/

University of Southern California Dissertations and Theses

/

Branding luxury: finding a balance between exclusivity and the inclusivity of a digital world

(USC Thesis Other)

Branding luxury: finding a balance between exclusivity and the inclusivity of a digital world

PDF

Transcript (if available)

Content BRANDING LUXURY:
FINDING A BALANCE BETWEEN EXCLUSIVITY AND THE
INCLUSIVITY OF A DIGITAL WORLD

by

Alexandra Zalicki

A Thesis Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(STRATEGIC PUBLIC RELATIONS)

May 2012

Copyright 2012 Alexandra Zalicki

ii

Acknowledgements

I would like to thank my parents, Piotr and Eva Zalicki, and my siblings, Peter
and Isia Zalicki, for their unwavering support during my time at USC. Also, a big thank
you to Renee and Greg Oleson, for their warm hospitality for the last two years. I can’t
thank my boyfriend, Kris Harmon, enough for his constant encouragement throughout the
thesis writing process.
I’m incredibly grateful for the guidance of my thesis committee chair Kjerstin
Thorson and my committee members Jennifer Floto and Laura Min Jackson. Your
feedback and words of encouragement were instrumental in completing this work.
I would also like to thank my friends for their love and support. Your willingness
to always listen and bring me back to the positive is a testament to the amazing
friendships I have been blessed to make.

iii

Table of Contents

Acknowledgements ii
List of Figures iv
Abstract vi
Introduction 1
Chapter 1: Pre-Digital Fashion Industry Communications 3 5
Chapter 2: Decade of Change 5
Luxury Fashio n's Response 9
Fashion for the People 13
Fashion Media Changes 16

Chapter 3: Fashion in a New Media World 22
Beyond Blogging 31

Chapter 4: The Challenge: Luxury Brands and Social Media 38

Chapter 5: Oscar de la Renta Case Study 41

Chapter 6: Final Take 59
References 66

iv

List
of
Figures

Figure 1: Personal Style Blog Post 24
Figure 2: Street Style Blog Post 25
Figure 3: A Polyvore User’s “Set” 33
Figure 4: LOOKBOOK User’s Outfit Post 34
Figure 5: Pinterest User’s Pinboard 36
Figure 6: Oscar de la Renta Logo 41
Figure 7: OscardelaRenta.com Product View 43
Figure 8: OscardelaRenta.com Backstage Pass 44
Figure 9: Oscar de la Renta Twitter Handle 45
Figure 10: “Engagement” Tweet 49
Figure 11: “Behind the Scenes” Tweet 49
Figure 12: “Links/Media Content” Tweet 50
Figure 13: “Brand Positioning” Tweet 50
Figure 14: “Relationship Building/Humanizing” Tweet 50
Figure 15: “Inside Industry” Tweet 51
Figure 16: Daily Distribution of @OscarPRGirl’s Tweets Over Sampling Period 51
Figure 17: Average Distribution of @OscarPRGirl’s Tweets Over Sampling Period 52
Figure 18: Distribution of @OscarPRGirl’s “Engagement” Tweets Over Sampling 52
Period

Figure 19: Distribution of @OscarPRGirls’s “Inclusive” vs. “Exclusive” Tweets Over 53
Sample Period

Figure 20: Oscar de la Renta Tumblr 54

v

Figure 21: ODLRlive.tumblr.com Instagram Mosaic 55
Figure 22: Oscar de la Renta Facebook Page 56

vi

Abstract

The fashion industry had undergone tremendous changes in the last decade. In
particular, the new inclusive digital environment has made it difficult for exclusive
luxury brands to continue to operate without giving consideration to the wants of the
consumer.
This thesis examines how luxury brands can navigate the new technological
environment by finding a balance between an exclusive brand image and the inclusivity
of the digital realm. A detailed analysis of the online strategy of the luxury brand Oscar
de la Renta serves to illustrate an effective balance when engaging with consumers
online.

1

Introduction

Exclusivity has always been a vital component of the luxury fashion industry. The
fact that an item was unattainable by the masses made it even more special in the eyes of
the consumer. Luxury brands maintained this image by limiting production and points of
purchase and exercising control over a brand’s presentation to consumers.
As recently as a decade ago, the fashion media functioned as the gatekeeper to
this exclusive world. Industry “experts” dictated to consumers what was in style and on
trend and had power over a designer’s success and rise to fame. They preserved the
exclusivity of fashion by featuring items both unattainable in price and access by the
average consumer in their glossy pages.
The industry functioned with little regard for the wants and needs of consumers. It
was simple to maintain control over the exclusivity of a brand given this scenario. In a
very short time the advent of the Internet has made it impossible for luxury brands to
operate in their traditional manner. Consumers can create and share content on a global
level with ease, and anyone in the world with an Internet connection can access items
that, in the past, were considered “exclusive.” The poor economic climate has left luxury
brands with no choice but to engage with a new audience, one that has come of age in a
new technological environment. The fashion media has become more democratic as well.
The new fashion “expert” can very well be a 13-year-old girl broadcasting to the world
from her Chicago bedroom. The fashion industry has slowly come to recognize the
“citizen journalist’s” power and has embraced a lucky few into its exclusive inner circle.

2

Though luxury brands have long played it safe in the online realm, it has become
vital to their success to communicate with consumers in the digital space where they
assemble. Consumers are having online conversations about these very brands and will
continue to do so with or without the brand’s consent. But, communicating to the
consumer is no longer enough— luxury brands must find innovative ways to get their
audience’s attention amid the online clutter.
So many opportunities exist for luxury brands in the online realm, but they face
the challenge of protecting their brand’s image of exclusivity or risk losing what makes
their products so special and desirable. Today, luxury brands must find a way to cultivate
an exclusive image in a medium that is, in essence, democratic– the opposite of what
they’ve expressed for decades.
Luxury brands can achieve a balance between exclusivity and inclusivity while
engaging with consumers online. Drawing on new insights from fashion industry insiders
and an analysis of the acclaimed social media strategies of luxury fashion label Oscar de
la Renta this paper proposes how a luxury brand can develop a digital strategy that
complements (and enhances) its exclusive brand image.

3

Chapter 1: Pre-Digital Fashion Industry Communications

Traditionally there has been a divide between fashion industry insiders and the
end consumer. The image of the industry has been aspirational— a glamorous lifestyle
that is inaccessible to the average man or woman. Fashion presentations were held
exclusively for a designer’s choice private clients, buyers from select high-end stores and
the influential fashion press.
1
Often the pieces shown on the runway weren’t available for
purchase by the average consumer, since very few could afford the lofty price tags.
The industry operated in a top-down manner and the editors of influential fashion
magazines like Vogue, Harper’s Bazaar and W were the arbiters of taste. Trends were
dictated to consumers by the fashion industry via specialty journalists and editors who
had spent years rising to prominence in the industry. “Fashion” was what was captured in
fantastical editorials that presented experts’ interpretation of runway trends.
A social hierarchy dominated the fashion industry— the top fashion magazines’
editors-in-chief were the highest authorities on fashion. Diana Vreeland acted as the
fashion editor of Harper’s Bazaar for decades and later as the editor-in-chief of Vogue.
Upon her passing in 1989 she was described as “an oracle, the high priestess of fashion”
in her New York Times obituary.
2
An editor-in-chief is responsible for the creative
direction of the magazine, functions as a filter to select the best fashion trends and
approves editorial content. Print is a medium with limited space, and the editor is like a

1
Moore, Beth. “The Fashion Industry’s Old Business Model is Out of Style.” Los Angeles Times 13 Sept.
2009. Web. 26 Dec. 2011.

2
Morris, Bernadine. "Diana Vreeland, Editor, Dies; Voice of Fashion for Decades." New York Times 23
Aug. 1989. Web. 26 Dec. 2011.

4

gatekeeper, with the final word on anything included in the final publication. In effect,
the editor-in-chief influenced the shaping of consumers’ idea of fashion and good taste,
and his or her judgment was highly respected.
The fashion media and publicists of luxury fashion brands had distinct and very
clear roles to play in this environment. Their relationship was co-dependent: the media
needed the industry for content and the industry needed the media to reach consumers.
Only a decade ago, the fashion press was the single most influential communication
channel to reach a luxury brand’s target consumer. Designers depended on the fashion
press for approval and clamored for the privilege of having a top fashion editor seated in
the front row of their fashion week presentation in hopes of favorable publicity. Reviews
of a designer’s collection by an esteemed member of the fashion press had the power to
launch (or devastate) a career. The whole of the fashion industry, from fashion
photographers to buyers, depended on the support of a select group of highly regarded
influencers.

5

Chapter 2: Decade of Change
The time period between the late 1990s and early 2000s brought technological
and socio-economic changes that made it difficult for the fashion industry to continue to
function in the aforementioned tradition. First, the broad embrace of the Internet by
consumers enabled the democratization of communication and access to luxury fashion
goods. Second, the terrorist attacks of September 11, 2001 and subsequent worldwide
economic recession changed consumers’ attitudes toward fashion. The mix of these two
factors created the perfect storm: a vocal consumer and an industry desperately trying to
stay afloat.
The Internet spurred a horizontal communications revolution, allowing
individuals from all around the world to communicate and share information in real time.
Anyone with a computer and Internet connection had the ability to create an online
presence that could be accessed globally. Users were able to “meet” others who shared
their interests to converse and exchange information. As early as 1996 fashion devotees
were coming together virtually in digital communities like chat rooms and message
groups to discuss their day’s outfits and express their opinions about the most current
fashion trends.
3
Rather than being fed information by fashion magazines, they were able
to receive it from their peers. The fashion hierarchy began to crumble with the advent of
the Internet; the media was losing its grip on the consumer.
Weblogs or “blogs” began to gain popularity in the late 1990s and fashion lovers
found them to be the ideal medium to communicate with their online cohorts. A blog is

3
Schatz, Robin D. "Fashion World Discovers The Net Is Not a Snood." New York Times 21 Jan. 1996.
Web. 27 Dec. 2011.

6

the evolution of an online personal diary and webpage. Blog authors or “bloggers” can
share information on any topic relevant to them with the public. They are typically
updated daily and are linked to other websites. Typically blogs allow readers to leave
comments on entries or “posts” (fostering two-way communication) and past posts can be
browsed in reverse chronological order. Blogs are published by blogging portals, like
Blogger.com, and can be browsed by any Internet user.
4
The most popular blogs boast a
following of daily readers.
The number of blogs— and the array of topics— grew and the first blogs devoted
to fashion appeared by 2002. Fashionistas (devoted followers of fashion) now had
countless alternative resources to fashion magazines that provided them with continuous
content in a more relatable fashion. And, unlike with mainstream publications they were
able to engage in conversation and share their opinions with the author.
5
The Internet and
the ease of creating a blog allowed anyone the opportunity to become a fashion influencer
with a global reach regardless of their location. A new era of participation among the
average consumer gradually developed, but the fashion industry was not yet listening.
As Internet usage became more common new applications of the medium became
available. E-commerce, or online retail, became popular in the late 1990s. The idea of
selling luxury goods using e-commerce was met with much criticism within the fashion
industry. Naysayers believed that women would be wary of purchasing high-priced
designer clothing without seeing them firsthand and trying them on. In 1999, Britain’s

4
Sinclair, Jenny. "Give us this day our daily blog." The Age (Melbourne) 20 March 2001. Web. 28 Dec.
2011.

5
Sinclair, Jenny. "Give us this day our daily blog." The Age (Melbourne) 20 March 2001. Web. 28 Dec.
2011.

7

Boo.com became the first high-end online fashion retailer. The highly anticipated website
shuttered after only 18 months when it failed to live up to its hype.
6
In 2000, former
fashion editor Natalie Massenet launched Net-A-Porter.com, a web-based fashion
magazine and boutique hybrid, that revolutionized the way women shopped for designer
clothing online. Massenet was able succeed where Boo.com had failed: by translating the
posh experience of shopping at a high-end designer boutique into the online realm. To
convey this to consumers Net-A-Porter offered a chic presentation, first-rate customer
service and courier home delivery of the gift-wrapped item(s)— to any location in the
world.
Massenet’s Net-A-Porter became a huge success and a model for luxury e-
commerce. Websites like Net-A-Porter made it possible for women to access the latest
designer fashions at anytime of day, anywhere in the world. Shoppers were no longer
restricted to frequenting boutiques within walking or driving distance. Especially in the
case of luxury designer brands, where flagship stores are typically limited to high-end
shopping areas like Los Angele’s Melrose Avenue, it democratized the availability and
access to luxury designer goods. Online shopping became the equivalent of window-
shopping and a form of entertainment for time-crunched consumers. And it permitted e-
tailers to offer new items on a daily basis as consumers became accustomed to the
immediacy that the Internet provided.
Concurrently, the terrorist attacks of September 11, 2001 had a significant impact
on the fashion industry and its embrace of Internet technology. That historic date also

6
Sorkin, Andrew Ross. "From Big Idea to Big Bust: The Wild Ride of Boo.Com." New York Times 13 Dec.
2000. Web. 11 Dec. 2011.

