Stage Two - Identity by Sophie Ottewell

identity:

Are online social profiles a true reflection of self, relationships and experiences?

e n O e g St a

Introduction

Contents Page.

1.1 Introduction 004 1.2. Research Aims and Objectives 005

Methodology

2.1 Research Approach 007 2.2 Sample 008 2.3 Methods 010

This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and primary and secondary sources of information have been properly attributed.

Defining Identity 3.1

Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the University's regulations on assessment contained in its handbook.

Defining Identity & The Concept of Self

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3.2 Identity in Relation to Social Media 015 3.3 Research Gap Analysis 016

Authenticity

4.1 Authenticity 019 2.2 Personality Traits on Instagram 020 2.3 Personality Traits on Tinder 021 2.3 When Offline is Translated into Online 023 2.3 How Brands and Influencers Remain Authentic 026 2.3 Chapter Summary 028

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Print Name ………………………………………………………………..

Manipulation

4.1 Manipulation 030 2.2 Selective Posting 032 2.3 Embellishment 038 2.3 Direct Manipulation 040 2.3 Motivations for Manipulation 044 2.3 Chapter Summary 045

Date .................................................................

Sophie Ottewell / N0630284 Word Count: 7995

Conclusion

4.1 Conclusion 046 2.2 Key Insights & Reccomendations 047

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I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N I N T RO D U CT I O N Introduction

A state of ubiquitous connectivity has infiltrated the lives of many consumers over recent years. Future thinking explored how this constant desire for connectivity has led to the creation of social media platforms in which allow consumers to communicate, create and construct their per-

based social media platforms, Tinder and Instagram, are influenced by consumers real-life personas, relationships and experiences.

sonal identities online. Masuer et al (2014) explore’s how utilising social media platforms can help to fulfil an individual's unmet need for social contact. The ability to communicate like never before online aids in filling a void in many people's lives who may lack the ability to flourish relationships in real-life. In comparison to this, Maslow’s (1943) ‘hierarchy of needs’ describes social interaction within the third tier of the structure. Displaying the importance of such human interaction in enabling an individual to reach the stage of self-actualization. The proliferation of smartphones has only broadened this ability by providing consumers with a ‘great venue for self-presentation.’ (Huang, 2017)

2018) Tinder is an image based matchmaking app which enables users to find dates based on mutual attraction with a simple swipe of a screen. On the other hand, the photo editing and sharing app Instagram is described as a ‘simple way to share and capture the worlds moments.’ (App Store, 2018) Whilst very different in overall objectives, both social apps use the power of images and only a few short sentences to allow consumers to construct their online profiles and identities. This report will form an in-depth evaluation of whether this limited amount of information allows consumers to authentically replicate their offline personality, experiences and aesthetics within such app-based social platforms. The following objectives have aided in the conducted research to support the overall aim:

This report will aim to explore how identity constructed through app-

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Described on the Apple app store as ‘The world's largest dating app for meeting new people.’ (App Store,

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The aim of the study is to explore how identity constructed through app-based social platforms such as Tinder and Instagram influences real-life personas, relationships and experiences within young millennials.

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To identify whether online identities have a positive or negative effect on offline identities and the relationships developed because of this. To investigate to what extent online identities are a true reflection of offline identity. To understand how sharing emotions, experiences and possessions helps consumers to construct their online identities. To understand to what extent consumers alter the way their life is perceived online and their reasonings for this alteration. To understand the power of ‘likes’ on social media and how this influences online identity construction. To understand brand’s responsibility to create authentic and trustworthy profiles online and to what extent this is delivered.

The report will begin with an evaluation of the methodological approaches utilised within the study and lead into a chapter which will introduce the concept of identity and how this relates to the world of social media. A combination of both primary and secondary research has allowed for the key themes of authenticity and manipulation to arise which will form the basis of the following main chapters of this report.

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2 methodology 2.1 Research Approach

The following report methodology will utilise a mixed methods approach which Ortiz (2007) defines as ‘the class of research where the researcher mixes or combines quantitative and qualitative research techniques, methods, approaches, concepts or language into a single study or set of related studies.’ By utilising a mixture of both quantitative and qualitative research Ivankova, Cresswell and Stick (2006) explain how researchers develop the ability to gain a deeper understanding of the proposed research in comparison to utilising one method independently. Whilst providing advantages in terms of research knowledge and understanding, limitations include ‘needing to be familiar with and skilled in two traditions; being mindful of overambitious design; and not having the necessary time, resources

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or supervisory support for a multiple, mixed method approach.’ (O'Leary, 2009) Limitations of this particular study included time constraints, a limited budget and sample demographic inequalities. This includes the disadvantage of the majority of survey respondents being both female and within the younger age category. An increased budget and time limit would have ideally allowed the research to contrast and compare between online identity construction patterns across various demographics. Furthermore, larger sample sizes would have worked to further validate the findings demonstrated in this report.

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DISTRIBUTION OF MALE AND FEMALE FOLLOWERS ON THE RESEARCHERS PERSONAL INSTAGRAM ACCOUNT

32% female

male

68% fig 1.

2.2 Sample The study aimed to target a male and female

line survey received a much greater response

demographic between the ages of 18-24. A report by Goldman Sachs (2018) explores how social media has provided the millennial generation (born between the years of 1980 and 2000) with a platform to â&#x20AC;&#x2DC;reach the world.â&#x20AC;&#x2122; Millennials within this instance reflect a large proportion of users of app-based social platforms. However, to gauge a deeper analysis and understanding of the particular apps of Instagram and Tinder, the younger cohort of the millennial generation remained the focus of this study throughout. Sprout Social (2017) documented that most millennials between the ages 18-24 identify Instagram as their favourite social media network. Whilst Dredge (2014) reported that 51% of Tinder users are within the 18-24 demographic. Thus, these findings demonstrated users aged 18-24 make up most users within such app-based social platforms and therefore were concluded to be the focus of the study.

from female participants. The researchers personal Instagram account was utilised to distribute the survey to potential respondents. Fig [1] demonstrates the demographic figures of the researchers personal Instagram account, which shows females followers to be dramatically higher than male followers. This is likely to be the reason for a higher influx of responses from the female demographic. However, a report conducted by Brandwatch (2015) demonstrates females to be significantly more active on social media than males. Furthermore, Sprout Social (2017) stated that 38% of online women use Instagram in oppose to 28% online men. Such figures display how app usage habits may have influenced quantitative findings. A higher budget and time limit would have allowed for higher levels of survey distribution across various platforms which would have resulted in a greater number of responses from both male and female respondents.

