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Social media best practices for communication professionals through the lens of the fashion industry

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Social media best practices for communication professionals through the lens of the fashion industry

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Content SOCIAL MEDIA BEST PRACTICES FOR COMMUNICATION PROFESSIONALS THROUGH THE LENS OF THE FASHION INDUSTRY by Cuitlahuac Gonzalez 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 2010 Copyright 2010 Cuitlahuac Gonzalez ii DEDICATION Although they were never presented with an opportunity to pursue even a basic education, my parents have always been able to recognize the value of schooling. They came to this country at a young age to provide my sister and I with the opportunities they wish they had; through hard work and dedication they found success. They would never think twice about supporting our education, even if it meant overextending themselves. For this reason, I dedicate this thesis to my father Luis Gonzalez and my mother Olga Gonzalez. Thank you for your love and compassion. I only hope that one day I can accomplish as much as you have in your lives. I would also like to dedicate this thesis to my dear friend Cynthia Semon. If it weren’t for her enthusiasm about my pursuit of advanced education, specifically at Annenberg, I probably would not be writing this thesis today. With her passing, the world has lost an activist for love and I have lost a gifted mentor. May you rest in peace as you watch over us. You will be forever missed, but never forgotten. iii ACKNOWLEDGEMENTS After my parents, I would like to thank my partner Samuel Anthony Harwit for being at my side since the beginning of the Strategic Public Relations (SPR) program and always believing in me, even when I found it difficult to focus. I must thank my sister Karina Alcala, niece Berlin Amelie and nephew Gian Luca for serving as a welcomed distraction from time to time. I am grateful to my talented committee comprised of professor Jennifer Floto as chairperson, Brenda Lynch and Larry Winokur. Their level of expertise provided me with inspiration to delivery my best work. This accomplishment could not have been possible without their mentorship and guidance, which started long before they generously accepted to help me with this thesis. I thank the consumer team at The Rogers Group for putting up with my hectic schedule in the weeks leading up to thesis deadlines. Specifically, I would like to acknowledge Jessica Schimidt and USC SPR Alumna Daphne Wang for volunteering their time to help. I am thankful to friends for their love and support, especially Dr. Lori Baker Schena for being an exceptional public relations mentor and an even better friend, and Rebecca Pardess for lending me her impeccable editing skills. Thank you all for being involved with this life changing experience. iv TABLE OF CONTENTS Dedication ii Acknowledgements iii List of Figures vi Glossary vii Abstract x Preface xi Chapter 1: Introduction 1 Chapter 2: Social Media 5 Chapter 3: Blogs and Bloggers 11 Chapter 4: The Fashion Industry 15 Chapter 5: Fashionable Social Media 20 Chapter 6: Fashionable Social Media Issues 25 Chapter 7: Integrated Marketing Communications 29 Chapter 8: Supporting Information 33 Chapter 9: Method 34 Primary Research 34 Secondary Research 35 Chapter 10: Case Study 36 Burberry 36 Threadless 40 v Chapter 11: Most Influential 44 Most Influential Social Media Outlets in Fashion 44 Notable Fashion Blogs 44 Notable Twitter Pages 49 Notable Facebook Fan Pages 54 eCommerce Web Sites 58 Niche Fashion Web Sites 61 Resourceful Social Media Web Sites 64 Chapter 12: Recommendations 68 Best Practices 68 Twitter Bonus 70 Chapter 13: Conclusion 72 Bibliography 74 Appendix A 79 Appendix B 80 Appendix C 81 Appendix D 82 vi LIST OF FIGURES Figure 1: Dolce & Gabanna S/S 2010 Front Row 22 Figure 2: Art of the Trench Banner 36 Figure 3: Threadless Logo 40 Figure 4: TheSartorialist.com Blog Banner 44 Figure 5: StyleBubble.com Blog Banner 45 Figure 6: BryanBoy.com Blog Banner 46 Figure 7: Marc Jacobs: I Love You Bryan Boy 47 Figure 8: CatwalkQueen.com Blog Banner 48 Figure 9: WWD Twitter Banner 49 Figure 10: LV Twitter Page Banner 50 Figure 11: The Moment Twitter Banner 51 Figure 12: InStyle Twitter Banner 52 Figure 13: Victoria’s Secret FB Fan Page Wall 54 Figure 14: Zara’s FB Fan Page Wall 55 Figure 15: Ray-Ban FB Fan Page Wall 57 Figure 16: Net-A-Porter Homepage Banner 58 Figure 17: Yoox Homepage Banner 59 Figure 18: Zappos Homepage Banner 60 Figure 19: Polyvore Homepage Banner 61 Figure 20: Rue La La Homepage Banner 62 Figure 21: Who What Wear Homepage Banner 63 vii Figure 22: HootSuite Logo 64 Figure 23: TweetDeck Logo 65 Figure 24: TweetStat Twitter Banner 66 Figure 25: Tumblr Logo 66 viii GLOSSARY Blog – Web log; Web site that contains an online personal journal with news about a specific topic, reflections, comments and often hyperlinks provided by the writer. Blogger – Individual responsible for regularly updating content on a blog Web site. Blogosphere – A term used to describe everything that makes up the world of blogs. Blogroll – A collection of hyperlinks that bloggers post on their blog as a way of recommending the blogs and bloggers they follow. Citizen Journalism – The act of a civilian reporting information on a blog or other social networking site to its (niche) followers, usually about specific topics. Curmudgeon (communications) – A veteran executive, usually older, who is apprehensive to changing mature business practices; particularly when they are being substituted for digital-based strategies. Dooced – A term used to describe when individuals are fired for discussing information about their employers or employment on blogs or other social networking sites (coined after Heather Armstrong was fired for discussing her job on her blog Dooce.com). Friends/Followers/Fans – The various terms used to describe the people that make up an individual’s online network. Handle (computing) – A handle is an alias used to describe any given account, particularly for social networking sites. Handles make it easier for people to find specific accounts on the various social networking sites. Influencers – Individuals who usually have an established network of members on their social networking site to whom they offer opinions, recommendations and regularly engage in dialogue. Multimedia – Media that uses a combination of different content forms that includes text, audio, still images, animation video and interactivity. RSS Feed – or “Really Simple Syndication” is a web feed format that is used to publish frequent information such as blog entries, news headlines or audio/video updates. Readers can easily subscribe to others’ RSS feeds to stay up-to-date with new posts. ix Social Media Optimization – A term coined by Scott Galloway, New York University professor of marketing and Red Envelope founder, to describe the assessment of traffic and sales on a company’s Web site that initiated from a social media site. Upload & Download – In a computer network, download means to receive information from a remote system to one’s local system. Upload describes the inverse operation, to send information from one’s local system to a remote system. Some of the most common information that is uploaded and downloaded in today’s Internet usage includes text, images, music and videos. Viral communications – Used to describe communication techniques that use pre-existing social networks to produce increased brand awareness, or achieve more specific goals, through a self-replicating process that takes place online. Essentially, word-of-mouth that takes place on the Internet. Wall on Facebook – The wall is a forum for users’ friends to post comments or insights about them. Users can always remove comments and restrict who their wall is visible to, or turn it off entirely. Widgets – An online application that can easily be installed and customized to various social media sites. Usually takes form as on-screen tools. x ABSTRACT Social media has already impacted the way people communicate and it promises to also affect the professional landscape of communications across all industries. The following is a comprehensive analysis of social media in the fashion industry, including remarks on social media’s role in integrated marketing communications. It concludes with a list of 12 moldable Generally Accepted Practices that can be used by public relations and communication professionals in most divisions. These 12 guiding principles are meant to challenge communicators and organizations to think before taking social media projects online. xi PREFACE Fashion provides an outlet for self-expression in addition to fulfilling society’s traditional requirement to cover our bodies. It welcomes the fundamental human need to belong and identify with others. It gives us the freedom to reinvent ourselves and to present the various styles that make each of us unique. We become attached to specific garments because they represent something special. The truth is that most people already know this. However, no one likes to discuss it because we want to believe that clothes are meaningless and take all the credit for creating our identities. Since I can remember, I have been more aware than my peers about the clothes on my back, perhaps because I understood the fashion industry’s societal purpose and wanted to become a part of fabricating my identity. My mother tells me that as a young boy, I was highly involved in choosing my wardrobe and detail oriented when selecting my daily outfits. She reminds me how upset I became when uniforms were made mandatory at my middle school. Fashion is an art form. Like Monet, Michelangelo, Diego Rivera and other world-renowned artists, fashion designers are creators of remarkable art that is appreciated by millions of people across the world. Typically, this form of art is presented on the runway as couture collections instead of art galleries and museums. People identify with a designer like they identify with an artist. Wearing a specific brand name can serves as more than simply clothing, it can provide an identity that leads to confidence. xii At an early age, my fascination with language and communication expanded to an interest in fashion. I realized that clothing, particularly outfits, had the power to communicate a message, very much like body language. Knowing this has helped me appropriately manage the way that I am perceived in specific situations. I knew that designing clothes was not the best option for me, as I was never a very good artist, but I definitely wanted to be a part of the enthralling world of fashion. It was not until much later when I realized the fashion industry encompassed many other opportunities, including some focused on communication. Besides providing emotional, personal and artistic value, fashion also delivers a significant economic contribution. The fashion industry is responsible for millions of jobs around the world, from buying and selling, creation and production to communications and distribution of goods. With an estimated $300 billion 1 in annual revenues, the fashion industry is one of the largest in the world. 1 Butler, Robert W. “The September Issue: Love/Hate Drama at Vogue.” Kansas City Star. 10 September 2009. <http://www.kansascity.com/710/story/1434881.html> 1 CHAPTER ONE: INTRODUCTION With such a huge revenue stream, it is no surprise the fashion industry avails itself the trendiest form of communication. Reality television shows, bold advertising schemes and eye-popping stunts have become the norm in fashion, so it is only natural for fashion to turn to the hottest trends in communications and go viral with social media. While there are many debates over the definition of social media, for the purposes of this thesis, social media will be used to describe the various web-based elements designed to support social interaction between users of the Internet. Social media has introduced various platforms that allow users to go from being content consumers to becoming content providers. This modern approach of communicating challenges traditional broadcast media, where one communicates to many, and establishes a stage where countless individuals can speak simultaneously. Arguably, it was just six years ago when social media hit the mainstream. 2 This is probably why many professionals, academics and students debate whether social media and its various elements (such as blogs, social networking sites and social news sites) are simply a phase that will eventually reach a peak in popularity and begin to recede. However, it is difficult to ignore that social media has become a profitable business. Carlos Macias, senior Internet content developer for the online network Terra, says that social media has become a respected business that has secured large revenues for countless companies 2 Boyd, Danah M. and Nicole B. Ellison. “Social Network Sites: Definition, History and Scholarship.” Journal of Computer-Mediated Communication. 2007. <http://jcmc.indiana.edu/vol13/issue1/boyd.ellison.html> 2 and created many jobs in a short amount of time. He confidently believes a great deal of those jobs will be here “forever.” 3 According to Matthew Le Veque, professor of social media strategies at USC Annenberg School for Communication and Journalism and Director of Digital Strategies at The Rogers Group, said, “The last 10 years have radically transformed how we connect and communicate with each other as human beings.” 4 He believes this is one of the main reasons why some communicators find themselves taking a reactive role and are now rushing to be part of the online conversation. Additionally, social media has added a new element to the integrated communications equation. Integrated marketing communications (IMC) is a synergistic management approach that unifies all aspects of marketing and communications (i.e., advertising, sales promotion, public relations and direct marketing) in order to more aggressively reach one or more of a company’s goals. 5 However, some argue that these various disciplines do not always function as one. In theory social media, with some strategic development, can direct integrated marketing communications to successfully conglomerate and function as a unified force. 3 Macias, Carlos (Senior Internet Content Producer, Terra Networks). Email Interview. 25 March 2010. 4 Le Veque, Matthew (Director of Digital Strategies, The Rogers Group). Personal Interview. 4 February 2010. 5 Beruchashvili, Mariam PhD (Professor of Marketing, California State University, Northridge). Email Interview. 