8

happened to coincide with the fourth day of New York Fashion Week (NYFW); a
prestigious semi-annual event held at Manhattan’s Bryant Park attended by the fashion
media and industry insiders. NYFW is of great importance to the fashion industry; it
provides a single venue where a multitude of designers showcase their upcoming
collections to their industry peers, media, store buyers and other influencers.
7
Often the
fashions shown at NYFW are not worn off the runway, but they communicate the image
the designer wants to portray for her or his line.
8
The event sets the fashion trends for the
upcoming seasons and provides necessary visibility to emerging designers. For
established designers the event has become a major production that is eagerly awaited by
their industry peers.
That Tuesday morning fashion designers, some first-time NYFW participants,
were staging their runway shows for the Spring 2002 season— just a short distance away
from the attacks on the World Trade Center. Once organizers became aware of the grave
situation, NYFW was cancelled, with 73 fashion shows remaining. Veteran designers like
Ralph Lauren and Michael Kors had the resources and industry connections to hold
showroom presentations for store buyers and fashion press. But, emerging designers with
limited financial resources were greatly affected by the events of 9/11. Without a NYFW
presentation new designers were unable to preview their collections to the press, store
buyers or potential investors causing many to close their businesses.
9

7
Fortini, Amanda. “How the Runway Took Off.” Slate Magazine 8 Feb. 2006. Web. 5 Jan. 2012.

8
Schoolman, Judith. “Fashion Pays Hefty Price for Promotion.” Daily News (New York) 17 Feb. 2003.
Web. 5 Jan. 2012.

9
Wilson, Eric. “A Bond Forged in Tragedy.” New York Times 6 Sept. 2011. Web. 5 Jan. 2012.

9

The nation’s attitude toward fashion changed; “frivolous” fashion received
limited press during the somber times that followed the World Trade Center attacks.
Luxury and opulence were frowned upon, and designers began to play it safe with
garments as consumers stopped or slowed their spending. The recession that ensued also
limited store buyers’ willingness to risk featuring emerging designers. Orders that
designers were counting on to fund their businesses were reduced or canceled— money
was scarce for unproven labels.
The luxury brand market was met with the challenge of compensating for a
wealthy clientele that was among those most affected by the recession. According to
Daria Zanoni, former vice president of Prada’s United States handbag and accessories
division, “Once sales began to fall and forecasts didn’t look good the industry panicked,
we lost our base customer when the economy crashed. We needed to reach out to as
many possible customers that could seriously be looking at purchasing something
because we couldn’t afford not to at that point.”
Luxury Fashion’s Response
The fashion industry, in particular luxury brands, was very resistant to digital
media. But, the impact of 9/11 and the ensuing economic recession sped industry leaders’
confrontation of the obstacles and opportunities afforded by the new digital environment.
According to Zanoni, “luxury brands would not have embraced digital media like they
have as a means to make up some of the difference in sales.”
10

10
Zanoni, Daria. Telephone interview. 31 Jan. 2012.

10

NYFW retains its powerful economic impact on New York City and the fashion
industry. The semi-annual event draws thousands of domestic and foreign visitors that
support the City’s retail, hotel and nightlife businesses. In 2004 NYFW generated $253
million in revenue for the City.
11
To engage New Yorkers, and to show the City was back
in business post 9/11, for the first time non-insiders were permitted behind the scenes of
the exclusive invitation-only event. Vogue organizers installed closed-circuit television
monitors to present behind-the-tents footage. And designer Hugo Boss offered event
invitations to well-dressed passers-by.
12

Since the price tag to stage a fashion show at NYFW can be exorbitant— on
average a presentation costs $150,000— designers found digital media to be a cost-
effective alternative.
13
Many designers secure sponsorships to deflect some of the costs,
but amid the post 9/11 recession investors were scarce— especially for new designers. At
the same time publications were trimming their budgets and staff as advertising revenues
decreased, making the expense of travel to attend NYFW prohibitive, especially for
regional publications.
14
To reduce costs, designers began to look for new and innovative
ways to reach the fashion press and store buyers. In 2008 luxury brand Louis Vuitton
Livestreamed its runway show on social media website Facebook, and in 2009, high-end

11
Aktar, Alev. “How Fashion Shows Us the Money." Daily News (New York) 1 Feb 2004. Web. 9 Jan.
2012.

12
Blair, Jayson. “Year After 9/11, Fashion Week Speaks of Recovery and Money.” New York Times 24
Sept. 2002. Web. 9 Jan. 2012.

13
Patner, Josh. “Fashion Week FAQ.” Slate Magazine 13 Sept. 2004. Web. 9 Jan. 2012.

14
Wilson, Eric. “Bloggers Crash Fashion’s Front Row.” New York Times 24 Dec. 2009. Web. 9 Jan. 2012.

11

fashion designer Alexander McQueen Livestreamed his Paris presentation on his website
to reach a wider audience. For his diffusion brands, Ralph Lauren staged virtual fashion
shows that consisted of models walking on a treadmill with a superimposed background.
This technique led to considerable savings and at the same time made the presentation
available to the masses.
15

Luxury brands were slow to enter the online sales realm, even with the success of
Net-A-Porter. Designers felt that the availability of their brand online would dilute its
status or put them at risk for counterfeiting. According to Zanoni, “it wasn’t something
they wanted to concede to— they thought it was too commercialized and took away the
romance and unique aspect of the product and brand.”
16
Initially some designers created
websites as a way of promotion and as a vehicle for communication with the consumer,
but the transaction took place at a brick-and-mortar retail store. In the early 2000s the
biggest deterrent for luxury designers was the limited technological capabilities of the
Internet, making it difficult to translate a high-end brand image online.
17

But, the recession led luxury designers who were once wary of e-commerce to
warm to the idea of selling directly to consumers via an online storefront. Prior to 2003
many designers held informal agreements with major department stores to refrain from
selling merchandise online to limit competition for consumers. The heavy markdowns of

15
Betts, Kate. “Will Fashion’s Biggest Names Kiss the Runway Goodbye?” Time Magazine 10 Dec. 2009.
Web. 9 Jan. 2012.

16
Zanoni, Daria. Telephone interview. 31 Jan. 2012.

17
Wilkinson, Donna. "Designers Tiptoeing Onto the Internet, Clad Mostly in Accessories." New York
Times 7 June 2000. Web. 6 Jan. 2012.

12

designer merchandise (up to 70%) that ensued among department stores when spending
slowed post 9/11 were met with disapproval from designers who feared they would
damage their brand image. By the mid-2000s digital technology had improved
dramatically allowing brands to add interactive features to their web pages like zoom,
videos and live assistance, to convey a luxury shopping experience. An online store was a
cost-effective alternative to brick-and-mortar locations and allowed brands more price
control when compared to department stores. Also, selling directly to consumers
presented higher profit margins. To entice consumers, designers offered exclusive web
items that were available to all online shoppers— not just those near a high-end
department store.
18

The recession caused luxury brands to re-think their production strategies and
focus on the needs and wants of the consumer. Before, luxury brands were in position to
operate in the way they felt maintained the integrity and exclusivity of their brand
without regard to the consumer. Consumers had no choice but to put their names on a
lengthy list for a coveted item— and wait. The speed of the Internet and digital media
established a desire for immediacy among consumers. If the item they wanted to purchase
wasn’t available there were other substitutes.
19
To compete in the new consumer-oriented
marketplace luxury brands had to alter their production practices. For some luxury brands
like Prada, which prided itself on the meticulous crafting of goods (that added to its
exclusivity), this meant moving production out of Italy to countries like China where

18
Clifford, Stephanie. "High Fashion Relents to Web's Pull." New York Times 12 July 2010. Web. 6 Jan.
2012

19
Zanoni, Daria. Telephone interview. 31 Jan. 2012.

13

labor was inexpensive. Others had to modify the speed at which items became available
for purchase following runway presentations. The Internet gave consumers a voice, and
to remain competitive (and bolster sales) brands had to heed their wishes.

Fashion for the People

Although consumer spending was reduced, interest in fashion was growing.
Fashion had become a part of popular culture with television series like HBO’s “Sex and
the City.” This exposed consumers to luxury brands and designers and made some, like
Manolo Blahnik, household names. The attire worn by the four main characters was
lusted after although it was very much out of the budget of the average consumer.
Knowledge about the “exclusive” business of fashion became available to
consumers with the debut of fashion-as-entertainment television programming that
exposed a variety of fashion industry careers like designing, styling, modeling etc.
Beyond reality television shows, like the successful competition style series “Project
Runway,” programs that took audiences behind the scenes with industry heavy weights
like Elle’s Joe Zee emerged. They revealed the inner (not always glamorous) workings of
the fashion industry and introduced the industry’s power players to a wider audience.
These programs presented those with an interest in fashion with an understanding of the
industry or fashion literacy that was no different than the so-called experts. And the
Internet provided them with a medium to share their “expert” knowledge with a global
audience.
In response to the economic climate, fashionistas began to mix high and low
priced pieces, wearing high-end runway collection items with inexpensive items from

14

mass retailers. Designer Isaac Mizrahi exemplified this trend by staging a runway show
styled with his namesake collection for the mass retailer Target and his made-to-order
collection for high-end retailer Bergdorf Goodman.
20
Even First Lady Michelle Obama
epitomizes the new direction of the fashion consumer by donning affordably priced
J. Crew cardigans with mid-level designer dresses. No First Lady since Jacqueline
Onassis has had her sartorial choices followed so closely, and had such an influence on
consumers. Her penchant for supporting up-and-coming designers, propelling them to
instant fame, has been referred to as the “Michelle Obama effect.”
21

These actions fueled the growth of accessible fashion: “designer” pieces at lower
price points designed with the average consumer in mind. Designer collaborations
between luxury fashion brands and accessibly priced retailers became de rigueur. The
first was Karl Lagerfeld for fast-fashion (clothes quickly manufactured based on the most
recent runway trends and sold at low prices) retailer Hennes & Mauritz (H&M) in 2004.
Karl Lagerfeld’s (best known as the designer for famed fashion houses Chanel and Fendi)
H&M collection was so highly anticipated that once it became available it sold out
worldwide in 25 minutes. Lagerfeld commented that, “people who buy Chanel and other
expensive things buy there [H&M], too.”
22
It allowed the average shopper to own an item
associated with a luxury brand that typically was out of his or her reach.

20
Edelson, Sharon. “Remarkable Moments: Moment 85: Upside Down.” Women’s Wear Daily 1 Nov.
2010. Web. 9 Jan. 2012.

21
Chang, Bee-Shyuan. “Michelle Obama, Wooing The First Dresser.” New York Times 10 Feb. 2012. Web.
26 Feb. 2012.

22
Horyn, Cathy. “Front Row; Off-the-Rack Lagerfeld, at H&M.” New York Times 22 June 2004. Web. 9
Jan. 2012.

15

High fashion became more accessible to the masses with the launch of online
discount designer item retailers like Gilt.com. Gilt Groupe, founded in 2007, is an
invitation-only e-commerce website that offers luxury designer fashions at deeply
discounted prices, similar to coveted sample sales. Traditionally designer sample sales
have been held in large cities, like New York, to unload excess merchandise. Gilt Groupe
holds “flash sales” for a period of three days (or until an item is sold out) and alerts
members via e-mail of upcoming sales. The emergence of Gilt Groupe allowed the
average budget-conscious consumer to purchase items typically out of their price range
and/or area.
23
The business model was successful due to the amount of excess inventory
brands had accumulated as a result of consumers’ reduced spending. This paved the way
for luxury brands that would not have participated in selling discounted merchandise
otherwise. Luxury brands hoped that the purchase of their product at a discount would
lead to eventual full priced purchases.
24

In February 2011, Lauren Santo Domingo, a contributing editor at Vogue,
partnered with Aslaug Magnusdottir, a former Gilt Groupe executive, to launch
ModaOperandi.com— making designer runway fashions available to all. The online
retailer took the long-established trunk show and updated it for the Internet age.
Traditionally designers have invited a select number of top customers to preview their
most recent collections in an intimate and often luxurious setting. A trunk show gave the
designer an opportunity to meet with (top) customers face to face to build a relationship,

23
DeBaise, Colleen. “Launching Gilt Groupe, A Fashionable Enterprise.” Wall Street Journal 14 July
2010. Web. Jan 9 2012.