One limitation of the sample is the ratio of male to female survey respondents. The on-

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Social media has provided the millenial generation with a platform to reach the world.

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coding

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2.3 Methods The following methods are displayed within chronological order and numbered in relation to the report objectives to display how each method informed one another in fulfilling the overall research objectives.

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Secondary Research - 1 2 3 4 5 6 Secondary research was conducted to inform primary research design. A range of sources was utilised to gain a broad outlook on the subject area. Resources included: Google Scholar to obtain journals which included similar studies, books to gain an understanding of proposed theories and online websites and trend databases such as Euromonitor to gain an understanding of macro trends and industry-specific statistics. Online Survey - 2 3 4 The initial research method consisted of an online survey which aimed to gain a baseline understanding of consumers attitudes towards constructing identity online and to what extent this identity is manipulated. The survey was distributed to the researchers personal Instagram profile which allowed for a total of 95 respondents, 83% female and 17% male. Limitations of this sample were previously explored in section 2.2. Instagram was utilised as a method for gaining responses for the quantitative survey in order to target users of the platform. Wright (2006) states that doing so can ‘gain access to people who share specific interests, atti-

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tudes, beliefs and values.’ However, it can be argued that using quantitative surveys ‘lacks details or depth on the topic being investigated.’ (Kelley, 2003) Therefore supplementary qualitative research such as focus groups were used to build on knowledge gathered within the initial survey. Focus Groups - 1 2 3 4 5 Two semi-structured focus group interviews consisting of six people each were conducted to build on the findings developed from the online survey. One group consisted of just female participants whilst one consisted of just male participants to establish key differences in behaviours which may not have been replicated credibly within the online survey due to gender ratio differences. These focus groups focused on how participants create and edit their online identities on both Instagram and Tinder, and the differences in the way their identity is portrayed on each platform. Participants ability to detect manipulated profiles were also analysed as part of the study. These focus groups enabled the researcher to ‘drill more deeply to attain in-depth insights.’ (Brunt, Horner and Semley, 2017) However, due to the group nature of focus groups, it needs to be considered how certain members of the group may lead and dominate the area of discussion. (Smithson, 2000) Therefore, subsequent research was also considered to form an overall understanding of consumer behaviour.

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2.3 Methods continued Observations Instagram and Tinder Profile Observations - 3 Made to determine the types of posts which

participants were selected who provided a description formed about them from a close relative. Said participants profiles were then

were relevant for constructing identity on each social platform. A total of 24 Tinder observations were carried out, utilising 50% female and 50% male accounts. The same sample was also used for Instagram, studying the last 30 posts of participants.

shown to one male and one female individual who then described how they perceive the four participants just by looking at their social profile. In order to ensure validity, no participants in the study had ever met before. The sample was equal between male and female participants.

Selfie Construction Observations - 2 4 Eight observations were utilised with an aim to understand the number of images an individual takes before they deem one ‘appropriate’ to share on their social channels. The sample was equal between male and female participants. Observation research was utilised to understand how social media users actually behave, rather than how they believe they behave. Observational data can be found to be a truer reflection of results gathered from qualitative interviews. (Boyd, Westfall and Stasch, 1991) This, however, depends on whether participants choose to act differently to how they usually behave. (O’Leary, 2010) Therefore, results are subjective and at the discretion of the researcher. Subsequent findings were backed up by secondary research to ensure validity. Personality Detection Experiment - 2 An experiment aimed to find out to what extent individuals can reflect their offline personalities onto their online profiles. Four

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Industry Interviews - 6 One to one email interviews with the following industry professionals: 1. 2. 3. 4. 5.

Stephanie Melodia: Former Marketing Manager of Beauty Editing App Meitu Grace Ogden: PR and Marketing Assis tant at Pretty Little Thing Laura Callaghan: Influencer Assistant at Boohoo.com Ellie Burns: PR and Social Assistant at Skinny Dip London Em Sheldon: Fashion Fitness and Life style Blogger at Emtalks.co.uk

up next:

g n i n i f .3 De . . . y t i t n e d II

The interview with Stephanie Melodia aimed to get an insight into how beauty apps allow individuals to construct and manipulate their online identities. Further interviews aimed to understand both brands and bloggers responsibility to create authentic profiles online and gain an understanding of how said authenticity is ensured. Whilst the email interviews enabled the study to feature insights

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from an industry perspective, they also allowed the researcher to gather knowledge from participants pants without geographic limitations. (Malina, Nørreklit and Selto, 2011) However, the nature of email interviews and busy business periods this meant that they took longer to collect results than other research carried out. This didn’t leave time for further questioning, in which would have allowed for a deeper understanding of how brands remain authentic on social media.

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3.1 Defining Identity andthe Concept of Self A critical review of the concepts of both identity and self will allow for a robust analysis of the ability for individuals to translate their offline identities to the online world. Whilst related, both identity and the concept of self can be defined individually within various reports. Identity, as defined by Oxford Dictionaries (2018), is ‘the characteristics determining who or what a person or thing is.’ Therefore, the concept of identity surrounds the societal categorisations in which makes up a person. For example, gender or race. This reflects that an individual is not defined by one identity, but instead has the ability to take up a number of different identities in which defines them, and their image portrayed to society. Tajfel’s (1979) Social Identity Theory further enhances this definition in suggesting how memberships to certain ‘in-groups’ help individuals to construct their identity.

defining identity

On the other hand, Baumeister (1999) defines the self-concept as ‘the individual's belief about himself or herself, including the person's attributes and who and what the self is.’ Therefore, in relation to identity, the self-concept is much more concerned with how the individual views themselves, rather than how they appear to others. Furthermore, the self-concept is closely linked to self-esteem as Rogers (1959) argues that there are three different components in which make up an individual's overall selfconcept: self-image, self-esteem, and the

