Visual Essay NTU FMB by Annie Taylor

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how social media and digital innovations are transforming the fashion industry. 4

The ubiquitous influence of visual communication in the digital age has transformed the way in which fashion is marketed and consumed. Living in a hyper-visual landscape, consumer behaviour is increasingly being shaped by the construction of images created on social media, and it is often these images that generate impulse and drive consumers to make purchase decisions (PaqvalĂŠn, 2013). Brands and social influencers are, therefore, having to adjust their marketing strategies in accordance with these arising digital platforms, and thus, it can be argued that the fashion industry is in the â&#x20AC;&#x153;midst of a revolutionâ&#x20AC;? (Wendoni, 2017. P. 216). This essay will examine the impact social media has had on fashion marketing and branding in relation to images created for online campaigns, social media itself and the press.

aw18/19 With the emergence of social media, which has â&#x20AC;&#x153;infiltrated a generation of devoted users of the millennial age,â&#x20AC;? (Ozuem and Azemi, 2018. P. 330) more traditional methods of targeting consumers are beginning to falter (Mintel, 2015). Brands that are acknowledging this factor, such as Burberry, Tommy Hilfiger and Dolce and Gabbana are ultimately succeeding. Dolce and Gabbana are renowned for engaging with the zeitgeist within the creation of their social media content, online campaigns and fashion shows.

For example, during Milan Menâ&#x20AC;&#x2122;s Fashion Week Autumn/Winter 2018, the Italian house traded millennials for models; macro and micro influencers with a social media prowess, such as YouTube sensation Cameron Dallas, (20.8M Instagram followers) hip-hop artist Christian Combs (1.1M Instagram followers) and young model Luka Sabbat (817K Instagram followers), walked the runway.

These members of generation Z who wore the ‘King’s Angels’ collection arguably embodied a “new vision of royalty” (Chodha, 2018) as within the mise-en-scene, the influencers showcased a series of opulent and regal-inspired suits. Perhaps, this connotes that within such a heavily digitalised culture, social media influencers are the new kings and thus, they should be worshipped. This premise is shaped by Roland Barthes as he believed that clothes were envisaged as a sign of the times (Barthes, 2006). 12

The show has been pivotal within the fashion industry as it has utterly juxtaposed the traditional means of casting. By using millennials, who “challenge the norms of contemporary communication,” (Dolce & Gabbana, 2018) on the runway, and positioning them with high regard, Dolce and Gabbana have created a strong connection with the digital world and the consumers behind it: millennials.

Whilst this connection may not translate into sales immediately, through working with influencers who have the “right online visual aesthetic, on brand-projects and circle of friends,” (Napoli, 2017) such as Dallas, Combs and Sabbat, the brand has ultimately grown. The high-end label has been marketed to millions of followers and therefore, they have successfully targeted the future consumer.

Consequently, as the fashion industry increasingly conforms to pop culture, whereby fashion houses are using ‘influencer marketing’ as a large segment of their marketing strategies, brands have shifted away from seeking validation and impressions from buyers and editors at runway shows. Instead, they desire it from millennials on social media.

MILLENIALS:

â&#x20AC;&#x153;They are real boys and girls that love fashion, they have fun with it, they dare, they change looks every day, theyâ&#x20AC;&#x2122;re not afraid to mix styles and different garments.

What they wear is immediately online and it’s seen by a lot of teenagers, so from the business point of view they shouldn’t be underestimated.”