24
Feldman, Susan. Telephone interview. 6 Feb. 2012.

16

obtain feedback and pre-sale pieces from their runway collections before they are
available to the general public.
By means of their extensive industry connections Domingo and Magnusdottir
were able to offer direct from the runway fashions (unedited by store buyers to appeal to
a wider range of consumers or often not manufactured for sale) in an online “trunk
show,” with everyone invited. Shoppers become members at no cost and within 48 hours
of a runway presentation can pre-order items. The online retailer has partnered with
Vogue.com to directly link Vogue’s online runway show images with Moda Operandi for
easy shopping.
25
This venture is in step with the fashion industry’s increased effort to
satisfy consumers’ perpetual push for immediacy.
Fashion Media Changes
The fashion media that had traditionally been the main influencer and source for
fashion related information also underwent a change as a result of the challenges it faced
from digital media and the vocal consumer that it bred. The digital medium produced
new competitors for both readers and advertising. In response, traditional fashion media
evolved into multiple channels, “converging” the new media channels with the old.
Fashion publications began to utilize a number of different media channels to distribute
content as opposed to just the print platform to appeal to readers and advertisers.
26

25
Reagan, Gillian. “Moda Operandi: Click, Cash, Couture.” Business Week 15 Sept. 2011 Web. 10 Jan.
2012.

26
Jenkins, Henry. Convergence Culture. New York: New York University Press, 2006.

17

The fashion media began to take a more democratic approach to fashion
beginning in the late 1980s. In 1988 Anna Wintour became the editor of Vogue, the
leading fashion publication, and is widely attributed for bringing about a change in
fashion publications. Under her helm Vogue grew to appeal to a wider audience and
refocused on fashion as opposed to the lifestyle publication it had become under the 17-
year editorial reign of Grace Mirabella. Wintour’s very first cover for the magazine was
unconventional— featuring a model wearing $50 denim, a Vogue first, and a $10,000
Christian Lacroix tee shirt. She aimed to shape Vogue to be more accessible to the
average woman, mixing price points in editorials and introducing editorials featuring
lesser-known models styled less than perfectly (albeit the magazine retained its
aspirational tastes).
27

The fashion press was slow to enter the digital realm; they initially dismissed the
medium as a trend. Online versions of popular fashion magazines appeared in the late
1990s although the capabilities of Internet programming were limited, resulting in fairly
bare bones websites. Internet technology was still developing and even if content was
available not all personal computers were capable of viewing it.
28
Vogue was among the
first to make use of the new medium by sharing the Spring 2000 collections online at
Vogue.com.
29
However, as more of the traditional fashion media’s readership flocked
online to obtain fashion related information they began to progress into the online space.

27
Fortini, Amanda. "Defending Vogue's evil genius." Slate Magazine 10 Feb. 2005. Web. 27 Dec. 2011.
28
Wharton, David. “High-Tech Couture.” Los Angeles Times 23 Feb. 1995. Web. 2 Jan. 2012.

29
Delap, Leanne. "Vogue.com a virtual bore." The Globe and Mail 7 Oct.1999 Web. 2 Jan. 2012

18

The immediacy that the Internet presented to consumers was detrimental to print
fashion publications. They were particularly affected because the cycle from the runway
to the pages of a magazine to the sales floor could take as long a six months. A fashion
blogger was able create an editorial-like blog post, post collection images or share an
opinion about a designer’s collection immediately. Bloggers posted new content daily
and responded to industry developments, as opposed to a fashion magazine that was
planned long in advance and published once monthly. The power was continuing to shift
toward consumers and the fashion industry had to comply and adapt to meet their needs.
At the same time fashion publications suffered as a result of brands’ caution with
their advertising dollars. In 2007 Vogue’s September issue, the fashion industry’s most
important (and largest issue) each year that previews the fall’s fashion trends, was the
largest ever for the publication numbering 840 pages. A year later Vogue’s September
issue’s ad pages had fallen from 727 to 674.
30
2009 was worse for monthly publications
with some losing as much as 20 percent in ad volume and facing declining circulation
rates
31
— Vogue’s September issue was nearly half the size of its record-setting 2007
September issue.
32
Many monthly offshoot titles that had emerged in earlier years, like
Men’s Vogue, were reduced and finally shuttered from a lack of interest and so publishers
could focus on the established brands, in this case Vogue.

30
"Min’s Exclusive Review of Women’s Fashion/Beauty "Fall Preview" Ad Pages." Media Industry
Newsletter 28 July 2008. Web. 15 Jan. 2012.

31
Johnson, Sarah. "Fashion Mags in a Fix." Marketing 19 Aug. 2009. Web. 15 Jan. 2012.

32
Kingston, Anne. "These Days the Devil Recycles Prada." Maclean’s 2 Nov. 2009. Web. 15 Jan. 2012.

19

Advertisers (typically luxury brands) began to expect more from fashion
publications than just the traditional editorial mentions. Many attributed the decline in
advertising and circulation to consumers’ new media habits. Instead of awaiting their
monthly print publication, consumers were spending more time online and pursuing blogs
and online magazines for their fashion fix. In response, advertisers diversified their
strategies to include online media, leaving fewer dollars to be spent on print advertising.
Some luxury brands, like LVMH, were going as far as creating their own editorial
content combined with fashion and retail online and bypassing the print publications they
had depended on for publicity in the past.
33

Print fashion publications had to compete not only for advertisers but also for
readers who had a multitude of options for information about fashion. Online retailers,
like Net-a-Porter, added editorial elements to their websites, offering their own
“magazines” that featured products they had available for purchase. Creating online
content is quick, inexpensive and relatively simple leading to a host of online-only
fashion publications that drew readers away too.
High fashion magazines also faced competition from new print magazines like
InStyle and Lucky that are more accessible and offer practical fashion, beauty and
lifestyle advice aimed at the average woman. InStyle, the original such magazine, was
launched in 1994 and by 2001 was generating more advertising pages than Vogue.
34

These publications focus on fashion as a part of popular culture, spotlighting celebrities

33
Carr, David. “Publishing, Without Publishers.” New York Times 16 Jan. 2011. Web. 6 Feb. 2012.

34
Fox, M. “Fashion for the masses” Los Angeles Times 13 July 2001. Web. 9 Jan. 2012.

20

and their daily lives. They are also “shopper friendly,” written in a service format that is
easy to navigate by readers who are not fashion risk takers. InStyle reads like a step-by-
step guide, clearly explaining how (and when) to wear items and provides information as
to where they can be purchased.
35

To attract advertisers, fashion magazines used their digital versions as an added
value. For example, Vogue created an online platform (Vogue.tv) that allowed readers of
the print version of the magazine to shop the advertising pages.
36
An advantage of
advertising in the online realm is that the advertiser has more control; it is possible to
target advertising content to readers’ interests so it is more salient to them and more
likely to elicit a response. Also, when offering advertising online publications are able to
provide statistics and measure the efficacy of an advertisement.
To remain competitive and draw traffic (and as a result, advertisers) to their
online counterparts fashion magazines focused on developing their online presence.
Fashion titles added e-commerce to their websites, allowing readers to shop “looks.”
Original entertainment, like video series, encouraged visitors without competing with
print versions.
37
Exclusive content like blogs penned by popular editors and more
immediate fashion news offered readers more. The digital versions were created with the
goal to augment the print version of the publication.

35
Anstey, Vicki. "Media choice: InStyle." Marketing 19 May 2004 Web. 9 Jan. 2012.

36
Keane, Meghan. “Fashion magazines finally take the plunge into e-commerce.” Econsultancly 2 Sept.
2009. Web. 9 Jan. 2012.

37
Aspan, Maria. “The Web Way to Magazine Ad Sales.” New York Times 21 August 2007. Web. 9 Jan.
2012.

21

Print fashion publications also adapted to consumers’ new media consumption
habits. Magazines like Vogue modified their content for reading on tablet computers, like
the Apple iPad. This medium’s capabilities also allowed for more reader interaction with
the magazine and a richer experience, like a “talking” editor’s letter and embedded videos
that bring content to life.
38

38
Wilson, Eric. “A Magazine That Won’t Smudge.” New York Times 25 May 2011. Web. 9 Jan. 2012.

22

Chapter 3: Fashion in a New Media World

The fashion media’s late entrance into the digital realm left the door open for
fashion bloggers to meet the new consumption needs of consumers. By 2003 fashion
bloggers had became the new influencers in the fashion industry with an ample audience
that often spanned the globe. Minutes after a collection was shown it was possible to go
on the Internet and read commentary and behind-the-scenes insight from popular fashion
bloggers. Consumers had become the tastemakers, even if they lacked formal training or
industry connections. As fashion magazines became smaller with decreased advertising it
became more and more difficult to garner a feature in print, especially for emerging
designers. Fashion blogs created a whole new space for designers to engage with the
consumer in an organic way.
Fashion bloggers struck a chord among consumers because the readership is able
to relate to the author.
39
Bloggers are real women that shop at similar stores as their
readers, unlike the unattainably perfect models wearing designer clothing that fill a
fashion magazine’s pages. Fashion blogs provide realistic inspiration to their readers—
on a daily basis unlike traditional fashion media. Fashionistas want to be aware of the
latest trends and how to incorporate them into their wardrobes, and blogs operate at a
much faster pace than the lengthy fashion media news cycle. They cost nothing to read
and access is simple. And most importantly, blogs allow (and encourage) readers to
participate in the conversation.

39
Allen, Claire. “Style Surfing changing parameters of fashion communication – where have they gone?”
In: 1st Global conference: Fashion exploring critical issues, 25-27 Sept. 2009, Mansfield College, Oxford.

23

The most successful fashion blogs offer the reader quality, engaging content
focused on a specific topic—for example The Bag Hag (thebaghagdiaries.com) focuses
on her passion for handbags— or a specific target market, like college students on a
budget. Ultimately, it is the personal connection between the blogger and the reader that
has made the practice of blogging so successful. Blogging allows for authors to speak to
their audience in a conversational manner that is authentic to the reader.
40
Fashion has
been an ideal subject matter for blogs because of its visual nature. Also, the speed at
which blogs function is an ideal match for the fast-paced fashion industry. For many
readers, it has become a daily ritual to visit their favorite blogs— and applications like
Bloglovin’ have been created for the sole purpose of managing the blogs they follow.
A popular fashion blog category focuses on the author’s personal style and
itemizes the clothes and accessories they wear in each post. One of the most successful
personal fashion bloggers, Rumi Neely, was inspired to begin blogging in 2006— with
no formal training in journalism. Neely’s blog, Fashiontoast, began as an extension of her
successful Ebay.com vintage store, Treasure Chest Vintage. She was encouraged to begin
her blog due to the overwhelming interest shoppers expressed in her personal style.
Neely’s blog features editorial like photography of herself taken by her boyfriend along
with images and items that inspire her style.

40
Allen, Claire. “Style Surfing changing parameters of fashion communication – where have they gone?”
In: 1st Global conference: Fashion exploring critical issues, 25-27 Sept. 2009, Mansfield College, Oxford.

