Controlled Image Communication - Major Project

YOU WANT THE VIEWERS’ PERCEPTION OF YOUR BRAND TO BE CONTROLLED.

YOU WANT THEIR OPINION TO BE GUIDED.

YOU WANT THEM TO PERCEIVE YOU THE WAY YOU INTEND TO BE PERCEIVED.

Controlled Image Communication

MARIELLA CORNELIA WEPPERT Major Project BA FASHION MARKETING & COMMUNICATION, LEVEL 6, 2016 MIED 611 Teacher: José Guerrero

Abstract Brands being present on social media often face the problem of doing so effectively without distorting the brand image.

Being present on social media does not yet have many specific models or strategies that companies can follow in order to do so successfully.

The question being answered in the project is whether it is possible to control your brand image when communicating -> Controlled Image Communication.

The final outcome of this project will be a new branding model in which the main related and effective theories, models and findings will be analyzed, applied and implemented.

The secondary source information found originates from books, online PDF’s and articles.

Index GLOSSARY 6 METHODOLOGY 9 1.0.0. INTRODUCTION 12 1.0.1. MOTIVATION 17 1.0.2. GOALS & OBJECTIVES 19 1.0.3. PROBLEM DEFINITION 20 2.0.0. LITERATURE REVIEW 23 2.1.0. INTRODUCTION 25 2.2.0. BRAND IMAGE 26 2.2.1. What is a brand image? 26 -The Three Brand Image Dimensions 26 2.2.2. Brand Evolution 30 -Bill Bernbach’s Brand Evolution 30 2.2.3. Controlling the Perceivers Image 36

- The Brand Community - David M. KalmaN

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Index 2.3.0. SOCIAL MEDIA 38 2.3.1. What is Social Media? 38 2.3.2. Social Media Evolution 39 -Web 1.0 to Web 3.0 39 2.3.3. The Users 44 -The F-Factor 44 2.4.0. Conclusion Literature Review 51 3.0.0. DATA COLLECTION 53 3.1.0. INTRODUCTION 55 3.2.0. THE BRAND CATEGORY 57 3.2.1. Lovemarks Applied 57 1. Lovemarks 59 2. Brands 61 3. Fads 63 4. Product 65 4

Index 3.2.2. Kevin Robert’s Bonds Reapplied 68 1. Rational 71 2. Emotional 72 3. Subconscious Response Aspect 73 3.2.3. Which Bonds to Focus on? 75

3.2.4. How are Bonds a Tool to Control?

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3.2.5. A Long-term Analytical Tool for Bonds

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-Closed Loop Branding 77 3.3.0. THE PERCIEVERS 78 3.3.1. The Brand Community Applied 78 3.3.2. The Five Online Behaviors 79 3.4.0 THE MODEL CREATION 81 FINAL MODEL 91 CONCLUSION 92 BIBLIOGRAPHY 94 APPENDIX 99

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Brand Admirers.

Customers that truly prefer a brand.

Brand Community.

Brand Community – Thomas C. O’Guinn and Albert Muniz describe it as “shared consciousness, rituals, traditions, and a sense of moral responsibility.” (Kalman, 2009).

Brand Enthusiasts.

Customers that entirely relate to the brand’s image.

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Non-Commitals.

Customers that happen to select a brand.

Producer.

The person or platform providing information for the receiver.

Prospects.

Those that have not made the decision to buy from this brand yet.

Prosumer.

The person or platform providing information for the receiver.

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Pull Principle.

Customers seek for information they are interested in, marketers intend to provide the information that is seeked for.

Push Principle.

Marketers provide customers with information.

Push Principle.

The person reading the information provided by the receiver.

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Methodology

To begin with, the original idea of the data collection, was to apply the theories and models found and combine these with examples of brands that are using social media as a communication platform. However, throughout this process I realized, that this wasn’t letting me advance to a new Controlled Image Communication model. So I changed my strategy and realized, that using the theories and models found and reapplying and combining them considering the Control factor would allow me to create the desired final model that I had been aiming for.

