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Archive for March, 2011

  • Mar
  • 29

3 Social Trends to Watch in Online Fashion Retailing

BigLive - a Platform used by DKNY

BigLive - a Platform used by DKNY

2010 was the year that the fashion industry really embraced and found its voice on social media – setting up personas on Facebook and Twitter and gaining phenomenal followings with the lure of exclusive content once only reserved for the elite of the fashion world. Gucci’s Facebook following now tops 4 million fans.  Burberry’s is almost 5 million.

But an industry that relies on constant re-invention isn’t going to rest on its laurels – we expect the way the fashion industry uses social media to move on in 2011.  Here are some of the key trends to keep a close eye on.

Expect to See Further Innovation in Existing Channels

Streaming a live catwalk show and behind the scenes footage is the least social media fashion fans expect these days. 2011 will be a year of further innovations by the fashion industry within existing channels to keep fans engaged, to build communities around brands and also to leverage social media to more overtly drive ecommerce sales.

For example, 2011 will see further developments in branded content that connects with customers on different levels and for different reasons than that which is purely product based. Look at Anthropologie’s ‘The ANTHROPOLiST’ or French Connection’s ‘Manifesto’ for different approaches to engaging with potential customers and communicating something of the brand’s philosophy in search of kindred spirits.

2011 will also see fashion brands do what they do on social media channels better, and with a greater level of involvement for their followers. For example, for AW11 Marc Jacobs Intl streamed both its MJ Collection and MbMJ shows in HD to increase the focus on the quality of Jacob’s designs. In addition, social media viewers of the show, which was streamed on the website, via smartphones and iPads and via Facebook, were able to ‘Like’ and comment upon pieces live both via Facebook and Twitter, with comments on the latter being shared live with the online audience.

Brands will also increasingly facilitate the social shopping phenomenon.  Consumers expect to be able to ’share’ favoured products on Facebook and Twitter, offer opinions and read the opinions of others. Brands have a vested interest in making these processes easier for their customers because they make commercial sense – Juicy Couture saw an 160% increase in product purchase conversion by adding social sharing and consumer recommendations functionality to their US site.

The Increasing Adoption of New Social Media Channels

Many fashion afficionados are innovators and to be found colonising some of the newer, more niche social media channels.  Fashion brands will increasingly follow them on to those channels.

Take Tumblr, a niche blogging platform but a highly visual one that is rapidly growing in popularity.  Tumblr has been adopted by a number of fashion bloggers because it’s much better suited to showcasing photography than Twitter or Facebook and better for interacting and sharing than its blogging software rivals. In fact, 180 of Tumblr’s top 100 blogs are fashion related. Fashion brands that have adopted the platform – including Oscar de la Renta and Alexander McQueen – have found it a productive platform for sharing their imagery and spreading the word virally via this highly influential audience.

Or how about BigLive – a new technology which combines  live streaming with chat room functionality that allows an online audience to be hosted and to participate via their prefered social media channels.  DKNY recently used the platform for a catwalk show and were so pleased with the level of engagement (1,200 participating viewers) they’re looking to use it again.

But new channels don’t necessarily need to be niche, or for that matter, online.  Burberry’s Prorsum LFW AW11 catwalk show was screened exclusively on London’s Piccadilly Circus sign.

Where Crowdsourcing and Social Meet

Crowdsourcing and social are being aligned to connect customers directly to designers.  The ‘crowdsourcing’ element involves ‘up and coming’ designers pitching their own ideas. The social element involves customers or members of the community voting on the designs that they’d like to see put into production.

An example of this is Le Lab from BrandAlley.co.uk.  Each month, designers pitch their ideas for a piece of clothing, be it a summer dress or the perfect summer T-shirt.  Consumers vote on their favourite pieces which are the ones that are produced and sold on the site.

Brand Alley's Le Lab

Brand Alley's Le Lab

In fact some sites, like Garmz, are totally based around this crowdsourcing/social concept, with the high-minded aim of connecting the real talent with the real consumer, without the ‘brand’ getting in the way.