(Dolce and Gabbana, 2017) 17

A PICTURE CAN BE WORTH A THOUSAND WORDS, BUT IN THE CONTEXT OF SOCIAL MEDIA, IT COULD POTENTIALLY BE WORTH A THOUSAND IMPRESSIONS (WENDONI, 2017. P. 16 2 .)

ss16/17 Millennials are, therefore, at the core of Dolce and Gabbana’s marketing strategy, demonstrated during Milan Women’s Fashion Week Spring/ Summer 2016. Models were captured taking ‘selfies’ mid-catwalk with phones encased in vibrant and crystal embellished accessories. Arguably, this act, in combination with the extravagant décor that engulfs the technology, could suggest that Dolce and Gabbana are making a mockery of the obsessive social media culture that exists today. However, by applying Stuart Hall’s theory of encoding/decoding, the dominant reading would suggest that the brand is embracing all things digital. This is decoded by the fact that the images taken were projected around the room and uploaded real-time to the designer’s Instagram account using the hashtag #DGselfie; an innovative marketing strategy used to engage with the contemporary consumer. 19

Real-time commerce is a tool used by fashion marketers in an attempt to “adapt to the next generation of digital nesters,” (Wendoni, 2017. p. 216) as it is now common for consumers to demand the latest trends off the runway via social media. Therefore, the images created for Dolce and Gabbana’s Instagram from the catwalk conceivably establishes an inclusive relationship between the brand and the millennial consumer, as the readyto-wear collection was made accessible to them immediately. This could potentially drive revenue as, in 2015, 35 per cent of millennial women said that social media was “one of the top influencers when making clothing purchases” (Mintel, 2015). 20

Given that millennials are the largest living generation today (Fry, 2016), it is plausible that this statistic has increased. Ultimately, Dolce and Gabbana have recognised the power that digital innovations, such as social media, millennials and real-time commerce, have had over fashion houses and have , therefore, adopted a strong social media marketing strategy as a result.

fall ‘15 It can be said that social media has ‘trickledup’ within the fashion industry, as multiple luxury brands have been forced to adopt an open dialogue across social media platforms. Burberry are a prime example of a brand whom have been an early adopter of digital marketing strategies and as a result have utilised platforms such as Snapchat, which “reaches to 41% of 18-34 year olds in the US” (Owen, 2016). In 2015, the brand worked in collaboration with photographer Mario Testino to shoot a 24-hour Snapchat campaign; as Snapchat operates in a time of scarcity, brands using the platform arguably provide a sense of exclusivity to the customer when they publish real-time ‘stories’.

These ‘stories’ are beneficial for the consumer as they allow followers to be “spectators from an unfiltered and less glossy angle” (Napoli, 2017) , reinforcing the ideology that luxury is now more accessible. Nevertheless, employing this ephemeral marketing strategy is also advantageous for brands as it ensures that they will “avoid brand dilution” (Napoli, 2017) within the digital world. This is applicable for Burberry, as digital now influences 70 per cent of Burberry buying decisions (Drapers, 2017). Thus, using these social media platforms has undeniably had a colossal impact for both the brand and the future market.

“It is mixing up the visual grammar and vernacular of two different mediums, in a way that you know is now going to influence a million new pieces of communication”

The bricolage of Mario Testino and Snapchat has manifested how “newer generations of fashion collaborators are shaking up the status quo and turning the industry on its head” (Nylander, 2016). For example, black and white is a colour palette which has become synonymous with Testino’s aesthetic. Therefore, by applying that timeless aesthetic to the campaign, Testino and thus Burberry, have ultimately democratised fashion. The black and white filter is now accessible to every digital native on Snapchat and therefore, arguably puts them of equal level as a talented photographer. Furthermore, there are many indicators which enable consumers to immediately identify Burberry as the brand from this Snapchat campaign. Within the shoot, British model Eliza Fairbanks flaunts the brand’s notorious trench coat on her bare body, making the product seem significant. Thus, British heritage in combination with the iconography of a trench coat are the main assets that individuals would associate with the fashion house today. As an entirety, the campaign “mixes up the visual grammar and vernacular of two different mediums, in a way that you know is now going to influence a million new pieces of communication,” (Kirkham, 2015) a statement which is true of Burberry, as the brand has innovated within both the visual and digital landscape. 25