11 March 2010. 3 While the fashion industry may be seen as a traditional business that plays it safe when it comes to the latest advances in the world of commerce, it has been implementing basic IMC principles long before the term was coined about 50 years ago. 6 Season after season, fashion houses launch new collections at star-studded fashion shows. They subsequently launch advertising campaigns that showcase those products in print and on television. They send samples to fashion editors around the world and convince celebrities to don their garments at high profile events. Additionally, they sometimes create smaller- scale events to draw crowds into their stores. In recent years, the fashion industry has been challenged to find new ways to reach a broader range of consumers, while maintaining its perception of exclusivity. Like many companies in prominent industries, fashion brands are choosing not to ignore the opportunities that social media brings to their business. According to Crosby Noricks, social media strategist at Red Door Interactive and founder of the blog PRCouture.com, “Fashion has been slow to adopt to social media tools – however, that is shifting rapidly. The idea of leveraging online fashion influencers to serve as brand ambassadors is mainstream, and soon to follow is Facebook, Twitter and YouTube becoming [required] marketing channels for all brands.” 7 6 Magnani, Rudolph. “The Blur Age.” Medill IMC: Journal of Integrated Marketing Communications. Pg. 12. 2006. <http://jimc.medill.northwestern.edu/JIMCWeb site/2006/BlurAge.pdf> 7 Noricks, Crosby (Social Media Strategist at Red Door Interactive and PRCouture.com Founder and Blogger). Email Interview. 1 March 2010. 4 It is particularly important for communication practitioners to be aware of the changes that are constantly taking place in the digital world in order to find ways of becoming part of the evolution process. As Le Veque pointed out earlier, social media has already revolutionized the way people interact in their daily lives. Therefore, communication practitioners must ensure that their clients and brands are adapting new protocols that allow them to be part of the daily interaction. 5 CHAPTER TWO: SOCIAL MEDIA We are yet to experience all the elements that social media has to offer. In recent years, social networking sites (SNS) have become the leading form of social media and one of the most important for communicators due to its connectivity component. SNS have generated millions of new users within months. In February 2010, Facebook reported that it had reached 400 million active users, double the number reported in April 2009. 8 Many of the users have incorporated these sites into their daily routine. Some of the most popular SNS today include Facebook, Twitter, LinkedIn and Myspace. SNS cater to an array of audiences based on specific interest or shared characteristics such as language, racial, sexual or religious identities. While the technological features tend to remain fairly consistent from site to site, it is the member engagement and what the users bring to the various sites that build a unique culture within each of these communities. 9 According to the Journal of Computer-Mediated Communication, SNS are: 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 a connection, and (3) view and traverse their list of connections and those made by others within the system. 8 Facebook Official Web Site. Press Room: Company Timeline. 1 March 2010. <http://www.facebook.com/press/info.php?timeline> 9 Boyd, Danah M. and Nicole B. Ellison. “Social Network Sites: Definition, History and Scholarship.” Journal of Computer-Mediated Communication. 2007. <http://jcmc.indiana.edu/vol13/issue1/boyd.ellison.html> 6 The article concludes that while it is possible that SNS are being used to meet new people, most individuals are simply using them to bring their extended networks to the Web. It helps bring acquaintances closer and makes it easy to keep in touch. 10 “It’s easier to check in and… know what people are doing or feel connected by simply going to their Facebook… even though they might be thousands of miles away,” said Le Veque about his personal experience with SNS. 11 The first signs of social networking on the Internet took form through Bulletin Board Systems. This nascent wall-like feature allowed two users at a time to log on and interact with one another. A few years later, CompServe began to offer online services that very much reflect today’s instant messaging feature. AOL was the first company to make the Internet universally accessible in the United States. With AOL came chat rooms and forums that allowed many people to interact at once. 12 Then came sites like SixDegrees.com, which launched in 1997 as the first recognized SNS. Since then, sites like Facebook.com, Myspace.com, Twitter.com, YouTube.com, Flickr.com, LinkedIn.com and Blogger.com, among others, have redefined the capabilities of social networking on the Internet. To 10 Boyd, Danah M. and Nicole B. Ellison. “Social Network Sites: Definition, History and Scholarship.” Journal of Computer-Mediated Communication. 2007. <http://jcmc.indiana.edu/vol13/issue1/boyd.ellison.html> 11 Le Veque, Matthew (Director of Digital Strategies, The Rogers Group). Personal Interview. 4 February 2010. 12 Boyd, Danah M. and Nicole B. Ellison. “Social Network Sites: Definition, History and Scholarship.” Journal of Computer-Mediated Communication. 2007. <http://jcmc.indiana.edu/vol13/issue1/boyd.ellison.html> 7 become a member, SNS commonly require users to submit some personal information such as gender, age, location, email address and more. They encourage users to upload photos and to customize their profiles by adding additional personal information and multimedia content. Most sites now facilitate connecting with one’s friends on the network by accessing that member’s email and mobile contacts. 13 Most SNS provide multiple areas for members to communicate with one another. Members can send private messages that arrive very much like email or they can post public comments directly on profiles, which are visible to both members’ networks. Twitter.com represents the latest evolution of SNS. Twitter is a short-form style of interacting with one’s network focused on sharing and discovering what’s happening in real-time. Posts, better known as tweets, are text-based and limited to 140 characters. Users can follow, and be followed by, other users to stay informed of what’s happening in their lives. Twitter has spawned a multitude of new social media businesses that develop applications to improve tweeting. Bit.ly, for instance, serves to shorten URL links in order to get the most out of the 140-character limit. TwitPic and TwitVid applications facilitate uploading photos and videos that are automatically posted as short links the user’s status. Twitter is accessible through more than 50,000 third-party Internet and mobile applications. 14 13 Boyd, Danah M. and Nicole B. Ellison. “Social Network Sites: Definition, History and Scholarship.” Journal of Computer-Mediated Communication. 2007. <http://jcmc.indiana.edu/vol13/issue1/boyd.ellison.html> 14 Twitter Official Web Site. About: About Twitter. 31 March 2010. <http://twitter.com/about> 8 Most SNS have evolved to incorporate applications that allow users to access their online profile from their mobile phones. According to AdMob, one of the world’s largest mobile advertising networks, 48% of its mobile Web and application traffic was generated from smartphones. 15 Social media applications for mobile devices are just some of the features that give brands new opportunities to communicate directly with consumers. They increase the exposure of brands and allow organizations to diversify the places where they do business and, in some cases, secure higher profits. Online retail sites, for instance, are less expensive to maintain than a physical retail location. While it would not make sense for all companies to go entirely viral, it helps create a balanced marketplace. Social media mobile applications have become an equally important aspect of the communications landscape as people are now getting news from their friends through SNS. Macias said, “Now that people can use social media on their phones, they are getting the stories and hot topics of the day from the people they care about.” Social news sites make it possible for users to share news stories and other links with their online networks. Their features allow users to rate their favorite posts, giving some stories the ability to become an overnight sensation that is shared with millions of people around the world. Like SNS, social news sites would not be enthralling if they did not contain an element of engagement. 15 Kaplan, David. “AdMob: U.S. Smartphone’s Generate Nearly Half of Mobile Web Traffic in November.” PaidContent.org. 18 December 2009. <http://paidcontent.org/article/419-admob-u.s.- smartphones-generated-nearly-half-of-mobile-web-traffic-in-n/> 9 This type of social media grew in popularity with the introduction of sites like Digg.com, which took some features from Delicious.com, a bookmarking site, and added a viral element. Traditional news outlets, such as CNN, are taking advantage of the movement surrounding social news sites and as a result have built similar networks. For example, iReport allows citizens to report on what is happening in their communities. These stories then have the potential to be picked up by the network if the post is relevant to CNN’s broader audience. For communicators, this means the list of influencers has increased from media contacts at large news outlets to potentially every consumer. While this makes it more challenging to manage contacts, it opens the door to new ways of reaching niche audiences that may actually have a greater impact on the overarching objective of some brands. Social media also provides sites where multimedia creators, artists and enthusiasts can post videos, photos and music. The most popular is YouTube.com, a video sharing Web site that allows users to upload, share and comment on videos. Users can create original content and post it free of charge. According to Alexa.com, a Web site ranking service, YouTube is the fourth most visited site on the Internet behind Google, Yahoo and Facebook. 16 Flickr.com is a Web site that allows users to share photographs in the same manner. 16 Alexa.com. “Site Info: YouTube.com.” 1 March 2010. <http://www.alexa.com/siteinfo/youtube.com> 10 Multimedia features have also proven to be an effective tool for consumers and some early adopting companies. Review and opinion social media sites have built their own online empires by using sites like YouTube.com to provide a service through the content. For example, CNET.com began providing product reviews and testimonials for electronics. Today, they have become one of the most trusted sources for information about electronics on the Internet. Other review or opinion sites are epinions.com (user-generated content on general topics) and Yelp.com (user-generated content with features for rating businesses). These sites include multimedia applications for smartphones such as GPS mapping that make it simple to browse nearby businesses from almost anywhere. Foursquare.com is the next generation of sites like Yelp. It encompasses all previously mentioned elements but brings a more interactive approach to reviewing and recommending businesses. It allows individuals to check-in and write reviews, while at a location. The individuals who check-in the most at any given location become the honorary mayors. Foursquare provides yet another opportunity for businesses to leverage online consumers and launch viral promotional campaigns. 11 CHAPTER THREE: BLOGS AND BLOGGERS While social media provides never-ending avenues for communicating, it is the individuals who serve as the influencers; not the technology. Therefore, blogs and bloggers are currently one of the most significant aspects of social media for communicators and businesses. Bloggers are followed because people care about what they have to say. Having and maintaining good relationships with bloggers can prove to be successful, particularly in niche aspects of communication campaigns. Merriam-Webster officially added blogs to its database it 1999. It describes a blog as an “online personal journal with reflections, comment and often hyperlinks provided by the writer.” 17 Typically, blogs are maintained by one individual known as a blogger. However, blog networks are becoming more common; where a team of bloggers provide constantly-updated content for one blog site. Some blogs provide commentary or reports on specific topics such as entertainment, fashion, technology, politics and more. Other blogs simply serve as personal diaries. Blogs are usually made up of multimedia presented as text, images, videos, hyperlinks and reader comments. In December 1997, online diarist Jorn Barger coined the term “Weblog,” which he used to describe the activity of logging on the Web. In April 1999, Weblog was shortened to “blog” by programmer Pete Marholz. Shortly thereafter, 17 Merriam-Webster Online. Dictionary: Blog. 27 March 2010. <http://www.merriam- webster.com/dictionary/blog> 12 Blogger.com launched and became the first popular blog-creation service. 18 As of March 2010 Neilson’s BlogPulse, an automated trend discovery system for blogs, reports that there are a total of 126,861,574 identified blogs. 19 Blogging has been made extremely easy thanks to sites like Blogger.com, which continues to be a leading platform in the blogosphere. Blogger provides pre-designed templates that can easily be customized. Users can effortlessly post information and add multimedia features to their blogs. Another major competitor in the blogosphere world is Wordpress.com. Many perceive Wordpress to be the older brother to Blogger because of its versatility, wider selection of professional templates and accessibility to blog statistics. 20 Blogs have become extremely influential. In 2005, Business Week published an article titled “Blogs Will Change Your Business.” Ironically, so many bloggers linked to this story that the article eventually took on a life of its own. First, it warped into a blog that offered “a look at how cutting-edge technologies are changing business and society,” and eventually to a book entitled “The Numerati” by BusinessWeek’s Stephen Baker; the same person who wrote the first article. 21 Whether its one person or a team of people who develop content for 18 Blood, Rebecca. “Weblogs: A History and Perspective.” Rebecca’s Pocket. 7 September 2000. <http://www.rebeccablood.net/essays/weblog_history.html> 19 Nielson: Blog Pulse Homepage. BlogPulse Stats. 