24

Figure 1: Personal Style Blog Post
41

Another type of blog that has developed a cult following focuses entirely on
photographs of fashion industry fixtures and stylish unknowns. Known as “street style”
blogs the authors comb the streets for fashionable individuals, take their photograph and
upload it to a blog for readers to browse and comment. One of the most successful street
style blogs is The Sartorialist. Founded by stay-at-home dad Scott Schuman in 2005, the
blog initially offered daily snaps of stylish New Yorkers with his rationale for taking their

41
Image Source: Fashiontoast Official Website. “A Week in Firenze.” 24 Jan. 2012.

25

photo. In September of 2011, his number of page views numbered 13 million. Many
fashionista’s greatest aspiration is to be featured on Schuman’s blog.
42

Figure 2: Street Style Blog Post
43

The fashion industry took notice of fashion blogs, due in part to the economic
recession. Blogs had a massive audience and were “cheerleading” fashion.”
44
The
industry saw the potential that bloggers with loyal followings offered them to connect

42
Amed, Imran. “The Business of Blogging: The Sartorialist.” TheBusinessofFashion 3 Oct. 2011. Web. 18
Dec. 2011.

43
Image Source: The Sartorialist Official Web Site. “On the Street…quai Malaquais,” Paris. 6 Feb. 2012.

44
Holgate, Mark. “Logged On.” Vogue 1 March 2010. Web. 18 Dec. 2011.

26

with the average consumer, in an economic fashion. Its embrace of fashion bloggers
happened seemingly overnight. Few bloggers were invited to NYFW events and
presentations prior to 2006— those who were lucky were able to sneak into a show or
settle for watching coverage from their home computer (an alternative unthinkable just 10
years ago!). Then, in the Fall 2006 IMG Fashion, the company responsible for the
production of NYFW, bestowed official press passes to more than 40 influential bloggers.
For many of these bloggers being acknowledged as members of the fashion press led to
invitations to highly sought after NYFW presentations.
IMG made a conscious effort to invite the world into the “tents” from start to
finish by utilizing new media technology. Bloggers attending runway presentations were
provided with laptops to “live blog” the designer collections and encouraged to capture
moments with timely cell phone videos and photographs. Runway shows were
Livestreamed online. This allowed anyone and everyone a front row experience
traditionally reserved for fashion industry insiders. Fashion bloggers had infiltrated the
coveted front row, an acknowledgement of the influence that they were beginning to
wield in the fashion industry.
45

Vogue “legitimatized” fashion blogging as an important force in fashion in March
2010 by including several popular fashion bloggers in its annual “power” themed issue.
The magazine spotlighted 10 fashion bloggers, including street style and personal style
bloggers. Interestingly, some of these blogs wielded more influence online than Vogue

45
Valli, Herman."Designers refashion for Internet Age." Los Angeles Times 3 Feb. 2006. Web. 16 Jan.
2012.

27

did with its web counterpart.
46
A number of fashion publications pursued popular
bloggers as contributors to their web editions in an effort to grow their online audience.
This practice led to a number of authors of popular blogs establishing careers in the
fashion industry as stylists, photographers etc.
Fashiontoast’s Rumi Neely now utilizes her blog to chronicle her increasingly jet
set lifestyle as she attends industry events and fashion weeks around the world. Neely’s
blog has afforded her the opportunity to appear in advertising for mainstream fashion
brands like RVCA, Free People and Forever 21, and she is represented by NEXT
Modeling Agency. Neely has also collaborated with a number of brands to design pieces
including DANNIJO Jewelry and RVCA. She has been profiled in countless fashion
publications around the world, including American Vogue. In 2010 an image of Neely
found its way to Esteban Cortázar’s inspiration board for the 2010 Ungaro Collection.
Neely attended the show in a custom Ungaro creation and sat in the front row and, of
course, later blogged about her experience.
47

As The Sartorialist’s popularity has grown Schuman has travel to London, Paris
and Milan to capture the outfits of fashion week attendees for Condé Nast’s Style.com.
Schuman’s high-profile blog has led to shooting editorials for top fashion publications
and advertising campaigns for Burberry and Donna Karan New York. He has
collaborated with skincare purveyor Kiehl’s and a book of his most popular photographs
was published by Penguin.

46
“Fashion Blogs are beating Vogue in Online Influence.” BusinessInsider 18 July 2011. Web. 16 Jan.
2012.

47
Strugatz, Rachel. “Hot Fashion Bloggers.” Women’s Wear Daily 14 Nov. 2011. Web. 16 Jan. 2012.

28

The fashion industry and consumers have created a new insider group. For
successful bloggers like Neely and Schuman blogging has become a profession. And
their hobby has cast them into insiders— creating a new hierarchy in the industry. But
few bloggers have met the success or had the opportunities that Neely or Schuman have
had as a result of their blogs’ popularity. There is an imbalance of power; a pattern
described by Clay Shirky in “Here Comes Everybody.” Of the huge number of blogs that
exist online very few are the Fashiontoasts and The Sartorialists.
Designers have begun to tap into the exposure that successful bloggers with large
followings offer. According to Danielle Gano, owner of Elle Communications, “in some
respects it has made [public relations professionals] jobs easier because we have so many
channels to communicate through now and it’s also made it easier to identify
influencers.” There is limited coverage for small or emerging designers in the mainstream
fashion media and blogs offer a powerful and inexpensive public relations opportunity.
And with the growing number of presentations at NYFW it isn’t possible for fashion
industry influencers to attend every show, social media channels offer opportunities to
build relationships with the media.
48
Also, due to decreased advertising, it is becoming
more and more difficult to garner a feature in print, especially for emerging designers. A
mention on a popular fashion blog is an influential alternative, especially with some
blog’s monthly page views numbering in the millions.
49

48
Gano, Danielle. E-mail interview. 25 Feb. 2012.

49
Dodes, Rachel. “Bloggers Get Under the Tent” Wall Street Journal 12 Sept. 2006. Web. 16 Jan. 2012.

29

Meanwhile, established designers are spending time and money on research to
determine which blogs are most effective in the scope of their public relations, marketing
and advertising strategies. Public relations agencies are being selective about which
bloggers they build relationships with by examining the blog’s audience, number of
views, links and comments. This has birthed companies that supply fashion blog rating
systems as a resource for publicists, when, for example, they are creating event guest
lists. Also, by monitoring blogs, online communities and websites public relations
professionals are able to gain insights as to what is being said by consumers regarding
their brands and clients. Designers and brands are also able to engage consumers in
conversation to obtain feedback to better understand their likes and dislikes to better meet
their wants.
50

As fashion bloggers’ influence grows there are opportunities to earn money by
aligning with established brands. Bloggers are driving the sales of fashion items.
51

Designers are sending products to popular bloggers with the hope of being featured in a
blog post, similar to sending gifts to fashion editors in the mainstream media. These posts
frequently result in increased sales, even leading to items featured on a popular blog to
sell out. The practice of sending “freebies” to bloggers has become so prevalent that that
the Federal Trade Commission (FTC) has become involved and set regulations regarding
featuring gifted items. As of December 1, 2009 bloggers who write online product
reviews “must disclose the receipt of free merchandise or payment for the items they

50
Moore, Booth. “The Future of Fashion.” Los Angeles Times 13 Sept. 2009. Web. 16 Jan. 2012.

51
Greene, Lucie and Friedman, Vanessa. “Stars, stripes and selling clothes.” Financial Times 16 Dec.
2011. Web. 16 Jan. 2012.

30

write about” or face a fine. This ruling has been met with resistance from the online
blogging community because the traditional print media are not held to the same
standard.
The ascent of bloggers in the fashion industry’s ranks has challenged the
traditional press. The traditional fashion media has worked to maintain a level of
aspiration in its publications and sustained the exclusivity of luxury brands. Bloggers are
challenging the industry norms by making fashion approachable, something consumers
are responding to with increased vigor. Anna Wintour was quoted saying, "We love as
much coverage of fashion as possible. We don't care at all where it comes from, and we
embrace bloggers and video and social networking, and anyone that's talking about
fashion is a good thing. And we now have our own website that incorporates all of that.
But I think what's interesting to us with this new phenomenon that 'everyone's a fashion
editor, everyone's a fashion writer' is that all of that actually helps Vogue, because we
have access and the understanding of fashion that, forgive me, but maybe some bloggers
and some of the newcomers to this world have a little bit less experience of, but as I said,
the more the merrier. We embrace it."
52
Her words are representative of the clash
between traditional fashion journalists and fashion bloggers.
A debate has emerged as to whether bloggers are journalists. Bloggers have been
charged with a lack of experience, credibility and professionalism related to their original
content. Some, like Tavi Gevinson, who began blogging at the age of 11 and by the age

52
Goldsmith, Katie. “Anna Wintour Discusses Fashion Bloggers, Irving Penn, and Hamish Bowles’s
Surfing Lesson.” New York Magazine’s The Cut Blog 20 April 2010. Web. 16 Jan. 2012.

31

of 13 was seated in the front row at highly anticipated presentations, have been dismissed
as amateurs on the basis of their age.
53
But it is impossible to deny the influence that just
a blogger with the loyalty of tens of thousands can wield.
Yet, the traditional fashion press has held on to its power. It was the fashion
media that featured bloggers in its pages and gave them mass recognition. And there
continues to be a prestige factor associated with publicity from print fashion magazines
among fashion bloggers.
54
The traditional media continues to be where luxury brands
look to for guidance when making decisions regarding brand partnerships with fashion
bloggers.
55

Beyond Blogging

The landscape of digital media was further transformed with the introduction of
popular social networking site (SNS) platforms like Facebook and later Twitter. These
platforms allowed for a new way for fashionistas to communicate and engage among
each other beyond the fashion blog. This spurred the growth of fashion communities that
were based on a larger degree of social interaction.
SNS platforms are defined as:
Web-based services that allow individuals to (1) construct a public or semi-public
profile within a bounded system, (2) articulate a list of other users with whom they share

53
Odell, Amy. “Editors Like Tavi But Don’t Take Her Fashion Advice Seriously.” New York Magazine’s
The Cut Blog 9 Dec. 2009. Web. 16 Jan. 2012.

54
Murray, Alex. “Fashion week: The Ordinary People Who Stole The Show.” BBC News 9 Sept. 2011.
Web. 16 Jan. 2012.

55
Clark, Nicola. “How brands can reach bloggers.” Marketing Magazine 3 March 2010. Web. 16 Jan.
2012.

32

a connection, and (3) view and traverse their list of connections and those made by others
within the system. The nature and nomenclature of these connections may vary from site
to site.
56

A basic SNS platform requires that a user provide her or his “profile”
information: age, gender, location, interests etc. Profiles are customizable, and users are
encouraged to upload photographs and provide additional identifying information. Then,
users are prompted to add “friends” or contacts to grow their digital network. SNS
platforms allow users to communicate among each other publicly by “posting” messages
on each other’s profiles or communicate privately via messaging similar to e-mail.
The existence of SNS platforms has allowed users to move their existing social
networks into the digital realm and simplified the “maintenance” of relationships by
easing communication. While there are opportunities to meet other users that don’t share
a common offline connection, this has not been the primary use of SNS.
57

Many SNS platforms appeal to users based on a shared characteristic, like
religious beliefs, or interest, like fashion. They have enabled users to find and interact
with others who share a common pursuit with ease. Global online communities have
grown in popularity as a place for fashion lovers to convene. One of the largest is the web
application Polyvore, with 1.8 million users and millions of visitors. It allows users to
create “sets” or web collages of merchandise they have collected from browsing online

56
Boyd, Danah M. and Nicole B. Ellison. “Social Network Sites: Definition, History and Scholarship.”
Journal of Computer-Mediated Communication. 2007.

57
Boyd, Danah M. and Nicole B. Ellison. “Social Network Sites: Definition, History and Scholarship.”
Journal of Computer-Mediated Communication. 2007.

33

retail websites in their virtual “closets.” Polyvore allows the user to be his or her own
fashion editor when creating a set. It has been likened to a modern day version of paper
dolls, but unlike the age old game the process is highly collaborative. The sets are public
and users can vote on the completed set, give feedback and tag other users. Set items can
also be clicked on to redirect the user to the where they can be purchased, a benefit to
retailers. Typical Polyvore sets are inspired by editorial looks, express the user’s personal
style or strive to re-create a celebrity look. Polyvore allows users create sets similar to the
way they style themselves by mixing high and low priced pieces along with “fantasy”
items.
58

Figure 3: A Polyvore User’s “Set”
59

58
Jacobs, Alexandra. “Fashion Democracy.” The New Yorker 29 March 2010. Web. 15 Jan. 2012.

59

Image Source: Polyvore Official Web Site. User: karineminzonwilson. “Je t’aime.” 6 Feb. 2012.