& the concept of self

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ideal self. ‘Self-esteem reflects a person's overall evaluation of his/her self-worth.’ (Campbell, 1999) Higgen’s (1987) defines the difference between the ‘real self’ and the ‘ideal self’ to be the person we actually are, and the person we would like to be. Therefore, giving the ability for the self-concept to be personal to the particular individual in which can be altered in the form of selfpresentation. Whilst, an identity trait such as the job role an individual currently resides within is generally visible or accessible for other members of society to see. 3.2 Identity in Relation to Social Media and Image App Based Applications The proliferation of social media has allowed individuals ‘the potential to perform and present different identities.’ (Bullingham and Vasconcelos, 2013) Self-presentation can be defined as ‘how people attempt to present themselves to control or shape how others view of them’ (Baumeister and Vohs, 2007) Vaast (2007) explores the concept of ‘new selves’ being created online. Whilst Treviño (2003) argues that individuals do not seek to create ‘new selves’ for online, but instead portray an element of their everyday self which ‘can be found in everyday face-to-face interaction.’ Goffman’s (1956) dramaturgical model talks about how an individual may present their ‘ideal self’ to others. Metaphorically, life is

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3.2 continued

3.3 Research Gap Analysis Whilst reports cited explore how the notion of whether identity constructed online is a direct reflection of self offline there is a current lack of knowledge in direct relation to app-based social platforms such as Tinder and Instagram which are utilised mainly by the 18-24 generation. Utilising Higgen’s (1987)

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described as a ‘stage’ in which individuals put on ‘performances’ for their peers. In relation to the image based applications studied within this report, this theory is particularly relevant in terms of social media users constructing images in order to portray themselves to their peers. However, Goffman’s (1956)

Therefore, online selfrepresentations could be argued to be entirely subjective in terms of authenticity. On the other hand, Bullingham and Vasconcelos (2013) suggest that whilst individuals aim to recreate their offline identities online, there is a common theme of editing certain elements of self in

theory relating to theatrical approaches implies that such performances aren’t entirely authentic which would support the findings of Vaast (2007) as mentioned beforehand. However, it could also be argued that Treviño (2003) is also correct, as such ‘performances’ may be an enhanced version of self.

order to achieve the ‘ideal self.’ However, the following reports refer to the ‘online world’ in terms of blogging sites and virtual worlds. The further primary research will establish the potential for such arguments to be relevant to the social platforms of Instagram and Tinder.

theory of self-concept this report will compare and contrast how the two platforms differ in online identity creation. Furthermore, by studying both male and female members of the younger millennial generation, key differences and similarities in gender-specific behaviour will be highlighted.

In order to analyse both primary and secondary research collated, the report will be split into two main body chapters consisting of the themes of authenticity and manipulation.

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4.1 Authenticity

someones social media presence is more of their highlight reel and they come across different to how they are in real life.

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don’t ya.’ (Male Focus Group, 2017) Similarly, participant 6 said, ‘I think someone's social media presence is more of their highlight reel and they can come across different to how they are in real life.’ (Female Focus

concerned with the extent into which users of both Tinder and Instagram replicate their offline selves onto their online social profiles in terms of both personality and appearances.

Group, 2017) This displays that the theory of Treviño (2003) is relevant for both the platforms of Tinder and Instagram in the concept that individuals only portray’ elements’ of their everyday self online. The following sections will explore this concept further.

Focus group insights gained an initial understanding of whether individuals believe they can truly get to know someone just by looking at their social profiles. Participant 12 stated, ‘you only get to know what they want you to know

- Focus Group Respondant

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Authenticity can be defined as something which has been ‘made or done in the traditional or original way, or in a way that faithfully resembles an original.’ (Oxford Dictionaries | English, 2018) The following chapter will be

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4.2 Personality Traits on Instagram An investigation enabled a deeper understanding of how accurately people represent aspects of their authentic ‘self’ online. The methods of the aforementioned experiment can be found within chapter 5. In all cases, there were limited descriptions of personality traits mentioned which related to the ‘actual’ personality traits of the participating individual. For example, participant 14 was described as ‘vibrant and enthusiastic’ by an individual who knew said participant personality well, whereas within all cases described by someone who doesn’t know them well, they were described as ‘boring’ (Experiment, 2017) with no mention of similar traits to what the participants close relation mentioned. This would essentially reflect the concept, that participant 14's offline self is not reflected in their online profile. However, results have potential to be entirely subjective, as this would depend on whether participants 14's close relation had a biased opinion of the participating individual's personality. In order to determine results with a higher standard of authenticity, future research could enable individuals to meet participant 14 in person after describing personality traits taken from the participant's social profiles, in order to see if their online perceptions match up to their offline perceptions. On the other hand, Altman’s (1975) theory of privacy displays how individuals have selective control over their access to self. Therefore, results may also depend on whether participants have been ‘selective’ in which elements of self they choose

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4.3 Personality Traits on Tinder to portray online, which would, in turn, support the aforementioned theory of Treviño (2003) Whilst all cases showed a small degree of comparability to perceived personality from participants profiles and the described personality from a participant's close relation, individuals were able to identify traits of participant 16 through looking at said individual’s hobbies. Participant 16 was described by their close relative as someone who ‘goes to the gym most days’ (Experiment, 2017) whilst this was picked up by participant 12 ‘he’s a bit of a standard gym boy really’ (Experiment, 2017) participant 3 stated, ‘he's flashy, he shows off.’ (Experiment, 2017) Marshall, Lefringhausen and Ferenczi (2015) found that posting gym selfies on social media can be related to showing the personality trait of narcissism. Participant 3 describes a form of bragging on participant 16 profile. Thomas (2012) found bragging to be a form of narcissism. Therefore, this would suggest that participant 3 has accurately determined a trait of personality by looking at participant 16 profile. However, it would need to be considered that the work of Marshall, Lefringhausen and Ferenczi (2015) study relates to Facebook, and therefore may not translate onto the Instagram platform. In order to determine such results, the theory of Marshall, Lefringhausen and Ferenczi (2015) would need to be tested on Instagram.