The research is obtained through qualitative methods that allowed me to find previous theories and models on similar subjects, that are then respectively applied, used and reinterpreted. Every chapter from the literature review has its partnered chapter in the data collection. Clearly, some chapters from the literature review fell into the appendix as they proved to not be effective in the practical part and thus not be of use for the creation of the new branding control model, however still relevant in order to keep a broad understanding of the theories and their surroundings.

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Introduction

1.0.0.I

1.1.0.

1.2.0.

1.3.0.

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Motivation

Goals & Objectives

Problem Definition

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To begin with, how do you create a perception, a

meaning to every individual person seeing this word.

brand image? You communicate it, but what exactly

To start off with, lets use a word. Letters are simple,

is communication? Communicating is a form of rep-

they mean the same to all of us and allow the readers

resenting the idea you want another to perceive, a

to freely interpret what they see, whereas an image

representation therefore is a certain idea or a thought

is already based on the interpretation of the person

or intention, which makes it a non- existent ‘some-

providing this image. So, lets use the word ‘school’

thing’ which therefore is a representation of the real

as an example, right in this instance you as the read-

‘something’. When a person thinks of such ‘some-

er are already reaching out to your memories without

thing’ they are thinking of the representation of ‘it’

doing so consciously, now that I am saying so, you

(Barnard, 2002). Using the concept of representation

are switching to the intended memories I want you

in a person’s mind, triggers the emotion that comes

to look back at. What do I mean by this? The word

along with the represented ‘something’ and allows a

itself is firstly either positive or negative to the reader,

simple representation of a word to have an enormous

in my case it is positive, the moment I see this word 13

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my subconscious receives a positive feeling. However,

is a complex process, as the sender and recipient both

emphasizing the word like I am doing by writing about

have different ways of interpreting.

it now, is what will make the reader intentionally grab more concrete memories they have in relation to this

Branding is similar, the companies create a meaning

word.

through its brand, a character, a lifestyle or a promise.

They can control the meaning by communicating it ef-

The point is, that representations, memories and per-

fectively, however the experience that the readers ob-

ceptions are perceived differently by every individual

tain through this brand is not entirely in the company’s

person. However, with a word such as ‘School’ we have

control. If the reader relates the brand or even simply

the control over the meaning that the reader under-

its meaning to something negative, then it will be hard

stands, what we do not have control over, is what the

to change this customer’s perception.

reader relates to this meaning. Therefore, the power of 14

controlling the outcome of what your communicating

Now thinking of communicating a brand image on so-

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cial media opens up even more options from which

tomers perceiving it in such way. So, does your com-

the customer can get distracted from the actual in-

pany have the power to transmit the correct brand

tended brand image. Due to the fact that social me-

image on social media and the real question is, can

dia makes a brand transparent already takes away the

your brand maintain and control it?

control from the company in terms of what they want their customers to see.

The simple nature of misunderstanding, what if customers perceive an online publication of the company

The simple nature of misunderstanding, what if cus-

in a way that it is not intended, in a way that it alters

tomers perceive an online publication of the company

the brand image in the customer’s mind without the

in a way that it is not intended, in a way that it alters

company intending to do so? The wrong perception

the brand image in the customer’s mind without the

of a brand image from one customer on social media

company intending to do so? The wrong perception

can lead to a viral number of customers perceiving it

of a brand image can lead to a viral number of cus-

in such way.

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So, does your company have the power to transmit the correct brand image on social media and the real question is, can your brand maintain and control it?

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1 . 1 . 0 . M

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Throughout the course of Fashion Marketing & Communication I came across a number of subjects that I became passionate about. A few of the most important ones to myself were the following: Fashion Communication:

Graphic Languages:

The way in which we communicate being just as import- The influence of graphical elements on the means of ant as how we communicate.

communication.

Fashion Advertising:

Social Media:

The core beneath all laws that allow a brand to consis- How social media is being used for brand’s benefits. tently advertise its brand and its product.

