The importance of pleasing Subcultures to build an audience in 2024
Subcultures are not a thing of the past; rather, they have transformed and are experiencing a revival. In a time when the broad masses are hard-to-get, incorporating subcultures in content-production allows brands to connect with younger audiences authentically.
The Power of Subculture vs Counterculture in 2023
When content reflects the diverse interests, lifestyles, and identities within subcultures, it resonates more genuinely with the target demographic.
Dazed Studio’s new report dives deep into why we live through mass adoption, revival, and recreation of subcultures. This is a must-read for all who are interested in global youth cultureand building brands and communities in today's fragmented market. Delving into the perspectives of more than 3,000 individuals aged 16 to 24, alongside insights from seven experts and a youth focus group, Dazed Studio investigates the current significance of subcultures, their evolution, and the insights they provide into contemporary youth culture.
Subcultures frequently arise when certain segments of society feel marginalized by the prevailing cultural norms. Presently, youth globally express notable discontent with the existing 'status quo.' Their diminishing participation in voting, refusal to join political parties, and feedback to researchers underscore their belief that the current leaders are not prioritizing their interests. VICE Guide to Culture 2023 states that GEN Z are Neohedonists always looking for joy, pleasure, and good moments.
Myself, I´m a 28 y/o GEN Z / Millennial-hybrid born in 95. I´m an individual who loves being various types of myself. "All the world's a stage, and all the men and women merely players. They have their exits and their entrances, and one man in his time plays many parts." - 𝓦𝓲𝓵𝓵𝓲𝓪𝓶 𝓢𝓱𝓪𝓴𝓮𝓼𝓹𝓮𝓪𝓻𝓮
To be those various types, I search subcultures, including types that seek the same joy, experiences, and passions that I do. By being a digital native, and thanks to modern connectedness, I can be a part of worldwide niche communities and passionate environments. As a Neoclassicist, I`m a part of a global community for young people interested in antiques. To find the best ecological wine, I´m a part of a community in Berlin. In Bergen, Norway, I´m a part of the greatest community for young people interested in outdoor life. People find each other across platforms, and you become a global community of people with niche interests. I´m a part of various global (and local) subcultures.
The Story of Subculture as a Phenomenon
Certainly, the existence of subcultures can be traced throughout history, but the formal recognition of this concept within the realm of sociology, predominantly through a Western perspective, occurred during the 1920s at the Chicago School. It was at this time that the term was employed to interpret "deviant" behaviors. Distinct subcultures began to emerge more prominently in the 20th century, exemplified by groups like The Bloomsbury Group in the 1910s, Teddy Boys and girls in the post-war 50s, punks in the 70s, goths in the 80s, and skaters in the 90s, each responding to the prevailing cultural climate.
However, the advent of the internet brought about a transformative shift. Some argue that social media has led to the demise of traditional subcultures, as contemporary expressions are often characterized by fleeting aesthetics and short-lived trends rather than embodying enduring cultural movements. Dazed´s report state that subcultures would never disappear, but they exist in a different form now.
A significant contrast between the past and present lies in our current reality of living in a consumerist society dominated by hyperindividualism. In today's context, audiences are not just addressed as individuals; they are treated as 'consumers,' effectively becoming their own brands. According to interviews in the report with Ari Versluis, photographer and co-founder of Exactitudes, an art collective, the organization of cities has undergone a shift, with pervasive consumer spaces and ubiquitous surveillance cameras. However, academic Shane Blackman points out that despite the consumerist nature, subcultures still retain the potential for resistance.
Furthermore, the internet has fundamentally altered the landscape of subcultures, giving rise to an abundance of fleeting trends and an overwhelming influx of information. In the age of the immersive internet, youth identities have become fluid and dynamic, leading to an expanded definition of subcultures. Questions like, "Is the internet a subculture?" reflect the nebulous boundaries that define subcultures today, as observed in Dazed´s survey, where a participant remarked, "The boundaries of subcultures are so nebulous these days."
The internet has, in essence, made subcultures more transient.
Using Passion and connection to subcultures as an asset for building brands
In Oslo, the Norwegian Multidisciplinary creative Studio, Also Known As, are using passion and subcultures when they help their clients hitting a young audience.
Also known As (AKA) was behind some of the most innovative marketing campaigns in Norway during the 2010s, excelling in reaching young audiences and creating buzz around the brands they showcased. With a portfolio including Nike, Adidas, The Munch Museum, and The Norwegian Postal Service. They have also played a crucial role in making KARPE Norway's biggest music sensation by actively building a passionate community around the artists through merchandise, pop-ups, extraordinary meetups and concerts. The community surrounding Karpe is more than just fans; it's a subculture defined by a deep connection to the duo's cultural impact, social commentary, and artistic expression.
Suseg highlights the importance of using passionate people in their projects that genuinely leads to great content and interactions across platforms. Suseg is tired of major brands paying agencies exorbitant fees to create content that disappears from billboards or falls to the bottom of the feed after a few days. He believes brand activation is crucial to gaining attention, and this is something Also Known As specializes in. For such projects, they have already experienced a shower of awards and diplomas and great impressions in socials.
This could Broadcast and Legacy media companies do
In light of the evolving landscape described, broadcast and legacy media companies must proactively adapt to the changing dynamics shaped by the resurgence of subcultures. Recognizing that subcultures play a pivotal role in shaping contemporary youth culture, media companies should prioritize the integration of diverse and authentic content that resonates with these niche communities. Embracing a more fluid and dynamic understanding of subcultures, traditional media outlets can leverage their platforms to showcase the multifaceted interests, lifestyles, and identities of the younger demographic. Collaborations with influencers deeply rooted in specific subcultures can serve as conduits to bridge the gap between mainstream media and these vibrant communities. Additionally, media organizations should invest in innovative storytelling formats and interactive platforms that facilitate meaningful engagement with audiences across various subcultures. By actively participating in and reflecting the rich tapestry of subcultures, legacy media companies can not only stay relevant but also foster a stronger connection with the diverse and discerning audience of today. This approach ensures that broadcast and legacy media remain influential and adaptive in an era where subcultures wield significant influence over cultural narratives.
For more projects from Also Known As check out https://www.alsoknownas.no
For the more insights about Subcultures in 2023 check out the full report from Dazed Studio here: https://dazed.studio/reports/redefining-subcultures/#