Due to the inability to search profiles on the Tinder app, there was no opportunity for a similar experiment to be conducted. However, focus groups gained an insight into how well people believe they can get to know some-

being a ‘selfie.’ Qui et al., (2015) describes a selfie as ‘a new medium for self-expression and self-representation’ and found within a recent study how certain cues within images can help individuals to determine one's per-

one from looking at their Tinder profiles. One theme which emerged is Tinder users not utilising their bio in order to describe personality traits. Participant 9 stated "Nobody's got bios. Or some of them have got cringe bios and it puts me off loads. I just look purely off photos." (Male Focus Group, 2017) Similarly, participant 3 stated, "I don’t even know when I last had a bio, what do you even put in a bio?" (Female Focus Group, 2017) Instead, users are limited to learning information about individuals just by judging photographs. The aesthetic focus of Tinder accounts may be due to the online dating nature of the application. Fig [2] taken from the Tinder profile observations study displays the most common type of photograph shared on Tinder

sonality. For example, a ‘duck face’ was related to the judgment of 'conscientiousness and neuroticism.’ Furthermore, Naumann et al., (2009) found that individuals determine one's personality through ‘static’ and ‘expressive’ measures of physical appearance. However, although individuals have the ability to determine personality based on physical appearance, there is no reflection of whether the personality portrayed is one of the ‘true self.’ It could be argued that Tinder users have the ability to manipulate the personality they portray through their actions within images such as selfies, this would relate to the theory of Bullingham and Vasconcelos (2013). The theme of manipulation will be explored further within following chapters.

Fig 2.

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4.4

50%

When Online is Translated into Offline: 4.41 Appearances

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Whilst previous sections of this chapter have ex-

which platform was the most likely to show pro-

plored how individuals may or may not be able to ‘get to know’ individuals just by looking at their social profiles, this section will explore what happens when individuals meet online profile users in real life. A keyword utilised by participants within the conducted focus groups was the word ‘catfish.’ When quizzed, participants within the focus group stated the definition to be "someone who does not look like their pictures they post." (Female Focus Group, 2017) Similarly, participant 9 stated, "someone who looks nothing like their pictures." (Male Focus Group, 2017) The online survey determined

files in which had the ‘catfish’ characteristics. Whilst 50% stated they believed they would be likely to come across a ‘catfish’ profile on Instagram, a huge 80% stated that they would be likely to come across the same on Tinder. This concludes the concept that offline aesthetics sometimes fail to meet up to the standards of aesthetics portrayed on social media profiles, especially on Tinder. This could be due to the main motivations for Tinder use being ‘love and casual sex’ (Strubel and Petrie, 2017) in which physical appearances are deemed to be more important. (Diller, 2012)

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stated they would be likely to come a 'catfish' profile on Instagram.

80% stated they would be likely to come a 'catfish' profile on Tinder.

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Participants within the focus group also displayed frustrations when talking about real life encounters stating quotes such as "they never look like what you think they’re gonna look like." (Male Focus Group, 2017) Participant 3 also stated, "it’s very rare that you go and meet someone, and they look exactly the same as their pictures." (Female Focus Group, 2017) Dumas et al (2018) found how individuals ‘engage in an assortment of like seeking behaviours’ such as editing photographs to reflect Higgen’s (1987) concept of the ‘ideal self.’ The aforementioned behaviour could be the culprit for individual’s disappointment of online personas offline appearances. The hyperpersonal model (Walther, 2007) reflects how whilst computermediated relationships can be more personal than face to face interactions, such relationships end quicker due to a lack of trust. Acts of manipulation online such as editing images could potentially contribute to the lack of trust in which damages relationships which were initially mediated on mobile apps such as Tinder and Instagram.

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# 4.42 Personality

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Similar to appearances, it was found that perceived personality traits online were different once individuals met online personas within real life. A key theme emerged in which indi-

self, which then reflects back onto the individual's offline identity. This could potentially suggest that online identity construction could aid in enhancing one's self-concept in

viduals believed that Tinder and Instagram allowed for individuals to display personality attributes which related to confidence, a trait which didn’t always translate into real life. Participant 7 stated, "cause they’ll be dead confident on like Tinder or Instagram and then you’ll meet them, and they’ll be dead quiet." (Male Focus Group, 2017) Furthermore, participant 1 stated, "a lot of the guys I meet are a lot shyer than what they seem on their profiles." (Female Focus Group, 2017) This supports the theory that ‘some individuals have personality traits in which they find easier to present online than offline. This is particularly relevant for the personality traits of shyness and extraversion.’ (Marriott and Buchanan, 2014) Therefore, whilst traits may not be a true reflection of their offline selves, they may still reflect a personality in which the individual doesn’t have the confidence to display within real-life interactions. Furthermore, Baker (2009) adds the concept of ‘blended identity’, in which offline identity influences the creation of the new and improved online

terms of aiding the individual to reach their ‘ideal self’ through self-improvement online.

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In contrast to this, participant 10 argued "I think sometimes it can be the other way round like they don’t give much away on social media but then they’re dead loud in real life." (Male Focus Group, 2017) Whilst an opposing quote, this further supports the theory of Marriott and Buchanan (2014), as it displays how individuals who are more confident in real life may not need to utilise social media to portray personality traits they are unable to display within real-life encounters. On the other hand, Sproull and Kiesler’s (1986) ‘reduced cues’ theory displays how a lack of emotional cues in online relationships can lead to the appearance of ‘aggressive and blunt’ communication. Therefore, limiting displays of personality on Tinder and Instagram may also be the result of an inability to fully communicate such personality traits accurately within the online world.

