Amelia snape dissertation by Amelia Snape

AMELIA SNAPE BA(HONS) FASHION RETAIL MANAGEMENT 2015

DIGITAL DICTATORSHIP: TO WHAT EXTENT ARE MILLENNIAL’S PURCHASING DECISIONS, FASHION ADOPTION AND BRAND PERCEPTIONS INFLUENCED BY SOCIAL MEDIA CHANNELS.

â&#x20AC;&#x153;Many people lose their social and

familial

connections, in favour of a

self-actualization ideal. ...it is not

surprising that more and more people define themselves as lonelyâ&#x20AC;?

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ABSTRACT

he millennial generation of digital natives have grown up through hard-hitting economic periods and the proliferation of mobile devices. As a consequence, technology is empowering these consumers and this progression has resulted in a fundamental change of trend adoption and consumption. This has extended the process beyond its theoretical history to a nephenomenon of postpurchasing behaviour.

to purchase from. Such behaviour demonstrates a wave of social conformity and has resulted in trends being diffused in an unconventional manner. Social streams are key to this fundamental change as brands utilise opinion leaders who have large sphere of influences to promote items that will subsequently sell out within minuets. Social streams like Instagram are important for millennials, as they like to share their experiences online and interact with one another by liking otherâ&#x20AC;&#x2122;s photos. Such behaviour has led to a generation of narcissists who are measuring their self worth with the amount of likes they achieve on a photo and presenting a virtual self that is simply a perception of himself or herself that is distant from reality.

This study is an investigation into how the millennialâ&#x20AC;&#x2122;s taste and online behaviours are driving the change. There is focus on how brands use new strategies to control the consumerâ&#x20AC;&#x2122;s reaction and conversely how millennials utilise the platform as a tool for social acceptance. Key primary research identified significant online behavioural traits of the generation and secondary sources including academic journals and conference proceedings solidify and prove recognition of industry movement. Key findings suggest that millennials trust each other more than brands and are therefore not loyal to the ones they choose

This study also highlights that technology is not so beneficial for retailers, as it has pulled the market to a tipping point nearing consumer disconnection. Thus presenting problems for retailers by letting digital dictatorship deface the actual identity of the brand.

WORD COUNT: 8745

I would like to give

special thanks to the

following individuals for their invaluable contributions,

continued support and genuine enthusiasm throughout the duration of this project.

BETH WHITE dissertation tutor

GREG SEIBERT affiliation manager

birmingham city university

polyvore.com

SOPHIA STONE head of textiles

GIRLS OF YEAR 11 focus group contribution

bridgnorth endowed school

ALISON RAPSEY course leader

JAMES ELLIS business student

birmingham city university

university of birmingham

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TABLE OF CONTENTS

int ro d uct io n me t ho d o l o g y

C H A P TER

ON E

CH A PT E R

T WO

1.1 visual consumer

2.1 background

1.2 generation Y

2.2 adoption theories

1.3 self-concept theory

7 7

1.3.1 self concept social media

and

2.3 two-step flow

2.4

modern diffusion

2.5 modern adoption

2.6 opinion leaders

2.7 rise of the blogger

1.3.2 conformity

1.4 millennial ideal self

1.4.1 self presentation

1.5 social comparison

1.6 impulse purchases

1.7 selfie generation

1.8 envy spiral

1.9 social influence

proof

and

viii

2.7.1 brand advocate brand influencer

2.7.2 diffusion of brands

2.8 post-purchasing behaviour

C H A P TE R 40 41

TH R E E

CH APT E R

3.1 visual social commerce 3.2 social path

purchasing

FOUR

4.1 retailer strategies

4.2 consumer/peer generated content 4.3 instagram strategies

3.2.1 like-to-know it

3.2.2 peer-to-peer commerce

4.4

4.5 reactervising

4.6 information overload

45 50

3.2.3 case study: polyvore

brand communities

3.3 visual searching

co n cl us io n re co mme n d a t io ns a p p end icie s

LIST OF TABLES

1. millennial financial situations 2. importance of looking fashionable 3. millennials who have posted an outfit picture 4. importance of looking fashionable 5. uploaded a selfie 6. importance of likes 7. purchase decisions inspired by instagram 8. blogger following 9. traditional media 10. brand following 11 social influence

LIST OF FIGURES

new look ipadeequins

variants of the self

trickle down theory

collective selection theory

trickle across theory

two-step flow theory

multi-step flow model

boohoo influencer case study

Hannah Crosskey case study

10. 3-part purchasing path 11. Reebok trainer case study 12. Hannah Crosskey instagram 13. like-to-know it 14. social shopping apps 15. polyvore consumer 16. topshop pinterest campaign 17. choies product feature 18. primania 19. self-efficancy strategy 20. sales response strategy 21. relationship strategy 22. emotion strategy 23. symbolism 24. brand community reward

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INTRODUCTION

he visual consumer has evolved from a generation of digital natives that embrace “digital technology to communicate in ways that would have been inconceivable just a few short years ago” (Ryan 2014 p.vi). According to a WGSN study 3 in 10 consumers have purchased online on mobile devices, with 24% confirming that they are buying more clothes online than in-store compared with 12 months prior (Miller, WGSN 2014). In addition, the global online community has risen to 2.9 billion (world internet stats) meaning that

over two fifths of the world’s population are now connected to the Internet. This transition in technology has significantly changed the way consumers are behaving. This dissertation aims to examine how social media broadcasts are influencing the millennial consumers purchasing path. The act of social comparison is becoming increasingly easier through the proliferation of mobile devices, which connect the consumer to more frequent public interactions. As a result, the objectives of this dissertation are:

To IDENTIFY the key drivers turning consumers digital

To RECOGNISE companies that are bridging digital media, social interaction and e-commerce

To EXAMINE the history and change of consumer behaviour in fashion EXPLORE what strategies retailers are using to control consumer responses while attracting and engaging the visual consumer

To INVESTIGATE influences of a change in fashion trend adoption and diffusion

Xiii

hopping remains an important social activity for consumers who are now integrating fashion purchases via digital media into their everyday lives, while being fuelled with visual inspiration from mobile apps. The fashion industry is moving in a selfdirected manor, and as “Fashion consumption is a manifestation of self image” (Evans,1989 p.7) it is becoming more relevant than ever in today’s society. This industry shift is altering the concept of an ideal self’, (conceptualised in various literatures) which is consequently causing a fundamental change in the adoption of trends.

now have more control than ever before. Opinion leadership and influencers are prominent in this power shift, contradicting previous trend adoption theories such as trickle-down and trickle-across. Examples of influencer communication will be analysed to understand how consumers adsorb this information and how this translates to brand are perception in social feeds. There is also an emergence of 3rd party companies who are connecting the consumer to products, by bridging the gap between social and sales. The collective niche of fashion followers who utilise these intermediary companies represent early adopters who highlight the premature demand to purchase straight from social.

Consumers are tired of mass media (Ryan, 2014) and are turning to the Internet for greater engagement and interaction. With the ability to sift through an abundance of information, consumers

Xiv

etailers must â&#x20AC;&#x153;position themselves to benefit from fundamental changes that are occurring in the ways people decide on which products and services to consume, and how they actually consume themâ&#x20AC;? (Mir, Zaheer 2012 p.ii). A number of companies are slowly adapting to this change with aspects of content related marketing emerging in their strategies. A further investigation into retailers will be conducted to establish if these strategies differ between companies.

There is limited theoretical framework to undestand how social media channels influence purchasing and post purchasing behaviour, Similarly with how opinion leaders are changing trend adoption and diffusion. To create a well-rounded dissertation, further investigation into how consumers interact within these social platforms and how they want to purchase will be considered. To further examine the concepts mentioned previously, this dissertation will be organized around 4 key themes discussed through a series of chapters.

THE NEW CONSUMER FASHION DIFFUSION AND ADOPTION VISUAL SOCIAL COMMERCE STRATEGIES OF RETAILERS

METHODOLOGY

he premise of this research proposition will be supported by the inclusion of both primary and secondary research. Primary research will be comprised of: Interviews with industry professionals; including the content manager of Polyvore, Greg Seibert, for in-depth changes of commerce from a business perspective.

An observation of social streams was carried out to identify how retailers stimulate consumer purchasing behaviour, supported by secondary research; a study by Goor. Secondary research was carried out on influencer strategies used by retailers Boohoo, Warehouse and Primark. Secondary research will also provide theory from existing research by academic authors, as to validate arguments. Key research includes two pieces of Martin Evans literature and authors including Damian Ryan and Michael R Sullivan. Academic journals have also been used to identify research in relation to new technologies and consumer behaviours. Interviews were attained from online sources to give a wider perspective on fashion retail business to distinguish any success related to chapter topics. Industry expert interviews were also considered to recognise recent changes in the fast paced market.

A focus group of millennial consumers was undertaken to identify driving factors that stimulate purchasing decisions. A group of 25 females aged 15-18 answered a structured questionnaire and then engaged in conversation with each other, prompted by qualitative questions covering social media usage and their perceptions on technology.

Xvi

Xvii

Chapter one

1.1 VISUAL CONSUMER

he recent acceleration and sophistication of social networks has enabled more interconnectivity as consumers connect with one another more rapidly (Ryan 2014). Technology is levelling the playing field for consumers as they are now able to compare products before purchasing and they now possess a new power role. Virtual communities are establishing online which comprise of homogenous individuals who interact due to similar specialist interests. The fact consumers can personalise their social media experience means they are able to express opinions, while absorbing and assessing other information quickly and easily (NetBase 2013).