Web Marketing:

Semiotics:

The way the web is used to catch customers and maintain The means used to advertise using the power of our them.

minds.

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Having studied these subjects, and having worked alongside the course, I was able to obtain both theoretical insights and practical insights. As I am passionate about these subjects I wanted to base the thesis on a question that includes the above subjects. Alongside I have been increasingly seeing gaps in the companies I had been working for and I wanted to relate my thesis to the real life experience I have obtained and in which I have been able to apply my acquired knowledge from my university cours from too.

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1.2.0.Goals&Objectives

Find and furthermore understand the most relevant models in relation to: -

Brand Image Models

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Social Media Models

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Branding Strategies

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Social Media Strategies

Obtain sufficient core theories about these topics and analyze in order to further on be able to create a new model based on control.

Experiment and mostly understand in full depth how the theories and models are relevant and can be used as a tool to facilitate increased control.

Analyze, apply, re-apply, adapt and create a new model from the findings that concentrates on the sole objective of obtaining control over your communication.

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1.3.0.ProblemDefinition Having in mind, that companies nowadays all embrace the world of social media, I came across the brand image problem in every job position I have had so far. Every time it came to the point of publishing content or even simply interacting on social media from the brands profile, there were always issues on how to use social media and at the same time maintaining the brand’s image.

Branding on it’s own is already a part of a company that must be defined and evaluated, this is usually not the milestone in which most companies get stuck in. Nor is the social media, the content is generally the hardest part, however it is there and companies know what their product or service is about and thus have specific intentions on social media.

However, the big issue is how to do one by not disrupting the other, meaning: How to use social media without letting its unlimited space for opinions alter the brand’s image? How to behave as a brand on social media without letting the behavior disrupt the image? How can you be present on social media but at the same time keep the control over the set brand image? Can you even do this and if so to what extent?

This leads me to the summarizing question which I will investigate: 20

control over the set brand image? Can you even do this and if so to what extent?

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1.3.0.ProblemDefinition

This leads me to the question which I will investigate.

CAN YOU OBTAIN THE CONTROL OVER YOUR COMMUNICATION ON SOCIAL MEDIA, AND IF SO HOW?

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L I TER ATURE REV I E W

2.0.0. Lit. Review 2.0.0. LITERATURE REVIEW

2.1.0. INTRODUCION BRAND IMAGE

2.2.0. BRAND IMAGE

2.2.1. What is a brand image?

2.2.2. Brand Evolution

Bill Bernbach’s Brand Evolution

2.2.3. Controlling the Perceivers Image

The Three Brand Image Dimensions

The Brand Community - David M. Kalman

2.3.0. SOCIAL MEDIA

2.3.1. What is social media?

2.3.2. Social Media Evolution

Web 1.0 to Web 3.0

2.3.3. The Users

The F-Factor

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2.4.0. CONCLUSION LITERATURE REVIEW

Introduction Brand Image

2.1.0.

From step number one, I want to keep the goal of this project clear. The idea is to obtain a controlled image communication plan for brands with social media presence. This means, the aim is to find a way to get as close as possible to the highest level of control in terms of image communication. We want to users, customer or any sort of perceivers to receive the intended image when communicated.

Taking a look at these three steps, I want clarify, that we must take a closer look at the actual brands and how they are built up and the social media which is the platform of the intended controlled communication. The perceivers, meaning the users or followers also have to be analyzed.

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BRAND IMAGE

2.2.0.

2.2.1. What is a brand image?

First of all, what does brand image actually mean? It is what defines the company for what it is. It is the image that the company creates in the consumers’ minds, its identity.

Nike, is a company that sells a product, the brand they created is high standard sportswear that transmits the image and feeling that you can do anything you set your mind to do. It’s the feeling that the consumer associates with the company, it’s their reputation. It is the factor that influences a consumers purchase behavior.

The Three Brand Image Dimensions Kevin Roberts who is the CEO of the Advertising Agency Saatchi & Saatchi wrote a book in 2004, called Lovemarks, in which he claims that “Brands are running out of love” (Robert, 2005). He creates a map shown below, that compares what brand image 26

is at the moment, how it is a part in a company that enhance

What is Brand Image?