aw16/17 The runway has become a crucial marketing platform for these brands as it is now more about spectacle rather than functionality, in an attempt to impress the consumer. Methods of which this has been achieved include the accessibility to instantaneous live streams, social media updates of the runway and immediate buying options, which are made available by brands. Burberry’s marketing team have “developed ways of linking one technology to another, engaging with all the digital and conventional media” (Sheridan, 2010. P. 231) through their ‘see now, buy now’ option that they introduced in 2016. The model rationalised the fashion industry when it unveiled as Burberry gave consumers the ultimate purchasing power. For example, by enabling them to purchase directly off a screen as their collection launched on the runway, consumers exceeded their position in the fashion hierarchy, which ultimately placed buyers as second best. Thus, the consumer-facing concept has transformed the way in which fashion has been marketed, with other industry players following in their steps.

Tommy Hilfiger is a high-fashion brand whose marketing strategy has also been informed by the power of digital innovations, social media and its influencers. For example, during the Women’s relaunch at New York Fashion Week in September 2016, Tommy Hilfiger took inspiration from Burberry and integrated a ‘Buy Now Wear Now’ collection onto the runway labelled #TOMMYNOW.

The collection featured social influencer Gigi Hadid’s clothing line, TommyXGigi, and was made available for purchase immediately across 70 different countries. As a result, female visitors, aged 25-35, who engaged with tommy.com grew 75% from its initial launch date in August 2016 (PVH Annual Report 2016), which was perhaps influenced by Hadid.

aw16 The runway used to showcase Tommy Hilfiger and Gigi Hadidâ&#x20AC;&#x2122;s collection arguably revolutionised the fashion business, once again, as Hilfiger gave the show a personality; it was lit with fairy lights and placed against a city backdrop. Furthermore, the show was accompanied by frivolous features such as a Ferris wheel, arcade games and street food etc. to add to the atmosphere. Perhaps this idea was chosen in alignment with Gigi Hadid being the co-designer; using a social influencer to both model and design the collection has disrupted the fashion trade as she is arguably an amateur within the industry, which is partially due to her age. However, being a millennial has brought a whole new youthful characteristic to Tommy Hilfiger as a brand, reflected in the light-hearted and fun presentation of the show, enabling them to target a new demographic.

The brand began their partnership with Gigi Hadid in 2016, and she has assisted them in achieving success. According to Tommy Hilfiger, she is a “force in the fashion industry and the ultimate Tommy Girl” due to her “positive, down-toearth energy, and cool, effortless style” (Conlon, 2017). Therefore, if we are to apply McCracken’s meaning transfer model, then by using Hadid as the face of the brand, the fashion house is aiming to sell the values associated with the influencer to consumers. Thus, as Hélène Heath states – social influencers are ultimately personalities, and when these personalities are for sale, “the world is buying,” (Napoli, 2017) because consumers desire to be like them. 34

As an entirety, the brand has been able to target a new, younger and female market segment by using a millennial woman as their global brand ambassador and thus, this collaboration has had a massive impact on the brand. As Gigi Hadid has upheld her position within the company in following years, it can be argued that social influencers are not a fad within fashion marketing and branding. In fact, this image supports the premise that social influencers, and therefore social media, are invaluable to brands and thus, equivalent to royalty, as Gigi Hadid is wearing lavish jewellery and a tiara on her head.

fall ‘14 However, many brands have now exhausted influencer marketing since the ‘trend’ began, and perhaps it would be more beneficial to re-introduce more authentic methods. For example, in 2014 Marc Jacobs pioneered in fashion marketing and branding by inviting ordinary consumers to participate in the casting call for their Autumn/Winter campaign through social media. The brand used the hashtag #CastMeMarc on Instagram and Twitter to connect consumers who shared the same desire to participate in the campaign. Hashtags are a tool used by marketers and brands as a way of exposing consumers to trending moments, such as the Marc Jacobs campaign, which engaged 70,000 individuals without being overtly advertised.