We expect to see this aspect of social commerce grow and become more mainstream as it involves consumers and makes them feel like they have a stake in the brand. And it lessens commercial risk – items are only put into production that already have an audience.

Whatever happens in 2011, it’s clear now that investment in the realm of social media realises significant returns in this sector.  Companies need to do more than keep their ears to the ground in terms of the latest fashion trends. They clearly need to keep abreast of the latest opportunities in social media too.

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By: Carla Burgess

  • Mar
  • 29

Attribution Modelling: Beyond the Last Click

An Attribution Model from Forrester
An Attribution Model from Forrester

Attribution modelling has been in the news recently, with brands such as Boden crediting this approach to measuring RoI with transforming their view of how to invest their digital budget. 

But what precisely is ‘attribution modelling’?  And what role does it have to play in the marketing planning process for premium and luxuy brand marketers? 

Put simply, it’s about moving away from the approach which attributes all of the credit for a sale to the activity which generated the ‘last click’ and towards apportioning that credit to all online activity that played a part in moving the consumer down the purchase funnel. It’s about taking a more holistic view of digital marketing spend, and giving more credit to those activities – like display advertising and generic search terms – which are unlikely to be driving the final purchase, but are clearly playing an important role in the purchase process nonetheless. 

But it’s more than that. At its most sophisiticated it’s also about understanding what types of activity generate what types of customer. For example, shouldn’t activity that drives new customers get more credit than activity that retains existing ones. And shouldn’t activity that drives higher margin business get more credit than activity that drives lower margin business? 

The premis is simple and logical. The problem is, attribution modelling is not so simple to implement. 

To begin with, research needs to be undertaken to understand whether attribution modelling is relevant and what sort of model should be applied. For example, if a brand isn’t employing a mix of online channels to drive demand, it’s unlikely that attribution modelling can add much to its existing ‘last click’ analysis. The same applies if the purchase process is simple – attribution modelling is not going to add much value for all the effort involved. However, this is unlikely to be the case for most premium and luxury brands, where the nature of the purchase and the sophistication of the audience are likely to mean a long and complex buying process is going to be the norm. 

However, once the research is complete, there are plenty of tricky decisions to come. 

The first of those is to do with timing, namely how long is the product’s buying cycle?  Activity that happens before this ‘timing window’ needs to be discounted from the analysis.  For example, should searches or display banner views that took place 90 days prior to purchase be given credit or are these events unrelated to the final purchase decision because they were too distant from it? 

Secondly, decisions have to be made as to how to attribute the credit.  Should the first interaction with the brand’s marketing activity be given more credit as it prompted the customer to start the purchase journey?  Or should the last, that prompted the purchase? Or should all stages along the journey be treated equally? How much extra credit should be given to activity that was successful in generating new customers or more profitable customers? Should someone clicking a natural search result be given more weighting than a display ad view? 

The third challenge is implementation – unpicking the carefully constructed systems that have supported last click models of RoI and rebuilding them to support attribution modelling. And the complexity deepens the more systems that have to re-configured. 

So is attribution modelling worth all that effort? 

Well, it’s certainly not perfect. The whole process involves its fair share of educated guesswork and mistakes are going to be made. And marketers can’t fully understand what credit every stage in the process deserves because they can’t understand every customer – 2 identical purchase processes could have 2 very different triggers for purchase depending on what stimulated those individuals. And of course, we’re only attributing a fraction of the spend – offline activity such as press or magazine advertising isn’t part of this process as yet – although there’s no doubt that attribution models that incorporate offline channels are being looked at. 

But some understanding is better than none.  We all know the process of purchasing  premium and luxury goods is much more complex than one click = one purchase. So it’s time for our methods of measurement to catch up with our knowledge of the purchase process. 

Attribution modelling may be the start of a long road, but it’s better than the dead end that last click analysis represents.

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By: Carla Burgess

  • Mar
  • 29

Bauer Readies Pilot No.2 of GAZ7ETTA

 

Bauer to Trial 'Substantially Re-Designed' 2nd Pilot of GAZ7ETTA

Bauer to Trial 'Substantially Re-Designed' 2nd Pilot of GAZ7ETTA

In October, Bauer, the publishers of Grazia, launched a trial edition of a new men’s weekly, GAZ7ETTA.