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4.5 How Brands & Influencers Remain Authentic

The proliferation of app-based social platforms has dramatically altered consumer behaviour (Kaplan & Haenlein, 2010) and has not only become a tool of self-presentation for individuals but also brands too. Instagram, in particular, has become crucial for brands (Roderick, 2016) wanting to reach out to their consumers on a personal level by utilising user-generated branding (Hambrick and Kang, 2014). Interviews with current employees of online fashion brands Pretty Little Thing, Boohoo, and Skinny Dip London allowed an insight into how they recreate their brand identities online. All three brands reflected how adopting a ‘tone of voice’ in which resonates with that of their target consumers was important in portraying an authentic brand identity on their Instagram profiles. Ogden (2018) stated "we always ensure our tone of voice fits that of our young customer, i.e. slang and informal language." Similarly, Burn’s (2018) said "we mirror our target customers voice, interests etc to be authentic." Both brands speak about the act of mimicking attributes of the individuals they are trying to reach. Bailenson and Yee (2005) found how mimicry has the power to make someone more persuasive. In the context of brands, this means utilising the targeted consumer's tone of voice encourages social media users to interact with each individual brand. However, primary research previously looked at within this report displays how different individuals display different personality attributes on social media. Therefore, remaining authentic to each individual consumer may prove difficult for brands with

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such high social media followings in terms of being able to utilise the same tone of voice, as each and every individual consumer. This may be the case why utilising social media influencers (SMI) was also crucial to each brand's online strategy in remaining authentic. Callaghan (2018) said "we obviously want to work with influential, fashionable and positive people - someone who would genuinely wear and suit our clothes too is important." Furthermore, Ogden (2018) said "the influencers and celebrities we work with also reflect this visually appealing, youthful and confident image that we like to portray." The success of SMI’s relies heavily on the fact that they are an authentic and relatable persona to their followers, and a report by Fullerton (2016) found that consumers are more likely to interact with and follow influencers if they appear authentic. The online survey generated a deeper insight into why individuals follow their favourite SMI’s. Many responses linked towards utilising these SMI’s as a means of influencing the way they want to live their lives. One respondent said, "I aspire to be like her in the life she lives." (Online Survey, 2017) Furthermore, another respondent said, "I would like my page to be as successful as hers one day and make money through working with brands that she loves like she has." (Online Survey, 2017). The quotes show direct reference to how these individuals see the lives of the influencers as something in which they believe they can and aim to attain. However, as SMI’s continue to work alongside fashion brands, individuals are struggling to tell the difference between genuine and paid for collaborations between brand and influencer. 0026

(Sterling, 2017) Therefore, some influencers are encouraging purchases by consumers through false displays of authenticity. An interview with fashion and lifestyle blogger Em Sheldon gained an insight into how influencers filter their lives online. "I'd say Instagram, in general, is a filtered version of someone's life and more of a highlight reel of mine.” (Sheldon, 2018) Furthermore, another SMI, Harris (2017) stated “You’re filtering your life to make it look a certain way. It isn’t your life; you’re creating a version of your life to appeal to other people.” (Harris, 2017) This portrays the concept that influencers are looking to recreate Higgen’s concept of the ‘ideal self’ online. However, by doing so, this has the power to be damaging to followers of these SMI’s. Chae (2017) found that individuals who follow SMI’s risk the possibility of developing feelings of low self-esteem and envy, which consequently damages the individual's overall self-concept. This suggests that followers of said SMI’s are facing problems of damaged selfesteem under unauthentic displays of said influencers ‘ideal-self.’ On the other hand, the effect of the SMI’s self concept in consequence of constantly portraying their lives online for the world to see should be explored. Rosen (2012) links the desire to share the ideal self online with the likes of common psychological disorders such

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as obsessive-compulsive disorder. Influencers ability to control the actions of their followers poses a risk in relation to this, in terms of followers being influenced in not just purchase decisions and fashion choices but also within issues of mental health.

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4.6 Chapter Summary In summary, although it is evident that certain elements of self can be replicated onto the online world, many elements are ma-

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nipulated by the individual in order to reach their desired construct of the ‘ideal self.’ The following chapter will identify and evalu-

#chapter summary ate the different methods and tools in which individuals utilise in order to construct their ‘ideal selves’ online.

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# 05

Manipulation can be defined as ‘controlling someone or something to your own advantage.’ (Dictionary.cambridge.org, 2018) The previous chapter explored to what extent users remain authentic to their ‘true selves’ online. Results concluded that although some individuals aim to display ele-

ments of their ‘real self’ many engage in the act of only displaying their ‘ideal self.’ Primary research discussed within this chapter will explore this concept on a deeper level in terms of understanding the methods and tools individuals use to manipulate and con-

struct the ideal-self on app-based social media platforms Instagram and Tinder.

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Results found the following key methods in which individuals utilise to manipulate their profiles online listed below:

Selective Posting Embellishment

Direct Manipulation

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5.22 Selfies

5.2 Selective Posting

To be selective is to ‘intentionally choose some things and not others.’ (Dictionary.cambridge.org, 2018) Chapter 4 displayed how the theories of Altman (1975) and Treviño (2003) are crucial to understanding the ways in which individuals regulate what they choose to be displayed on their Tinder and Instagram profiles. This section of the report will display how both theories are present within young millennials attitudes towards posting on their Tinder and Instagram profiles. Both male and female participants showed evidence of en-

gaging in methods of selective posting on Instagram when interviewed during the focus group. Participant 2 defined Instagram as a ‘highlight reel’ and stated they "never share negative moments only positive moments." (Female Focus Group, 2017) Similar to this participant 9 said that Instagram "shows the best part of your life." (Male Focus Group, 2017) Both individuals express their Instagram accounts as a profile in which they regulate to share the moments and memories they want to remember.

5.21 Appearances Are Everything

Developing on this finding, a key theme emerged in which pointed towards individuals regulating the number of posts on their profiles in which appeared to make them look ‘bad.’ Participant 6 said "I wouldn’t share anything that would make me look bad or uncomfortable. For example, I have a skin condition so wouldn’t share a picture where it is obvious." (Female Focus Group, 2017) The attitude reflected similarly in male respondent’s answers when asked what they wouldn’t choose to post; "Yeah nothing that I look pretty grim on." (Male Focus Group, 2017) Similarly, 37% of online survey respondents stated they would untag a photo of themselves posted by someone else if they thought they looked ‘bad’ in it. Studies have found that young millennials have a stronger strive for ‘perfection’

than ever before (Curran, 2017). The theory of Treviño (2003) allows for individuals to delete the ‘bad’ elements of their identities when portraying their ‘ideal’ and therefore ‘perfect’ self online. Furthermore, these findings all utilise words in relation to appearance. Due to the fact that both Instagram and Tinder are image-based platforms, this could potentially cause users to become more aesthetically conscious. Reports on both Tinder and Instagram have evidenced a link between usage and body image issues. (Cohen, Newton-John and Slater, 2017; Strubel and Petrie, 2017) This, in turn, could, therefore, provide motivation for an increased method of selective posting on Instagram and Tinder.