34

Fashion communities that combine “community, content and commerce,” are also
growing in popularity. They provide users a location to upload images of their personal
style to a personal profile. The shots are then made available to all other users or
browsers— essentially a social network of personal style blogs.
60
The pieces used to
create each look are noted and linked to the appropriate retail website. LOOKBOOK.nu,
founded in 2008, is the largest such community. It draws more than 4.5 million unique
monthly visitors and boasts over 725,000 registered members.
61
LOOKBOOK users have
the ability “hype” or vote on the posts so that the day’s most popular looks are featured
on the homepage of the website. As users participate in the community they earn “karma”
points that indicate their reputation on the website.
62

Figure 4: LOOKBOOK User’s Outfit Post
63

60
Netburn, Deborah. “Wired for Fashion.” Los Angeles Times 7 June 2007. Web. 15 Jan. 2012.

61
Lookbook.nu Official Web Site. Advertising. 30 March 2012.

62
Lookbook.nu Official Web Site. Frequently asked questions. 7 Feb. 2012.

63
Image Source: LOOKBOOK.nu Official Web Site. User: Adam G. “Chucks & cords.” 7 Feb. 2012.

35

These fashion-geared social networks allow greater participation among users as
opposed to blogs. Blogs authors are the sole content creators, and although readers have
the opportunity to interact with the author by leaving comments it is a one to many
communication. The idea behind successful online fashion communities is participation
among users and the two-way flow of communication. Fashion social networks
encourage two-way communication— in the case of LOOKBOOK, users are rewarded
and gain increased status among community members the more they participate.
A popular incarnation of the traditional SNS platform is Twitter. Users share real
time posts or “tweets,” limited to 140 characters, with their “followers.” Unlike
traditional SNS networks, like Facebook, “following” outside of one’s offline-social
network is encouraged as a method of discovering new information from users Twitter
members find interesting.
64

Recently, a new SNS platform, Pinterest, has surged in popularity. Launched by
invitation only in 2011, it allows users to create virtual pinboards to aggregate images
found on the web. Users can “follow” other pinner’s boards and “repin” or share, “like”
and comment on “pinned” items. Many users are utilizing their pinboards to express their
personal styles. Users collect inspiring images from around the web, often from blogs, as
well as items from online retailers.
65

64
Twitter Official Web Site. About: About Twitter. 7 Feb. 2012.

65
Pinterest Official Web Site. What is Pinterest? 28 Feb. 2012.

36

As Pinterest’s referral traffic grows to rival that of Twitter’s, retailers are
recognizing the opportunity presented by the platform.
66
Fashion brands are utilizing the
platform as another place to engage (and research) consumers by sharing original content.
And each image can be tracked back to its original source, making it simple for users to
make a purchase if they so desire.
67

Figure 5: Pinterest User’s Pinboard

Fashion bloggers are enhancing their blogs by developing a presence (and linking
content) on SNS platforms like Facebook, Twitter and Pinterest. Rather than just a daily
blog post, bloggers are sharing and providing additional content using Facebook, Twitter
and Pinterest, and, in effect, giving readers more opportunities to get to know them better.
SNS platforms allow them to engage more readily with their readership. They allow a

66
Solis, Brian. “Pinterest Rivals Twitter in Referral Traffic #pinteresting.” Social Media Today 3 Feb.
2012. Web. 28 Feb 2012.

67
Butler, Cherryh. “Eight Ways Retailers Can Leverage Pinterest.” RetailCustomerExperience. 27 Feb.
2012. Web. 28 Feb. 2012.

37

more immediate conversation between the blogger and reader, thereby building a
relationship. The platforms are even being used as a vehicle for publicity and to generate
awareness about media placements or updates to their blogs.
The key difference between the SNS platforms available is that some like Twitter
and Facebook are “owned,” giving the brand control over content and therefore its image
(to an extent). As opposed to “earned” channels like Polyvore, LOOKBOOK and
Pinterest where the users wield (more) power. Earned media has grown to encompass
much of the “chatter” that exists about a brand among consumers in the digital realm.
Giving up some control to the user is beneficial— in many ways earned media is the most
valuable to a brand because it is viewed as the most credible among consumers and
allows brands to gauge the effectiveness of their public relations strategies.
68

68
Drell, Lauren. “How Social Media is Changing Paid, Earned & Owned Media.” Mashable Business 23
June 2011. Web. 28 Feb. 2012.

38

Chapter 4: The Challenge: Luxury Brands and Social Media
As a result of these broader technological changes and the transformation of the
fashion industry in the last decade, the luxury fashion market has been faced with the
dilemma of how to balance exclusivity and inclusivity to remain, in the eyes of the
consumer, a luxury brand. A number of luxury brands have fully empowered the
consumer in their online communications; others have chosen to disregard the consumer
to maintain control of their brand images.
The Journal of Brand Management defines a luxury brand as:
“… characterized by a recognizable style, strong identity, high awareness, and
enhanced emotional and symbolic associations. It evokes uniqueness and exclusivity, and
is interpreted in products through high quality, controlled distribution and premium
pricing.”
69

But in many ways, this definition is outdated. The environment luxury fashion
brands operate in has undergone considerable changes. According to Danielle Gano,
“Fashion is increasingly more approachable and less exclusive. One only needs to watch
a Livestream of a New York Fashion Week show or chat with @OscarPRGirl on Twitter
to understand that.”
70
In part, this is due to decisions brands made to make up for the
deficit in sales that occurred post 9/11. The Internet and the subsequent new retail
methods have democratized the availability of luxury brands goods. The emergence of

69
Okonkwo, Uche. “The Luxury Brand Strategy.” Journal of Brand Management 16 (2009): 287-289.
Web. 25 Feb. 2012.

70
Gano, Danielle. E-mail interview. 25 Feb. 2012.

39

sample sale websites, like Gilt Groupe, also have made formerly premium priced items
more affordable.
In the past, luxury brands’ public relations machines had exercised strict control
over their communications to consumers. The way that the traditional print media
functioned met that need. But social media has decreased barriers to communication and
increased the ease with which a consumer can become a content creator, threatening
luxury brands. Consumers have taken to talking about luxury brands on digital media
platforms. Blogs exist devoted to luxury brands like Chanel and Prada, and fashion
bloggers critique their latest collections and showcase their newest acquisitions in
elaborate editorials on their personal style blogs. And this content, even when created far
from the fashion capitals of the world, can have a global reach. Luxury brands are faced
with the choice to join the discussion and engage with the consumer to have their voice
be heard or disregard the online activity, potentially harming their brand image.
To meet the needs of consumers, luxury brands are growing their Internet
presence and online communication efforts, a major change from how the industry has
operated in the past. Maureen Chiquet, global chief executive at Chanel, said, “we all
know our next generation of consumers is consuming information in this way”…“so
we’ve got to start talking to consumers of the next generation in the way they’re used to
be communicated to” in reference to digital media.
71

Some luxury brands are whole-heartedly embracing digital media and providing
consumers unlimited access. Burberry, a 155-year-old fashion house, is one such brand

71
Elliott, Stuart. “Chanel Intensifies Online Effort.” New York Times 10 Sept. 2007. Web. 9 Feb. 2012.

40

focusing on inclusivity— designer Christopher Bailey said, ‘Burberry is now as much a
media-content company as we are a design company.” The label engages with consumers
across multiple social media platforms, Livestreams fashion presentations and allows
pieces to be purchased directly from the runway. Consumers can even custom design
their own Burberry trench coats using a digital platform.
72

Other brands are moving to the opposite end of the spectrum, towards total
exclusivity in response to the new digital media environment. Former Gucci designer
Tom Ford staged his first women’s wear fashion presentation in years under a shroud of
secrecy. He made a point to keep both photographers and bloggers out and attendees
were held under embargo. The reasoning behind his approach? Ford spoke to Women’s
Wear Daily saying, “This fashion immediacy thing— yes, if you can order the clothes
immediately, if you can see them and press a button and they can be shipped to your
house, I get fashion immediacy…I don’t get the need for this immediacy. In fact, I think
it’s bad."
73

A dilemma faces luxury brands that exist today: which approach is best to
preserve their brand image? According to Daria Zanoni, “overexposure is not good, in the
sense that it is nice to have something sacred and secret… it’s not that interesting once
it’s everywhere.” The million-dollar question is: what is the balance between inclusivity
and exclusivity when utilizing the digital realm? No guide exists but much can be learned
from the luxury brands that are doing it right.

72
“Burberry: The Best of British Digital Innovation.” Huffington Post UK 11 July 2011. Web. 9 Feb. 2012.

73
Foley, Bridget. “Ford Disses Fashion World’s Cult of Immediacy.” Women’s Wear Daily 14 Sept. 2010.
Web. 9 Feb. 2012.

41

Chapter 5: Oscar de la Renta Case Study
Figure 6: Oscar de la Renta Logo

Dominican-born couturier Oscar Aristides Renta founded the luxury fashion
house Oscar de la Renta in 1965. The brand is celebrated for its unwavering feminine,
sophisticated aesthetic and reputation for exceptional craftsmanship. De la Renta is
highly regarded among those in the fashion industry and has received a number of
accolades, including the Council of Fashion Designer of America’s Lifetime
Achievement Award in 1990. His designs (in particular, evening gowns) have a following
among glamorous women of a certain social stature and are frequently worn by socialites,
Hollywood celebrities and First Ladies.
74
In 2012 the brand’s flagship store in New York
City was named the “most expensive store” in the United States, with shoppers spending
an average of $3,217 per visit.
75

In recent years, the privately held label has made an effort to grow beyond its
society reputation. Oscar de la Renta has expanded its offerings of pricy collection pieces
(many of which retail for upwards of $10,000) to include a youthful fragrance, eyewear
and a mid-priced line, O Oscar, to reach younger consumers. De la Renta’s son-in-law,

74
“Oscar De La Renta Label Overview.” New York Magazine. Web. 29 Jan. 2012.

75
Dang, Mike. “The 25 Most Expensive Shops in the U.S.” Bundle 18 Jan. 2012. Web. 29 Jan. 2012.

42

Alex Bolen, and stepdaughter, Eliza Reed Bolen, the company’s chief executive and VP
of licensing, respectively, have made a priority of reviving the brand’s name recognition
among young consumers while at the same time satisfying the label’s longtime
shoppers.
76

The brand’s longevity can be credited to its ability to evolve with the times— it
has made a point to embrace technology. In 2001, Oscar de la Renta was among the first
luxury designers to have an online presence.
77
Today, the brand is recognized as a role
model for other luxury brands for its use of social media as a component of its public
relations strategy. Oscar de la Renta engages with consumers across a number of social
media channels but has maintained its historically exclusive image. The same care is
taken to execute the brand’s digital strategy as for any other campaign. CEO Alex Bolen
told Luxury Daily in 2012, “We believe that digital has the potential to be the mother of
all game-changers, there are a number of opportunities to be innovative.”
Oscar de la Renta isn’t afraid to experiment in the digital realm. It was one of the
first luxury brands to sell directly to its customers on the web. The launch of its e-
commerce website in 2008 allowed the brand to reach customers on a global level.
Online sales have doubled from 2010 to 2011, and make up nearly five percent of the

76
Agins, Teri and Galloni, Alessandra. "Style & Substance: Comeback Couturiers.” Wall Street Journal 25
Feb. 2005. Web. 29 Jan. 2012.

77
Bellafante, Ginia. "Front Row." New York Times 13 June 2000. Web. 30 Jan. 2012.

43

brand’s global sales.
78
The website translates the brand’s luxury image into the online
realm with editorial-like images and a clean, vibrant aesthetic.
Figure 7: OscarDeLaRenta.com Product View

The website maintains the sense of exclusivity by offering a member-only access
“backstage pass” area, borrowing from private sale websites like Gilt Groupe. Visitors
registered for a “backstage pass” gain access to exclusive items, private sales and a
boutique curated by guest editors. To replicate the luxe brick-and mortar-experience, an
online personal shopping service is provided. Impeccably produced videos are available
on the website highlighting Oscar de la Renta’s luxury legacy, like the brand’s signature
embroidery, behind-the-scenes footage and product highlights. The website provides
links to the label’s social media channels which include Twitter, Tumblr and Facebook.

78
Lamb, Rachel. “Oscar de la Renta CEO: Do Not Be Afraid to Experiment with Digital Media.” Luxury
Daily 26 Jan. 2012. Web. 29 Jan. 2012.