2.2.1.

their relationship to the consumers and how it can still be improved.

As we can see, brands still have area of improvement when it comes to obtaining the full potential of loyal customers.

Carrying on from this as a base, he considers the question that reaches out to the control one can have on their brand image which is “What builds loyalty that goes beyond reason? What makes a truly great love stand out?�.

Being relatable, bonding, building a relationship - love. He creates a theory of three dimensions in a brand image that must always be considered, these three dimensions are:

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(Cho, 2011)

What is Brand Image?

2.2.1.

1. Mystery

2. Sensuality

3. Intimacy

This is when brands trigger a form of This dimension refers to the visual as- This is the bonding part, where the nostalgia in the customers, reaching pects of the brand, whether it’s the consumer feels like they can trust the out to memories in the consumer’s design of the product, the advertis- brand, they feel close to the brand, minds and manage to capture time. ing or the environment of the store, connected and they enjoy wearing They create an experience in the the brand is somewhat appealing to the brand as a consequence of this brand image.

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the consumer by the looks.

comfort.

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Looking at these three dimensions it is relatable to Maslow’s Hierarchy of Needs, the third level being the social aspect of belonging and love, so according to the theory of Lovemarks, brands have the capacity to reach out to one of the levels of a human needs.

(TJ, 2011)

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2.2.2.

Brand Evolution

Bill Bernbach’s Brand Evolution Bill Bernbach is one of the three founders of the ‘advertising agency Doyle Dane Bernbach’. He is known for prioritizing innovation and and intuition above science and rules (DDB, 2011).

Bill Bernbach’s five theories of brand culture are split into;

1. Creative Revolution 2. One Revolution deserves another 3. New Model of Branding 4. The Brand as a Culture 5. The Culture at the Center (Liquid Agency) Below is a model based on Bernbach’s theory of the Creative Revolution in order to understand how he defined the three models of branding throughout its evolutions.

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2.2.2.

Brand Evolution

1. Creative Revolution In the creative revolution, brands speak to the customers. The winning brand is that which speaks to them most interestingly and intelligently. Bernbach created this model to show that the brand creates the story the customer is provided with.

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2.2.2.

Brand Evolution

2. One Revolution Deserves Another The walls that brands had protecting them before are now down due to the internet. Their walls are transparent and customers now desire honesty and reality from inside the company.

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2.2.2.

Brand Evolution

3. New Model of Branding Internal beliefs replace external image. It is here about transmitting the brands values to the customers that then relate this these values.

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2.2.2.

Brand Evolution

4. The Brand as a Culture Brands here have become the opposite of external brand images, the values they create and the culture they represent is what the customers relate to and consequently join this culture in order to portray that they belong to these values and share them. They believe in the brand and want to belong to it.

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2.2.2.

Brand Evolution

5. The Culture at the Center Here it starts in the heart of the brand, values are created and a culture appears, that attracts the consumers equally to uniting employees in a common purpose and vision.

(Liquid Agency)

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2.2.0.

Controlling the Perceivers Image

The Brand Community - David M. Kalman David Kalman a business leader at the intersection of technology, media, and marketing. According to Kalman, consumers may or may not have the characteristics in a brand they admire, Kalman provides the example of: “A buttoned- down business man may live vicariously through the Harley-Davidson brand.” (Kalman, 2009). This is a point in the research in which it is clear, that the brand image may not always be controllable due to the fact as Kalman’s theory shows, not every consumer is a brands stereotypical target that relates to the brand’s values.

In this, Kalman defines the four types of brand community customers. There are those that entirely identify themselves with the brand which are the Brand Enthusiasts, next there are the Brand Admirers which choose a brand’s product because they just prefer it to another, the Non- Committals that simply happen to pick a brand’s product for no specific background decision and then there are the Prospects which have not yet decided whether to buy a brand’s product or not. Prospecst have not yet entered Kalman’s sphere of brand community segments, thus the aim 36

of a brand and its marketers is to move the Prospects into the center of the sphere, which are the Brand Enthusiasts

2.2.0.