A selfie can be defined as ‘A photograph that one has taken of oneself, typically one taken with a smartphone or webcam and shared via social media.’ (Oxford Dictionaries | English, 2018) The quantitative findings from the selfie construction observations allowed for an insight into how motivations for selective posting may or may not differ between genders. Fig [3] shows a comparison between the number of images took by both male and female participants before one was deemed ‘appropriate’ to post on one's social profile. In order

crease an individual's self-esteem, particularly if the selfie is saved to the phone and not deemed appropriate for sharing. However, it has also been found that the act of selfrepresenting to others in a ‘desirable way’ increases self-esteem. (Baraket-Bojmel, Moran and Shahar, 2016) This represents that whilst taking a selfie decreases self-esteem, sharing the selfie helps to increase the self-esteem. First created by Facebook, the site defines ‘liking’ as a way of “giving positive feedback.” (Facebook, 2018) Sharing the selfies on social

to ensure validity participants were actively required to share the final image on either Tinder or Instagram. Results show that whilst females took more photos on average than males, both genders went through a crucial selection process before deeming a photo as ‘appropriate’ to share on their social profiles. This would suggest that the aforementioned ‘strive for perfection’ is present for both male and female young millennials. A study by Shin et al (2017) found that taking selfies can de-

media channels and receiving positive feedback in the form of ‘likes’ may contribute to the increased self-esteem individuals witness from sharing selfies on social media. However, the effects of negative feedback also need to be considered in terms of potentially being damaging to the individual's self-concept. The power of ‘likes’ and their effects on selfesteem will be explored more in following chapters.

fig 3.

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the ones I get likes on off Instagram

"i go through my Instagram and pick

5.23 The Moderation Process

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Aside from taking multiple ‘selfies’ findings show how Instagram can also be used as a moderation tool for individuals choosing what to share on their Tinder accounts. “My pictures that I choose to put on my Instagram are the ones I choose to put on my Tinder because they always look good and you get likes on them.” (Female Focus

onstrates a desire to construct profiles in which impress other individuals in terms of appearance, on Tinder especially. However, the aim to impress others through posting images in which the self-appears more ‘attractive’ could actually hinder the individual's chances of receiving matches due to displaying a ‘lack of authenticity.’

Group, 2017) Similarly, participant 4 said, “so I go through my Instagram and pick the ones I get likes on off Instagram for my Tinder.” (Female Focus Group, 2017) From the male perspective, participant 7 said: “just the ones that get loads of likes.” (Male Focus Group, 2017) This evidence of the moderation process dem-

(Lo, Hsieh and Chiu, 2013) This could ultimately be the reason in which Sumter, Vandenbosch and Ligtenberg (2017) found that Tinder users held low levels of self-esteem in relation to their faces and bodies.

for my Tinder."

The moderation process From Instagram, to Tinder... 0034

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5.24 Experiences Over Vanity

On the other hand, focus group respondents spoke about the occasions in which they believed posting ‘positive’ physical appearances weren’t as important. Participant 11 stated, "yeah like if you’re with a group of mates at a festival or somet you don’t look your best do you, but you still put it up anyway just to show that you’re at a festival." (Male Focus Group, 2017) Furthermore, participant 5 said, "if I did post a bad photo it would probably be one from a night out." (Female Focus Group, 2017). These findings suggest the importance of experiences in the construction of the ‘ideal self’ online for young millennials. Munar and Jacobsen (2014) findings support this theory in that sharing tourism experiences on social media articulates ‘sociability and emotional support.’ Such findings show evidence of Euromonitor’s (2017) megatrend ‘Experience More’ being prevalent for young millennials. The trend states that consumers are prioritising experiences over possessions. This was further evidenced by the online survey, as 83% of respondents stated that they share images/videos of experiences online. Fig [4] taken from the social profile observations shows the number of posts on experiences in comparison to possessions of individuals for both Instagram and Tinder. Results show that posts of possessions were significantly low in comparison to experiences, which in turn supports Euromonitor’s findings. Furthermore, Lazurus (2017) states that ‘a night out becomes a performance in itself; every moment is captured as they happen, and the experience is curated by friends and followers.’ This

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relates to the Goffman’s (1956) dramaturgical model in which individuals put on selective performances to self-represent to their peers. In contrast to this, fig [5] also displays how posting both experiences and possessions aren’t as prevalent on Tinder. Instead, ‘selfies’ were the most favoured style of image to post. Motivations for Tinder use addressed within the previous chapter highlighted how physical appearances may be deemed more important on Tinder in relation to Instagram. This could, therefore, explain why showing elements of appearance prove to be more important for Tinder users. However, as the social profile observations were conducted on a small scale, a higher number of profiles would need to be analysed in order to reach such conclusion.

Fig 4.

Fig 5.

"if I did put up a bad photo it would probably be one from a night out." t n e d n o p s e R p u o r G s u -Foc 0036

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5.3 Embellishment

EMBELLI SHMENT STAGE ONE N0630284

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The theme of experiences also proved to be particularly relevant for the act of embellishment. Whilst selective posting was concerned with individuals regulating what they post on their channels, embellishment is concerned with the act of making moments and experiences appear better than they were in reality. Embellishment can be defined as ‘A detail, especially one that is untrue, added to a statement or story to make it more interesting.’ (Oxford Dictionaries | English, 2018) Bullingham and Vas-

2017) Online survey results further enhance this theory, with 18% of respondents stating they would ‘share a bad night out saying it was good anyway.’ This can be linked to Goffman's (1956) dramaturgical theory as said individuals are ‘staging’ experiences to be better than reality, almost as if they are acting. This, in turn, contributes to portraying the ideal self and therefore improves elements of one's self-esteem as cited by Rogers (1959). However, the improvement of one's self-esteem from actions online de-

concelos (2013) state that embellishment on social media ‘represents a form of minor persona adoption, rather than creating a new identity online.’ This ‘minor persona adoption’ could link back to Higgen’s (1987) theory of the ‘ideal self’ meaning that individuals ‘adopt’ the person who they would ‘like to be’ on their Tinder and Instagram profiles.

pends on whether Baker’s (2009) theory of ‘blended identity’ is replicated on the platforms of Tinder and Instagram.