1 March 2010. <http://www.blogpulse.com/> 20 Gatto, Katie. “Wordpress vs. Blogger: Which Should You Choose for Your Professional Blog?” DevShed: Blog Help. 6 January 2010. <http://tools.devshed.com/c/a/Blog-Help/WordPress-Vs- Blogger-Which-Should-You-Choose-for-Your-Professional-Blog/> 21 Baker, Stephen and Heather Green. “Social Media Will Change Your Business.” BusinessWeek. 2 May 2005. <http://www.businessweek.com/magazine/content/05_18/b3931001_mz001.htm> 13 blogs, bloggers have taken on the role of citizen journalist. Like accredited journalists, bloggers strive to bring their readers breaking news and the inside scoop about the industry or beat they cover. Some bloggers consider themselves media monitors and have established blogs that raise awareness of unethical practices by established media outlets, with the goal of assuring basic journalistic principles. A great example of such a blog is MediaMatters.org, a Web-based non-profit organization dedicated to monitoring, analyzing and correcting conservative misinformation in American media. 22 Some communication practitioners argue that bloggers should not be treated and targeted like journalists. However, it is impossible to ignore that they sometimes have a larger online network than established news publications. For instance, Heather B. Armstrong, better known as Dooce in the blogosphere, holds the 26 th spot on Forbes’ list of the ‘Most Influential Women in Media’ sharing the list with the likes of Oprah Winfrey. Dooce has almost twice as many Twitter followers as CNN’s handle. 23 This shows that bloggers and journalist are both key influencers. Neither should be ignored, instead they should each be targeted accordingly. It is hard to ignore the power of bloggers. Therefore, it is only a matter of time before bloggers are given regulations to which they must adhere. Already, 22 MediaMatters.org Official Web Site. Media Matters for America: About Us. 1 March 2010. <http://mediamatters.org/p/about_us/> 23 Rotz, Nina. “Heather Armstrong of Dooce.com ‘Monetizes the Hate.’” AssociatedContent.com. 23 September 2009. <http://www.associatedcontent.com/article/2202467/heather_armstrong_of_doocecom_monetize s.html?cat=35> 14 the Federal Trade Commission has published guidelines and some counties and states have initiated their own ordinances to regulate bloggers. 24 Such policies will add credibility to bloggers giving curmudgeons the security they need to place trust in them. According to a presentation by Altimeter Group’s Charlene Li, curmudgeons are the executives who believe that new communication developments, such as social media, are a fad, they do not provide a safe return- on-investment and are too risky. Curmudgeons can be credited with serving as the biggest silos at their organizations. 25 It is interesting that before any universal guidelines have been set in place, legitimate news sources like CNN have already partnered with popular bloggers to bring their posts directly to its news outlet’s Web site. Around November 2009, CNN re-launched its Web site and incorporated a section that includes syndication from Mashable.com, a blog focusing on Web and social media news. Additionally, the blog’s founder, Pete Cashmore, was brought on as a regular contributor on CNN’s online news site. 26 Communicators, journalists and bloggers must find a way to work hand-in-hand to positively contribute to the evolution of social media and ensure that everyone is benefiting equally. 24 Federal Trade Commission Official Web Site. News: Press Release. 5 October 2009. <http://www.ftc.gov/opa/2009/10/endortest.shtm> 25 Li, Charlene. “Convincing the Curmudgeon.” Altimeter Group Presentation. 28 April 2009. <http://city.inboundmarketingsummit.com/Client/CTP/Files/Li_Charlene.pdf> 26 Cashmore, Pete. “CNN Tech: Mashable Joins the Lineup.” Mashable.com. November 2009. <http://mashable.com/2009/10/27/mashable-cnn-tech/> 15 CHAPTER FOUR: THE FASHION INDUSTRY Everyone is exposed to fashion on a daily basis, whether one throws something on, carefully crafts outfits or is taken back by someone’s impeccable style on the street. Fashion is an incredibly powerful tool in popular culture, influencing many disciplines such as music, movies, books and television; as much as these areas influence the world of fashion. The fashion industry is comprised of different purchase points, each targeted to a specific consumer base. One of the most affluent areas of fashion is haute couture, French for high-sewing or high-dressmaking. Haute couture, better known as simply couture, refers to the creation of custom-made garments sewn with high attention to detail using the highest quality fabrics. Usually, these pieces are made for specific customers or to be used in fashion shows that build brand prestige. Some of the most recognized couture fashion houses are Chanel, Christian Dior and Giorgio Armani. 27 The next level of fashion goods is known as prêt-a-porter, French for ready-to-wear. Many haute couture fashion houses also produce ready-to-wear collections because they tend to deliver a higher return-on-investment. While these collections are less expensive than couture lines, they are still relatively costly compared to general fashion apparel. Some fashion houses, such as Yves 27 Kabaivanova, Silvia. “What is Haute Couture?” Fashion.bg. 20 May 2005. <http://news.bgfashion.net/article/1005/13/what_is_haute_couture> 16 Saint Laurent started off as haute couture brands and today simply exist as ready-to-wear retailers. 28 The new wave of ready-to-wear fashion is comprised of low-cost garments that spawn from partnerships between high-end designers and major discount retailers. These collaborations bring affordable garments, which are perceived as high fashion, to the mass population and generally provide higher profits for the organizations involved. The latest example of such collaboration happened in December 2009 when Rodarte, a California-based brand of clothing established by Kate and Lauran Mulleavy, launched a limited-edition collection at Target stores. 29 Interestingly, the Mulleavy sisters told TeenVogue that Tavi Gevinson, 13-year-old fashion blogger, defines the Rodarte for Target collection. They partnered with the blogger on promotional projects to help get the word out. However, fashion editors at the major fashion magazines still dictatate the hottest trends each season. The most notable of these influencers is Anna Wintour, editor-in-chief of American Vogue. Wintour is such a powerful figure in the world of fashion that she has secured the careers of some of today’s most influential designers. John Galliano is one of those designers. Wintour used her influence to help Galliano find a location for his first runway show and gather the 28 Yves Saint Laurent Official Web Site. “Company Information.” 1 March 2010. <http://www.ysl.com/INT/en/Footer/Company-Information.aspx#> 29 Target Official Web site. “Target Announces Rodarte for Target as the Next GO International Collection.” Press Room. November 2009. <http://pressroom.target.com/pr/news/fashion/go- international/target-announces-rodarte-for-target.aspx> 17 funds necessary to put it together. Galliano went on to become chief designer at Givenchy and eventually at Christian Dior. 30 Fashion editors are not the only dictators of fashion trends. Singers, actors and other public figures help boost the popularity of specific designs or designers by wearing these garments in public appearances. During the 1950s young men across the world were not only listening to Elvis Presley, they were also dressing like him. In today’s world, even politicians have authority over the fashion industry. During the American presidential family’s first visit to London, after Barack Obama’s historical election, Michelle Obama mentioned that she was wearing a J-Crew dress and the brand immediately experienced an influx of demand for that piece. As a result, there was even a wait list with over 200 people on it. 31 This probably occurred due to the human instinct to want to belong. Celebrities and other public figures provide an outlet of association that allows people to create identities surrounding their favorite icons. This is no different than teenagers who choose their group of friends based on their fashion styles. Theses styles represent more than just a way of dressing; they can represent character and sometimes values. That is why in the 1960s there were “jocks,” “hippies” and “druggies,” and in the 1990s there were “goths,” “preps” and “skaters.” 30 Design Museum, British Council Official Web Site. “John Galliano, Fashion Designer (1960-)”. 1 March 2010. <http://designmuseum.org/design/john-galliano> 31 Carter, Nicole. “Michelle Obama J.Crew Outfits in London Prompt Shopping Frenzy Stateside.” Daily News. 3 April 2009. <http://www.nydailynews.com/money/2009/04/03/2009-04- 03_michelle_obama_jcrew_outfits_in_london_p.html> 18 Clothes are a form of symbolic communication. In addition to being an essential provider of privacy and warmth, clothes are worn to create physical attraction, express emotions or practice traditions. 32 Fashion is a means of self- expression that is executed by even the most timid people. This is probably why the fashion industry is a $300 billion business that generates millions of jobs around the world. 33 Each person plays a vital role in the process of creating fashion. For more than 100 years, this process has required fashion designers to construct designs they believe most closely represent their brands. Garments are then introduced to retail executives who decide which styles represent their consumers. Simultaneously, fashion editors select the garments they feel most strongly represent that season’s trends and promote those styles to fashion enthusiasts who read their glossy magazines. Then major advertising campaigns are launched to highlight styles that will spawn the most hype for the brand’s collection. Until now, this tightly controlled process left no room for the fashion companies to connect directly with their customers. In recent years, the communications landscape in the fashion industry has changed. Advertising in print magazines like Vogue’s famed September Issue, which in 2007 had 840 pages weighing nearly 5 pounds, has fallen 47%. 34 Since 32 PBS. “What is fashion?” 2010. <http://www.pbs.org/newshour/infocus/fashion/whatisfashion.html> 33 Butler, Robert W. “The September Issue: Love/Hate drama at Vague.” Kansas City Start. 10 September 2009. <http://www.kansascity.com/710/story/1434881.html> 34 Hillier, Katie. “Six Social Sites Every Fashion Marketer Should Know.” AdAge. 9 September 2009. <http://adage.com/digitalnext/article?article_id=138893> 19 these traditional avenues of communication are falling short, fashion houses are leveraging the opportunity to connect directly with their consumers through social media. Executives at major fashion houses are desperate to become involved with new projects that can impact their bottom-line of selling clothes and making a profit. Ultimately, this is what is leading the fashion industry to set aside its conservative outlook and experiment with social media projects. However, Macias, who technically is a competitor of fashion magazines as a content developer at the Internet network Terra.com, believes that good-quality and in-depth content will always sell. “The experience of getting your hands on The September Issue will never be replaced by clicking online to see the spreads. You might get 80% of your information online, but print will always be thought of as the ultimate authority in public opinion.” 35 Macias recognizes that there will be less print magazines each year and predicts that only the household names with survive. 35 Macias, Carlos (Senior Internet Content Producer, Terra Networks). Email Interview. 25 March 2010. 20 CHAPTER FIVE: FASHIONABLE SOCIAL MEDIA Social media threatens to change the fashion industry’s traditional business structure. 36 This was most evident during the 2009 Fashion Week season, when the majority of the reports surrounding the various events were not addressing the latest trends, outrageous sets or celebrity attendance. Instead, they focused on which blogger was sitting where and in front of whom. Most fashion moguls interviewed about the topic accept that social media has become and integral part of the fashion industry and it promises to change how brands communicate with their consumers. “[The] Internet allows us to constantly update our consumers and to express our point of view,” Domenico Dolce, co-founder of Italian luxury fashion house Dolce & Gabbana, recently told Women’s Wear Daily. “It’s much faster and instantaneous and allows you to update the information in real-time.” 37 However, fashion editors and buyers at major apparel stores refuse to be pushed aside without a fight. They have the most to lose in this fashionable social media battle because fashion companies can now connect directly with their consumers. Furthermore, through IMC and social media platforms, brands can effectively reinforce their messages and funnel them directly to the right audience. 36 Hillier, Katie. “Six Social Sites Every Fashion Marketer Should Know.” AdAge. 9 September 2009. <http://adage.com/digitalnext/article?article_id=138893> 37 Socha, Miles. “Fashion Brands Seek Control In Social Media Boom.” Women’s Wear Daily. 14 December 2009. <http://www.wwd.com/business-news/fashion-brands-seek-control-in-social- media-boom-2394948?navSection=packageandnavId=2394057> 21 Considering the focus being placed on web-based projects by fashion brands, it is clear that organizations in general have realized the importance of the Internet when it comes to communicating with customers. “It is no longer good enough to build a Web site, [fashion brands] have to go where [the] customers are. [However,] social media is… a disservice if a brand is not willing to listen and engage, and change as a result,” said Noricks. 38 Fashion companies are going above simply posting new pages on their sites, many are partnering with third-party social media sites focused on fashion to create cross-platform advertising campaigns, mobile phone applications or to build their own networks. Similarly, some companies have embraced key bloggers and made Internet celebrities out of them. For instance, Dolce & Gabanna invited Scott Schuman of thesartorialist.com, Tommy Ton of jakandjil.com and Bryan Boy of bryanboy.com to its 2010 spring/summer fashion show in Milan on September 27, 2009. This invite included a front-row seat equipped with desks, laptops and Internet access. It also pushed the likes of Neiman Marcus’ Burt Tansky, Saks Fifth Avenue’s Stephan I. Sadore and other retail heavyweights to the second row. 39 38 Noricks, Crosby (Social Media Strategist at Red Door Interactive and PRCouture.com Founder and Blogger). Email Interview. 