Traditional massproduction and mass marketing concepts are rapidly becoming a thing of the past due to the millennial generation being both consultative and valuing brand engagement (Saunter, WGSN 2013). Brands are therefore exploiting technology to engage with their customers to produce a personalised level of interaction. On the 6 of November 2014, high street retailer New Look revealed a new concept within their flagship Oxford street store, with the installation of â&#x20AC;&#x2DC;ipaddequinsâ&#x20AC;&#x2122; (Figure 1). These devices allow customers to upload pictures of themselves in store and then become the face of that retail space. This type of personalized strategy is being used to drive co-operative interaction within stores (Mintel, 2013).

figure 1

verall, technology has helped to create rational consumers who have the ability to shop at any time and at any place. “Consumers are becoming ever more immersed in their own digital worlds” (Entertainment Close Up, 2013) and this will intensify in forthcoming years as technology becomes more ubiquitous in a market driven by instant gratification. Additionally, the millennial generation is shrewd and by employing technology, they are able to find the best value purchases, exacerbated by the recent economic down turn (Table 1).

1/6 2013

1/4 2014 table 1. millennial financial situation described as “tight”

1.2 GENERATION Y

he millennial generation has been defined as being born between the years 1982 and 2000 (WGSN, 2013; Moore, 2012), how ever there are differing exacts suggested by various authors. Evans et al (2009) proposes the years of 19771994, whilst Schweitzer et al (2010) simplifies this ideology to those being born between 1980 and the turn of the millennium. Through an analysis of this literature, the dates of 1982-2000 and the ages of 14-32 will be considered within the research.

These individuals are therefore digital natives and are more connected and highly social. Ninety percent of the millennial generation in the United States actively use one social network compared to just 70% of the preceding baby boom generation ( 1 9 4 6 - 1 9 6 4 ) ( N e t b a s e , 2013). Furthermore, 67% of millennials spends leisurely time using social media platforms such as Facebook, Pinterest and Instagram (Mintel, 2013) and this life style change are causing the â&#x20AC;&#x153;line between visual and commerce to become increasingly blurredâ&#x20AC;?(Brint, 2014).

Market analysts consider Generation Y to be of extreme importance because they are an emerging adult generation that have grown up with the unprecedented acceleration of technology, including the global proliferation of mobile devices.

Females are the focus of this study as their social life is seemingly intertwined within real life, whilst social media is a significant influence towards their evaluations of self-perception and self worth. Consequently, their emotional behaviour towards being a consumer via social channels forms a vital foundation for this study (Nguyen, 2014).

self as a process self perception

self definition

figure 2

ideal self

actual self

self schema

1.3 SELF CONCEPT THEORY

elf-concept theory relates to the belief that a person will evaluate his/ her attributes against an overall desire to achieve self-enhancement (Solomon, Rabolt, 2009). It is a multidimensional concept and variants of the self are influenced by several factors (Evans et al, 2009) (Figure 2). From literature, the ideal self is generalised as a model of appearance and is realised through the purchases of fashion because of its socio-cultural symbolic status and therefore clothes worn are integrated within the sense of self (Solomon, Rabolt, 2009).

1.3.1 SELF-CONCEPT AND SOCIAL MEDIA

here is satisfactory evidence to demonstrate that self-concept theory is a key driver behind purchase decisions. As the ideal self evolves through external interactions, social platforms have bought about a new dimension called the virtual self (Alghamdi et al, 2013). Therefore with no

apparent research it should be considered that social media stimuli could enrich a millennials ideal self to form a virtual self. Furthermore the increased ability to micro publish content becomes a tool for self-presentation and maintaining an appearance in the anticipation to be regarded as socially desirable.

1.3.2 CONFORMITY

he desire to be socially desirable relates to the process of conformity; described as a change of beliefs or actions with a tendency to follow norms, traditions, rules and regulations of a group (Evans, 1989; Solomon, Rabolt, 2009). Conformance is a common trait however Independence can be

obtained depending on the millennials level of selfesteem (Evans et al, 2009). Social platforms have heightened exposure of fashion and culture, and may enhance the millennials desire to broadcast their conformative appearance in an empowering manner (Evans, 1989)

1.4 MILLENNIAL IDEAL SELF

5% of millennials considered “looking fashionable and wearing nice clothes” to be very important, whilst 36% of the same study considered it to be extremely

important (Table 2). These findings demonstrate that self-esteem could be significantly affected by a desire to look fashionable (Appendix 1).

18% fairly important 36% extremely important 45% very important table 2

1.4.1 SELF PRESENTATION

This displays a niche of millennial consumers who consider looking fashionable to be even more important and therefore broadcast themselves online. These individuals are therefore able to absorb responses given from the online community, and engage in the process of social proof and social comparison (Table 4).

illennial consumers want to ‘share their experiences online’ (WGSN, 2014). 36% of millennials have specifically took and posted a picture of an outfit to use social applications as a medium for selfpresentation (Table 3). 36% have uploaded an outfit post

12% fairly important

38% very important table 4

table 3

50% extremely important

1.5 SOCIAL PROOF AND COMPARISON

ocial proof is the process of “relying collaboratively shared on the information and experiences of others to infer a course of action” (Amblee, Bui, 2012). Social comparison however, is where individuals evaluate themselves by comparing their own opinions and abilities with others thus presenting a continuous seeking of external affirmation, “regardless of levels of self esteem” (Aubrey, 2006, p. 161).

A study based on Amazon.com (worlds largest online retailer) found that the products with the most reviews also had the most sales. “Social Proof rating has the strongest positive correlation with sales” and therefore “implies that social proof has a very strong influence on sales” (Amblee and Bui, 2012).

1.6 IMPULSE PURCHASES

ashion purchases are considered impulsive if the consumer is influenced by emotional, irrational attractions rather than rational judgments such as price. Similar behaviours were identified as out of the 36% who had self-presented their fashion image online, 63% have questioned where a specific item is from on a followers in-app profile (Appendix 1).

This demonstrates that being exposed to a desirable product presents a potential to buy spontaneously, i m m e d i a t e ly and un-reflectively. Furthermore if a picture has a high number of ‘likes’, social proof becomes prominent through social media feeds and can affect who the consumers choose to follow.

1.7 SELFIE GENERATION

‘selfie’, now popular amongst millennial consumers, is a new phenomenon referring to a photograph that one has taken of oneself, usually with a smartphone and then uploaded to a social media website (Oxford dictionary, 2014). (Table 5 and Appendix 1). This selfie generation’s search for admiration is considered to be analogous to mistaking self-admiration for the admiration of others. Again literature has failed to investigate this broader motivation that millennials upload photos to present a virtual-self that is believed critical for relational success (Hancock & Toma, 2009, p.368). However, the aforementioned niche consumers who had posted an outfit indicate that achieving ‘likes’ is considered to be very important, suggesting accuracy to this hypotheses (Table 6).

90% have taken a selfie

table 5

It can therefore be concluded that users share photos as a way to increase popularity and self worth, whilst providing reassurance and subliminal approval. One female aged 15 said, “if I get a lot of likes on one of my pictures I know that what I’ve bought is a good decision” (Appendix 1). This suggests that young girls like to appear socially significant by having large social networks and measure their self-worth on the amount of likes on their appearance. This is also in agreement with the findings of Amy J. Nguyen who concludes that there is a sense of “self-worth in young women from the usage of Instagram” (Nguyen, 2014 p.1)

23% extremely important 50% fairly important table 6

27% very important

“if I get a lot of likes on

one of my pictures I know that what I’ve bought is a good decision”

there is a sense of â&#x20AC;&#x153;selfworth in young women from the usage of Instagramâ&#x20AC;?

â&#x20AC;&#x153;this is problematic as

the world on social media alienates users further from realityâ&#x20AC;?

1.8 ENVY SPIRAL

he focus group conducted suggest that girls actively take part in ways to gain more followers in an attempt to verify their social status thus increasing the level of social proof. One female stated: “my friend does shout out for a shout out” (a process of reposting images to encourage people to follow) (Appendix 1). This is a similar behaviour to an “envy spiral” whereby (when referring to social media) users attempt to compensate their social proof by presenting superior photos than their peers, leading to a perpetual cycle of self-promotion within social groups. Krasnova et al (2003) believes “this is problematic as the world on social media alienates users further from reality”.

Furthermore the photo sharing process presents a “high risk for internalization” of negative ideals that lead to selfobjectification. In turn, this can affect a user’s selfesteem and can impact upon their purchasing decisions. However through literature analysis authors consider self-promotion through Instagram to be both an act of external affirmation and a “message of empowerment” (Close-Up Media, 2014). Which is combined with influence developed from visuals on social platforms.