Findings show individuals are willing to deceive peers into thinking they enjoyed experiences even when this wasn’t the case. The most common themes which arose in such deception taking place is on ‘nights out with friends’ and ‘festivals.’ Participant 8 stated, "I’ll make out somet was good when it weren't like a festival or somet." (Male Focus Group, 2017) Whilst participant 3 said, "like when a night out could have been rubbish but you still put a picture up and it was really good, and it looks like it was a good night out." (Female Focus Group,

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18% stated they would

'share a bad night out saying it was good anyway.'

0039

5.4 Direct Manipulation

The most deceiving form of manipulation on social media: direct manipulation, refers to using apps and software to digitally alter the way one's appearance is perceived online. 81% of the online survey admitted to editing a photo before posting online. Fig [6] shows the ways in which respondents on the online survey admitted to editing their photos. 87% of the survey said the editing features they use the most are Instagram filters, rather than directly manipulating personal aesthetics such as body shape and facial features. However,

Therefore, the following perceptual map ((fig 7) was created in order to display the different apps in which respondents mentioned both within quantitative and qualitative research. The apps are placed in relation to the number of facial editing features possible and their current ranking on the Apple app store. Whilst many survey respondents denied editing elements of photos such as facial features, the most popular apps (ones with a higher ranking on the app store) on the perceptual map show to be ones in which have the most edit-

both male and female focus groups allowed for a deeper insight into how users manipulate their photos. Whilst males mention features such as ‘tanning skin’ and ‘smoothing complexion’ (Male Focus Group, 2017) females mention features such as making themselves ‘look skinny’ and using facial editing apps such as ‘Beauty Plus’ (Female Focus Group, 2017)

ing capability. Therefore, this may suggest that individuals are reluctant to admit to editing features due to damaging their ‘performance’ as cited by Goffman (1956) However, as the app store is universal, rankings featured are for all age ranges, and therefore may not be completely reliable in terms of comparing to the younger cohort of the millennial generation. Although, due to the fact that the millennial generation is the most active on social media (Greenwood, Perrin and Duggan, 2016) it could potentially be assumed that they are more likely to engage in photo editing to be posted on such social media.

Respondents within the focus group proved to be more open in regard to speaking out about using facial and body editing features. This could be due to the nature of the focus groups being held between two groups of friends. This may cause for respondents to be more open in regard to how they edit their photos, due to the fact their friends already know their real-life appearances. Furthermore, whilst survey respondents didn’t admit to using such facial editing features during the survey, the app names provided when prompted into what applications they use to edit their photos, could suggest otherwise.

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Fig 6.

81%

admitted to editing a photo

Fig 7.

before posting online. 0040

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5.41 Case Study: Meitu Who?

5.41 Case Study - continued Evidence from both the online survey and focus groups display Meitu’s apps to be of use to participants of the primary research conducted. Furthermore, the perceptual map displays all of the company’s apps to be a high ranking within the Apple app store, which suggests usage is prevalent.

“A pioneer in mobile beauty experiences since 2008, Meitu’s apps are used by more than 450 million monthly active users worldwide, generating more than 6 billion photos and videos each month.” (Meitu, Inc., 2018)

Meitu provides consumers with the tools in order to represent Higgens theory of the ‘ideal self’ online. The closer to the ‘ideal self’ someone is, the higher their level of

Made popular by Asian markets, Meitu is home to a portfolio of beauty editing apps such as Beauty Plus, Makeup Plus and Airbrush. Meitu enables consumers to edit facial features utilising facial recognition technology and share these images on their favourite social profiles.

self-worth (Higgens, 1987) Consequently, this aids in improving one's theory of the selfconcept (Rogers, 1959) which suggests that such beauty apps aids in building individual’s self-esteem when posting online. An interview with former Marketing Manager for Meitu confirmed this notion from an industry perspective. Melodia (2017) states "these are tools that empower users to be creative and put themselves in the best light-at least online." However, the fact that the emphasis is on the best self ‘online’ within Melodia’s quote, could suggest that this self-esteem doesn’t necessarily translate on to the ‘real self.’ Furthermore, Jan et al (2017) found that an ‘increase in social media usage causes the self-esteem of individuals to decrease.’ Whilst this particular finding may not be directly related to appearances or app-based social platforms, the theory of Cohen, Newton-John and Slater (2017) proves that appearancefocused accounts on Instagram cause negative body image perceptions. Social Comparison Theory (Festinger, 1954) states that

Evidence from both the online survey and focus groups display Meitu’s apps to be of use to participants of the primary research conducted. Furthermore, the perceptual map (featured on page 43) displays all of the company’s apps to be a high ranking within the Apple app store, which suggests usage is prevalent.

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individuals determine their own self-concept by comparing themselves to others. Brown and Tiggemann (2016) found that social comparison on Instagram takes place between both peers and celebrities/influencers. Both methods of comparison cause negative feelings of self-esteem on individuals. The online survey found that only 15% of respondents were able to detect which images had been edited. Furthermore, both the male and female focus groups found that just 5/12 were able to detect edited photos. This presents how image-editing has the potential to be more damaging to individuals in terms of individuals not being able to detect the difference between what people look like in real life and what they look like online. However, Melodia (2017) adds "editing apps are an extension of makeup; cosmetic tools to bring out the best you. The apps certainly play a small part but there is a much, much bigger picture when it comes to self-esteem and social media." Thus, by comparing such apps to ‘cosmetic tools’ this reflects how there is evidence of using products in order to enhance one's appearance both online and offline. Furthermore, participant 8 stated, "everyone puts a filter on, you just expect that don’t ya." Which suggests that although filters might not be automatically detectable to individuals, their presence is expected. Therefore, individuals are actively aware of such deceptions on social media.

