by the world around them and have always been interested in the world around them. However many South Af-
ricans cannot afford to go abroad due to the low currency exchange with Rands and other currencies. This may influence women to try and bring foreign trends and goods to them. This culture code suggests that South Africans highly regard what the rest of the world is doing and would like to replicate this in their own coutry. It is also suggestive of changing fashion scene in South Africa to a more Western/European influence.
“...the novelty of having international brands in South Africa has resulted in less interest in local designer brands for mainstream or formal retail” -Anita Stanbury (CEO of the South African Fashion Council
Culture Code
Its a “HOT” sign South African magazines use the key word “HOT” to crab the reader’s attention, this connotes that this word is a trigger in the country for women and something they look to attain. The audience feels like this is something they will get from the magazine if they buy it. In colloquial language, “hot” is typically used to describe someone’s appearance or if something is currently on trend or happening then, in magazines this could symbolise this. It could also be used as it is a short way of saying many things and people can easily decide
what they want the word to mean. “Hot” is a word you can hear regularily used in South African conversations, far more than you may in other cultures. Its a word I can almost hear in my head in a South African accent. Its a word that can be used in so many different contexts to mean so many different things. The use of the word “HOT” in South Africa as seen from the examples is always used with a positive connotation.
Culture Code
“Mid- and higher-income households will likely face further interest rate hikes this year and, combined with currency weakness, constrain purchases of higher-end, often imported products.” - Staff Writer, Business Tech (2016)
MORE for LESS As discussed earlier in this research paper, women are on the constant look out to save some money or rather find a better value for their money:
“As the search for value for money grows, there is seen a channel shift to discounters and hypermarkets, where consumers expect to find lower prices (McKinsey & Company, 2016).” People like to save money where they can, or feel like they are getting more for their money
than other people are. So by appealing to this idea of helping women get more for less they are drawing the reader in, and the reader will in turn feel like they have gained something from spending money on the magazine and then in turn save where the magazine suggests. As seen in the quote above and disscussed previously, South Africas economy is unstable, even for those earning mid to higher incomes. It is therefore unsurprising that the average South African is trying to save some money or get more for their money.
Culture Code
Living the LUXE life “Luxe” as defined by the Mirriam-Webster dictionary, is for something to be luxurious or sumptuous. With this definition in mind we are able to see that the word “luxe” as with the word “hot” can be used in various contexts.
It is a colloquial, slang form of the word Luxury that is not often heard abroad. South Africans have coined many words that are in constand use in conversation, and the word “luxe” is one of these.
As we can see from the examples around, South Africans love the idea of something being “luxe”. They want to feel LUXE, they want to wear LUXE, they want to live a LUXE life.
As the middle class is on the rise (discussed above), and although people are trying to save due to the economy, people are still looking to attain a luxurious lifestyle and for many people it is a social staus symbol. This is an African thing that originates from “Your sunday best”, when attending Church, Africans still keep the traditional ideal of wearing your best. And for
It appears to be an important intangible effect that South African women wish to obtain from certain products or lifestyle choices.
Africans this means showing what you have. Wearing and living a luxe life comes from this ideal of your image being a representation to the public of whayt you have.
Culture Code
MAP
Brand Codes Baring Barcelona Fab(ric)-tastically
European / Western / Global style
Luxury / High quality / expensive
“Onions have layers”
Black on Black-ish
Effortless / luxury / cool / fashionable / trendy
Fashionable / trendy / sophisticated
Culture Codes Foreign Fads
Trends / fashions / western / European
Its a “HOT” sign More for Less
“Hot” / Trends / styles
Save / value for money
Living the LUXE life
Luxury
What doesn’t works?
“Onions have layers”
This Brand code would not work in South Africa as women are trying to have more for less and save where they can. By having multiple layers, that means buying multiple garments to layer and therefore more money spent. This would not suit the lifestyle of the women in South Africa and their consumer behaviours.
More for Less
This Cultural code does not work for Miriam Ponsa as she is a luxury brand and an imported luxury brand. She would then not be able to offer such value straight away but maybe in the future.
Opportunities 38
The Western Women
Working Women
Appeal to the South African women that wish to obtain a western / European style that could be achieved through Miriam Ponsa’s Barcelonian style in her clothes South African women are looking to what the rest of the world are doing and are looking to achieve this in South Africa through foreign brands.