Furthermore, it is also a central location for individuals to visually connect with Marc Jacobs, and brands as an entirety, as they can explore the images created for that trending moment. Consequently, it would be advantageous for brands to engage with this subtle method of advertising in a time where digital is excelling, as trending moments are “necessary tools in spreading information to modern, hyper-connected consumers” (Wendoni, 2017. P. 164).

One winner of the campaign included Southeast Asian model Nadia Rahmat. The young amateur female arguably embodies cultural diversity through her ethnic background and signature braids; both her appearance and clothing adds a unique style to the high-fashion label and introduces a fresh twist to the brand as a whole. Ultimately, Rahmat subverts the appearance of a conventional model, however, her direct gage with the camera makes her appear powerful and assertive about her presentation. Furthermore, her hand gestures are imitative of guns and thus, this could reinforce her power and could also signify that she is able to shoot down anyone who is oppressive about the non-traditional casting choice.

Throughout the campaign, Marc Jacobs has highlighted that the brand values equality of both ethnicity and age, and therefore, by giving ordinary consumers from around the world the opportunity to become the face of the luxury brand, individuals will now associate the brand with integrity. Integrity is a key factor for fashion marketers as this is what could potentially influence sales for businesses.

Nevertheless, whilst social media and its influencers are transforming the way in which fashion brands market themselves and their products, these tools are, simultaneously, enabling influencers to become brands within their own right. Kim Kardashian, for example, only uses her TV show ‘Keeping Up with the Kardashians’ as a “hub for all her family’s other business ventures,” (Piazza, 2011, p. 86) which includes lines across the beauty and apparel markets that constitute the fashion industry today. However, the method in which these lines are pre-dominantly marketed relies on the presence of social media, as Kim Kardashian employs a personal branding strategy via this platform to target her audience segment. The influencer creates user-generated content, promoting her brand and offering insights to her lifestyle, which, in turn, establishes an exclusive relationship between brand and consumer. It is important that brands and influencers are engaging with this ‘exclusivity’ trend as it is “making consumers feel like they are seen, respected and connected” (WGSN, 2016). For example, to promote her KKW beauty Ultralight Beams highlighter collection, Kim Kardashian posted a behind the scenes nude photo from her cosmetics shoot in June 2017, whereby she was covered only in glitter. Nudity is arguably a marketing technique which is synonymous with the middle Kardashian sister as she often posts these private photos on social media for the world to see. 43

Furthermore, it is what establishes a para-social relationship between herself and consumers; individuals begin to feel that they know Kim Kardashian on a personal level and thus invest their time and money into her and her lifestyle. The images created for the shoot appear other-worldly as the celebrity posed against a silver foiled background, perhaps making her look like a goddess whilst also making consumers feel as though they will achieve this look by purchasing her products. Additionally, the shoot is arguably imitative of Beyonceâ&#x20AC;&#x2122;s Flaunt cover in 2013, a selling point within itself as it guarantees talk within the press. Consequently, the $160 ten-piece Ultra Beams set sold out just a day after being released, highlighting the impact social media has had for Kim Kardashianâ&#x20AC;&#x2122;s brand alone, and will continue to have within the future given its established success so far.

In conclusion, it is undeniable that digital innovations and social media platforms such as Instagram, Snapchat and Twitter have transformed, and arguably saturated, the fashion industry; especially, the way in which products are marketed. Ultimately, it is these inexpensive tools that have enabled visual content to become central to a brandâ&#x20AC;&#x2122;s marketing strategy, whether it be a company or an influencer. Therefore, as visual communication is a universal language, it is crucial that both high-end and mass-market fashion businesses are utilising methods on social media, such as real-time commerce, brand hashtags and user-generated content, as these marketing ploys are what the twenty-first century consumer engages with the most. The digitalisation of marketing is dominating within the fashion marketing and branding world, which is highlighted in this image as it suggests that the combination of fashion and technology are the only essentials in life, perhaps more than actual clothing products. Therefore, brands who do not possess a strong social media marketing strategy are unlikely to prosper as a result.

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