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5.5 Motivations for Manipulation

Previous chapters of the report have explored the importance to individuals of looking ‘good’ on social media, so much so, that they engage in acts of manipulation on their Tinder and Instagram profiles. Participant 1 stated that on social media "On social media appearances obviously mean more than real life and the truth." (Female Focus Group, 2017) The following section will explore why individuals believe it is so important to portray the concept of the ‘ideal-self’ on social media. Evidence from the focus groups shows relation to Festinger's (1954) social comparison theory. Participant 12 stated, “you wanna look better than everyone else does cause that’s what everyone’s game is really.” (Male Focus Group, 2017) This signifies an element of competition on both platforms in which a strive to match up to others ‘ideal-self’ may be present. This could ultimately reflect the concept that the more someone's peers manipulate their social profiles, the more likely the individual is to do so. However, as this theory is subjective, future research will enable a deeper understanding. Furthermore, relating back to Goffman’s (1956) dramaturgical theory, if individuals are ‘staging’ their social profiles and only choosing to self-represent their ‘ideal-self’ online then users may be engaging in peer to peer comparison of identities in which have been fabricated utilising ‘elements’ (Treviño, 2003) of the true self. Therefore, by comparing their ‘true self’ to someone else's ‘ideal-self’ this could potentially be a

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contributing factor to the reason in which social media usage is linked to low self-esteem. ‘Likes’ were found to be an important element of individuals profile construction on Instagram. The ‘swipe’ nature of the Tinder platform means that it doesn’t hold a similar feature. However, earlier chapters explored how ‘likes’ are utilised on Instagram as a moderating tool for posts shared on Tinder. Individuals admitted to deleting images if they ‘hadn’t got enough likes’ (Female Focus Group, 2017) Furthermore, individuals also admitted to ‘asking a friend’ to like their images. (Male Focus Group, 2017) Belk (2016) found that individuals peers aid in constructing one's ‘selfconcept’ online by liking posts. Furthermore, Reich, Schneider and Heling (2017) found that ‘belongingness and self-esteem needs are threatened when people do not receive likes.’ The lack of a dislike button on Instagram means that whilst a ‘like’ is seen as a positive reaction, no ‘likes’ may be seen as a negative reaction. Therefore, a lack of likes on an image signifies a negative portrayal of ‘self-concept’ for an individual, in which is why such individuals may engage in deleting images or asking friends to like their images once posted. Future research in which tests this concept could involve testing individual’s portrayal of their own ‘self-concept’ before and after an image is posted in which receives no likes on their Instagram profiles.

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5.6 Chapter

summary. 5.6 Chapter Summary

This chapter has explored the ways in which individuals choose to manipulate what they choose to display on their Instagram and Tinder profiles and highlighted the importance to individuals of appearing in a positive light on social media. The three key methods of selective posting, embellishment, and direct manipulation support Goffman's (1956) theory that individuals aim to put on ‘performances’ to their peers in which reflects their ‘ideal self.’ Baker (2009) also adds how this performance can aid in self-improvement of the ‘real self.’ However, motivations for manipulation explored within this chapter reflects the

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negative effects sharing on social media can potentially have on one's self-esteem which therefore displays the detrimental effect Instagram and Tinder can have on the construction of self. Furthermore, the importance of peers in online identity construction and

0045

C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON C ONC L U S I ON 6.1 Conclusion

This report aimed to conclude whether online social profiles are a true reflection of self, relationships

what individuals choose to represent online. However, both main body chapters within the report have pro-

and experiences for app-based social platforms Tinder and Instagram. In order to answer this question, an understanding of each individuals ‘self-concept’ would need to be established. As the ‘self-concept’ and the different elements in which makes it up has proved to be something personal to each and every individual, determining the answer to the above-mentioned question would be purely subjective and likely to differ between each platform user. Furthermore, many theories support opposing arguments into

vided examples for occasions where social profiles are not a completely true reflection of the individuals ‘real self.’ Instead, participating individuals have engaged in manipulating details in order to display their ‘ideal selves’ online. Two theories which have supported the findings throughout this report are that of Goffman (1956) and Treviño (2003) and should form the basis of future research into this particular topic.

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6.2 Key Insights & Reccomendations

Experiences > Appearances Opportunity: Whilst appearances on appbased social platforms are important to young millennials in terms of identity construction and self-esteem, experiences are more important for identity construction online. However, the current regulation proven on such social channels may cause for a limited reflection of experiences to be displayed on individual’s social channels. Therefore, an opportunity for a platform focused around experiences in which acts as a ‘diary’ for individuals to search, document and digitally experience unfiltered moments without no identity constructing restrictions such as public ‘likes’ should be explored.

A Need for Authenticity Opportunity: Manipulation causes an expectation that an individual may look or act differently to the identity they portray online, which is potentially damaging for the creation of ‘real life’ relationships constructed in app-based social platforms. The problem lies with a lack of ability to detect manipulation on online social profiles. Therefore, there is potential for a new social/online dating platform in which encourages complete authenticity. Methods in how to make this a possibility would need to be explored in further research, However, technology such as

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facial recognition software could potentially be used in order to accurately detect whether an image has been digitally manipulated. This would be particularly important for an online dating application in which aesthetics are particularly important in attracting dates.

The Detrimental Effect of Social Media on Self-Esteem Opportunity: Both primary and secondary research has evidenced the detrimental effect that app-based social platforms can have on one's self-esteem. Furthermore, it has also been evidenced how these effects are not just limited to one gender. Whilst the popularity of such platforms makes it unlikely that acts of manipulation in which encourage low elements of self-esteem will cease, there is a potential for a way to raise awareness and help young individuals who suffer from a low self-worth due to such social platforms. For example, an app or online website/service in which provides an insight into the way people manipulate online in order for individuals to understand how the online world may not always be what it seems. Furthermore, the service would promote positivity and support to help individuals build up their self-worth by providing things such as 1-2-1 online chats with counsellors, and courses which aim to build confidence.

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