1.9 SOCIAL INFLUENCE

ocial influence and the process of changing thoughts, attributes or behaviours occur because of interactions with individuals/groups who are perceived to be similar, desirable or recognised to be knowledgeable about a product (Thornley, 2014). A study by Tang et al (2013)

found that conformity is a type of social influence; therefore insinuating social media has changed consumers’ online behaviour. However this research into changing purchase decisions was based on the social platform Facebook which leaves uncertainty around the impact Instagram has.

evertheless, Strutton et al (2011) found that reasons behind social influence predominance is because millennials are ”more likely to accept information received from personal rather than advertising sources and therefore this impacts what they want to buy”. Furthermore “Millennials require levels of social proof when making purchases” (Dunn, 2014) and therefore interactions such as posting comments positively affects normative social influence; a willingness to conform based fundamentally on the “fear of rejection or social isolation” (Alghamdi et al 2013). 42% of females aged 18-29 report that purchase decisions are inspired from Instagram (Mintel, 2013). Very similar results are found within Stadd (2013) as 43% of social media users here had purchased a product after sharing or favouring it on Pinterest, Facebook or Twitter.

68% follow bloggers table 8

This echoes results from the study focus group, as of the 36% who had posted an outfit, 75% have made a purchase after seeing a product on Instagram, with 77% suggesting that they have wanted to make a purchase after seeing a friend wearing it. (Table 7 and Appendix 1). Slightly higher percentages signify that the younger spectrum of the millennial generation is more influenced to purchase. Inclusively, this behaviour can be perceived as an informational social influence; a type of conformity born of the “assumption that others have greater knowledge” (Alghamdi Et al p. 2). Fashion bloggers are considered to have a greater knowledge and on social media they are followed by 68% of millennials who are seeking to be influenced (Table 8 and Appendix 1). This demonstrates that social influence is key amongst millennials who have a level of neediness, follow advice and take online suggestions to purchase a product/service (Li et al, 2010).

42% instagram (mintel)

75% instagram

43% instagram (stadd)

77% friends table 7

â&#x20AC;&#x153;Millennials require

levels of social proof

when making purchasesâ&#x20AC;?

chapter two

2.1 BACKGROUND

lthough extensive literature has written about fashion as a concept, very few academic pieces explain how and why fashion begins and in turn becomes popular (Stone, 2008). Fashion adoption concerns how consumers accept a prevailing style during a particular time. Although social platforms can inspire purchases, there is limited research to suggest that this content also influences the adoption of new trends. What is interesting with Evans (1989) research is the belief that the fashion industry will observe the “end of the fashion dictator”. The emergence of fashion bloggers echo’s that notion and fashion adoption is shifting to being influencer lead.

2.2 FASHION ADOPTION THEORIES

ashion is often associated with newness, and theories using sociological, psychological and economic factors determine the foundations for the adoption and diffusion of fashion, theories include: Trickle down: a relationship between class structure and product adoption (Simmel, 1904) It is described as two conflicting forces that create a self-perpetuating cycle of change, as subordinate groups copy status symbols in an attempt to climb up the social ladder. Superior groups then find new individualistic symbols to prevent imitations from the lower classes (Solomon, Rabolt, 2009) (Figure 3).

CULTURAL GATEKEEPERS

DESIGNER

DESIGNERS, HIGH STREET EARLY ADOPTERS INNOVATORS INSTORE COPIES

EARLY ADOPTERS

MASSMARKET

figure 3

figure 4

Collection selection: a theory suggesting that fashions tend to “sweep across a country”, rather than coming from the top through designers as alternative symbols are chosen (Solomon, Rabolt,2009; Evans,1989 2009) (Figure 4).

CULTURAL GATEKEEPERS

Finally a Contemporary western adaptation of ‘trickle down’ theory is the trickle across theory: it takes into account new developments in mass culture, for example technology has resulted in all classes of consumers having access to the same information. This means that styles are obtained in a variety of venues and prices because of global supply chains allowing brands to implement quick lag times (Figure 5).

DESIGNERS MIDDLE MARKET MASS MARKET CONSUMERS figure 5

2.3 TWO-STEP FLOW THEORY

early as 1955, Katz and Lazarsfeld claimed that personal influence is more effective than mass media and Armstrong and Hagel (1995) recognised the importance of online interactions with businesses. It is now widely acknowledged that social media now facilitates two-sided communication between the company and the consumer (Thackeray et al 2008) (Gillin 2009). The two-step flow of communication is developed from advances in information distribution and the first step involves opinion leaders taking direct information from the mass media (Wengenmeir, 2013). After processing it, they add their own opinions and personal influence that is then transmitted allowing the opinion leader to ultimately control the audienceâ&#x20AC;&#x2122;s reaction in a linear format (Figure 6).

figure 6

MASS MEDIA

= opinion leader = individual in social contact with an opinion leader

2.4 MODERN FASHION DIFFUSION

he Multi-step flow diagram (Figure 7) is a more sophisticated illustration of communication. This Diagram incorporates the use of fashion opinion leadership while acknowledging the fact that information can be absorbed direct from mass media to the consumer. 5% of millennials said their fashion influence originates from fashion magazines and 27% from retailers trend features on their websites (Table 9 appendix 1). These findings suggest that the use of traditional media such as magazines is having less of an impact now than social media and online engagement is. This could be related to the price of magazines, with access to social media and tailored information potentially being more cost effective.

figure 7

MASS MEDIA information

opinion leader

influence

table 9

5% magazines

27% retailer websires

2.5 MODERN ADOPTION

ashion adoption is moving through five

the stages

process of consumers that comprise of:

a w a r e n e s s

interest

evaluation

trial

adoption

Consumers interact with this process at different speeds due to personal characteristics, access to information and the drive to achieve an ideal self. Interaction with this process categorises consumers into innovators, early adopters, early majority adopters, late majority adopters and late adopters. Innovators typically represent 2.5% of the market; they are risk takers, socially active and have a degree of concern for social acceptance and consequently place a high internal value on being fashionable (Evans, 1989).

Early and late adopters mainly comprise of the mass market who possess an interest in new products however resist purchase to avoid adsorbing the risk associated with newness. Late adopters may be price motivated as this may decrease while fashion is adopted by the masses. The gap between these two categories is getting smaller as a resultant of increased commercialisation of identity and consequently consumers are linking who they are with what they buy. Opinion leaders have become key to the diffusion and adoption of fashion as they introduce new products that is driving a â&#x20AC;&#x153;democratization of fashionâ&#x20AC;? (Seibert, 2014) (Appendix 2: Rocamora, 2012; Evans, 1989).

2.6 OPINION LEADERS

s consultative consumers, Millennials enjoy exchanging product recommendations and opinions online and this can have a positive influence on the consumerâ&#x20AC;&#x2122;s intention to adopt new fashions. Blogging systems have exploited existing social networks inspiring bloggers to share posts through new channels (Li et al, 2010; Saleen et al, 2010). Of the focus group, 23% of females consider blogs to be the main source of their fashion inspiration, differing significantly to a study of 1825 years where this figure was 63% (Appendix 1: Netbase, 2013).

Surprisingly, 45% of the group said that Instagram visuals are their main source of inspiration (Appendix 1). However it is important to clarify that Instagram is not specific to fashion so further investigation of the group was conducted to establish what content on Instagram is resulting in them being inspired. The group collectively implied that they might not partake in broadcasting fashion posts but they follow users that post such material. This occurs for a number of qualitative reasons including:

Nevertheless, both figures imply that opinion leaders are key to the exposure of new fashions.

saves time over looking at retailer websites

notice new clothes to see items on their favourite influencers

t can be concluded that millennials are now exposed to a significant amount of fashion related material and therefore their Instagram behaviour provides a variety of inspirations compared to

someone who does not opinion seek. Moreover, traditional bloggers are an emerging source of inspiration who are using social platforms like Instagram to increase their broadcasting reach. 27

45% of millennials

use instagram as their main source of fashion inspiration

2.7 RISE OF THE BLOGGER

y definition, bloggers are simply the authors of a blog. Blogs are published on the internet and exist in many industries, yet fashion blogs have experienced a large acceleration because of their commercial opportunity. Blogs “synthesize information” (Mendola, 2014) put out by brands and produce content that is consistently authentic and organic, something that is hard to achieve through corporate, mainstream channels (Kenix, 2009). As bloggers communicate, their personal fashion appearance becomes a significant part of their online communities (Pihl, 2013). Being online allows their style to be accessible and integrated social platforms create the ideal setting for a conceptual shift in the diffusion of style, from individual to collective. This bares similarities with the collective selection theory, whilst Polegato (1980) recognised that the leader plays an “important role as an instigator of mass acceptance of a new clothing style”. Therefore, a small niche group often accepts new fashions before they are purchased by the masses (Solomon, Rabolt, 2009).

Blogs have transformed the fashion media landscape and as a result there has been a decline in the effectiveness of fashion journalism (Wengenmeir, 2013). Bloggers have evolved to be uniquely qualified to be the representative voice between brands and consumers. Their quickening popularity was recognised by the British Fashion Council who released a strategy to manage the number of bloggers applying to be accredited at London Fashion Week, as numbers were increasing 25% per season since 2011 (BFC 2012). The new strategy proposes that bloggers will only be accredited if they “add value to London Fashion Week” (BFC, 2012), basing this on their sphere of influence, engagement with followers and the supporting of British fashion designers. This strategy was acknowledged by many as the point of which blogging became a “legitimate media channel” (Lau, 2012) and as a sub-field for fashion communication. (Appendix 3:Blogger strategy) The acceptance of a new style by opinion leaders influences others to follow, because being socially interconnected creates a legitimate power to absorb risk associated with newness (Solomon and Rabolt, 2009; Rogers, 2003; Stone, 2008). Similar outlooks were recognised by research: (appendix 1) 29

Bloggers are believed to be given products for free to broadcast.

a feeling of connection with the brand by seeing behind the scenes action. Bloggers are widely used as a marketing medium because of the intermediary role they have comprising of half consumers/ half advertisers (Pulizzi, Barrett 2009). Exploiting their sophisticated use of social media is an effective way to develop and broadcast a brand story as well as concentrating content down preferred sales channels. Bloggers content and views feel more genuine due to the fact that many fashion leaders are “homophilous” with their follower’s social status, education and values (Solomon, Rabolt, 2009) (Figure 8).