1 March 2010. 39 Bryan Boy Official Web Site. “A Place in Fashion.” 28 September 2009. <http://www.bryanboy.com/bryanboy_le_superstar_fab/2009/09/a-place-in-fashion-history.html> 22 Figure 1: Dolce & Gabanna S/S 2010 Front Row Image: Clockwise: Suzy Menkes, New York Times; Michael Roberts, Vanity Fair; Bryan Boy, BryanBoy.com, Sally Singer, American Vogue; Anna Wintour, American Vogue; Hamish Bowles, Vogue; and Tommy Ton, Jak and Jil. 40 It is inevitable to conclude that fashion brands are paying attention when it comes to social media because it provides a key component that they have struggled to collect for years: feedback. Customer feedback has always been important when it comes to product development. Focus groups and consumer surveys have been the classic forms of consumer interaction. Brands use these forums to create, test and refine new product concepts and marketing techniques. The Internet and social networking sites now make it easier to gather this type of information. Subjects are often already divided into niche communities, which make it simpler to reach the target audiences. This creates a cost-effective way to conduct research that allows the brand to be perceived as 40 Image Source: Bryan Boy Official Web Site. “A Place in Fashion.” 28 September 2009. <http://www.bryanboy.com/bryanboy_le_superstar_fab/2009/09/a-place-in-fashion-history.html> 23 one that interacts with its customers in new forms. However, to be successful, practitioners must forego the traditional survey formats and strategically post status updates that cause people to respond with the information they need. This is the difference between asking people their thoughts on a product in a focus group versus presenting it as an exclusive ‘sneak peak’ to next season’s collection and allowing feedback to organically take form through comments. Subsequently, some fashion brands have incorporated permanent areas for consumers to offer reviews. This is nothing more than a modern twist on traditional customer testimonials. It tends to be more valuable because it is perceived to be authentic. While many brands remain apprehensive to these features, retailers like Macy’s, Urban Outfitters and Zappos.com have found that customer reviews and other forms of user-generated content actually increase sales. 41 Consumer suggestions on product development tend to be a sensitive subject that fewer brands are willing to embrace for legal reasons. Those externally involved with the creation process can claim royalties. However, it is hard to ignore that co-creating ideas with consumers, at some level, allows companies to secure product demand long before it is actually available. This happens because the involved consumers will end up serving as brand ambassadors through their online and offline social networks. If brands choose to become involved in this type of promotional activity, they should publicly outline 41 Corcoran, Cate T. “Everyone’s Doing It: Brands Take On Social Media.” Women’s Wear Daily. 28 September 2009. <http://www.wwd.com/media-news/everyones-doing-it-brands-take-on- social-media-2318508//?full=true> 24 the terms of participation and seek legal advice from an attorney that specializes in the discipline. Aside from brand-created online stores, many independent online retail boutiques are gaining rapid popularity. These sites offer designer apparel and accessories at discounted prices. Many times their business models are entirely based on social media. For example, Who What Wear is an online fashion boutique that also serves as a celebrity gossip blog and an interactive retail store where customers can receive tips from stylists. Other examples are Gilt and Rue La La. 25 CHAPTER SIX: FASHIONABLE SOCIAL MEDIA ISSUES The primary issue with social media today is that it is evolving faster than the masses are used to, and with that comes a real-time demand for information. “The upside [of social media] is the speed of information transfer and the downside is the speed of information transfer,” said Le Veque when asked about social media’s flaws. “That downside can lead to potentially incorrect information, rumors, sensationalism and much less of that in-depth, traditional journalistic style of evaluating facts and figures and double-checking information. Then, the problem is that if [information] is factually incorrect, once it [takes on a viral form] it becomes factual,” he added. 42 The issue of speed only aggravates the bigger problem that is the lack of regulations for user-generated content. Bloggers have recently experienced a great deal of scrutiny as a result of the lack of a monitoring structure. For instance, bloggers are not required to disclose personal information or present credentials when they author posts. The most notable case unfolded around July 2009 when designer Eric Gaskins revealed himself as the author of the Emperor’s Old Clothes blog. The site had increasingly grown in popularity because the author, who anonymously went by Fluff Chance, seemed to have unlimited access to exclusive fashion events and prominent fashion designers. In the blog, he became famous for his cattiness and fearlessness when critiquing other designers. He did not stop there; Fluff Chance also targeted media outlets 42 Le Veque, Matthew (Director of Digital Strategies, The Rogers Group). Personal Interview. 4 February 2010. 26 that he believed played favorites and despised what he called the “celebrity invasion of fashion.” 43 Since his reveal, it seems that Gaskins has gained more respect from the fashion industry as a blogger than he ever did from his designs. He continues to blog as Fluff Chance and has become a popular source for analysis of fashion news. The lack of cohesive supervision can create a major loophole that allows bloggers to report information that may otherwise be protected under non- disclosure agreements (though this did not appear to be the case in Gaskin’s situation). Overall, due to the increased popularity and influence of some bloggers, or citizen journalists, recent movements draw attention to the fact that they should be held to some journalistic standards. Unlike journalists, bloggers do not work for publications that require them to obey certain ethical standards and do not undergo schooling or training to be able to identify acceptable procedures. The problem when considering the large amount of content available on the Internet today is that most people are not able to differentiate between an accredited news article and blogger-created content. Herein lies the importance of developing unified standards to ensure readers are not being deceived. Summer of 2009 brought with it polarized debates in the mass media and blogosphere about blogger compensation, sponsored posts and the authenticity of product reviews in addition to other unethical blogger behavior. As a result, some bloggers began to witness a backlash against their craft because readers 43 Wilson, Eric. “How Do You Like Me Now?” The New York Times. 29 July 2009. <http://www.nytimes.com/2009/07/30/fashion/30EMPEROR.html> 27 felt deceived. Then four prominent bloggers decided to take matters into their own hands by creating a pledge, which declared that a bloggers’ obligation is primarily to their readers. As a result, the Blog with Integrity campaign launched around June 2009. Its creed reads: By displaying the Blog with Integrity badge or signing the pledge, I assert that the trust of my readers and the blogging community is important to me. I treat others respectfully, attacking ideas and not people. I also welcome respectful disagreement with my own ideas. I believe in intellectual property rights, providing links, citing sources, and crediting inspiration where appropriate. I disclose my material relationships, policies and business practices. My readers will know the difference between editorial, advertorial, and advertising, should I choose to have it. If I do sponsored or paid posts, they are clearly marked. When collaborating with marketers and PR professionals, I handle myself professionally and abide by basic journalistic standards. I always present my honest opinions to the best of my ability. I own my words. Even if I occasionally have to eat them The pledge is not mandatory, but encourages and offers guidelines when dealing with organizations that seek to expose bloggers to their products. The group that organized the pledge acknowledged that it is impossible to monitor bloggers’ actions and, therefore, the pledge is entirely based on trust and honor. Due to the lack of comprehensible regulations many veteran communicators are apprehensive with social media. This is why some 28 communicators’ greatest challenges will begin within the organization they represent when they must convince the curmudgeon. For overcoming the curmudgeons, Li from the Altimeter Group recommends focusing on the relationships (not the technologies), linking efforts to the organizations strategy and goals, and measuring the right metrics. Organizing information in their terms will help them see the benefits of the proposed digital projects. 44 44 Li, Charlene. “Convincing the Curmudgeon.” Altimeter Group Presentation. 28 April 2009. <http://city.inboundmarketingsummit.com/Client/CTP/Files/Li_Charlene.pdf> 29 CHAPTER SEVEN: INTEGRATED MARKETING COMMUNICATIONS In their book, Marketing, Dhruv Grewal and Michael Levy describe IMC as a discipline that encompasses a variety of communication elements such as advertising, promotion, public relations, personal selling, direct marketing and electronic media. Ideally, these elements come together to provide unified clarity, consistency and secure the maximum communicative impact. 45 Researchers at OmniCom Associates, in its award-winning report, define IMC more broadly as the “application of analysis, communication and evaluation techniques to create and manage integrated, multi-faceted interventions combining information, instruction, collaboration, business process design, feedback and incentive systems to improve human performance in the workplace in order to achieve organizations’ desired missions and visions.” 46 In today’s digital world, IMC has a broader range of elements, some of which communicators have no control over. IMC can happen online, offline or simultaneously on both platforms. Offline media may include traditional print media (newspapers, magazines), mail order, out-of-home, television, radio and more. Online media may include blogs, search engine optimization (SEO), RSS feeds, pay-per-click, podcasts and more. 47 45 Grewal, Dhruv and Michael Levy. Marketing. 2008. McGraw-Hill Publishing. 46 Gayeski, Diane M. and Barbara E. Woodward. “Integrated Communication: From Theory to Performace. OmniCom Associates. 1996. <http://www.dgayeski.com/omninteg.html> 47 Grewal, Dhruv and Michael Levy. Marketing. 2008. McGraw-Hill Publishing. 30 In order for IMC strategy to be successful, brands “must deliver the right message, to the right audience through the right media.” 48 Furthermore, its execution must follow a strategic blueprint that outlines each step of the process. For example, a new product launched in today’s digital platform might build consumer hype through online public relations, then make the big announcement by way of an event, followed by the launch of an advertising campaign. Then, communication efforts might continue to build buzz through guerilla tactics and other special events. 49 Mariam Beruchashvili, PhD, professor of marketing at California State University, Northridge, says, “IMC allows a more targeted approach [that uses] each communication tool to accomplish what it can do best, and simultaneously, contribute to the company's overall, ‘holistic’ goal for a particular IMC campaign.” 50 However, an IMC plan alone is not enough to guarantee that the various disciplines correlate to work together. Beruchashvili cites the lack of research and/or research analysis as the main barrier preventing a fully unified approach. “The message has to resonate with the recipient in a simple, yet meaningful way. For that to happen, the message has to be drawn from an authentic, veridical, and verifiable human experience.” 51 Communication practitioners have the 48 Grewal, Dhruv and Michael Levy. Marketing. 2008. McGraw-Hill Publishing. 49 Harris, Thomas L. “How MPR Adds Value to Integrated Communications.” Public Relations Quarterly. Summer 1993. Vol 38, Issue 2. 50 Beruchashvili, Mariam PhD (Professor of Marketing, California State University, Northridge). Email Interview. 11 March 2010. 51 Beruchashvili, Mariam PhD (Professor of Marketing, California State University, Northridge). Email Interview. 11 March 2010. 31 opportunity to ensure that social media (through its various interactive features) provides IMC with the “simple, yet meaningful” platform to communicate with the target audience (assuming that audience is online). Messaging has the potential to be perceived as being “drawn from an authentic…experience” if the campaign takes on a viral form and people are doing the work for the brand by sharing the information with their online social networks. Noricks of Red Door Interactive makes it clear that, “social media [projects] should not exist alone – [they] should always be part of a larger, integrated marketing strategy.” 52 She believes that not using social media as a part of a larger IMC strategy means setting up for failure. Macias of Terra reiterates Crosby’s reasoning and makes a closer connection between social media and IMC. He says, “Social media will become the main player that will help to get other types of communication and marketing strategies to the final user.” 53 Le Veque of the Rogers Group also sees this as a possibility, adding that social media can serve as the link that forces the various elements of IMC to function as one. “What I have seen, read and believe is that the communication silos [that lead some integrated campaigns to fall short] are less valid today because social media and digital communications place a high level of importance on coordination and integration across disciplines.” 54 Understanding this encourages 52 Noricks, Crosby (Social Media Strategist at Red Door Interactive and PRCouture.com Founder and Blogger). Email Interview. 1 March 2010. 53 Macias, Carlos (Senior Internet Content Producer, Terra Networks). Email Interview. 25 March 2010. 54 Le Veque, Matthew (Director of Digital Strategies, The Rogers Group). Personal Interview. 4 February 2010. 