With the rise of the middle class and the working women, more South African women have a disposable income they wish to use on what shows the rest of the world what they have, and in African societies in general this is through what you wear.
Ponsa appealing to the working women will bring in a large group of Ponsa should use their European roots as a major selling point as wom- women on their own disposable incomes and potentially two household en in South Africa are looking to achieve fashions from around the world incomes who can afford to spend with the brand. as well as stand out through wearing what othes arent. therefore foreign brands are appealing.
The Power of Mall Culture
Online Gateway
The growing number of malls in South Africa means more and more competition between brand and brand in the same mall. But malls also encourage shoppers to browse stores and then as a result shop. The convenience for women in South Africa is a major consumer trend.
As not all the women that may be interested in Miriam Ponsa are in Cape Town, or in a potential place the brand may expand into, an online option is the way to go. This gives the women living in more rural locations access to brands that they otherwise may not have access too.
Therefore the brand setting up in a position that will entice the consumer as well as fulfill their need for convenience will be beneficial to the brand.
An online gateway is also another convenience entry into the market, for the working women looking for western style without having to go to the mall but still achieving the same convenience that a mall offers.
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Conclusion
This research paper was undertaken to design a communication plan for Miriam Ponsa in South Africa and assess whether this could be successful or not. The results of this investigation show that there are four key opportunities for Miriam Ponsa in South Africa based on research into the South African consumer culture, the target of Ponsa in South Africa and the brand and culture codes that play a role in the success of the launch. The findings of this research study suggest that the Miriam Ponsa in South Africa has the potential for success. The findings show that
there are opportunities for the brand and that there are codes in common between the brand and the culture. This research extends knowledge of foreign brands potential in South Africa and the opportunities that are possible from a launch of this kind. It further shows too the importance of various approaches to launching a brand in foreign territory or another culture. A limitation of this research is that South Africa does not have endless population information or research into all aspects of consumer
cultrue. As well as this there is limited information about women and how much they spend individually rather than as a household, due to the past roles of women and men and who was the bredwinner. As women making their own disposable income is still, to an extent, not acknowledged just because of the way that South African culture is organised based on gender roles and norms. More research is required to determine the absolute effectivenes of launching Miriam Ponsa in South Africa.
Briefly mentioned above was the idea of mall culture, this being the next key trend seen in the market. Convenience being a key driver has seen mall culture grow rapidly and with this malls. From 2002 to 2010 South Africa saw the number of malls grow from 239 malls to 1443 malls. In South Africa, these malls being known as Shopping centres, have departments stores, restaurants and international brand outlets. Shopping centres have the added convenience of catering to all types of incomes in one place, making it a hub of lead consumers.
The first key trend is “the young female African consumer”; as the social roles of both women and men are changing across the continent and in South Africa, affluent, single women are becoming a significant consumer segment in South Africa (Carat Sa, 2011). This study found that 73% of women aged between 18 and 44 years were single and 66% of them working; and of these women 51% agreed that a career was more important than starting a family.
The online shopping phenomenon, although still in the infancy phase in South Africa, it is growing steadily. With again, convenience being the driving factor behind this growth. Online shopping does not come from a place of laziness for many South Africans but rather a place of limited access to stores in rural or less distinguished cities. This gives these women access to brands they otherwise would not have access to.
The next trend in the market being the growing importance of mobile payment services. Mobile phones have an increasingly important role in how business is done in Africa with people living rurally, making business and payments easier and quicker. Technology can give the African women freedom, convenience and power.
Finally, “The quest for beauty”, Africans are culture of people who use their outward appearance to showcase what they have, so it is becoming increasingly popular with rising salaries and better education, that women look to cosmetic surgery to achieve a new appearance and in many respects, a western appearance.
“International retail chains and the rising middle class female consumer”, this trend is linked with the key drivers discussed previously: price and fashion. These drivers are a way women are able to maintain their trendy lifestyles at low costs but keep the high quality they like. South African women have mostly always shopped at mainstream shopping outlet rather than custom boutiques, however luxury brands are growing in popularity, with brands targeting more visible, young, affluent professionals who have an increasing disposable income.
Appendix I
Some of the key trends involved in this shift in the market for women will influence the way in which Miriam Ponsa is introduced to the market and who her audience will be. There are six key trends that will be looked at as a way to know the market and be able to properly define the target audience and how to reach them in the most effective and efficient way in order to see success from the brand (Euromonitor International, 2012).
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