Products featured are therefore assumed to be new and on trend. Seeing new styles instigates a desire to try them.

ubsequently, items featured on blogs and Instagram can quickly experience a “rise of sales” (Masoero, 2010), which creates a need for retailers to react quickly. Short lead times and efficient relationships with design teams are some areas that boohoo.com (an online retailer) is working on to help manage this change in consumer fashion adoption (Kane, 2012). Bloggers actively take part in the search for information by attending fashion shows, brand events/collaborations and interacting with other bloggers. (Goldsmith et al 1999) (Mendola, 2014) Boohoo.com have integrated bloggers in their marketing strategy and they hold 3-4 events a year for exclusive views at collections. Images are broadcasted to give customers

Consequently millennials connect to the brands in a more personal manner thus driving interaction and therefore sales (Mendola, 2014). This contradicts some authors who believe fashion opinion leaders do not possess or represent the interests of one company due to the fact genuineness can be undermined by corporate influence (Evans, 1989) (Hansen, 2013).

“Make stock dress season it jus

3.6 MILLION INSTAGRAM FOLLOWERS 7 MILLION YOUTUBE SUBSCRIBERS

figure 8

sure you also up on a sequin for the party so you can rock t like Zoella”

2.7.1 BRAND ADVOCATE VS BRAND INFLUENCER

brand Advocate is driven by the depth of conviction towards a brand/product, whilst influencers are typically less committed to the product or company. Incorporating an influencer within a brand strategy can help to drive additional consumer traffic however it is uncertain whether these visits actually convert to sales. If a trusted relationship is formed with their audiences, bloggers are key for brands to move from awareness to advocacy by achieving equilibrium between conversation with advertising, through informal and visual communication (Wexler, 2012). â&#x20AC;&#x153;By choosing a blogger that best attracts your target audience but also broadcasts brand messages can produce a purchasing reactionâ&#x20AC;? (Shing, 2013).

2.7.2 DIFFUSION OF BRANDS

rand consumption forms part of the ideal self and perceptions of brands are a resultant of communications by opinion leaders. These communications reveal how they perceive that brand and combine it with expressions of style in line with current trends. (Figure 9: Christofer, 2014) Brand-centred communications are favourable for retailers as it is non-geographical; communities are structured around social relationships that create admirers of the brand. It is important to maintain communications, as it will result in a better affiliation between brand and consumer. Millennials enjoy brand engagement as 75% follow fashion retailer Instagram accounts (Goors, 2012; Shukla, 2010) (Appendix 1).

Opinion leaders also generate traffic and awareness for brands, 50% of the focus group believe they are more aware of brands because of Instagram and being apart of online communities (Appendix 1). Out of the segment of the survey group that showed particular interest in fashion, 49% followed three suggested brands with 100% following at least one (Table 10). Millennial brand preferences are open and not steadfast. Similar views were bought about by Greg Seibert from social shopping site Polyvore who believes millennials are less brand loyal because “the online discovery process is now extremely accessible…(and)… allows for constant discovery of new, relatively unknown brands and sites” (Appendix 2). This notion contradicts literature such as Goors, (2012) Shukla (2010) and McKenzie et al (2009) who collectively suggested that purchase intent comes from a better relationship between brand and consumer and brand loyalty.

3 brands = 49%

1 brand = 100% table 10

“Can you believe that everything I'm wearing is Warehouse? I have to admit it isn't a place I regularly shop but, after being invited to the AW14 Tales Of the City press preview I was pleasantly surprised by the new collection. Tales Of The City is described as "The modern women's go-to guide for navigating the daily trials and style tribulations of urban city life." (FYI check out the broad range of coats and capes, this checked cape in particular is to die for!)”

figure 9

WAREHOUSE USED HANNAH CROSSKEY, A BLOGGER WHO IS USUALLY ASSOCIATED WITH TOPSHOP PRODUCTS TO TAKE OVER THEIR INSTAGRAM FEED. IN KEEPING WITH HER OWN STYLE SHE POSTED LOOKS WHERE ALL ITEMS WERE FROM WAREHOUSE. THE STRATEGY WAS EFFECTIVE AT DRIVING TRAFFIC BECAUSE CONSUMERS WHO IDOLISE HER STYLE WERE PRESENTED WITH A CLEAR PURCHASING PATH TO ACHIEVE IT.

2.8 POST-PURCHASING BEHAVIOUR

urchasing does not represent the end of the consumer response to marketing efforts as social platforms allow consumers to extol their brand consumption, an expressive post-purchase evaluation in relation to self concept (Evans, 1989). This is done by 50% of millennials who tag featured retailers in the broadcast (Appendix 1) Post-purchase behaviour stimulates word of moth communication, enabling consumers “to get advice from trusted individuals” (Cohen, 2011) (Harrison, walker 2001) (Evans et al, 2010). Social media impact theory which is a relatively new concept that emerged in 2012: states strategic content published through social media networks positions brands in a way that leads consumers on what products to buy (Mir & Zaheer, 2012). It presents opportunities to purchase through multi-channel options as Sender (2013) suggests there is even more potential for fashion retailers to exploit mobile devices.

“I do think there is a shift in the way brands and retailers advertise / speak about their brands due to the increased influence of social shopping platforms.” Greg

Seibert

chapter three

3.1 VISUAL SOCIAL COMMERCE

nstagram is social platform

considered to be the most for brand and fashion product

15 times more

powerful exposure:

50% log in daily

activity than facebook

88% millennials have an account

150 million active users

nstagram has become popular due to its core values of visual content which consumers’ process 60,000 times faster than text. Subsequently traditional ad-banner mass marketing tools are ineffective, which is recognised through declining click-through rates and a 70% increase in photo adds, (Mintel, 2013). The method is time-worn and therefore “authentic community voices become more valuable” (Seibert, 2014; WGSN, 2013). Users have the tendency to ignore or avoid banner advertisements, which indicates that pictures are potentially powerful for marketing (Soneya, 2014).

The use of Instagram and the maturation of social media presents a nascent field of visual social commerce, defined as “the use of social networks and usergenerated content to assist in the acquisition of products and services” (Amblee, 2012). The visual addition is a streamlined social-commerce but with a visual productoriented focus. It creates points of engagement that enhances the shopping process creating an experience similar to that of a bricksand-mortar store (DeLong et al, 2014).

3.2 SOCIAL PURCHASING PATH

een vogue explored what role social media plays in the decision-making process, identifying where, how and why millennials engage with it. The responses from 1074 females aged 13-29 development a 3 part purchasing path that generalised stages of discovery to purchase when interacting on social platforms (Figure10) (Appendix: 4).

see it

Instagram is the number one platform that inspires

search it

Follow brand on social media, and other related content

shop it

This process of discovery to purchase was witnessed by Jessica Preece aged 22 after seeing a pair of trainers posted by celebrity Una Healey who had tagged a retailer in her post (Figure 11). Similar purchasing paths were observed on Fashion Bloggerâ&#x20AC;&#x2122;s Hannah Crosskeyâ&#x20AC;&#x2122;s Instagram. Many users were asking where the featured item was from; others were declaring that they were going to buy the product but after finding the scarf online it had subsequently sold out (Figure 12). This apparent shift towards a digital trend adoption has resulted in 86% wanting to purchase straight from Instagram and 47% from any brandâ&#x20AC;&#x2122;s social feed. However without click-able links enabled this development is halted (Appendix 1, 4). Retailers may be witnessing an apparent loss of sales as consumers have more time to contemplate the practical consequence because they are unable to instantly purchase and therefore less purchases are impulsively. Consequently there is an emergence of 3rd party companies playing an intermediate role by facilitating transactions straight from the app, which Instagram does not yet offer.

Process of comparison shopping as well as looking at other social media feeds including Pinterest and Youtube to find product reviews and discount/deals on Facebook. figure 10

figure 12

Jess proceeded to find the brand on social

Comparison shopped

media

to find the best value deal

followed Reebok Searched for the exact pair seen

searched online to

on Instagram

see the brands other trainers

figure 11

“IT WOULD HAVE BEEN SO MUCH EASIER IF THERE WAS A DIRECT LINK TO BUY THE TRAINERS AS I WOULD HAVE BEEN MUCH MORE INCLINED TO PURCHASE THEM.” Appendix

figure

3.2.1 LIKE-TO-KNOW IT

reated by reward style; an affiliation agent that enables bloggers to monetize their digital brand, like to know it is a 3rd party company that eases the “search” stage of the social purchasing path. Users on Instagram can “like” a photo from their favourite followings and product links by email. It has a conversion rate of between 1-2.5% and sends 1.5 million emails each day to 100,000 registered users who represent a collective of consumers or early adopters who want to purchase direct from Instagram (Figure 13).

figure 13

3.2.2 PEER-TO-PEER COMMERCE

ocial qualities of shopping are being incorporated into many apps and websites. By allowing shoppers to build virtual closets, ask friends for advice and rate outfits, companies are able to monetise online social commerce and partner with large retailers to harness the power of social proof in their marketing (WGSN, 2012) (Figure14).

go try it on

voto

fashism feyt

pose

figure 14

3.2.3 POLYVORE

olyvore is a social site that enables 150 million monthly users to discover, shop and search fashion items. Creating sets of stylish outfits can drive sales for retailers as the average consumer basket amounts to over $383, which is beyond the combined total of leading social networks. Greg Seibert emphasised how: â&#x20AC;&#x153;Retailers can partner with us to fuel discovery and access new customersâ&#x20AC;? (Seibert, 2014) (Appendix 2) (Figure 15).

polyvore consumer 36% more likely to purchase

45% more spending power

171% more likely to spend more on clothes

91% more likely to provide fashion advice

more likely to spend more than on other sites

figure 15

Pinterest are a major competitor for the company, for swot analysis see Appendix figure 6.