32 streamlined content that reinforces key messages evenly across the involved disciplines 33 CHAPTER EIGHT: SUPPORTING INFORMATION Fashion companies are not the only organizations taking advantage of the major opportunity presented by social media. Corporate America is experimenting with social media in order to gain brand recognition, secure brand loyalty and ultimately make a positive impact on revenues. In 2009, United Airlines found a way to fill empty seats by offering last- minute deals exclusively to its Twitter followers on both domestic and international flights. Kraft Foods launched its iFood Assistant mobile application and, to its senior management’s surprise, have managed to gain access to men; an audience they have previously struggled to reach. 55 Macias points out that, “For new brands, [social media] is the cheapest and most effective way to get [the brand’s] name and concept out there.” He said that while established organizations also benefit from its low cost they might be more interested in the opportunity it presents to reach a new set of consumers. 56 55 Ginsburg, Monica. “Fortune 500 Companies Using Social Media to Reach Consumers.” Chicago Business. 4 January 2010. <http://www.chicagobusiness.com/cgi- bin/printStory.pl?article_id=32875> 56 Macias, Carlos (Senior Internet Content Producer, Terra Networks). Email Interview. 25 March 2010. 34 CHAPTER NINE: METHOD Primary and secondary research was conducted to build a foundation of information, which led to a better understanding of essential principles that make up the industries of social media, IMC and fashion. This information was used accordingly to define terms, formulate summaries, explain concepts and strengthen ideas. Furthermore, the research led to formulating conclusions and contributing recommendations. Primary Research Due to the nature of this study and the content necessary to be accumulated, it was determined that online, secondary research would deliver the most relevant and up-to-date results. However, in an effort to provide insightful commentary to the research findings, professionals from relevant disciplines were contacted for comments. Primary research was gathered through interviews conducted in-person and through digital correspondence with social media and IMC experts. Key professionals in the fashion industry who are involved with social media projects were interviewed. Finally, social media contributors with a fashion emphasis were contacted for comments as well. 35 Secondary Research Secondary research was conducted mostly online but also through print publications including industry trades, both fashion and communication, and newspapers. Because social media is a continuously evolving and young technology, one of the most challenging aspects was to compile the most current information available. Meaning that by the time books are published on the subject of social media, they are already outdated and sometimes irrelevant. Therefore, the Internet had the most current information available. Research on the World Wide Web, however, presents a new set of challenges. It was imperative to break through the clutter of opinion-based information to find factual articles from accredited sources. 36 CHAPTER TEN: CASE STUDIES Figure 2: Art of the Trench Banner Burberry ,Founded in 1857, Burberry is a British luxury fashion house that sells clothing, fragrances and other fashion accessories. It began as the premier manufacturer of outdoor attire. 57 However, between the 1970s and 1990s, the brand became popular among British football cults leading it to be associated with hooligans and the thug culture. The brand suffered but has since re- launched itself. Today, it has regained its position as one of the world’s leading fashion houses. Its distinctive tartan pattern is one of the most copied trademarks in the world. 58 In recent reports, Burberry has been described as the fashion industry’s leader when it comes to social media efforts. Christopher Bailey, the company’s chief creative officer, in December 2009 told Women’s Wear Daily, “The Internet and social media allow you to add all these extra dimensions [to your brand].” 57 Burberry Official Web Site. Corporate Profile: Overview. 7 March 2010. <http://www.burberryplc.com/bbry/corporateprofile/overview/> 58 McDougall, Liam. “Burberry Tries to Kill Off Traditional Tartan Rival Fashion Giant.” The Sunday Herald. 18 May 2003. <http://findarticles.com/p/articles/mi_qn4156/is_20030518/ai_n12582587/> 37 The dimensions he refers to include capturing exclusive footage at private events with various media and presenting it to consumers complete with audio and graphics that are synonymous to the brand. “[This] gives [people] a much broader insight into the brand and how we are thinking. You get the emotion behind the clothes because you can elaborate on the story and the people behind it,” he adds. 59 Perhaps Burberry’s most notable accomplishment in the area of social media is the establishment of its own social network. Artofthetrench.com is a social networking site that, at first glance, seems like a collection of portraits of ordinary people that were taken on the street. However, from a communications standpoint, it represents much more. The Web site serves as place where consumers can engage with the brand as well as other Burberry enthusiasts. Participants can create profiles, vote for their favorite photos and leave comments or personal testimonials. Perhaps the most valuable attribute of this site is allowing users to upload pictures of themselves in Burberry products for the world to see. Not only does this create a direct bond with the brand, it also allows them to share the link with their online networks, which is correspondingly how a brand’s online network grows. For this project, Burberry teamed with popular blogger Scott Schuman of The Sartorialist blog. It was a perfect partnership because Schuman had built up his reputation from his ability to spot fashionable people on the street. This 59 Socha, Miles. “Fashion Brands Seek Control In Social Media Boom.” Women’s Wear Daily. 14 December 2009. <http://www.wwd.com/business-news/fashion-brands-seek-control-in-social- media-boom-2394948?navSection=packageandnavId=2394057> 38 demonstrates that Burberry is paying attention to the blogosphere and finding ways to engage with bloggers and involve them with the brand. Burberry’s Bailey has said that the company often consults with bloggers on social media projects. 60 Burberry’s Facebook fan page is simple, yet captures the essence of a company that wants to connect with its consumers. Its wall posts are filled with the company’s latest news, exclusive teases of up-and-coming events and campaign shoots. One of the early successes of this project was the live streaming of the label's spring/summer 2010 fashion show, which was seen by 700,000 Facebook fans. 61 Burberry is also one of the few fashion brands to establish a presence on YouTube. Its YouTube channel, which has been around since November 2005, boasts fashion shows and behind-the-scene footage. The fashion house does a great job of offering one-of-a-kind interviews with models, who sometimes end up being celebrities such as Emma Watson. Additionally, the brand sends updates and announcements to its consumers in video format that come directly from the chief creative officer himself. This is an effective technique because it creates the perception that Burberry has an open-door-policy, unlike the traditional behind- closed-doors perception of the fashion business. It gives customers access to key people at the company, which makes them feel valued by the brand. 60 Socha, Miles. “Fashion Brands Seek Control In Social Media Boom.” Women’s Wear Daily. 14 December 2009. <http://www.wwd.com/business-news/fashion-brands-seek-control-in-social- media-boom-2394948?navSection=packageandnavId=2394057> 61 Foster, Kimberly. “Burberry To Unveil New Social Network Web Sites.” CatwalkQueen.com. 9 November 2009. <http://www.catwalkqueen.tv/2009/11/burberry_to_unv.html> 39 The company’s Twitter page is a further extension of its tone and tenor; it contains all the elements necessary to communicate with its consumer base. Posts on Twitter link back to the company’s Web site, Facebook fan page, YouTube channel and Art of the Trench network. The brand could use its Twitter page to engage with followers directly by replying to their posts and adding a human voice to its Twitter handle. Burberry is undoubtedly a brand that understands social media and wants to evolve with, if not lead, social media developments. Burberry marketers do a great job of bridging the available networks such as YouTube, Facebook and Twitter, without seeming repetitive. Furthermore, they have done an extraordinary job of launching their own online social network. Art of the Trench helps to prove that if brands adapt to new technologies, people will follow. Lucian James, founder and creative director of the strategic consulting agency Agenda Inc., told Women’s Wear Daily that Burberry’s Art of the Trench network is “the exciting idea of the day,” and he believes other brands are sure to replicate it. 40 Figure 3: Threadless Logo Threadless Threadless is one of the first apparel companies to successfully build a business model that is entirely based around social media. It is self-described as a “community-centered online apparel store.” Based in Chicago, Threadless was founded by Jake Nickell and Jacob DeHart in 2000. Members of the Threadless community submit t-shirt designs; those designs are narrowed down and put on the company’s Web site where other community members vote for their favorites. The most popular styles are printed and sold through the online store. Creators of the winning designs are rewarded $400 in cash and a $140 Threadless gift card. 62 While the company started printing designs on Fruit of the Loom and American Apparel t-shirts, in 2006 it announced the launch of its own t-shirt brand. According to a post on the company’s blog, this new style of t-shirt would take the best attributes from both t-shirt manufacturers and create a better one. 63 62 Threadless Official Web Site. “Threadless.com: The History.” Threadless Blogs. 6 June 2007. <http://www.threadless.com/profile/1/skaw/blog/227766/Threadless_com_The_History> 63 Threadless Official Web Site. “Exciting News About The Tees We Print On!” Threadless News. 21 November 2006. <http://www.threadless.com/news/88235/EXCITING_NEWS_ABOUT_THE_TEES_WE_PRINT_ ON> 41 This case is important to the world of luxury apparel because it reinforces the fact that encouraging consumer involvement through social media can prove to be profitable. However, the use of social media must be done strategically. Bob Nanna of Threadless told the ReadWriteWeb.com blog that although Threadless is an online social network, it was important for the company to leave the boundaries of its own network and proactively bond with its consumers where they hang out, on other SNS. 64 One of Threadless’ recent notable projects is its partnership with Twitter to form the online community, Tweets On Tees (TonT). This has allowed Threadless to use its Twitter page as more than just a different outlet to repost communications. The Threadless Twitter handle serves as an entirely new business platform for its TonT project. Similar to its original concept, users can submit text phrases via Twitter they believe are worthy of being printed on a t- shirt. Then, followers can rate their favorite shirts and the ones with the highest votes will be made available for sale. Creators of the winning ideas also are awarded the cash and gift card prize. 65 Threadless has set up a YouTube-like video area as a part of its main Web site that incorporates some reality television features. The project is called Threadless Tee-V. Threadless Tee-V is nothing more than the random thoughts 64 O’Dell, Jolie. “Video: Threadless on Building ‘Brand Love’ Through Social Media.” ReadWriteWeb.com. 12 May 2009. <http://www.readwriteweb.com/archives/video_threadless_on_building_brand_love_through_so.p hp> 65 Van Grove, Jennifer. “Twitter Tees: Twitter Launches Official Threadless T-Shirt Store.” Mashable.com. May 2009. <http://mashable.com/2009/05/19/twitter-tees-by-threadless/> 42 of employees Charlie Festa and Craig Shimala. It is an effective project because it brings Threadless consumers inside the company’s headquarters but also provides a visual opportunity to discuss new projects instead of simply posting text announcements. A recent Threadless promotional stunt serves as a reminder that social media can prove to be too successful. During its 9/9/09 promotion, Threadless offered all t-shirts on sale for only $9. This led to an influx of people visiting its Web site at the same time, which caused its server to overload and crash. As a result, thousands of shoppers where presented with a “site down for maintenance” page right as they were completing purchases. In an effort to make up for the damage, Threadless extended the sale an extra day. However, this serves as a great demonstration, it is best to invest the extra time and funds to avoid server overloads during an online promotional event. 66 Overall, Threadless has done an excellent job of conducting online promotional events that keep customers engaged and returning. Every Thursday, for instance, Threadless customers can tune in for the opportunity to win a prize that is determined with the spin of a wheel. Threadless films the spin and immediately post’s the video online as a way to announce the winner. This nearly live promotion does not end there, Threadless employees then communicate with people who make comments about the promotion for a chance to win more 66 Jonathan Crossfield. “Social Media: Threadless Fall Victim to Their Own Success.” Atomik Soapbox Web Site. 10 September 2009. <http://www.atomiksoapbox.com/2009/09/threadless- fall-victim-to-success.html> 43 prizes. These types of somewhat mindless promotional events give consumers a reason to come back and talk about the experience with their networks. While fashion retailers cannot simply apply these proven promotions to their own brands’ social networks, they can learn and adapt the procedures in order to develop their own. Threadless proves that social media can help fashion businesses reach new audiences. Whereas traditional apparel companies have evolved from opening retail stores to e-commerce and social media, Threadless has gone from being a solely Internet-based and social media company to becoming a significant retail competitor. In September 2007, Threadless opened its first retail store in Chicago, where the company teaches t-shirt design and sells t-shirts. 