The trickle-across theory, a variation of trickle theories in fashion, posits that trends disseminate horizontally across different groups at similar social strata. Unlike the trickle-down theory where fashion trends originate from the upper classes and descend to lower classes, or the trickle-up theory where trends begin in subcultures and ascend to mainstream fashion, the trickle-across model suggests a simultaneous adoption of fashion trends within various social segments. This implies that a fashion trend becomes accepted concurrently across a spectrum of social levels, moving laterally within a social level rather than vertically.
This horizontal movement of trends relies on trendsetters within each social level. These pioneers introduce new styles that are then evaluated and potentially adopted by their peers. In contemporary society, social media plays a crucial role in this process. The fashion industry has undergone a significant transformation in inspiration, design, distribution, and marketing due to the widespread use of social sharing platforms. Social media, particularly platforms like Instagram, has blurred traditional class-based roles in fashion influence.
Previously, fashion influencers were primarily individuals of high social standing. However, the rise of relatable figures on social media has dismantled the notion that aspirational style is solely dictated by the elite. The desire to appear wealthier than one’s actual status has diminished, as trends now frequently emerge from grassroots movements and gradually gain traction, sometimes even influencing high fashion runways. Trend dissemination is no longer solely determined by social class but rather by the appeal of a design or outfit.
Consider the example of Camille Jansen, a suburban teenager who achieved fame through self-created content on platforms like YouTube and Instagram, attracting a global audience. These individuals have surpassed the influence of traditional media giants due to their relatability and perceived authenticity. Jansen, for instance, collaborated with UO x Champion on a campaign before even finishing high school. Social media’s open nature allows anyone, regardless of background, to become an influencer. With the contemporary reduction in class prejudice, aspiring influencers no longer need to conceal their social class to gain respect and followers.
The accessibility afforded by social media has democratized the fashion industry. In the past, fashion shows were exclusive events attended by wealthy and powerful influencers. Access to these seasonal showcases was by invitation only, and recordings were not publicly available until after the collections were released. As recently as 2010, mobile phone use at fashion shows was frowned upon. Today, it is almost expected that shows are documented and shared instantly, fueling the fast fashion cycle.
The introduction of instant social media streams via platforms like YouTube and Instagram Live has revolutionized the pace of the fashion industry. This immediate access has accelerated the rate at which high street brands produce “knock-offs” of designer collections debuted on the runway. Consequently, similar trends appear concurrently in both high fashion and high street retail. A survey by the Digital Society indicated that 37% of Britons are inspired to try new styles after seeing others on social media, and 11% find fashion bloggers more inspirational than designers.
This preference for social media influencers may stem from their perceived attainability. The styles promoted by these contemporary innovators are often within the price range of their followers. This is evidenced by the popularity of YouTube “sale hauls” and challenges demonstrating how to create outfits within budget-friendly price points, further illustrating the trickle-across theory in action where trends are immediately accessible and adopted across similar social groups regardless of income level.
Innovators typically attract followers from similar backgrounds, allowing their influence to spread rapidly as their style is quickly deemed acceptable within their peer group. Many individuals identify with specific social groups and use clothing to differentiate themselves from other segments of society. While the overall style of a group may be distinctive, variations in dress within that group are often limited, further demonstrating the trickle-across theory. This desire to conform is often described as “herd mentality,” a phenomenon observed across all societal levels. The work of Dutch photographer Hans Eijkelboom provides compelling visual evidence of this “herd mentality.”
For over two decades, Eijkelboom has documented people worldwide, from New York and Amsterdam to Shanghai, capturing recurring trends in street style rather than focusing on individualistic fashion. His project, “People of the 21st Century,” comprises thousands of images arranged in rigid grids, showcasing nearly identical outfits worn by people globally. Originally conceived as a study on consumerism’s impact on individuality, Eijkelboom’s work perfectly encapsulates the modern manifestation of the trickle-across trend formation, highlighting how conformity and horizontal influence shape contemporary fashion adoption.
The influence of social media platforms like Snapchat, Facebook, Instagram, and Twitter on the fashion industry is undeniable. These platforms have permeated all levels of the fashion system, fundamentally altering the patterns of trend movement to a state unrecognizable from even a decade ago. The trickle-across theory, amplified by social media’s reach and democratization of influence, now defines how fashion trends emerge, spread, and are adopted in the 21st century.