WEAKNESSES Too many clicks for a purchase as consumers are redirected to other sites.

STRENGTHS Average basket spend.

A ‘universal cart’ is being developed by competitors “but retailer partners do not always prefer it”

Facilitates commerce as well as visual discovery. Community content site is visibly shop-able and efficient at driving sales.

Limited to just apparel. THREATS

Wide range of products that may not be found through Brick & Mortar shopping.

If Instagram enabled click-able links.

Set creation allows users to speak about products, creating consumer-generated ads that benefit retailers.

-Polyvore uses the platform as a channel for the distribution of content, if Instagram enabled links their content would be redirected back to Polyvore. -Retailers may not partner as their customers can purchase straight from their own Instagram feeds.

OPPORTUNITIES Launch of home ware products will appeal to a more mature customer.

Advertising threats from Pinterest, Twitter and Facebook as brands looking to drive engagement & brand recognition.

Continual developments to mobile and site experiences.

Shopstyle is a competitor as like Polyvore, they serve as a discovery-shopping tool.

Launch of the app personalises the customers experience focusing on the users “personal tastes”

Wanelo & Lyst are also considered competitors for commerce.

W S OT POLYVORE

99% of Google searches are revised if an answer is not found on the first page of results

3.3 VISUAL SEARCHING

he millennial consumer is becoming more reliant on digesting information quicker. Astonishingly, 99% of Google searches are revised if an answer is not found on the first page of results (Arora, 2013) and consequently text-based search engines are failing to satisfy consumer needs. This is driving new developments in imagerecognition software and Google has recently introduced their â&#x20AC;&#x2DC;search by imageâ&#x20AC;&#x2122; feature (Appendix 7: voice search developments).

Such technologies will enable discovery of products to become more streamlined and therefore more efficient. As consumers interact with platforms like Instagram, Polyvore and Pinterest there is an apparent gap in the market for a single platform marketplace where brands and content creators can connect. A place where consumers can partake in the 3 partpurchasing path which will increase impulse purchases.

chapter four

4.1 RETAILER STRATEGIES

rands should embrace other companies driving social discovery and should therefore focus on providing products that resonate with their target audiences and not to incorporate social discovery into their sites. (Seibert, 2014) (Appendix 2).

However brands have increased marketing spend to facilitate Instagram and Michael Kors was one of the first brands to convert engagement into sales without the use of a 3rd party company. Working in a similar way to like to know it, users are sent emails with direct links to products enabling customers to shop the Instagram feed.

â&#x20AC;&#x153;We want to be everywhere were our fans are and they are definitely on instagramâ&#x20AC;? (kors, 2014)

“Many retailers have attempted to incorporate social

feedback / commentary tools into their sites, but with

limited success.…Retailers can partner with us to fuel

discovery and access new customers”

mazon has recognised that their consumer is primarily on twitter and launched a collaboration to bring Amazon cart where users can reply to a tweet containing a product link by hash-tagging #Amazon Cart and when the user logs on to amazon.com the product will be in their cart, ready for checkout.

ther successful collaborations include Topshop and Pinterest who created a searchable gift guide for Christmas 2013. The â&#x20AC;&#x153;360 degree campaignâ&#x20AC;? used in store iPads and screens to harness social proof by highlighting items with the most pins (Figure 16).

figure 16

4.2CONSUMER/PEER GENERATED CONTENT

“P

eer-generated content engages consumers better than branded; Increased earned media focus will naturally follow” (Odell, 2013). Millennials are developing more personalised experiences with a brand, and by publishing clothes online they too are becoming content creators. Brands are now incorporating these images into their marketing efforts and this was observed in online retailer

Furthermore, De Cabo suggests, “Showcasing amateur photos of people who aren’t models is an about-face for the hyper-controlled fashion industry”. A strategy used by high-street retailer Primark, who do not have an e-commerce website, focuses on an online social feed of customers wearing Primark outfits that they call ‘Primania’ (Figure 28).

“People who click on real-people photos are two times more likely to convert to a sale" Choies who present a gallery of customers displaying products (Figure 17). Furthermore Nordstrom has a page dedicated to products featured on Instagram and ASOS has now started to encourage customers to upload pictures with a unique hash-tag so they can be collated and displayed (Guerrero, 2013). Increased interaction with social media increases the importance of consumergenerated content as peers have more trust with each other rather than brands. Consequently “People who click on real-people photos are two times more likely to convert to a sale than clicking on a model’s photo”(De Cabo, 2013).

Individuals that are deemed “stylish” and “fashionable” create new perceptions of brands by forming a subset of word of mouth that draws the consumers away from stereotypical opinions of low quality and non-trendy. Furthermore, items featured on Primania can instantly become well sort after by harnessing the power of social proof. This puts a sense of fun into diffusing new fashions and the feeling of popularity stimulates desires for products resulting in items being purchased impulsively. As a result, Primark is able to attract earlyadopter/innovators, who were perceived in previous literature to only embrace designer, high-end fashion (Evans, 1989; Evans et al, 2010; Solomon and Rabolt, 2009; Raymond, 2010).

CHOIES

figure 17:

PRIMANIA

figure 18

4.3 INSTAGRAM STRATEGIES

“T

here are non social factors that can influence a consumer to be a customer” (Goors, 2010) which could include free shipping and discounts. The nature of which millennials receive these perks has changed through social media. An investigation into how brands communicate was conducted and was supported by Goor’s (2010) study in which branded Instagram feeds were strategically analysed using a complex codebook. Findings were divided into categories of communication, each stimulating specific reactions from the consumer. Goor’s proposed strategies: SELF EFFICACY SALES RESPONSE RELATIONSHIP STRATEGY EMOTIONS STRATEGY SYMBOLISM STRATEGY

rom observation of Topshop, Missguided and Boohoo (for comparison luxury retailer Burberry) it was evident that retailers use different visuals with writing to create different reactions among the consumers.

elf-efficacy strategies are used when there is a need to convince a consumer to behave in a certain way. There is an opportunity for brands to include influencers as it lets the consumer see an achievable identity and lifestyle that comes from purchasing certain products (Figure 19).

missguided

figure 19

topshop

missguided

figure 20

pretty little thing

ales Response Strategy is the encouragement to immediately purchase the product or adsorb information relating to the post with the overall aim being to increase brand awareness. Brands with these messages create excitement as many consumers tag friends to also look at the post. This demonstrates an effective way to promote word of mouth communication (Figure 20).

he relationship strategy concerns products and is directed at the consumers morals, values, and personal identity. By portraying a brand personality the consumer can reach their own personal goals, relating to their ideal selves (Figure 21). Brands that use the relationship strategy enable a deeper connection to their customers by demonstrating a complex understanding. For millennials, these brands are perceived to be more personal and friendly, consequently their products feel apart of everyday life and purchase decisions feel more leisurely to make.

boohoo

figure 21

topshop

burberry

figure 22

boohoo

he emotions strategy concentrates on influencing the consumer beliefs that a product will create a certain emotion or feeling when using it. Brands primarily achieved this by using opinion leaders in their posts as their lifestyle will provoke emotions of something consumers want to achieve (Figure 22).

ymbolism strategies are applied when it is necessary for a brand to convey a certain identity emphasis towards a brand image rather than a product. For luxury brands it provides space to broadcast the craftsmanship behind their products. For middle/ mass-market brands it presents opportunities to show their consumers their own sense of style (Figure 23).

burberry

figure 23

topshop

he Goor study concluded that most brands regularly use emotion symbolism strategies. However observation concluded that brands actually use assorted strategies to create a well-rounded marketing campaign with smaller low-cost mass market brands intensifying sales response strategies whilst middle market brands concentrate on self efficacy and symbolism.

their brand image. Their Sales response strategies are implemented seasonally, for example a “gift a day” feature in the run up to Christmas and alerting customers about sales/discounts. Overall the brand engages the consumers by creating a sense of community with exclusive offers just for the app users. Luxury retailer Burberry was the only retailer observed that primarily used symbolism strategies to represent the brand’s image and lifestyle. Because of this, their Instagram is less product orientated and therefore do not exhibit strategies to encourage purchases. However after an observation of each brand feed, the emotion strategy and symbolism strategies were identified as being the most commonly utilised. Sales response strategies are used for seasonal sales however smaller brands like Missguided and Boohoo would randomly offer discounts to generate activity surrounding their brand.