67 67 McCarthy, Caroline. “Threadless To Open Chicago Retail Store In September.” CNET News. 6 August 2007. <http://news.cnet.com/8301-13577_3-9755674-36.html> 44 CHAPTER ELEVEN: MOST INFLUENTIAL Most Influential Social Media Outlets in Fashion The following is a compilation of the most influential social media sites and pages that have recently surfaced and gained popularity among fashionistas from around the world as well as some social media and communication professionals. These social media Web sites and pages are highlighted due to their successful executions of communication principles when it comes to engaging with the individuals that make up their networks. Constructive criticism is provided wherever appropriate. Social media aggregator sites are highlighted to serve as resources for communication professionals planning to embark on social media projects. Notable Fashion Blogs Figure 4: TheSartorialist.com Blog Banner http://thesartorialist.blogspot.com/ Created by Scott Schuman in 2005, The Sartorialist has been named one of the most influential forces in design by Time Magazine. The blog highlights everyday fashionable people on the street. The format could not be any more simple: Schuman, a New Yorker, travels the world with camera in-hand and 45 shoots portraits of well-dressed individuals including fashion insiders such as the editor of French Vogue. It is his impeccable eye for style that turns everyday people on the street into trendy fashion models. As a result of his rise in popularity, Schuman has shot advertising campaigns for DKNY and has even modeled for Gap. His site attracts more than 70,000 readers a day. 68 The blog’s simplistic style allows readers to focus on the fashion and the creative people behind it. Since the images are mostly shot as portraits of people at random, it provides a quick glimpse of people’s fashion creativity and allows readers to browse the trends around the world. Perhaps this blog has become so popular because it is satisfying to see other people who appreciate fashion in their everyday lives. Figure 5: StyleBubble.com Blog Banner http://stylebubble.typepad.com/ 68 Waldron, Glenn. “20 Best Fashion Blogs.” Telegraph.co.uk. 8 October 2009. <http://www.telegraph.co.uk/fashion/6271935/20-best-fashion-blogs.html> 46 Susanna Lau, better known as Susie Bubble, started her online diary in March 2006. On her blog, Lau discusses what she wears and why. She is known for coming home from shopping to play dress up and offering her thoughts about general fashion topics, including other bloggers. The tone of her blog, described as “contagiously entertaining” by UK’s Telegraph, attracts 20,000 hits per day. In addition to continuing to produce content for her blog, Lau now also contributes to Dazed & Confused online and attends Chanel fashion shows front-row. 69 This Web site is enticing because Lau’s tone allows readers to vicariously live her day-to-day love for fashion. What fashion fanatic would not love to play with clothes from the most fabulous fashion designers and then boast about it online? Lau’s readers seem very engaged, and at times even make suggestions of how she could put together an outfit differently. Most posts, however, praise Lau on her impeccable taste. Figure 6: BryanBoy.com Blog Banner http://www.bryanboy.com/ Bryan Boy, a 22 year-old from Manila, Philippines, has become a major player in the fashion industry, though from reading his blog he sounds more like 69 Waldron, Glenn. “20 Best Fashion Blogs.” Telegraph.co.uk. 8 October 2009. <http://www.telegraph.co.uk/fashion/6271935/20-best-fashion-blogs.html> 47 a fashion-obsessed teenager who dreams of next seasons’ fashions. Today, Bryan Boy is flown around the world on all-expense paid trips to meet with designers like Dolce & Gabbana and attend the most exclusive fashion shows front-row. Marc Jacobs even named a Louis Vuitton bag after the blogger. 70 My favorite characteristic about Bryan Boy is that he is passionate about fashion and he is not afraid to show it. His blog is equipped with all types of mechanisms that allow his readers to engage with him. For example, a sidebar titled, “Love is an Addictive Drug” encourages readers to send images of themselves holding up signs that convey their love for the blogger. Most people featured in this section are fashion industry insiders, models and even designers. Figure 7: Marc Jacobs: I Love You Bryan Boy Image: Marc Jacobs, backstage during his Fall/Winter 2008 fashion show, holding a note demonstrating his affection for blogger Bryan Boy. 71 70 Waldron, Glenn. “20 Best Fashion Blogs.” Telegraph.co.uk. 8 October 2009. <http://www.telegraph.co.uk/fashion/6271935/20-best-fashion-blogs.html> 71 Image Source: BryanBoy.com Homepage. 48 Additionally, Bryan Boy has a Google-sponsored application that allows readers to leave him a free voicemail, some of which are featured on his blog posts. The Manila-based blogger excessively tweets at times, which might be frowned upon by people who already find it difficult to manage their tweets. The only exception to this rule is while covering live events via Twitter. However, Bryan Boy seems to enjoy dragging out what could be said with one post, into five short posts that happen consecutively. Figure 8: CatwalkQueen.com Blog Banner http://www.catwalkqueen.tv/ London College of Fashion student Gemma Cartwright created Catwalk Queen when there were very few fashion blogs. Today, Cartwright’s project blog attracts more readers per day than Vogue’s Web site. The fashion student- turned-online-fashion-expert covers celebrity style gossip, promotes secret sample sales and spreads the word on exclusive fashion collaborations. This site also incorporates video content via its YouTube channel. Catwalk Queen is part of Aigua Media, a network of blogazines for fashionistas. Catwalk Queen has become the source for entertainment news in the fashion industry. Considering that fashion and entertainment go hand-in-hand, Cartwright has become an authority on style and entertainment gossip. 49 Notable Twitter Pages Figure 9: WWD Twitter Banner http://twitter.com/WomensWearDaily Number of followers: Approximately 1,612,909 as of March 2010 Women’s Wear Daily (WWD) is a fashion trade publication that was established in 1910, although it did not rise to its current prominence until the 1950s and ‘60s. The New York Times has described WWD as “the bible of fashion”. 72 Through its Twitter page, this industry-trade journal offers news updates and provides its followers with insider information into the world of fashion. It frequently provides links to articles on its Web sites but has also provided real-time reports from industry events that include exclusive fashion shows and after parties. Posts often take on a positive tone; they refrain from critiquing the subjects or organizations being covered. Instead, they focus on praise and gratitude. WWD contributors keep it strictly business. They do not use the reply feature (@) that allows them to connect with its readers directly. There is not much proof of engagement from followers on its page. This Twitter handle makes it very clear that there is a company behind it, instead of a human. That is not 72 Horyn, Cathy. “The Media Business; Breaking Fashion News With a Provocative Edge.” The New York Times. 20 August 1999. <http://www.nytimes.com/1999/08/20/business/the-media- business-breaking-fashion-news-with-a-provocative-edge.html> 50 always a bad thing; it is possible that it defines success for WWD. It is important to remember that success is not measured equally for all brands using social media. Figure 10: LV Twitter Page Banner http://twitter.com/LouisVuitton_US Number of followers: Approximately 81,795 as of March 2010 Louis Vuitton is one of the most recognized brands in the world. Founded in 1854 in France, it specializes in trucks, leather goods, apparel, jewelry and accessories. 73 Louis Vuitton is the ultimate symbol of prestige and wealth. Like most fashion brands on Twitter, Louis Vuitton marketers tweet about news stories, celebrities wearing their clothing and company updates. Additionally, the Twitter feed offers customers previews of the company’s latest fashions and behind the scenes photos. Something that sets the Louis Vuitton Twitter handle apart is its “LV Heritage Tweet,” which allows the company to educate it followers about the history of the brand. 73 LVMH Official Web Site. Fashion and Leather Goods: Louis Vuitton. March 2010. <http://www.lvmh.com/groupe/pg_societe.asp?str_table_1=societe&andsecteur=1&andrub=3&an dsrub=2> 51 While Louis Vuitton officials are conservative in their social media efforts, they are still ahead of some of their competitors. The brand’s Heritage Tweets deserve particular praise; however, the idea is not being executed effectively. For example, many of its “historical” tweets only date back a few years. This makes it seem like the company has run out of truly historical facts that date back to its inception. Presenting exciting facts that are older than many of its followers could add a new level of legacy to the brand and might actually cause engagement from more followers who are dumbfounded by the history of the company. Figure 11: The Moment Twitter Banner http://twitter.com/themoment Number of followers: Approximately 1,591,299 as of March 2010 Self-described as a place “where style meets culture,” The New York Times fashion blog’s Twitter handle, The Moment, keeps its readers connected on who’s who in the fashion industry. Contributors to the Twitter page, who are assumed to be the same people who contribute to the blog, provide commentary on the latest fashions and sporadically give readers an update of where they are having lunch and what retail store can be found nearby. This Twitter page is proof that if traditional publications like The New York Times can evolve to incorporate new media platforms, its readers will follow. 52 Also, this presents the opportunity to reach a new demographic. The Moment’s Twitter page rarely links to its blog, which is odd. Instead of mostly using applications like TwitPic, they should host more images on their blog. Although applications such as TwitPic are highly convenient when contributions are made via mobile phones, by not hosting some images on their Web site they are missing a great opportunity to generate traffic. Figure 12: InStyle Twitter Banner http://twitter.com/InStyle Number of followers: Approximately 1,613,781 as of March 2010 InStyle is a monthly woman’s fashion magazine. Launched in 1994, it currently has a circulation of 1.7 million. 74 InStyle, which has been among the most popular magazines on Twitter, reports that it was the first consumer fashion brand to break 1 million followers. InStyle’s Twitter page encourages its followers to rate celebrity styles and comment on their best-dressed picks from recent award shows. Another way they engage followers is by hosting contests and giving away swag. When it broke 1 million followers, the magazine gave away 74 Ashish. “History of Top Fashion Magazines of the World.” OutofBox.com. 10 May 2009. <http://www.outofbox.in/history-of-top-9-fashion-magazines-of-the-world/> 53 more than 200 pieces of swag from popular retailers like Victoria’s Secret over a three-day period. 75 InStyle always links back to its main Web site, which helps increase its Web page traffic. However, they loose that “behind-the-scenes,” “at-the-moment” experience because it is clear that the photos are taken by professional photographers instead of a person with a mobile phone. They should make an effort to have a balance of professional photos, in addition to at-the-moment mobile uploads. They do not reply directly to followers, but they use the reply feature (@) to link to celebrity Twitter handles when they are mentioned in the content. Like the Women’s Wear Daily Twitter page, it is clear to followers that a department within a corporation is behind the posts rather than a human personality. To some it may not seem personalized enough but, in this case, it does not seem to negatively affect InStyle’s number of followers considering they are one of the most followed fashion brands on Twitter. 75 Smith, Steve. “InStyle Rewards Its Twitter Throngs.” MIN Online. 10 September 2009. <http://www.minonline.com/news/12097.html> 54 Notable Facebook Fan Pages Figure 13: Victoria’s Secret FB Fan Page Wall http://www.facebook.com/victoriassecret Number of followers: Approximately 3,060,300 as of March 2010 The Victoria’s Secret Facebook page gives fans of the brand access to exclusive videos, photos, insider tips, events, promotions and more. Most recently, the fan page held casting calls to find Victoria’s Secret’s next model and gave followers a chance become part of the selection process by voting for their favorite women. Additionally, in December 2009, the brand live-streamed its annual fashion show on its Facebook page for the first time. Victoria’s Secret is definitely one of the retail fashion brands that appreciate social media. It is interesting that Victoria’s Secret has two of the six most popular fan pages on Facebook. Victoria’s Secret PINK is the sister-site targeted to a younger demographic. Both sites feature customized tabs that allow 55 readers to further engage with the brand. They conduct regular promotions around the holidays and other special occasions. Victoria’s Secret fan pages are equipped with photos, videos, event listings and discussion boards. They have found ways to bring elements from popular reality shows like “America’s Next Top Model” to benefit their online community. Having customers vote for the brand’s next spokeswoman on its SNS is much less expensive than having to produce its own television show. It creates buzz to support its next advertising campaign, which will feature the winning model. Figure 14: Zara’s FB Fan Page Wall http://www.facebook.com/Zara Number of followers: Approximately 2,193,897 as of March 2010 56 Zara is a Spanish retail chain that is known for “fast fashion,” a term used to describe its ability to develop a new design and get it into its stores within two weeks. 