Communication Strategies of SHEEP

1. Introduction: the brand and its positioning
2. Communication channels
3. Theoretical optics
4. Applying theories and how they work: the case of SHEEP Harajuku
5. Conclusion and recommendations
6. List of literature and sources of images

SHEEP Harajuku is a multi-brand select shop located on the first floor of the iconic Laforet Harajuku shopping complex in Tokyo. Unlike a classic single-brand label, SHEEP does not produce its own clothing line as its main product; instead, it acts as a curator, bringing together Japanese and international young designers (MIKIOSAKABE, Jenny Fax, yusho kobayashi, Five year old, hisakanao, KIDILL, NON TOKYO, BODYSONG. and others) and forming a unified showcase for so-called "emerging," experimental fashion.

The brand's positioning is built around the idea of discovering and promoting new design talent ("発掘と発信" — "discovery and broadcasting"). SHEEP presents itself not simply as a store, but as an entry point into the current Tokyo alternative fashion scene — a space where punk, kawaii aesthetics, doll-like decorativeness, gothic and street style all mix together. The brand's visual symbol is a sheep, which appears in the logo, social media design and packaging, creating a recognisable, slightly ironic and "soft" image that contrasts with the more aggressive aesthetics of many of the featured designers.

The target audience of SHEEP Harajuku is mainly young people (roughly 16–30 years old) interested in Japanese alternative fashion, K-pop and J-fashion culture, visitors to the Harajuku district, and followers of the global fashion scene on social media. A significant part of the audience consists of foreign tourists and fans of Japanese fashion outside Japan, as confirmed by the brand profile's claim of worldwide shipping ("SHIP WORLDWIDE").

The audience therefore splits into two overlapping groups: local visitors to Laforet Harajuku, who come for the offline experience and exclusive finds, and an international online audience that follows the brand through Instagram, TikTok and the online store, treating SHEEP as a "window" into Tokyo street fashion.

SHEEP Harajuku builds its communication primarily in the digital environment, complemented by a strong offline presence. The brand does not use traditional TV or radio advertising — its public image is shaped through social media, its own e-commerce website, and a physical presence in well-known retail locations.

The website sheep-shop.jp serves both as an online store and as a media outlet: the "News" section ("ニュース") regularly publishes announcements of pop-up events (Osaka, Fukuoka, Umeda, etc.), turning the site into a PR communication tool rather than just a sales platform. A separate project, @zine_art_by_sheep — a printed zine dedicated to art and visual culture — extends the brand's image beyond retail toward publishing and curatorial activity.

2. offline events as a media agenda — regular pop-ups in major shopping centres (PARCO, LUCUA, Hankyu Umeda) in different Japanese cities function as regional PR campaigns that extend the brand's reach beyond Tokyo;

3. a direct sales channel via DM — the brand accepts orders for items not listed in the online store through Instagram direct messages, creating the effect of a "closed club" and personalised service, which increases audience loyalty.

Two interrelated theories from the course were chosen to analyse SHEEP Harajuku's communication: Group Communication Theory (Defining Group Communication) and Symbolic Convergence Theory (E. Bormann).

Group Communication Theory describes how people come together in groups based on shared interests, values and a similar worldview, and how such groups develop their own norms, language and channels of interaction. This theory was chosen because SHEEP Harajuku does not, at its core, sell "clothing for everyone" — it serves a fairly narrow yet international community of people drawn to a specific segment of Japanese alternative fashion. The brand's behaviour (DM sales, curated selection, pop-ups only in certain locations) is a direct consequence of orienting itself toward a tight-knit reference group rather than a mass market.

Symbolic Convergence Theory complements the first: according to Bormann, stable groups form around shared images, stories and "fantasy themes" that are repeated over and over and eventually combine into a common symbolic reality (a "rhetorical vision"). This theory was chosen because SHEEP has a stable and easily recognisable symbolic world — the image of the sheep, the Harajuku aesthetic, and a recurring circle of designers and their "stories" (for example, the constant participation of yusho kobayashi and MIKIOSAKABE in every pop-up) — which makes the audience perceive SHEEP not merely as a point of sale, but as part of a shared cultural story that it is interesting to be "included" in.