Missguided and Boohoo extensively use emotion, relationship and sales response strategies within their Instagram feed. Their posts are frequent and consistent which allows for the digital natives to constantly feel connected to the brand and their appearances become familiar and similar to the consumer’s peers. Topshop’s Instagram feed presents emphasis on the recent opening of a brand new store in New York. Their apparent focus of Self-efficacy is in alliance with the brands global expansion by communicating the “London girl” life style associated with

4.4 BRAND COMMUNITIES

rand communities are conceptualised as participants in the brand’s social structure, characterised by three attributes:

rituals and traditions a shared consciousness

a sense of moral responsibility among its members

n addition to Goors (2010) findings, another strategy used by retailers was the recognition and rewarding of brand communities; Topshop for example rewarded their consumers for reaching a numerical milestone by gifting them with a free lipstick order (Figure 24).

This strategy works for millennials and allows for impulse purchases on their mobile devices: “I bought something from misguided because they posted discount code on their Instagram” (Appendix 1). However engaging with consumers in this way can “expose brands to a high risk of dilution” (Westphal, 2014), as interaction with Digital Natives enables them to address complaints directly to companies.

figure 24: topshop free lipstick

figure 25: Missguided Instagram post

or instance, Missguided couldnâ&#x20AC;&#x2122;t keep up with consumer demand following black Friday (Figure 25) and were forced to upload an image telling customers that parcels will take longer to arrive. This resulted in numerous amounts of irritated consumers commenting that they will never shop there again due to the customer service being inadequate. This suggests that smaller online retailers simply do not have the infrastructure to propel themselves into publicised discount days to keep up with larger brands , which can result in bad brand publicity.

4.5 REACTERVISING

etailers need to continually find guerilla ways to evangelise their brands and one way to do this is to reactervise or real time marketing. It creates the appearance that the brand is fun, interesting and relevant. See figure 26 for Missguided ‘reactervising’ to Kim Kardashian -West’s controversial magazine shoot to promote one of their products.

“ hey kim we think

you have forgotten our t-shirt”

figure 26: Missguided Instagram post

5% of consumers said,

"Tell me where the closest store is to buy the product I'm looking atâ&#x20AC;?

(Appendix 4). Geo-fencing is the use of location services on mobiles in order to market to customers in real time for example; Starbucks alerts potential customers when they are close to an outlet with discount codes (Figure 27).

figure 27: cafe business geo-fencing marketing

4.6 INFORMATION OVERLOAD

ith the increased access to information, privacy issues arise as highlighted at the Big issues conference in 2013 and it continued to be a concern throughout 2014 (WGSN 2013).

Social networks offers gratifying fantasies that creates distorted reality for millennials with many admitting that social networking is making them anti-social in real life. “Some times I am with my friends and we are both on our phones, no talking” (Appendix 1) suggesting that their virtual /on-screen life is now more important than to have a physical relationship with friends.

Consumers can quickly become overwhelmed by technology and it needs to adapt to consumers, not the reverse. “Many people lose their social and familial connections, in favour of a self-actualization ideal. As a social fabric in the western world weakens, it is not surprising that more and more people define themselves as lonely” (Hamburger, Artzi, 2003).

However some industry experts believe that technology is great for consumers as from a business point of view they are able to refine their personal tastes(Seibert, 2014) (Appendix 2).

conclusion

obile screens have become primary viewing platforms for millennials, driving more visual content that has resulted in the industry recognising that the effectiveness of traditional marketing is declining. Social platforms have naturally become the best place for brands to connect and engage with the millennial consumer.

Nonetheless, brands are able to successfully dictate consumer responses from marketing material on Instagram with carefully curated visuals and writing. Inexpensive mass-market brands engage with their consumers on a personal level by using relationship strategies, self-efficacy and sales response to create a hype of activity around the brand.

Instagram is the most popular tool for discovery and the prominence of visual material has changed the millennials adoption and diffusion of new fashions, as they now purchase to pursue and achieve an ideal self. Engagement with brands has caused millennials to be less loyal to the retailers they choose to purchase from due to a wider range available and consequently smaller brands have experienced acceleration in their exposure.

Furthermore, opinion leaders are influencing fashion as millennials are conforming to digital dictatorships by impulsively purchasing new brands and items presented on a bloggers social stream. Conversely, such techniques can sometimes only drive traffic, if a brand advocate is not acquired, then there is no depth of conviction in communication and this results in negative conversion of sales. Bloggers that are the most cohesive become â&#x20AC;&#x153;integrated across all media, traditional and digital, especially for visually driven industries like fashion and beautyâ&#x20AC;? (Wexler, 2012).

o harness the power of social proof, retailers are using consumer-generated content to broadcast images so they appear genuine and homophilious to the consumer. This enables brands to shift consumer perceptions to open up new audiences with Primark and Warehouse being key examples. Therefore the most effective communication method on Instagram for Generation Y would be a fusion of inspirational imagery and text that is related to the brand. A key finding however is that retailers are missing out by not incorporating such technology into their own commerce sites as millennials are now turning to more social shopping apps.

However these technologies are pulling the consumer away from reality and towards the creation of a virtual self. The millennial presents their lives online as they want them to be perceived in real life, and this is blurring the lines between reality and on-screen. With post-purchase behaviour this generation is engaging in invidious consumption, and broadcasting content by tagging brands to be perceived as socially desirable. Additionally, there is an ability to overindulge in fashion and online content that is resulting in this generation loosing physical connection with each other. Factors driving purchase decisions including selfconcept theory, conformity, self-enhancement and envy spiral have also been found to direct effect the generations social interaction on mobiles. Relying on technology has created an anti-social generation of consumers, and their reliance on personal devices opens vulnerability to their stored personal information.

Furthermore, Technology has changed the millennial shopping experience to one that is streamlined and efficient. Emerging third party companies are a key factor in this and their role in facilitating purchases straight from Instagram has enabled a new phenomenon of visual social commerce. Many millennials take part in a 3-part purchases path, utilising many platforms, applications and websites to create a fully digital experience.

raditional systems have made way for mobile devices that are now fundamental in marketing and commerce strategies. Social media has past the point of just sharing content and is now used as a reference tool to inform purchasing decisions. This has led to millennials choosing to follow people who are considered knowledgeable in fashion and outside there circle of friends, which some retailers have recognised and are harnessing the power of social proof by inserting these people into their marketing campaigns. These idolised individuals, combined with the acceleration of communication technology are key contributors to a changing consumer purchase path that encourages and facilitates impulsive purchaser. As millennials are leading the transformation of traditional consumption, there is no doubt that this will lead to the development of far superior integrated marketing and advertising strategies of fashion brands.

recommendations

BRICK AND MORTAR Stores offering real-life contact with brands and their products, a simple notion that should be at the forefront of new concepts. Immersive, sensory-rich experiences can alter perceptions and these are key when implementing in-store technologies. “People’s attention spans are shorter, and this is a way to get regular bite-sized chunks in real time”(WGSN, 2014).

RISE IN SOFT SKILLS People are more hooked on brand stories than ever as it creates an emotional connection that aids consumers understanding (Jordan, 2014). This presents retailers with an opportunity to tell a brand story and bring it to life away from screens with the use of mixed media to create an immersive experience. Highlighted at the Web Summit 2014 the rise in immersive theatre, user-generated art, and playful technology suggests a consumer craving for engaging, alluring interactions.

ADVANTAGE FROM REWARD Millennials have a desire to create a sense of belonging with a brand and expect a two-way, reciprocal relationship with them. Intensifying Reward schemes can build them into ambassadors, withdrawing from the use of influencers. Ascertaining personal beliefs will empower individuals to have conviction in themselves and this will deepen brand image in their post purchase behaviour.

GENERATION Z Invest in research for the next generation as they are increasingly receiving more spending power, acquiring tablets at a younger age and will have grown up with advanced technology in their everyday lives. They will be a generation with instant gratification and this will mean that fashion will accelerate and having instant access to goods will become an expectation, not a bonus.

TURNING BACK ON TECHNOLOGY Tchnology is a tool and industries create uses for it. However over complicating purchasing paths and discoveries stands difficult for consumers to adapt to it. Simplifying retail with nostalgic elements will bring the consumer back into reality and increase brand loyalty.