Controlling the Perceivers Image

The Brand Community - David M. Kalman as these are the customers of the brand community that entirely identify themselves with the brand.

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2.3.0.

SOCIAL MEDIA

2.3.1. What is Social Media?

When speaking of social media, we mean that it is the action of creating and using online platforms to interact, connect and communicate with customers, potential customers, employees, stakeholders and competitors. It is the place in which the branding is difficult to control, as it is such an open and unlimited form of communicating and expressing opinions.

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2.3.2.

Social Media Evolution

Hayes - Web 1.0 to Web 3.0 Hayes has an interesting labelling of the three web levels: 1. Push 2. Share 3. Live

In the graph it is made visual how the webs have changed throughout, in the following section Hayes map and theories will be combined visually.

(Hayes, 2008)
The illustrated maps on the following pages are based on Hayes theory of web 1.0, web 2.0 and web 3.0.

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2.3.2.

The Social Media Evolution

1. Web 1.0 - Push These were static websites, on which there was no interaction, the producer controlled the information that was perceived by the receiver. It was focused on the Push Principle, providing the receivers with information that they didn’t necessarily ask for. Due to this there were only few producers but many receivers. (Mßller)

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2.3.2.

The Social Media Evolution

2. Web 2.0 - Share This is when producers became one with the consumers and created the so called prosumers, it is all about sharing not only consuming or producing. Web 2.0 concentrated on the Pull Principle rather than the Push from web 1.0, due to the fact that this became an interactive platform, users were given the chance to seek for information rather than only being provided with information they did not look for (Hayes, 2008). It is the web 2.0 that took the control away from the producers.

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2.3.2.

The Social Media Evolution

3. Web 3.0 - Live This is when technology became ‘clever’. Tim Berners-Lee introduced the first efficient communication between the client and the server, the system from now on has the capacity to analyze its users. Information is now processed and adapted in order to provide connections between locations, users and interests (MĂźller). Internet is no long about consumer or producing it is an experience that all sorts of users live. This is the connection that allows us to receive push marketing that is personalized to the interest we have shown on social media platforms. For example, I see a pair of shoes from Zara today, and a week later I visit a site that has nothing to do with online shopping however an advertisement of these shoes pops up on the side. Web 3.0 provides a new form of control that was taken away with web 2.0.

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2.3.2.

The Social Media Evolution

Conclusion

As a conclusion of Hayes theory of the evolution of the media, Web 3.0 has provided us with new forms of controlling information and who it is directed at. It is a control that was present in web 1.0 and became unclear in web 2.0, however due to web 3.0’s ability to process, adapt and connect information from both producers and receivers, the perception of control has become unlimited. The evolution shows the clear process of the appearance of control loss, which is what brings us to the question whether it is possible or not to obtain this control again in this era.

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2.3.3.

The Users

The F-Factor As we have learnt in the previous paragraphs, users can be segmented into categories that consider their means of use. In this chapter the social factor of the users will be discussed in order to understand in which ways the users then act and react.

The five strongest online influencing factors 1. F-Discovery 2. F-Rated 3. F-Feedback 4. F-Together 5. F-Me (Trendwatching, 2011) This is all about the Pull-Principle, the factors that are hardest for the producer to control, are these five. The social aspects of internet are the strongest, they are what humanity is used to, interaction between its peers, people on the same level as them, producers do not directly fall into this level and in order to understand these we will go deeper into what each of them means.

All visual maps below are created based on the theory of the F-Factor from Trendwatching. (Trendwatching, 2011) 44

2.3.3.

The Users

1. F- Discovery This is when users keep an eye on what other users with similar likes and dislikes, or sites that appeal to them, are discovering on the social media platforms. It’s the desire to obtain the best information, users are curious about what others find and want to discover this themselves too. It is like an automatized and electronic form of word-tomouth reaction. Discovery is based on the Pull Principle, the consumers seek for the information themselves.