44

Figure 8: OscarDeLaRenta.com Backstage Pass

Oscar de la Renta is known for its exemplary use of Twitter. The @OscarPRGirl
handle was conceived in 2009 by Erika Bearman, the brand’s director of
communications. Bearman’s daily tweets via @OscarPRGirl have amassed more than
100,000 followers in just two years. While the brand’s core customer isn’t on Twitter, a
younger audience has the opportunity to become acquainted with the label. CEO Alex
Bolen told Mashable in 2011 that the goal of @OscarPRGirl is “engagement” and to “get
people to think more about Oscar de la Renta and less about our competitors.”
79

Initially @OscarPRGirl’s tweets were largely brand focused, creating a mystique
around Oscar de la Renta and leaving followers wanting more. But, due to the positive
response from @OscarPRGirl’s audience, tweets have come to include more of
Bearman’s witty personality and glimpses of her glamorous lifestyle (even so, they
remain on brand). She embodies the modern Oscar de la Renta woman, and admittedly

79
Indvik, Lauren. “Why Oscar de la Renta Is So “Haute” On Social Media.” Mashable Business 20 Sept.
2011. Web. 29 Jan. 2012.

45

wears the brand every day.
80
Few brands have what has grown to be such a public
personality as their voice; but Bearman told Luxury Daily in 2012 that she believes “it’s
important to be a member of the tribe that I’m studying. I feel that we know our social
audiences better because I’m a part of it.”
81

Figure 9: @OscarPRGirl Twitter Banner

An analysis of Oscar de la Renta’s Twitter feed was conducted to understand how
the brand is utilizing Twitter to communicate a luxury brand image to followers; in
particular, what amount of the brand’s tweets suggest inclusivity and exclusivity to
followers.
Over a one-week period, January 23, 2012 to January 29, 2012, 117 of
@OscarPRGirl’s tweets were categorized by their purpose: to engage, offer a behind-the-
scenes look, offer links to media/content, position the brand, build a
relationship/humanize the brand and connect with industry insiders. Then, each set was
grouped into broader categories of tweets communicating inclusivity and exclusivity.

80
Elizabeth Holmes. "The Importance of Tweeting Oscar." Wall Street Journal 15 Sept. 2010. Web. 31
Jan. 2012.

81
Lamb, Rachel. Oscar de la Renta CEO: Do Not Be Afraid to Experiment with Digital Media.” Luxury
Daily 26 Jan. 2012. Web. 29 Jan. 2012.

46

“Engagement” tweets indicated an interaction or conversation between
@OscarPRGirl and her Twitter followers (see Figure 10). Oscar de la Renta makes a
point to directly engage with the consumer by creating a dialogue, as opposed to a
broadcast. Bearman reads each of the hundreds of tweets @OscarPRGirl receives each
day and responds to as many as possible. This researcher tweeted to @OscarPRGirl and
received a response in less than one hour; this tweet is exhibited as Figure 10. The brand
has avoided the use of Twitter to “sell,” rather crafting a voice followers want to listen to.
Bearman’s personalized tweets are compelling and encourage commentary from
followers. She also monitors the discussions happening on Twitter that include the brand
and joins the conversation when appropriate. “Engagement” tweets are inclusive,
allowing the consumer to interact with the brand.
Tweets categorized as “behind-the-scenes” offer Twitter followers an intimate
look at @OscarPRGirl’s luxurious world (see Figure 11). Many of Bearman’s tweets
allow followers to experience Oscar de la Renta at exclusive industry events and
happenings. This provides followers a glimpse of a world they would otherwise not have
access to, positioning the brand as exclusive.
@OscarPRGirl’s tweets that offer followers links to content that is consistent with
or reinforces Oscar de la Renta’s brand image were categorized as “links/media content”
tweets (see Figure 12). These tweets encourage followers to share content with their own
social media networks. “Links/media content” tweets include links to images, videos or
direct followers to a publication. The images and videos are often linked to Oscar de la

47

Renta’s other social media channels. They convey inclusivity to followers by
encouraging them take action for the brand.
“Brand positioning” tweets promote Oscar de la Renta as a luxury brand and
encourage conversation about the label among Twitter followers (see Figure 13). To
solidify its reputation among Twitter followers, the label often associates itself with
popular celebrities at red carpet events. But, in the case of a sage brand like Oscar de la
Renta, this also establishes the brand as current and “hip” among those who may not be
as familiar with it. At the same time, brand positioning tweets maintain the brand’s image
by suggesting exclusivity to followers.
Tweets that create an emotional connection between the Oscar de la Renta brand
and Twitter followers were classified as “relationship building/humanizing” (see Figure
14). @OscarPRGirl’s tweets relating to her glamorous personal life (what she is willing
to share of it) create a sense of intimacy, like her followers are getting to know her on a
personal level. The voice Bearman has created for @OscarPRGirl has humanized the
brand when it otherwise wouldn’t be relatable to a younger set. While the man behind the
brand does not tweet, his sentiments and musings are often relayed via Bearman to
followers. This gives way to some of the aura of celebrity that surrounds him. These
tweets function to make Twitter followers feel included and a “part” of the brand.
Lastly, tweets that indicate an interaction or conversation between @OscarPRGirl
and an industry insider (editor, model, designer, fashion stylist, etc.) were categorized as
“inside industry” (see Figure 15). Followers of the brand include many prominent fashion
influencers. As a result, the brand has increased awareness of its offerings among its

48

peers. Twitter also serves as a valuable relationship-building tool for Oscar de la Renta in
an industry where personal contacts prevail. Tweets between well-known fashion
industry insiders and @OscarPRGirl portray exclusivity to followers.
During the sample time frame, the @OscarPRGirl Twitter feed had 106,470
followers. Figure 16 illustrates the distribution of tweets according to the content
categories previously detailed, each day of the sampling period. On average,
@OscarPRGirl tweeted more than 16 times per day. Tweets directed at “industry
insiders” appeared most often during the sample time frame, followed closely by tweets
aimed to engage with followers (see Figure 17). According to Oscar de la Renta’s CEO
Alex Bolen, “engagement” is the primary goal of the @OscarPRGirl Twitter feed. The
analysis of tweets that were mean to engage, among all followers, shows that Bearman
does just that. The majority of the interaction that takes place on the Twitter feed is
@OscarPRGirl responding to tweets that reference the brand (see Figure 18).
An analysis of tweets indicating exclusivity and inclusivity during the sample
time frame reveals that @OscarPRGirl finds an exact balance between the two. The 117
tweets analyzed are divided evenly between those suggesting exclusivity and inclusivity
(see Figure 19). Oscar de la Renta is balancing the need to satisfy the consumer’s want to
feel included without upsetting its exclusive image.

49

Figure 10: “Engagement” Tweet
82

Figure 11: ”Behind the Scenes” Tweet
83

82
Zalicki, Alexandra. (Alexz_h2o). “analyzing @OscarPRGirl’s tweets for my thesis #sundayfunday.” 29
Jan. 2012. 12:59 p.m. Tweet.
83
Bearman, Erika. (OscarPRGirl). “the bar @ ACME.” 28 Jan. 2012. 5:16 p.m. Tweet.

50

Figure 12: “Links/Media Content” Tweet
84

Figure 13: “Brand Positioning” Tweet
85

Figure 14: “Relationship Building/Humanizing” Tweet
86

84
Bearman, Erika. (OscarPRGirl). “@TheLSD looks perfect in Oscar. ow.ly/8DeVK cc
@voguemagazine.” 23 Jan. 2012. 10:26 a.m. Tweet.

85
Bearman, Erika. (OscarPRGirl). “Emily Blunt in Oscar de la Renta. (Oscar does the best greens).” 29
Jan. 2012. 4:32 p.m. Tweet.

86
Bearman, Erika. (OscarPRGirl). “i suspect that rabbit pose is what gets you the spine from gaga’s bad
romance video.” 29 Jan. 2012. 8:57 a.m.Tweet.

51

Figure 15: “Inside Industry” Tweet
87

Figure 16: Daily Distribution of @OscarPRGirl’s Tweets Over Sampling Period

87 Bearman, Erika. (OscarPRGirl). “WmagJane no but I love a good jumpsuit.” 29 Jan. 2012. 3:47
p.m.Tweet.

0

5

10

15

20

25

30

35

INSIDE
INDUSTRY

RELATIONSHIP
BUILDING

BRAND
POSITIONING

LINKS/MEDIA
CONTENT

BEHIND
SCENES

ENGAGEMENT

52

Figure 17: Average Distribution of @OscarPRGirl’s Tweets Over Sampling Period

Figure 18: Distribution of @OscarPRGirl’s “Engagement” Tweets Over
Sampling Period.

0

5

10

15

20

25

30

35

23-‐Jan
24-‐Jan
25-‐Jan
26-‐Jan
27-‐Jan
28-‐Jan
29-‐Jan

replies

retweets

posts

ENGAGEMENT

BEHIND
SCENES

LINKS/MEDIA
CONTENT

BRAND
POSITIONING

RELATIONSHIP

BUILDING

INSIDE
INDUSTRY

53

Figure 19: Distribution of @OscarPRGirl’s “Inclusive” vs. “Exclusive” Tweets Over
Sampling Period

inclusive

exclusive

54

Following the success of its Twitter feed, Oscar de la Renta added Tumblr as a
component of its social media strategy in 2010. Tumblr is a highly visual platform that
functions as both a social network and a short-form blog.
88
The brand’s tumblelog,
oscarPRgirl.tumblr.com, is an extension of its @OscarPRGirl Twitter feed. The micro
blog focuses on images, like vintage editorials featuring the brand and includes limited
text. The page is very sleek and the only links provided are to the label’s Facebook,
Twitter and Pinterest accounts.
Figure 20: Oscar de la Renta Tumblr

To further engage with its Tumblr community, Oscar de la Renta launched an
innovative crowd sourcing social media initiative for Fall 2011 Fashion Week. The brand
created a second Tumblr blog, ODLRlive.tumblr.com, and encouraged community
members to contribute images using the #ODLRlive hashtag. Both industry insiders
present at the event and viewers at home uploaded more than 1,000 images using the

88
Tumblr Official Web Site. About Tumblr. 28 Feb 2012.

55

Instagram application to the Tumblr feed. The result was a real-time mosaic of live
coverage of the runway presentation. “The idea is that with the help of the Tumblr
community, we will create a unique visual representation of the show — Oscar’s vision
for the runway, set against the different perspectives of all those experiencing it,”
Bearman told Women’s Wear Daily. The label’s Spring 2012 collection presentation was
Livestreamed against the backdrop of images as they were uploaded.
89
This initiative not
only gave fans an inside look at the Oscar de la Renta Fashion Week experience but
allowed them to become a part of it, thereby strengthening the bond between the audience
and the brand. But, in the label’s usual fashion, the experience left the audience wanting
more, upholding the brand’s prestigious image.
Figure 21: ODLRlive.tumblr.com Instagram Mosaic

89
Strugatz, Rachel. “Oscar de la Renta Takes to Tumblr.” Women’s Wear Daily 7 Sept. 2011. Web. 31
Jan. 2012.

56

The brand’s Facebook page gives it another opportunity to connect with “fans,”
(292,714 “likes” on 1/21/2012) in an original way. Content includes editorial images,
videos, links and brand-related news. Like many luxury brands, Oscar de la Renta does
not allow fans to post on its Facebook wall. But, fans can comment on the brand’s wall
posts and share them with others in their social network.
Figure 22: Oscar de la Renta Facebook Page

The brand used Facebook exclusively to launch its latest fragrance, Esprit de
Oscar, in late 2011. A whopping 25,000 samples of the fragrance were distributed to
Facebook fans. Twitter and Tumblr were also utilized to direct followers to the brand’s
Facebook page.
90
The fragrance also marked Oscar de la Renta’s foray into f-commerce,
retail via Facebook, to become one of the first luxury brand to experiment with the

90
Strugatz, Rachel. “Oscar de la Renta to Launch F-Commerce.” Women’s Wear Daily 2 Nov. 2011. Web.
31. Jan. 2012.

57

medium. Those who “like” the brand’s Facebook fan page have access to monthly
exclusive items only available for purchase via the social networking web site.
91
The first
item offered was a cocktail ring that encased the Esprit de Oscar solid fragrance. What is
particularly unique about this strategy is that the transaction can be completed entirely
without leaving Facebook.
In addition, the brand manages an Instagram feed (a photo sharing application for
the iPhone), employs foursquare (a location-based social networking platform) and a
YouTube channel to host its videos. Most recently, the brand has joined Pinterest to share
its images with followers in an interactive format. The medium also allows Oscar de la
Renta to express its brand in an entirely visual format.
Social media is giving Oscar de la Renta a new way to tell its story. By engaging
with consumers in a space that they are comfortable operating in, the brand is gaining
traction among a new generation. But, the brand’s social media strategy is so well
executed that it upholds its exclusive image as not to alienate its core customer. In
particular the @OscarPRGirl Twitter feed, the brand’s initial foray into social media, has
stuck a careful balance between including the consumer while maintaining the brand’s
innately exclusive image in its communications. Oscar de la Renta’s additional social
media channels function as a reinforcement of its Twitter strategy, and provide another
touch point for consumers. Its expert use of social media is becoming synonymous with
the brand and proving to be a competitive advantage. Oscar de la Renta’s CEO told
Women’s Wear Daily, “We want to echo about Oscar around the internet, and we want to

91
Lamb, Rachel. “Oscar de la Renta CEO: Do Not Be Afraid to Experiment with Digital Media.” Luxury
Daily 26 Jan. 2012. Web. 31 Jan. 2012.