76 Zara’s Facebook page provides the bare essentials such as company news updates, exclusive access to photo shoots and events though images, videos and promotional notices. The company offers all posts in both English and Spanish. Zara’s Facebook fan page does not represent a brand that entirely comprehends social media. Its high number of fans, however, makes it clear that people want to show support and are willing to connect with the brand. The company recently launched a smartphone application, which serves more like a look book than a place for customers to interact with the brand and to purchase products. This is an area where Zara is missing the mark. Sometimes brands join social network sites because they feel like they have to. This seems to be the case with Zara’s social media projects. Launching social media projects without strategic vision and solid tactics can be a disservice to the brand’s image. Just like people enjoy reporting on companies that are doing stellar jobs within social media, they will also highlight brands that are doing poorly. Therefore, Zara needs to react quickly and develop a meticulous social media plan that addresses the areas they are failing to take advantage of. 76 Tiplady, Rachel. “Zara: Taking the Lead in Fast-Fashion.” BusinessWeek.com. 4 April 2006. <http://www.businessweek.com/globalbiz/content/apr2006/gb20060404_167078.htm?chan=innov ation_branding_brand+profiles> 57 Figure 15: Ray-Ban FB Fan Page Wall http://www.facebook.com/RayBan Number of followers: Approximately 836,323 as of March 2010 Founded in 1937, Ray-Ban has become a global leader in premium sunglasses and the best-selling eyewear brand in the world. Its most recognized trademark is the aviator-style sunglasses. 77 The brand’s Facebook fan page is packed with user-uploaded photos of themselves in Ray-Ban sunglasses. The page even hosts discussions on topics ranging from how to find replacement parts to favorite styles. Ray-Ban seems to be mostly hands-off with the Facebook fan page. Its page format is void of any customized features. The consumer feedback seems to consistently remain positive. As a result of such positive feedback, it would 77 Ray-Ban Official Web Site. Ray-Ban History. March 2010. <http://www.ray- ban.com/usa/neverhide/events/history/> 58 behoove Ray-Ban to invest some time into finding new ways of interacting with its fans and subsequently their networks. Notable eCommerce Web Sites Figure 16: Net-A-Porter Homepage Banner http://www.net-a-porter.com/ Launched in June 2000, Net-A-Porter is a premier online luxury fashion retailer for women. The Web site is famous for its simple presentation of the products, which are laid-out very much like a clutter-free artsy fashion magazine. Net-A-Porter offers its more than 1.8 million visitors per month access to the season’s hottest looks from international cutting-edge labels across the world. The site updates content and products weekly. 78 The Web site seems extremely user-friendly. Product images are simple and they encompass fashion advertisement characteristics. Product browsing categories include style, price, fabric, color or designer. They offer a great selection of high-end designers, at incredibly low prices. Its Facebook fan page, which seems quite comprehensive, does not seem to attract too many people with only 31,147 fans. 78 Net-A-Porter Official Web Site. About Us: Our Business. March 2010 <http://www.net-a- porter.com/About-Us/Our-Company> 59 Figure 17: Yoox Homepage Banner http://www.yoox.com/ Established in Italy in 2000, Yoox.com is a virtual boutique with multi- brand fashions and designs. Due to its relationship with designers, manufacturers and authorized dealers, Yoox.com offers rare and innovative designs that are hard to find in traditional shops. The site takes pride in providing a creative space where its consumers can play with ideas, products and colors to discover their unique styles. Yoox.com creates an emotional shopping experience where cyberspace meets the human dimension. The Y and X in Yoox identify the male and female chromosomes in its customers. 79 As far as an all-inclusive online fashion retailer, Yoox is it. It brings that same all-inclusive approach when it comes to social media efforts. Yoox manages a blog titled The New Yooxer, which offers sporadic coverage of the fashion industry, specifically its partner brands. Additionally, their Twitter page features continuous links back to articles on the retail site, which has a positive effect on the traffic flow to its Web site. Its Facebook fan page, while not innovative, goes above the bare essentials. All social media features come together smoothly on a Web page, which is accessible through Yoox’s homepage. It even incorporates other features such as YooxTube, a YouTube-like space for videos, and YTunes, an iTunes-like area 79 Yoox.com Official Web Site. About. March 2010. <http://www.yooxgroup.com/en/yoox.asp> 60 for music appreciation. The only recommendation is that Yoox should be more active and consistent when it comes to posting content. For instance, sometimes posts are made one after the other on the same day while other times weeks go by without posts. If an organization is not constantly maintaining its site, it does not give visitors a reason to return frequently. Figure 18: Zappos Homepage Banner http://www.zappos.com/ Zappos, derived from the Spanish word zapatos (shoes), started as an online shoe store in 1999. It has gone from grossing “almost nothing” that year to more than $1 billion in 2008. Since launching, it has expanded its business to include all apparel for men, women and children. 80 In July 2009, Amazon acquired Zappos for $1.2 billion and since then it has become the Amazon of online fashion retailing. 81 Given that the company has posted its Twitter page on its own Web site shows that Zappos has completely embraced social media. The company has even dared to display the tweets of its nearly 500 employees on its site. This is a brave move considering that there is a great deal of apprehension by companies 80 Zappos Official Web Site. About Us: The Zappos Story. March 2010. <http://about.zappos.com/zappos-story/in-the-beginning-let-there-be-shoes> 81 Lacy, Sarah. “Amazon Buys Zappos: The Price is $928m., Not $847m.” TechCrunch Web Site. 22 July 2009. <http://techcrunch.com/2009/07/22/amazon-buys-zappos/> 61 to completely embrace Twitter as a part of the day-to-day business structure. The biggest worry is that inappropriate content will find its way to consumers, bloggers or the mainstream media. However, Zappos even organizes all brand mentions from Twitter and displays them on its Web site. While it is true that negative comments could end up in the eyes of other customers, Zappos see’s this as an opportunity to publicly address those complaints. Customers like transparency and Zappos is willing to provide them with that. Niche Fashion Web Sites Figure 19: Polyvore Homepage Banner http://www.polyvore.com/ Polyvore is a web-based application that allows users to mix and match pictures of garments from any online store and create unique and stylish outfits or collages online. In short, Polyvore is a virtual closet that brings together fashion and creativity, while offering its mostly female users some playtime. Once sets and outfits have been created, they can easily be shared with networks of friends. The Web site’s popularity has led it to expand and include home decor in addition to other areas of design. Polyvore shares some of the collages through its blog and its Twitter handle. Its blog also holds fun promotional events like, “Dress a Friend Fridays.” 62 This creates an opportunity for Polyvore users to involve their friends, thus enlarging its network of contributing artists. Polyvore does a great job of engaging with its Twitter followers. Its Twitter feed incorporates fashion news, promotional giveaways and posts numerous links back to its Web site. Figure 20: Rue La La Homepage Banner http://www.ruelala.com/ Rue La La is an exclusive, invitation-only online retailer of premier-brands that conducts short-term sales. The idea is that members shape the community that shops alongside them. Rue La La also has fully embraced social media. In addition to its e-commerce Web site, the brand has a Facebook fan page and a Twitter page that constantly keep its community of shoppers informed. Rue La La has incorporated another level of consumer interaction by partnering with Bravo’s reality television show Launch My Line. The winner’s collection will be exclusively sold on the Rue La La. It is safe to say that that the e-commerce site is doing well considering that RCI, the company that operates Rue La La, was just sold for an estimated $180 million. 63 Figure 21: Who What Wear Homepage Banner http://www.whowhatwear.com/ Who What Wear is a fashion magazine, celebrity blog and online store; all in one. It is also a Web site that embraces social media entirely. Its success is closely attributed to the fact that its business model is mostly based on social media. Its section, “Ask A Stylist,” allows consumers to submit style-related questions, which could be answered by a professional stylist and then end up on the Web site as a video report. The majority of WhoWhatWear’s Twitter posts are responses to tweets from its followers. This proves that the organization has made it a priority to engage directly with its customers. It is important for smaller businesses, specifically those with business model entirely based on social media, to have a human voice and engage with followers. Additionally, retweeting can prove to be useful for businesses that are primarily Internet-based. It allows the company to post content on its site that is automatically attributed to someone else, and subsequently engages with that follower and possibly their network. Retweeting should not be performed instead of direct replys, but in addition to. 64 Resourceful Social Media Web Sites Figure 22: HootSuite Logo http://hootsuite.com/ HootSuite is a third-party Twitter application that allows users to manage tweeting for one or more accounts at a time. Users can combine their multiple Twitter accounts and customize the dashboard to provide quick access to the most important feeds and topics. Its features allow users to manage streams, prioritize followers and develop embeddable columns that can be posted on blogs and other Web sites. It is particularly useful to practitioners that manage Twitter accounts for multiple clients. HootSuite has a keyword-tracking feature that allows brands to monitor all mentions on Twitter. Finally, it features a summary of statistics page that makes it easy to quantify the activities taking place on each Twitter handle. HootSuite is a Twitter exclusive program that does not support Facebook and other SNS. 65 Figure 23: TweetDeck Logo http://www.tweetdeck.com/ TweetDeck is a browser that allows individuals to bring together multiple social networking accounts in one place and manage the people in their networks. This browser offers real-time updates from Twitter, Facebook, LinkedIn and MySpace. Users can interact with their various networks while only having to log in to one account. TweetDeck allows users to customize their pages making it easy to stay organized and connected with friends. This application is free and also includes a mobile application. TweetDeck is a good application that is simple to use and can easily be customized. With the simple click of a button users are able to update one or all statuses on their various networks. Photos and links can be posted by simply dragging them to the status bar; TweetDeck automatically shortens links. Its closest competitor is Twhirl (twhirl.com). Nambu (nambu.com) is a similar application that combines the best of both TweetDeck and Twhirl. Currently, Nambu is only available for Apple users. 66 Figure 24: TweetStat Twitter Banner http://www.twitstat.com/twitterclientusers.html TwitStat lists the top twitter applications under its Twitter Client Users section. The list of most popular clients is based on usage from all active Twitter accounts. In addition to identifying the most popular, it serves as a great way to find and explore new Twitter applications. TwitStat even breaks down the percentage of individuals utilizing each application. Figure 25: Tumblr Logo http://www.tumblr.com/ Tumblr is a Web site that makes it extremely easy to become a blogger. This short-form blog has traditional blog features that allow users to upload text, images, video, links, quotes and audio. Essentially, it provides the best of Blogger, Facebook, Twitter and Flickr. Perhaps the most inviting aspect is that it has made it extremely easy to constantly make new posts. Images and videos can be posted to one’s account by simply emailing information to a unique email 67 address that automatically links to the account. Audio messages can be shared by calling a toll-free number to record a message that will automatically be posted the specified blog. Users can even make posts using instant messenger. In addition to being easy to use, Tumblr makes it possible to customize one’s blog. It offers a variety of templates to uniquely layout the blog’s homepage. Tumblr provides users with HTML code that allows them to share their blog’s RSS feed with most SNS. It also makes it easy to compose posts for multiple SNS simultaneously. Tumblr is an excellent site for people who are interested in blogging, but do not have the time to commit to regular in-depth posts. 68 CHAPTER TWELVE: RECOMMENDATIONS Best Practices The following is a summary of the 12 Best Practices that public relations practitioners and communicators should follow when becoming involved with social media efforts: 1. DO NOT engage in social media blindly; it is not for all brands. INSTEAD, clearly define the target audience and prepare strategies to reach them, which may or may not include a comprehensive social media strategy. 2. DO NOT promise something that cannot be delivered because social media cannot be controlled. INSTEAD, avoid numbers; focus on the quality of interaction, not quantity. Determine clear objectives and identify the best way to measure the specific brand’s success. 3. DO NOT use social media as an outlet store to move old merchandise. INSTEAD, use it as a platform to engage with consumers; limiting promotional activity will cause a greater deal of buzz when it occurs. 4. DO NOT use social media as a forum for self-promotion. INSTEAD, become a resource and strategically incorporate news about the brand in online communication that coincides with industry news. 5. DO NOT use social media as an extension of the company’s newsletter. INSTEAD, adapt a human tone, specifically developing brands, and offer informal insight on company information that readers would otherwise not be exposed to. 69 6. DO NOT view different social network sites as an opportunity to express different “personalities” of the brand. INSTEAD, keep communication consistent; share different information, on different platforms while ensuring that it coincides with the overarching tone of the brand. The same applies to online versus offline communication. 7. DO NOT post information impulsively. INSTEAD, ensure if information would be sent out as a company-wide memorandum, it would be appropriate for all stakeholders. This includes carefully watching for grammar, spelling and punctuation errors. 