the end

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R e s e a r c h a nd M ar kets Ad d s Report: Mobile Cocooning: How Growing Reliance on Smart Devices is Influencing Consumer Behavior (2013) E nte rta inme nt C l os e â&#x20AC;&#x201C; Up . R y a n , D . ( 2 014) Understanding digital marketing: marketing strategies for engaging the digital generation . 3r d Ed . London: Koga nPa ge Sa u n t e r, L . ( 2013) M i llennials: a tra de r ge ne ra tion. L ondon: WGS N. Se n d e r , T ( 2014) Youth Fashion , Minte l. UK. So l o m o n , M.R. and Rabo lt, N .J. (2003) Consumer behavior: in fashion , Prent ic e H al l , U p pe r Sa d d le Riv er , N .J. So l o m o n , M.R. and Rabo lt, N .J. (2007), Consumer behavior in fashion , Prent ic e H al l , H a rl o w . So l o m o n , M.R. and Rabo lt, N .J. (2009) Consumer behavior in fashion , Pe a r s on P re n t i c e H all, U pper Sad d le Ri ve r, N.J. St a d d , A l l iso n ( 2013) . Why Social Commerce Is Set To Explode . B usine ss I ns id e r , J ul y 17. St a d d , A l l iso n. ( 2013) . From Social To Sale: Facebook v. Twitter v. Pinterest. B usi n e s s I nsi d er , Ju ly 5. St ru t t o n , D ., Tay lo r , D .G . and Thompson, K. (2011) Inve stiga ting ge ne ra t ional d if f e r e n c e s i n e-W OM beh av io u r s : For a dve rtising purpose s, doe s X = Y?, International Journal of Advertising, v o l. 30, no. 4, pp. 559- 586. T a n g , J . , Wu , S. & Su n, J. ( 2013) Confluence: conformity influence in large social networks , AC M , pp. 347. We n g e n m e i r , M . ( 2013) Two-step flow of communication . B C Ope n Te xtb ook s [ a v a i l a b l e at: h ttp:/ / o pentextbc .ca /me dia studie s101/cha pte r/two- ste p- flow -of -c omm un i c a t i o n/ # W e st p h a l , J. ( 2014) generation yâ&#x20AC;&#x2122;s use of social media . Pa rt 2 h t t p : / / w w w.br and ba.se/ blo g/ gene ra tion- ys- use - of- socia l- me dia - pa rt2 [ac c e s s e d 09/12/14] W e x l e r, J . ( 2012) How to Engage the Right Fashion Bloggers for your Brand (and Amplify your Content Marketing) . E ight E ighte e n S tra te gie s. h t t p : / / j e d wexler .tu m blr .c o m / post/44564865669/how- to- e nga ge - the - right -f as hionbl o g g e rs- fo r - y o u r -br and [ac c esse d 08/01/14] W GSN . ( 2 014) C o nsu m er beh av iour: 10 ke y tre nds. L ondon: WGS N. Y un g - Mi n g, L., Ch eng-Yang, L. a nd Ching- We n, C. (2011) Discove r influe nc e r s f or m a rk e t i n g in th e blo go sph er e, Information Sciences , Vol. 181, no. 23, pp. 5 1 4 3 - 5 1 5 7

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appendices

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one

focus group questionnaire and transcript

social media and purchasing behaviour Do you have an Instagram account? Yes

Have you ever posted a picture of your outfit on Instagram? Yes

Have you ever posted a picture of yourself (selfie) on instagram? Yes

On a scale of 1-5 (5 being the most) how important is it to get â&#x20AC;&#x2DC;likesâ&#x20AC;&#x2122; on your pictures? 1

Have you ever asked someone where a piece of clothing is from on Instagram? Yes

Have you ever wanted to buy something because you have seen a friend wear it? Yes

Have you ever made a purchase after seeing something you liked on Instagram? Yes

Do you like to follow your favourite brands? Yes

Do you follow any of these brands? Topshop Missguided Boohoo Do you follow any bloggers on Instagram? Yes

Where do you find most of your trend and fashion inspiration? Other Instagram Retailer Websites Magazines Bloggers Have you ever tagged a retailer/brand on instagram when posting an outfit? No Yes On a scale of 1-5 (5 being the most) how important is it to you to look fashionable and wear nice clothes? 1

Do you personally think that you are more aware about other fashion brands because of Instagram? Yes

Would you say that you are on your phone A few times throughout the day

Whenever you can

Would you like to the opportunity to purchase items you like straight from Instagram? Yes

Male

Female

Thank You XXV

Focus group transcript AS: HI EVERYONE MY NAME IS MILLY, I AM A THIRD YEAR STUDENT. TODAY I NEED TO HEAR YOUR VIEWS ABOUT HOW YOU’RE USING TECHNOLOGY. SO IN FRONT OF YOU IS A SHORT QUESTIONNAIRE THAT WILL GIVE ME A GREAT INSIGHT INTO YOUR SOCIAL MEDIA HABITS. Please be completely honest, don’t worry about what your friends are writing. AS: I SEE THAT YOU HAVE TICKED THAT YOU DON’T HAVE INSTAGRAM, IS THERE ANY PARTICULAR REASON WHY YOU DON’T Girl 1: I am not really that fussed by Instagram, I like to use tumblr instead AS: WHAT DO YOU LIKE ABOUT INSTAGRAM Girl 2: I like how its easy to use, get to see so many different pictures Girl 10: I like uploading pictures of my clothes, if I get a lot of likes on one of my pictures I know that what I’ve bought is a good decision Girl 9: same! Getting likes is really good as it makes you look more popular. Girl 7: I like to follow my friends Girl 8: a lot of my friends take Instagram really seriously, and want to have a lot of followers. My friend does shout out for a shout out and makes her friends post pictures of AS: I SEE THAT YOU HAVEN’T TICKED ANY BRANDS, WHAT BRANDS DO YOU LIKE Girl 2: I like new look Girl 3: yeah me too, and H&M Girl 4: I love H&M Girl 5: I really like boohoo.com

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AS: WHAT DO YOU LIKE ABOUT THESE SHOPS? Girl 3: new look has good prices Girl 4: I’m just starting to fit into adult sizes and I like these shops Girl 2: I just like new looks clothes Girl 5: nice and cheap and there is a good variety online AS: DOES PRICE REALLY MATTER TO YOU? Girl 3: yeah I don’t like to spend that much as I like too save Girl 4: if I really like something, price would affect me that much Girl5: yes if I like something on boohoo.com I will look on eBay first to see if there is anything cheaper AS: HOW MUCH RESPONSIBILITY DO YOU GET WITH WHAT YOU BUY? Girl 1: clothes are just clothes, I can buy what I want Girl 4: I’m starting to go shopping with my friends Girl 3: I am too, I am going Saturday. AS: WHY DO SOME OF YOU LIKE TO FOLLOW BLOGGERS? Girl 10: I see items that I may not have looked at online Girl 7: I know the clothes they are wearing are new and then it does save time than having to check your favourite websites to see what is new in Girl 8: I can look at the item she’s posted instead of wondering what it would look like on Girl 3: Bloggers get free stuff to take pictures of, so you know those items are new and on trend Girl 4: I never used too but once I saw something on a blogger that I would not have bothered looking at online, it makes me want to try something new Girl 11: I like to see items that I wouldn’t usually look at online. HOW DO YOU FEEL ABOUT TECHNOLOGY? Girl 1: I like having a mobile phone, I feel safe and connected with all my friends Girl 3: I like it, but there is a pressure to have the newest technology Girl 10: sometimes when I am with my friends we will both be on our phones and no one will be talking.

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greg seibert interview WHO ARE THE COMPANY’S COMPETITORS?

Competitors can be classified into different buckets. Shopstyle is a competitor in the sense that like Polyvore, they attempt to serve as a discovery-shopping destination. Other social shopping sites such as Wanelo & Lyst can also be considered competitors. Twitter, Facebook, & Pinterest are competitors for advertising dollars being spent by sites and brands on engagement driving & brand recognition efforts Refinery29 is another competitor for advertising dollars for sites spending on Branding. WHAT ARE POLYVORE’S VIEWS ON INSTAGRAM? IF THEY INTEGRATED LINKS ON THE APP, DOES THIS POSE A THREAT TO POLYVORE?

Instagram is a great channel for furthering distribution of Polyvore content (as are Twitter, Facebook, & Pinterest). If they integrate links, our posted content will link back to Polyvore, so rather than a threat, that could serve as a great new user acquisition channel. WHAT HAS BEEN THE SUCCESS OF YOUR APP SINCE ITS LAUNCH?

Our apps have been designed to amaze and delight our Creators. Creators / Influencers on Polyvore are the most engaged community members and tailoring the app to them allowed us to generate a good number of downloads quickly while simultaneously providing for a good amount of mobile distribution. IS THERE A CONSUMER DEMAND TO BUY WITHIN POLYVORE RATHER THAN THE RETAILERS WEBSITE OPENING IN ANOTHER WINDOW?

There is from a customer standpoint. Minimizing clicks will always increase overall conversion. However, we like to focus on what we do well – fuel discovery of brands and sites through individual products. We like to let brands and sites do what they do well – sell products and fulfill orders. The move to add a ‘universal cart’ is being undertaken by a number of other content sites & ‘publishers’ but it is not always preferred by retailer partners and can unnecessarily compromise long time relationships.

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DO YOU FEEL THAT THE MILLENNIAL CONSUMER IS LESS BRAND LOYAL BECAUSE OF EXPOSUR E THROUGH SOCIAL COMMERCES?

To some degree, because the online discovery process is now extremely accessible and fun. In fashion, stating the obvious, more obscure and undiscovered items are often sought after. Social shopping allows for people to be more influenced by peers than by brand marketing, but again, it also allows for constant discovery of new, relatively unknown brands and sites. WHAT IS SO APPEALING ABOUT POLYVORE THAT TAKES CONSUMERS AWAY FROM SHOPPING AT BRICKS AND MOTOR RETAIL STORES?

The community and discovery aspects allow for idea sharing around complete looks. Often these complete looks involve a much wider range of products than one can often find through Brick & Mortar shopping. YOUR WEBSITE STATES AN AVERAGE CONSUMER SPEND OF $383, WHAT ARE THE KEY DRIVERS THAT HAVE RESULTED IN AN AVERAGE THAT IS MUCH LARGER THAN THAT OF ANY OTHER SOCIAL PLATFORM?