58

find fans and really make sure they are deeply engaged, and ultimately — [although it’s]
a little bit up in the air, we want them to be customers.”
92

92
Strugatz, Rachel. “Oscar de la Renta to Launch F-Commerce.” Women’s Wear Daily 2 Nov. 2011. Web.
31 Jan. 2012.

59

Chapter 6: Final Take

It has become essential for luxury brands to establish and maintain an online
presence, as luxury consumers have embraced the Internet and social media. Research
shows that households earning $100,000 or more annually are the heaviest users of digital
media.
93
Also, according to the Four Seasons Luxury Trend Report, 78 percent of
“affluents” are on social networks, and more than 50 percent are using the platforms to
engage with brands. The study, released in 2012, found that “65 percent of [those using
social media to connect with brands] believe that brands that have no presence on these
media outlets are out of touch.”
94
Consumers want to engage with luxury brands online.
As Valentino CEO Michele Norsa said, "We want to keep an exclusive image, but also
have a wider audience." A number of insights about cultivating an exclusive image in the
online realm can be gained from the analysis of the luxury brand Oscar de la Renta and
its digital communication strategy, outlined in the prior section, to discover how to
successfully balance between maintaining an exclusive image while being inclusive and
utilizing social media platforms.
Consumers want to engage with brands, to have a deeper connection to the brands
with which they have an affinity. Social media enables those who have a higher
inclination for involvement to take action for a brand, for example sharing content with
their personal network, in effect becoming brand evangelists. This interaction enhances

93
Mendelsohn, Ipsos. “Affluent Consumers in a Digital World.”
2012 Four Seasons Luxury Trend Report. The Luxury Consumer in the New Digital World: Then & Now.

60

the relationship between the brand and the community member.
95
Brand evangelists may
not have the means to purchase a luxury item, but they aspire to and may be able to in the
future. And when disseminating the brand’s message to their personal social networks,
they may reach those who have the resources to make a purchase. Social media sharing
tools make it simple for users to directly post content across social media channels, but it
is up to the brand to share content that is interesting and relevant to users to compel them
to share.
A brand’s social network presence creates a space for those devoted to the brand
to convene and enhances the enthusiast’s attachment to the brand through their
interaction with other users.
96
When brand evangelists meet they can extend the reach of
a brand’s communications. And when brand communities are asked to take action for the
brand, it further promotes a personal connection to the brand, because users feel
ownership in the brand.
97
Oscar de la Renta effectively utilized this outcome when
launching its newest fragrance. Members of its Facebook brand community were
encouraged to sample and share their thoughts regarding the new scent.
In the offline world, consumers express themselves to others through brands; what
they wear, which car they drive, the coffee they drink, etc. Similarly, social network users
identify themselves to others in their personal network by expressing their affiliations

95
Kerbel, R. Matthew and Joel David Bloom. “Blog for America and Civil Involvement.“ Harvard
International Journal of Press-Politics 2005.

96
Kerbel, R. Matthew and Joel David Bloom. “Blog for America and Civil Involvement.“ Harvard
International Journal of Press-Politics 2005.

97
Kassner, Robin. “Social Media’s Rise Presents New Fashion PR Challenges.” O’Dwyer’s Sept 2011.

61

with specific brands. Being a “fan” of a brand in the digital realm corresponds to the
offline self-identity articulated by wearing certain brands. Likewise, the other influencers
that a brand interacts with in the online space can convey to the social network the
brand’s image (exclusive) and potentially enhance it. In the analysis of Oscar de la
Renta’s Twitter feed, it was found that during the sample time frame the majority of the
brand’s conversations on the platform were with industry insiders, like designers, stylists
and other influencers. For a sage brand like Oscar de la Renta, it is beneficial to interact
online with popular brands to convey to its followers that the label is au currant.
Luxury brands have the ability to utilize several social media channels to establish
an online presence; this allows them to connect with different consumers or with the
same consumer across a number of channels. Owned channels offer the most control of a
brand’s exclusive image, but at the same time allow for consumer interaction for a
balance of exclusivity and inclusivity. As illustrated in the previous section, Oscar de la
Renta is utilizing multiple channels to communicate with consumers. The channels are
used to express consistent messaging and enhance the brand’s image. But, at the same
time, each channel offers something new and different to the consumer and stands on its
own.
Social media are innately inclusive. The challenge lies in that luxury brands have
always made an effort to limit access to consumers. But methods exist to translate
exclusivity into the online realm without excluding any one user. According to Daria
Zanoni, “[a luxury consumer] wants something exclusive and special.”
98
Oscar de la

98
Zanoni, Daria. Telephone interview. 31 Jan. 2012.

62

Renta employs a “backstage pass” area that any user can register for, but it allows the
consumer to feel like they are getting special access. The label’s annual flash sale gives it
a degree of control over its product and its presentation— they can limit the length of the
event, the access to members only, and the quantity of inventory. According to Susan
Feldman this “create[s] excitement around the brand and makes the customer feel
special.”
99

To effectively exist in the online realm, luxury brands have to be willing to
relinquish some communications control to the consumer. Oscar de la Renta has been
able to create the overall perception of engagement in the online realm, when in fact the
brand limits the interactivity on the consumer’s end on a number of the digital platforms
it utilizes, in order to safe guard its exclusive image. The brand has accomplished this by
finding a balance among its social media platforms that allow the consumer to be
included in some of the conversations and others that permit them to be an observer. For
example, on the brands OscarPRGirl Tumblr readers don’t have the ability to comment
on posts, but they have the ability to share them with their social networks. This is the
opposite of the brand’s ODLRlive Tumblr, which encourages viewers to comment and
share images.
On the other hand, the careful development of communications that is deeply
rooted in the practices of luxury brands can hurt consumer engagement on social
networks. If “authenticity is the benchmark against which all brands are judged,” it is

99
Feldman, Susan. Telephone interview. 6 Feb. 2012.

63

clear to users when communications are calculated and lack authenticity.
100
Rather than
create a Twitter presence for the Oscar de la Renta brand that would likely be penned by
various company insiders, the label made the decision to be forthcoming with who would
be conversing with consumers— Erika Bearman. This move has benefited the brand
because followers have responded to Bearman’s genuine voice. In fact, she found that
they responded more to the communications that shared her witty personality as opposed
to offering strictly brand-related content. According to Susan Feldman, “it is actually a
lot easier when someone is living and breathing your brand to create and keep the brand
intact [in online communications].”
Traditionally in public relations, a clear vision and understanding of the target
audience has been instrumental to communications success. And social media gives
public relations professionals the opportunity to research and learn about a brand’s target
audience with ease, to improve communications. Brands are more likely to engage the
target consumer if the information they are communicating has relevance to them. The
same principle can be applied to social media. By consistently providing the social media
community with quality content that appeals to them, brands are encouraging users to
return for more, resulting in sustained engagement. This also motivates users to share the
brand’s message with their own personal networks, extending its reach.
To truly engage with the target consumer, luxury brands must tailor their
communications to the audience, akin to their practices with traditional print media.
101

100
Grant, John. New Marketing Manifesto. London: Orion Business, 1999.

101
Kassner, Robin. “Social Media’s Rise Presents New Fashion PR Challenges.” O’Dwyer’s Sept. 2011.

64

Oscar de la Renta has developed a specific voice in its online communications that has
allowed the brand to successfully engage with its target consumer, young fashionistas.
This tone and language choice has helped define the Oscar de la Renta brand to its target
audience in a way they can understand. @OscarPRGirl chooses language that resonates
with her audience, to effectively engage them in conversation. This has been so
successful that a popular and on-trend “S*hit @OscarPRGirl Says Video” was created
and distributed virally. Its popularity stems from the fact that a tone and specific phrases
are closely associated with the brand, a credit to its social media strategy. A specific
voice can work to suggest inclusivity to consumers, but as Oscar de la Renta has
demonstrated the content provided can preserve the brand’s exclusivity.
Digital social networks allow luxury brands to share their stories with consumers
in a new way, to reinforce what makes their brands so exclusive. As a brand, Oscar de la
Renta has done this by sharing images of Oscar de la Renta couture as worn by models,
celebrities and historical figures throughout the company’s history, on social media. The
brand has also produced short videos detailing the craftsmanship entailed in creating its
products. Especially in the case of a “society” label like Oscar de la Renta, this is used as
a tool to position the brand in the eyes of a younger consumer that may not be familiar
with its history. This has also added to the brand’s impression of authenticity because this
is a story that already exists, but is being told in a new and innovative way. A brand’s
digital communications can evolve its brand image as well, for example, Oscar de la

65

Renta is adding “innovative” to its brand attributes because of the way they have
embraced technology.
102

The relevant content that a luxury brands shares on social media networks can
serve to establish and strengthen a personal connection to the brand. Consumers have a
desire to see what happens “behind the scenes.” Twitter allows for the real-time sharing
of content, especially when used with photo sharing applications like Instagram, to create
the sense of an intimate knowledge of the brand. The photos Oscar de la Renta shares
with its followers gives them a glimpse of a world they likely won’t ever experience. This
positions the brand as exclusive, while giving followers a connection to the brand so they
feel included.
103

The beauty of social media is that a brand doesn’t have to allocate an extensive
budget to public relations and marketing to create an online presence like Oscar de la
Renta. Social media is the great equalizer. Oscar de la Renta is privately owned and has a
smaller budget than some of its competitors, like Valentino— a brand that is part of a
larger conglomerate— but it has successfully cultivated a luxury brand image online that
balances the brand’s exclusivity with the consumer’s desire for inclusivity.

102
Kassner, Robin. “Social Media’s Rise Presents New Fashion PR Challenges.” O’Dwyer’s Sept. 2011.

103
Kassner, Robin. “Social Media’s Rise Presents New Fashion PR Challenges.” O’Dwyer’s Sept. 2011.

66

References

Agins, Teri and Galloni, Alessandra. "Style & Substance: Comeback Couturiers.” Wall
Street Journal 25 Feb. 2005. Web. 29 Jan. 2012.
Aktar, Alev. “How Fashion Shows Us the Money." Daily News (New York) 1 Feb 2004.
Web. 9 Jan. 2012.
Allen, Claire. “Style Surfing changing parameters of fashion communication – where
have they gone?” In: 1st Global conference: Fashion exploring critical issues, 25-
27 Sept. 2009, Mansfield College, Oxford.
Amed, Imran. “The Business of Blogging: The Sartorialist.” TheBusinessofFashion 3
Oct. 2011. Web. 18 Dec. 2011.
Anstey, Vicki. "Media choice: InStyle." Marketing 19 May 2004 Web. 9 Jan. 2012.
Aspan, Maria. “The Web Way to Magazine Ad Sales.” New York Times 21 August
2007. Web. 9 Jan. 2012.
Bearman, Erika. (OscarPRGirl). “@TheLSD looks perfect in Oscar. ow.ly/8DeVK cc
@voguemagazine.” 23 Jan. 2012. 10:26 a.m. Tweet.
Bearman, Erika. (OscarPRGirl). “Emily Blunt in Oscar de la Renta. (Oscar does the best
greens).” 29 Jan. 2012. 4:32 p.m. Tweet.
Bearman, Erika. (OscarPRGirl). “i suspect that rabbit pose is what gets you the spine
from gaga’s bad romance video.” 29 Jan. 2012. 8:57 a.m.Tweet.
Bearman, Erika. (OscarPRGirl). “the bar @ ACME.” 28 Jan. 2012. 5:16 p.m. Tweet.
Bearman, Erika. (OscarPRGirl). “WmagJane no but I love a good jumpsuit.” 29 Jan.
2012. 3:47 p.m.Tweet.
Bellafante, Ginia. "Front Row." New York Times 13 June 2000. Web. 30 Jan. 2012.
Betts, Kate. “Will Fashion’s Biggest Names Kiss the Runway Goodbye?” Time
Magazine 10 Dec. 2009. Web. 9 Jan. 2012.
Blair, Jayson. “Year After 9/11, Fashion Week Speaks of Recovery and Money.” New
York Times 24 Sept. 2002. Web. 9 Jan. 2012.