8. DO NOT seek individuals with an extensive network simply to benefit from the expansion of the brands online social network. INSTEAD, determine what industry influencers are important to the brand and engage those influencers on a public spectrum; find creative ways to incorporate brand messaging through these interactions. Allow network growth to fall into place. 9. DO NOT sit back and relax, even if everything seems to be going well. INSTEAD, find ways to leverage new opportunities. Ask questions and get to know individuals in the brands network; track how people are engaging with the brand. 10. DO NOT get too involved with today’s relevance. INSTEAD, ensure that if the communication is seen years later, it still represents the brand. Today’s communication must represent and reinforce the brand tomorrow. 70 11. DO NOT look at the competition to identify brand strategies. INSTEAD, monitor what the competitors are doing and evaluate the strategy. This allows one’s brand to analyze and find ways to exceed the competitor’s accomplishments by learning from its failures. Always look for innovative ways of leveraging the competitor’s market share. 12. DO NOT engage in practices that are or could be perceived as unethical. INSTEAD, be honest and disclose when the brand is collaborating with social media sites and/or other key influencers in exchange for compensation. If communication is attributed to a specific person, ensure that person is actively involved with the content development process. Twitter Bonus When it comes to the changing world of communications, it is vital that practitioners adapt to the new demands of social media, even when it comes to personal use. Pitching, for instance, is one of the areas of public relations that has rapidly evolved. For those who are used to email pitching, the idea of doing it on Twitter sounds as foreign as email pitching was to those who were used to doing it on the phone. However, it is difficult to ignore that pitching on Twitter, or TwitPitching, has recently gained popularity among prominent journalists. Perhaps it is because of the 140-character limit, but regardless, it presents public relations practitioners with an opportunity to reach journalists in a new way. The term TwitPitch is credited to Stowe Boyd, who used Twitter to set up meetings during 71 a conference, and Brian Solis, founder of MicroPR. MicroPR replaces the days of media blasting with personalized, well-thought out pitching that happens in the public arena on applications like Twitter. Based on a post from the blog PRCouture.com on March 2009, the following are Best Practices when TwitPitching: 82 • AVOID ALL CAPS • Reframe form using netspeak i.e., i want 2 tell u • No need to introduce links or direct people to click on them. People know what to do with links. Also, use services like bit.ly so that the links take up less characters, while allowing one to track link traffic. • Do not DM (Direct Message) strangers with whom relationships have not been previously established. • Do not pitch and log off, otherwise, those interested in the pitch will be unable to access immediate information. 82 PRCouture.com. “Fashion PR/Social Media: 5 TwitTips for a Successful TwitPitch. 5 March 2009. <http://www.prcouture.com/2009/03/05/fashion-prsocial-media-5-twittips-for-a-successful- twitpitch/> 72 CHAPTER THIRTEEN: CONCLUSION By now, it should be clear that social media is not simply the latest digital trend. The Internet provides fashion brands more than just another place to sell product; it provides an outlet for two-way communication directly with clientele. Le Veque passionately advocates that social media represents a “fundamental shift in the way people communicate with one another.” 83 It is hard to argue, considering social media is already starting to affect the way businesses communicate with consumers. “Anyone who’s not engaged in some form of social media is [making] a mistake in today’s world given the volume… of people [who have] embraced and utilize social media,” added Le Veque. However, before brands jump into social media projects, it is critical to outline a strategy that is specifically tailored to the brand. First, these companies should evaluate what other brands are doing, both within and outside their industry, in order to avoid repeating the same mistakes. Social media monitoring provides an opportunity to study successful tactics implemented by competitors to help identify best practices. Many of the most successful social media cases in fashion strongly embrace heavy consumer interaction. Since consumers build such a strong identity with their preferred brands, most of them appreciate interacting with the organizations and its representatives outside of the traditional landscape. Social 83 Le Veque, Matthew (Director of Digital Strategies, The Rogers Group). Personal Interview. 4 February 2010. 73 media and its various channels of distribution provide an endless stage of communication channels that can reach both niche and larger audiences. Social media also provides the fundamental element that not only adds value to the IMC equation, but it increases the chances that all disciplines will converge and be forced to communicate, both internally and externally. The often low-cost of implementing social media projects, compared to costly advertising campaigns, levels the competitive range and allows start-up to mid-level companies to compete with the industry leaders. Ultimately and regardless of the size, it gives brands that understand their audiences an opportunity to stand out. Like most things, not everything about social media is positive. With such an extreme shift in demand for real-time communication comes a great deal of potential for setbacks. Communicators and brand managers must learn how to influence the unmanageable platform that is the Internet. While nothing can guarantee a successful social media campaign, The 12 Best Practices for public relations practitioners and communicators can facilitate the planning process and ensure that the organization’s objectives are inline with reality. They challenge the people involved with those campaigns to develop an effective overacting strategy before taking social media projects online. These guidelines were purposely fabricated in a broad sense in order for them to serve as a moldable resource for practitioners in all industries of communication. 74 BIBLIOGRAPHY Alexa.com. “Site Info: YouTube.com.” 1 March 2010. <http://www.alexa.com/siteinfo/youtube.com> Ashish. “History of Top Fashion Magazines of the World.” OutofBox.com. 10 May 2009. <http://www.outofbox.in/history-of-top-9-fashion-magazines-of-the-world/> Baker, Stephen and Heather Green. “Social Media Will Change Your Business.” BusinessWeek. 2 May 2005. <http://www.businessweek.com/magazine/content/05_18/b3931001_mz00 1.htm> Beruchashvili, Mariam PhD (Professor of Marketing, California State University, Northridge). Email Interview. 11 March 2010. 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Email Interview. 1 March 2010. O’Dell, Jolie. “Video: Threadless on Building ‘Brand Love’ Through Social Media.” ReadWriteWeb.com. 12 May 2009. <http://www.readwriteweb.com/archives/video_threadless_on_building_br and_love_through_so.php> PBS. “What is fashion?” 2010. <http://www.pbs.org/newshour/infocus/fashion/whatisfashion.html> PRCouture.com. “Fashion PR/Social Media: 5 TwitTips for a Successful TwitPitch. 5 March 2009. <http://www.prcouture.com/2009/03/05/fashion-prsocial-media-5-twittips- for-a-successful-twitpitch/> Ray-Ban Official Web Site. Ray-Ban History. March 2010. <http://www.ray-ban.com/usa/neverhide/events/history/> Rotz, Nina. “Heather Armstrong of Dooce.com ‘Monetizes the Hate.’” AssociatedContent.com. 23 September 2009. <http://www.associatedcontent.com/article/2202467/heather_armstrong_of _doocecom_monetizes.html?cat=35> Smith, Steve. “InStyle Rewards Its Twitter Throngs.” MIN Online. 10 September 2009. <http://www.minonline.com/news/12097.html> 78 Socha, Miles. “Fashion Brands Seek Control In Social Media Boom.” Women’s Wear Daily. 14 December 2009. <http://www.wwd.com/business-news/fashion-brands-seek-control-in- social-media-boom-2394948?navSection=package&navId=2394057> Target Official Web Site. “Target Announces Rodarte for Target as the Next GO International Collection.” Press Room. November 2009. <http://pressroom.target.com/pr/news/fashion/go-international/target- announces-rodarte-for-target.aspx> Threadless Official Web Site. “Exciting News About The Tees We Print On!” Threadless News. 21 November 2006. <http://www.threadless.com/news/88235/EXCITING_NEWS_ABOUT_TH E_TEES_WE_PRINT_ON> Threadless Official Web Site. “Threadless.com: The History.” Threadless Blogs. 6 June 2007. <http://www.threadless.com/profile/1/skaw/blog/227766/Threadless_com_ The_History> Tiplady, Rachel. “Zara: Taking the Lead in Fast-Fashion.” BusinessWeek.com. 4 April 2006. <http://www.businessweek.com/globalbiz/content/apr2006/gb20060404_1 67078.htm?chan=innovation_branding_brand+profiles> Van Grove, Jennifer. “Twitter Tees: Twitter Launches Official Threadless T-Shirt Store.” Mashable.com. May 2009. <http://mashable.com/2009/05/19/twitter-tees-by-threadless/> Waldron, Glenn. “20 Best Fashion Blogs.” Telegraph.co.uk. 8 October 2009. <http://www.telegraph.co.uk/fashion/6271935/20-best-fashion-blogs.html> Wilson, Eric. “How Do You Like Me Now?” The New York Times. 29 July 2009. <http://www.nytimes.com/2009/07/30/fashion/30EMPEROR.html> Yoox.com Official Web Site. About. March 2010. <http://www.yooxgroup.com/en/yoox.asp> Yves Saint Laurent Official Web Site. “Company Information.” 1 March 2010. <http://www.ysl.com/INT/en/Footer/Company-Information.aspx#> Zappos Official Web Site. About Us: The Zappos Story. March 2010. <http://about.zappos.com/zappos-story/in-the-beginning-let-there-be- shoes> 79 APPENDIX A Interview Protocol for Digital Strategies Professionals 1. Briefly and in your own words, define social media? 2. How does social media affect you, your personal life and your professional career? 3. How can social media serve as a tool for fashion brands and how might it also prove to be a disservice? 4. Do you feel that social media efforts are more effective for start-up brands or for established organizations? Please explain. 5. How might social media and journalism (print, especially) evolve in the future? Do you see them growing apart or working together? What might your role be in this evolution process? 6. What are some of the main issues, you have noticed, when companies implement social media projects? 7. How do you define the role of social media in the integrated marketing communications mix? 8. What are your recommendations for brands in order to successfully execute social media campaigns? 80 APPENDIX B Interview Protocol for Integrated Marketing Communications Professionals 1. In brief, what is integrated marketing communications (IMC)? What are the elements that make up IMC and what might an IMC campaign look like? 2. What is so great about IMC? 3. What is the possible downside of IMC? Please provide an example of a poorly executed IMC campaign and explain why it failed. 4. Do you feel that IMC efforts are more effective for start-up brands or for established organizations? Please explain. 5. In your own words, define social media. What is the role of social media in IMC? 6. What are your recommendations for brands that plan to embark on IMC campaigns that incorporate social media elements? 81 APPENDIX C Interview Protocol for Communications Professionals 1. In your own words, define social media? 2. How does social media affect you, your personal life and your professional career? 3. How can social media serve as a tool for fashion brands and how might it also prove to be a disservice? 4. What are some of the main issues faced when fashion organizations implement social media campaigns? 5. Do you feel that social media efforts are more effective for start-up brands or for established organizations? Please explain. 6. How might social media and journalism (print, especially) evolve in the future? Do you see them growing apart or working together? What might your role be in this evolution process? 7. What are your recommendations for brands in order to successfully execute social media campaigns? 8. Describe the elements that make up an integrated marketing communications (IMC) campaign within the fashion industry? Please provide an example of a poorly executed IMC fashion campaign and explain why it failed. 82 APPENDIX D Interview Protocol for Fashion Professionals 1. In your own words, define social media? 2. How does social media affect you, your personal life and your professional career? 3. How has social media served as a successful tool for fashion brands and how might it also prove to be a disservice? 4. What are some of the main issues faced when fashion organizations implement social media campaigns? 5. Do you feel that social media efforts are more effective for start-up brands or for established organizations? Please explain. 6. How might social media and journalism (print, especially) evolve in the future? Do you see them growing apart or working together? What might your role, as a blogger, be in the evolution process? 7. How do you define the role of social media in the integrated marketing communications mix? 8. What are your recommendations to help fashion brands successfully execute social media campaigns?

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Asset Metadata

Creator Gonzalez, Cuitlahuac (author)

Core Title Social media best practices for communication professionals through the lens of the fashion industry

School Annenberg School for Communication

Degree Master of Arts

Degree Program Strategic Public Relations

Publication Date 05/05/2010

Defense Date 05/05/2010

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag OAI-PMH Harvest,social media

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Floto, Jennifer D. (committee chair), Lynch, Brenda (committee member), Winokur, Larry (committee member)

Creator Email c@mrcuit.com,cuitlahg@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m3008

Unique identifier UC1120625

Identifier etd-Gonzalez-3340 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-331227 (legacy record id),usctheses-m3008 (legacy record id)

Legacy Identifier etd-Gonzalez-3340.pdf

Dmrecord 331227

Document Type Thesis

Rights Gonzalez, Cuitlahuac

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Repository Name Libraries, University of Southern California

Repository Location Los Angeles, California

Repository Email cisadmin@lib.usc.edu