The pilot, aimed at a rounded and cultured 30-something man who would be embarrassed to be seen reading a copy of Nuts or Zoo, appears to have been inconclusive as the reports are that Bauer Media is preparing for a second pilot issue this Spring. 

This 2nd edition, headed up by Abby Carvosso, Bauer’s Head of Magazine Sales, rather than Ella Dolphin, publisher of the weekly Grazia who was reponsible for the original pilot, has apparently been substantially re-designed.  It is currently being tested amongst potential readers with the results of the research expected this month.

The first pilot edition was relatively well received amongst commentators, although many noted the lack of health and fitness content, unusual given the durability of Men’s Health in recent circulation figures, and wondered whether it had enough substance to carve out a substantial niche for itself in what is a rapidly declining market.

The latest ABCs revealed a bleak picture for the traditional ‘lads’ mags, with circulations still in freefall, although more intelligent titles such as GQ and Esquire, and those that appeal to clearly defined interests, such as Men’s Health and Wired, have held up well.

The problem for GAZ7ETTA will be in trying to cater for the broad and eclectic tastes of modern men. If the title becomes too broad, a  ’jack of all trades’, it won’t appeal strongly enough to any particular group to get any traction. If it is too niche, it risks narrowing its market too much.

The success of ShortList shows that men are prepared to pick and read a title with more generic lifestyle content.  But there’s a big difference between a title men pick up on the tube for a ‘time-filling’ read and one they’re going to have  to actively seek out and pay for.

We can’t imagine Bauer will progress to a third pilot so we should know by the Summer if we have a new, permanent addition to the men’s weekly market.

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By: Graham Painter

  • Mar
  • 14

Apple’s iAds – a Smart Choice for Luxury Advertisers?

iAd_from_AppleThe recent launch of Apple’s ’in app’ advertising platform in Europe saw blue chip advertisers like Louis Vuitton, Perrier and Renault queueing to sign up.  But less than 4 months later, iAds appear  to be faltering with the threshold spend already slashed from £615,000 to £325,000 to entice more advertisers to get involved.

So where does the iAd fit into the myriad of mobile marketing options available to luxury marketers? And is the minimum spend of £300,000 worth the investment?

Firstly, we should step back and define exactly what iAds are. 

iAds are ads served within applications. They represent another (and perhaps the only) revenue stream for Apple app developers, who get to share the revenue for advertising served within their app with Apple. iAds can be served on any iOS device, which includes the iPhone, iPod Touch and iPad. And an iAd can access any of that device’s functionality from within their ad – hence, advertisers can create a fully interactive experience, including linking to more content on the internet or social media sharing, without the user needing to leave their app. 

For luxury brands, the iAd offers a number of advantages. 

To begin with, the superior graphics and interactive features that Apple’s devices offer mean that iAd-vertising is probably the ultimate way for luxury marketers to showcase their brands on mobile devices. Compared with the alternative advertising vehicle of the mobile banner, iAds offer a richer, more engaging and more impactful medium.  In addition, the affiliation with Apple also helps some of that Apple ‘coolness’ rub off on the advertiser’s brand. Each iAd is overtly branded as such to leverage this affiliation to the full.

These benefits are further extended as the iPad increases in popularity. The larger screen format allows advertising to have an impact simply not possibly on smaller screen devices such as the iPhone.  And as iAd advertising is less than a year old the audience is more receptive and, with advertisers barely stretching into 3 figures as yet, there is little requirement to cut through competing clutter.

So far, so good. It’s no wonder that the Apple has seen a 100% renewal rate amongst its US advertisers.

But there are downsides – not least that entry level price tag.

The fact is that £325,000 is more than most brands in the UK will spend on their entire mobile strategy, let alone a specific type of mobile advertising which is available on only one make of mobile device.

And all that possible interactivity is of no use if the app user would rather just get on with using the app for the purpose for which they downloaded it, rather than frittering away time interacting with an advertiser’s ad.