Polyvore is a community content site first and foremost. BUT, it is also very clearly shoppable and efficient at driving sales. Other social platforms may allow for discovery in their own ways but have not generally done well to optimize the shopping / ecommerce experience. IS THERE A SIGNIFICANT DIFFERENCE IN THE NUMBER OF USERS THAT ARE MALE TO FEMALE? WHY DO YOU THINK THIS IS?

Polyvore has a largely female audience (75% or so). The platform is targeted to a female audience and has no Shop area for Men’s items. SO, that ‘clearly shoppable’ aspect of the site really only applies for our female audience. HOW SUCCESSFUL IS THE COMPANY OPERATING IN THE UK MARKET?

The UK is our 2nd largest market. THE SETS THAT YOUR USERS CREATE HAVE BEEN DESCRIBED BY POLYVORE’S FOUNDER JESS LEE AS CONSUMER GENERATED ADDS?

Set creation allows users to speak about brands and products to their peers directly.

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DO YOU THINK THAT THIS REPRESENTS A SHIFT IN HOW CONSUMERS SHOP; SOCIAL PROOF IS KEY TO PRODUCT POPULARITY AND WORD OF MOUTH ENDORSEMENT?

I think that this may be the case overall, but not everyone has the same approach to fashion and shopping. Influencers of course like to have a role in dictating popularity through experimentation. I do think there is a shift in the way brands and retailers advertise / speak about their brands due to the increased influence of social shopping platforms. Native advertisements and authentic community voices have become more valuable. DO YOU THINK RETAILERS ARE MISSING OUT ON SOCIAL AND COMMERCE AND WHY DO YOU THINK NO RETAILERS SEEM TO BE INCORPORATING IT INTO THEIR SITES?

Many retailers have attempted to incorporate social feedback / commentary tools into their sites, but with limited success. As an individual retailer, even with thousands and thousands of products, the ability to assemble complete and diverse looks ends up being limited. I don’t think they are missing out if they work with us ☺ Retailers can partner with us to fuel discovery and access new customers. Again, while we focus on driving social discovery, retailers can focus on driving sales and providing products that resonate with their target audiences. DO YOU FEEL THAT POLYVORE HAS ENABLED THE FASHION INDUSTRY TO FEEL LESS EXCLUSIVE I.E TOPDOWN TREND ADOPTION?

There is a bit of the ‘democratization of fashion’ happening. The community can voice their opinion on the colour of the season vs. being told what that color is by the editors at Vogue. WHAT IS THE NEXT MOVE FOR POLYVORE TO STAY AHEAD IN THE MARKET?

Continued improvements of our mobile and site experiences around the world. We want to make it easier and more delightful for fashion-interested people to inspire and be inspired. Apologies for being so vague, but stay tuned on Polyvore for details ☺ HOW DO YOU FEEL ABOUT THE DIGITAL COMMUNICATION AGE? DO YOU FEEL WE COULD ENTER A PHASE OF INFORMATION OVERLOAD?

I LOVE IT! NO SUCH THING! With more information, we all seem to be improving our personal filters and further refining our individual tastes.

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three

British Fashion Council Blogger strategy

PRESS RELEASE TH 5 SEPTEMBER 2013 The British Fashion Council announces strategy to engage fashion industry bloggers Fashion blogging both in the UK and internationally has exploded; last season alone over 2 000 bloggers registered to attend London Fashion Week. With an average rise in applications of 25% season on season since launching blogger registration in February 2011, projected registration for September 2014 would exceed 3 000 applications. To be able to manage the increased interest and provide the best experience for bloggers who receive accreditation, the British Fashion Council is developing a strategy that it hopes to implement over the next year. Although in its early stages, the British Fashion Council has initiated an open channel of communication with a a broad range of bloggers to act as advisors on wide ranging issues, including increased blogger registration, vetting, best practise for bloggers and on-site facilities at LFW, the BFC has identified a list of action points to be implemented this season. We are selecting the bloggers that add value to London Fashion Week London Fashion Week is a trade event. To be accredited, bloggers must have a wide reach, influence, engagement and evidence that they support the work of British designers. The application and vetting process for bloggers requires time and consideration so we will no longer be accrediting bloggers on-site during the event. We are increasing the value of accreditation for bloggers at London Fashion Week With enough time before the shows begin, the BFC will be able compile and distribute the final list of accredited bloggers for London Fashion Week to PRs ahead of the event. Accreditation will be awarded on a seasonal basis Every blogger who registers their interest in London Fashion Week will receive a briefing pack The briefing pack for accredited bloggers will detail what accreditation offers, provide information about on-site facilities and events, and will outline a code of conduct. Non-accredited bloggers will receive a synopsis of ways to get involved, including access to media packs and an online blogger hub, within which daily highlight videos, imagery and information on related events will be available. The briefing pack will also include information about relevant events throughout the year, emphasising a 365 day approach to bloggers generating content.

rtal will be refocused The blog portal will represent our accredited bloggers for London Fashion Week and will be updated season on season to reflect this dynamic list. This will provide a useful year-round resource for the wider industry. Onsite facilities at London Fashion Week Samsung are providing a space for bloggers with lockers and charging stations on the first floor of Somerset House. This is in addition to The Samsung Press and Buyers Study, where 10 laptops will be available for use by accredited bloggers. Sasha Wilkins, Liberty London Girl, commented:!"As both journalist and blogger it's been an extraordinary experience to watch the exponential growth of blogging from both sides since I started blogging in 2006. With that growth has come many unforeseen logistical challenges for the entire industry at London Fashion Week, and I'm very pleased to be working with the British Fashion Council as they start to implement a continuing programme of measures to help bloggers and editors alike navigate London Fashion Week in the digital age."!

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Teen Vogue seeing social report Teen Vogue Seeing Social report SOCIAL "SHOWROOMING" IS AN EMERGING SHOPPING RESOURCE Social media delivers more than wish-list window shopping-it is, essentially, a socialpurchasing path for girls that leverages each platform's strength and point of engagement to enhance the shopping process. 85 percent of respondents have been driven to purchase something after seeing it on a social media network-but the storefront of a posting is just the beginning. Young women take a three-part path on social before transaction: 1. See It: Instagram is the number one platform that inspires respondents to purchase 2. Search It: When respondents find a fashion or beauty brand they like on social media, they search YouTube videos of how best to wear or apply the product (52 percent) 3. Shop It: Before purchase, they engage in "comparison shopping" on social media platforms. By platform, top behaviors include the following: • • • • • •

Find additional product images: Pinterest (48 percent) Read reviews and recommendations: YouTube (43 percent) Seek out sales/deals: Facebook (36 percent) Emerging Trend: Adoption of Social Commerce 1 in 4 respondents (26 percent) have made a purchase directly from a social network 47 percent would like to see social networks provide the ability to purchase a product they're viewing directly from the network's feed

THE FUTURE OF SOCIAL Influential young women are seeking to maximize technology's ability to personalize engagement. They want social media to bring them closer to the products and brands they're seeing on their screens, seamlessly translating the digital experience to a bricks-and-mortar transaction. When asked what they would like to see more of from fashion and beauty brands on social media: _81 percent said more product sampling!_65 percent said "Tell me where the closest store is to buy the product I'm looking at"!_56 percent said "Post more looks and products that make sense for where I live"

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Jess Preece observation transcript Jessica preece social path transcript: AS: Hi jess could you tell me what you are looking at on your phon e JP: I was just looking through Instagram and I came across Una Heeley’s post. I really like the trainers she is wearing in them. AS: has the user tagged the brand of trainers? JP: Yes she has tagged Reebok, I don’t usually look there for trainers but I am going to follow the brand now and have a look. I cant see the trainers on the Instagram page so I am going to look on their website. AS: Is that on your phone? JP: yes, it is much quicker I have found the trainers now, but they are really expensive. I am pretty sure JD do student discount so I might have a look there to see if I can get them cheaper. AS: is there anything else you can do to find deals? JP: yes facebook, if you follow the right brands sometimes post discount codes for 20% off or free shipping. AS: how was the process of finding the trainers? JP: Too long, it would have been so much easier if there was a direct link to buy the trainers, as I would have been much more inclined to purchase them straight away.

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pinterest swot analysis PINTEREST Strengths • due to its limitless range of content pinterest has a large audience appeals to consumers with a wide variety of interests. • Pictures are eye catching • Not just limited to fashion so they have a larger percentage of 55+ at 16% Weaknesses • Not utilising commercialisation opportunities • Not harnessing e-commerce Opportunities • Developing a commercial strategy Threats • Polyvore introducing homeware products increasing their audience

Seven

google listen searcb software Google listen software Google, is planning an audio search engine around 'listen and response', and voice-recognition searches are already standard on most mobile devices iPhones “siri” revolutionising this change as the user becomes dependable on their mobile assistant.

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newlook.com

images

pinimg.com

instagram.com/topshop

instagram.com/ Zoella instagram.com/officalplt instagram.com/hannahcrosskey instagram.com/missguided instagram.com/unaheeley instagram.com/boohoooffical instagram.com/hannahcrosskey instagram.com/topshop pinimg.com instagram.com/boohooofficial rewardstyle.com/liketoknowit instagram.com/burberry pinimg.com instagram.com/burberry michaelkors.com adapted from topshop.com

instagram.com/topshop

primark.com/primania www.choies.com

instagram.com/topshop

instagram.com/missguided

geofencemarketing.co.uk

instagram.com/missguided

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