67

Boyd, Danah M. and Nicole B. Ellison. “Social Network Sites: Definition, History and
Scholarship.” Journal of Computer-Mediated Communication. 2007.
Burberry: The Best of British Digital Innovation.” Huffington Post UK 11 July 2011.
Web. 9 Feb. 2012.
Butler, Cherryh. “Eight Ways Retailers Can Leverage Pinterest.”
RetailCustomerExperience. 27 Feb. 2012. Web. 28 Feb. 2012.
Carr, David. “Publishing, Without Publishers.” New York Times 16 Jan. 2011. Web. 6
Feb. 2012.
Chang, Bee-Shyuan. “Michelle Obama, Wooing The First Dresser.” New York Times
10 Feb. 2012. Web. 26 Feb. 2012.
Clark, Nicola. “How brands can reach bloggers.” Marketing Magazine 3 March 2010.
Web. 16 Jan. 2012.
Clifford, Stephanie. "High Fashion Relents to Web's Pull." New York Times 12 July
2010. Web. 6 Jan. 2012
Dang, Mike. “The 25 Most Expensive Shops in the U.S.” Bundle 18 Jan. 2012. Web. 29
Jan. 2012.

DeBaise, Colleen. “Launching Gilt Groupe, A Fashionable Enterprise.” Wall Street
Journal 14 July 2010. Web. Jan 9 2012.
Delap, Leanne. "Vogue.com a virtual bore." The Globe and Mail 7 Oct.1999 Web. 2
Jan. 2012
Dodes, Rachel. “Bloggers Get Under the Tent” Wall Street Journal 12 Sept. 2006. Web.
16 Jan. 2012.

Drell, Lauren. “How Social Media is Changing Paid, Earned & Owned Media.”
Mashable Business 23 June 2011. Web. 28 Feb. 2012.

Edelson, Sharon. “Remarkable Moments: Moment 85: Upside Down.” Women’s Wear
Daily 1 Nov. 2010. Web. 9 Jan. 2012.
Elizabeth Holmes. "The Importance of Tweeting Oscar." Wall Street
Journal 15 Sept. 2010. Web. 31 Jan. 2012.
Elliott, Stuart. “Chanel Intensifies Online Effort.” New York Times 10 Sept. 2007. Web.
9 Feb. 2012.

68

“Fashion Blogs are beating Vogue in Online Influence.” BusinessInsider 18 July 2011.
Web. 16 Jan. 2012.
Feldman, Susan. Telephone interview. 6 Feb. 2012.
Foley, Bridget. “Ford Disses Fashion World’s Cult of Immediacy.” Women’s Wear
Daily 14 Sept. 2010. Web. 9 Feb. 2012.
Fortini, Amanda. "Defending Vogue's evil genius." Slate Magazine 10 Feb. 2005. Web.
27 Dec. 2011.
Fortini, Amanda. “How the Runway Took Off.” Slate Magazine 8 Feb. 2006. Web. 5 Jan.
2012.
Fox, M. “Fashion for the masses” Los Angeles Times 13 July 2001. Web. 9 Jan. 2012.
Gano, Danielle. E-mail interview. 25 Feb. 2012.
Goldsmith, Katie. “Anna Wintour Discusses Fashion Bloggers, Irving Penn, and
Hamish Bowles’s Surfing Lesson.” New York Magazine’s The Cut Blog 20 April
2010. Web. 16 Jan. 2012.
Grant, John. New Marketing Manifesto. London: Orion Business, 1999.
Greene, Lucie and Friedman, Vanessa. “Stars, stripes and selling clothes.” Financial
Times 16 Dec. 2011. Web. 16 Jan. 2012.
Holgate, Mark. “Logged On.” Vogue 1 March 2010. Web. 18 Dec. 2011.
Horyn, Cathy. “Front Row; Off-the-Rack Lagerfeld, at H&M.” New York Times 22 June
2004. Web. 9 Jan. 2012.
Image Source: Fashiontoast Official Website. “A Week in Firenze.” 24 Jan. 2012.
Image Source: LOOKBOOK.nu Official Web Site. User: Adam G. “Chucks & cords.” 7
Feb. 2012.
Image Source: Polyvore Official Web Site. User: karineminzonwilson. “Je t’aime.” 6
Feb. 2012.
Image Source: The Sartorialist Official Web Site. “On the Street…quai Malaquais,”
Paris. 6 Feb. 2012.

69

Indvik, Lauren. “Why Oscar de la Renta Is So “Haute” On Social Media.” Mashable
Business 20 Sept. 2011. Web. 29 Jan. 2012.
Jacobs, Alexandra. “Fashion Democracy.” The New Yorker 29 March 2010. Web. 15
Jan. 2012.
Jenkins, Henry. Convergence Culture. New York: New York University Press, 2006.
Johnson, Sarah. "Fashion Mags in a Fix." Marketing 19 Aug. 2009. Web. 15 Jan. 2012.
Kassner, Robin. “Social Media’s Rise Presents New Fashion PR Challenges.”
O’Dwyer’s Sept 2011.
Keane, Meghan. “Fashion magazines finally take the plunge into e-commerce.”
Econsultancly 2 Sept. 2009. Web. 9 Jan. 2012.
Kerbel, R. Matthew and Joel David Bloom. “Blog for America and Civil Involvement.“
Harvard International Journal of Press-Politics 2005.
Kingston, Anne. "These Days the Devil Recycles Prada." Maclean’s 2 Nov. 2009. Web.
15 Jan. 2012.
Lamb, Rachel. “Oscar de la Renta CEO: Do Not Be Afraid to Experiment with Digital
Media.” Luxury Daily 26 Jan. 2012. Web. 29 Jan. 2012.
Lookbook.nu Official Web Site. Advertising. 30 March 2012.
Lookbook.nu Official Web Site. Frequently asked questions. 7 Feb. 2012.
Mendelsohn, Ipsos. “Affluent Consumers in a Digital World.” 2012 Four Seasons Luxury
Trend Report. The Luxury Consumer in the New Digital World: Then & Now.
Min’s Exclusive Review of Women’s Fashion/Beauty "Fall Preview" Ad Pages." Media
Industry Newsletter 28 July 2008. Web. 15 Jan. 2012.
Moore, Beth. “The Fashion Industry’s Old Business Model is Out of Style.” Los
Angeles Times 13 Sept. 2009. Web. 26 Dec. 2011.
Moore, Booth. “The Future of Fashion.” Los Angeles Times 13 Sept. 2009. Web. 16
Jan. 2012.
Morris, Bernadine. "Diana Vreeland, Editor, Dies; Voice of Fashion for Decades." New
York Times 23 Aug. 1989. Web. 26 Dec. 2011.

70

Murray, Alex. “Fashion week: The Ordinary People Who Stole The Show.” BBC News 9
Sept. 2011. Web. 16 Jan. 2012.
Netburn, Deborah. “Wired for Fashion.” Los Angeles Times 7 June 2007. Web. 15 Jan.
2012.
Odell, Amy. “Editors Like Tavi But Don’t Take Her Fashion Advice Seriously.” New
York Magazine’s The Cut Blog 9 Dec. 2009. Web. 16 Jan. 2012.
Okonkwo, Uche. “The Luxury Brand Strategy.” Journal of Brand Management 16
(2009): 287-289. Web. 25 Feb. 2012.
“Oscar De La Renta Label Overview.” New York Magazine. Web. 29 Jan. 2012.
Patner, Josh. “Fashion Week FAQ.” Slate Magazine 13 Sept. 2004. Web. 9 Jan. 2012.
Pinterest Official Web Site. What is Pinterest? 28 Feb. 2012.
Reagan, Gillian. “Moda Operandi: Click, Cash, Couture.” Business Week 15 Sept. 2011
Web. 10 Jan. 2012.
Schatz, Robin D. "Fashion World Discovers The Net Is Not a Snood." New York Times
21 Jan. 1996. Web. 27 Dec. 2011.
Schoolman, Judith. “Fashion Pays Hefty Price for Promotion.” Daily News (New York)
17 Feb. 2003. Web. 5 Jan. 2012.
Sinclair, Jenny. "Give us this day our daily blog." The Age (Melbourne) 20 March
2001. Web. 28 Dec. 2011.
Solis, Brian. “Pinterest Rivals Twitter in Referral Traffic #pinteresting.” Social Media
Today 3 Feb. 2012. Web. 28 Feb 2012.
Sorkin, Andrew Ross. "From Big Idea to Big Bust: The Wild Ride of Boo.Com." New
York Times 13 Dec. 2000. Web. 11 Dec. 2011.
Strugatz, Rachel. “Hot Fashion Bloggers.” Women’s Wear Daily 14 Nov. 2011. Web. 16
Jan. 2012.
Strugatz, Rachel. “Oscar de la Renta Takes to Tumblr.” Women’s Wear Daily 7 Sept.
2011. Web. 31 Jan. 2012.
Strugatz, Rachel. “Oscar de la Renta to Launch F-Commerce.” Women’s Wear Daily 2
Nov. 2011. Web. 31. Jan. 2012.

71

Tumblr Official Web Site. About Tumblr. 28 Feb 2012.
Twitter Official Web Site. About: About Twitter. 7 Feb. 2012.
Valli, Herman."Designers refashion for Internet Age." Los Angeles Times 3 Feb. 2006.
Web. 16 Jan. 2012.
Wharton, David. “High-Tech Couture.” Los Angeles Times 23 Feb. 1995. Web. 2 Jan.
2012.
Wilkinson, Donna. "Designers Tiptoeing Onto the Internet, Clad Mostly in
Accessories." New York Times 7 June 2000. Web. 6 Jan. 2012.
Wilson, Eric. “A Bond Forged in Tragedy.” New York Times 6 Sept. 2011. Web. 5 Jan.
2012.
Wilson, Eric. “A Magazine That Won’t Smudge.” New York Times 25 May 2011. Web.
9 Jan. 2012.
Wilson, Eric. “Bloggers Crash Fashion’s Front Row.” New York Times 24 Dec. 2009.
Web. 9 Jan. 2012.
Zalicki, Alexandra. (Alexz_h2o). “analyzing @OscarPRGirl’s tweets for my thesis
#sundayfunday.” 29 Jan. 2012. 12:59 p.m. Tweet.
Zanoni, Daria. Telephone interview. 31 Jan. 2012.

Abstract (if available)

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

Conglomerate branding within the luxury goods sector

PDF

Creating brand evangelists in the 21st century: using brand engagement through social media to develop brand loyalty in teens

PDF

Fast fashion meets luxe: a case study of the brand strategy and consumer perceptions of Forever 21

PDF

Luxury branding in today’s China: case studies of global consistency and local adaptation strategies of luxury fashion brands

PDF

An inconvenient truth about the public relations industry and greenwashing

PDF

Experiential public relations: the importance of strategic messaging, understanding target audiences, and analysis of successfully curated brand-consumer interactions

PDF

Municipal place branding for economic development

PDF

A study of the cultural environment of social media

PDF

Utilizing networks and digital distribution strategies to create spreadable video content for change

PDF

Once a Lakers town, always a Lakers town? An in-depth comparison of the branding and communications strategies of the LA Clippers and the LA Lakers

PDF

Developing a strategy for public relations practitioners at environmental nonprofits using insights from psychology

PDF

The luxury appeal: analyzing affordable luxury brands through the Great Recession

PDF

Generating valuable content for a destination in order to reach a new generation of travelers

PDF

Capturing and maintaining the essence of luxury in the dynamic global marketplace

PDF

Personal branding and lifestyle bloggers: can blogs become brands?

PDF

Evolution in the processed foods industry: exploring the impact of the health foods movement

PDF

Obtaining brand loyalty through “man’s best friend”

PDF

Consumer awareness of Chinese brands in the United States

PDF

Creating the brands we trust: how organizations in the lifestyle category build consumer trust through effective branding and content marketing in the 21st century

PDF

Musicians utilizing social media to increase brand awareness, further promote their brand and establish brand equity