In addition, many of those initial campaigns will be served on the iPhone, not the iPad. Much of the potential for visual impact will not be realised on those smaller screens.

Of course, as the iPad grows in popularity so iAds will become more appealing.  But if the iPad is the desired device - then advertisers have other options at their disposal – such as advertising within publishers apps.  And it could be argued that greater targeting will be possible within a specific publication than can be possible when targeting the whole Apple mobile audience through a range of devices.

There’s no doubt that iAds are here to stay and could form an integral and highly effective part of luxury advertisers mobile marketing strategies in years to come.  Put simply, it’s the most appropriate advertising vehicle for those looking to showcase premium brands on mobile devices.

However, whilst mobile represents an experimental and relatively new medium for most advertisers, it feels like there are other, perhaps more effective ways for advertisers to spend their money – developing mobile web experiences or engaging apps which fulfil user needs, for example – before investing £300,000+ on an iAd campaign.

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By: Graham Painter

  • Mar
  • 14

Is Investing in Social Media a Waste of Money?

Two_Thirds_of_UK_Women_Use_FacebookSome of the statistics from the recent report from shopping research company Shoppercentric make for grim reading for brands who have invested heavily in social media.

Despite the potential of the channel for brands – Facebook is used by almost 2/3s of women and over half of men – many consumers don’t see the point of connecting to and communicating with brands via social media.

For women, the social side of shopping is a large part of the appeal, so social media would seem to offer plenty of marketing potential. But most women have yet to engage with businesses via social networks.  Only 27% of women have interacted with retailers via Facebook and the situation worsens for brands without a retail presence - falling to 17% in this case.

It’s clear that for brands, many women can’t see the point of Facebook. Specifically, they don’t understand why they should visit a brand’s Facebook page rather than its website. And they feel that Facebook is a place to keep in touch with friends, not with companies.

These problems are more acute for non-retail brands, as women are simply not used to interacting with them directly, as they are for online or bricks and mortar retailers, so a greater leap of faith needs to be undertaken for women to connect with them via social media.

Perhaps of most concern is that fact that just 6% of people have used social media to make a purchase according to the research. 

So should you consign those carefully laid social media plans to the recycle bin and shift your investment to other channels that are going to deliver you greater returns? Not just yet.

A large part of the problem is that many brands on Facebook and other social media platforms are focusing on what social media can do for them rather than what value they can add for their customers.

Reasons_for_Making_Contact_ShoppercentricA good starting points is Shoppercentric’s findings into why people make contact with brands via social media. The number one reasons is ‘to feel part of a group’, followed by ‘to share thoughts/join a forum’, ‘to find out what others have bought’ and ‘to find out news about the company.’

Brands need to use social media for what it is – a communication platform – and leverage the value it can add over and above a website. It’s an opportunity to build a community around a brand – to share the latest news, to ask for opinions and receive valuable feedback, to make people feel valued by offering exclusive loyalty rewards or privilidged information.

But brands need to remember it’s also a place that consumers go for entertainment, so sometimes they need to forget about metrics such as ‘drive to site’ and ‘conversions to sale’ and facilitate their followers having a bit of fun.

The other lessen from Shoppercentric’s report is that brands cannot expect their consumers to find them and connect with them on social media. As the research has spelt out – many can’t see the point.  Brands need to actively seek out their potential followers and give them tangible reasons to connect with them.

Finally, brands need to be realistic about the role that social media plays in the purchase decision.  It’s rare that social media will deliver the ‘last click’ prior to a purchase,  but it can help move shoppers along the purchase funnel to such a position that other activity can turn the interest that has been created into a sale. For example, social media might create interest in a newly launched product, hence leading consumers into the top of the purchase funnel. Or it may play a key part in a answering a potential client’s questions as they progress through the funnel.

So marketers shouldn’t be slashing their social media investment, but they should perhaps be reappraising it with a greater appreciation of how it can add value for their customers, rather than their brand, and with a realistic understanding of what part it can play in the journey from awareness to sale.

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By: Graham Painter