The producer provides information, the user only obtains is if seeked for it.

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2.3.3.

The Users

2. F-Rated This is the next step of the F-Discovery, it is using this electronic from of word- to-mouth as a tool and providing users with it to trigger their impulse buying behavior. Producers can provide recommendations and ratings created by other users on their platforms in order for the users to provide the trustworthiness of a person from the same level as the user. Here we are seeing the Push Principle, the producer provides the user with trustworthy information from peers form the same level.

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2.3.3.

The Users

3. F-Feedback Here, instead of the producer providing the recommendations from other users, the users actually seek for the recommendations themselves, the Pull Principle, by asking for opinion on the product they are about to buy from the producer. Providing a section on the site in which the consumer is able to ask for feedback makes the site more trustworthy. The user asks for the ratings.

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2.3.3.

The Users

4. F-Together It is the fact that people are more likely to buy if someone else has already done so previously. Showing, that the product is being bought, makes it more trustworthy, the Push Principle of laying it out infront of the users eyes, that his product is wanted. This is the same concept as the F-Rated, the content simply changes from a rating to an action that was done by a peer from the same level.

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2.3.3.

The Users

5. F-Me In the F-Me platforms concentrate on providing the information, that the user has already seeked for it is a sort of combination between Push and Pull, as it was a Pull Principle at the beginning and adapted by the Push, allowing the user to read what they asked for and not having to seek for it again. (Trendwatching, 2011)

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2.3.3.

The Users

F-Factor - Conclusion

As a conclusion, there are two types of social uses that can be influenced due to their strategy being the Push Principle and two types which are more up to the users whether they want to make use of them or not as they go with the Pull Principle.

The only exception here is the F-Me, as it works with both, this is a factor that could be considered a win-win situation however it is not entirely up to the producer but also the user.

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2.4.0.

Conclusion Literature Review

Throughout the literature review the most known, relatable and effective theories have been found and evaluated.

The understanding of the brand image has been made clear. The evolution of the brand image, and how it is in the current time has shown the changes in interactions between the consumers and the brands. The value of the brand image has been emphasized and how it can be used as a tool in today’s marketing strategies. Companies that have underestimated the power of their brand and cut investment in this department have experienced the loss in sales and it has proven to be a vital part of the company.

The nature of brand communities is part of the understanding of the way to control the brand image along with the members it has perceiving it.
Further on evaluating social media and its evolution was needed in order to understand the depth in which we are controlling the brand image in. One must be aware of the platform on which the brand image needs to be controlled and how this platform has evolved over the years and can now throw companies off track when it comes to keeping a clear mind in terms of using it. The evolution of the web over the past years and how its users changed along with it, the user that will perceive the brand image we intend to control, is also knowledge one must evaluate.

Lastly the users themselves and the behavior they have on social media has been segmented into different sections by the existing theories, which will allow us to create a model with three types of perceivers.

As a conclusion, I believe that the facts that have been obtained are now able to be the core of the data collection in which these obtained theories will be evaluated and reapplied in order to create a Controlled Image Communication model.

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D A T A COLLECT I ON

3.0.0. Data Collection Index 3.0.0. DATA COLLECTION

3.1.0. INTRODUCTION

3.2.0. THE BRAND CATEGORY

3.2.1. Lovemarks Applied

1. Lovemarks 2.Brands 3. Fads 4. Products

3.2.2. Kevin Roberts’ Bonds Applied

1. Rational 2. Emotional

3. Subconscious Response Aspect

3.2.3. Which Bonds to Focus on?

3.2.4. How are Bonds a Tool to Control?

3.2.5. A Long-term Analytical Tool for Bonds

Closed Loop Branding

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3.3.0. THE PERCEIVERS

3.3.1. The Brand Community Applied

3.3.2. The Five Online Behaviors

3.1.0. Introduction Following on from the theories discovered in the literature review, the aim in this chapter is to use, apply, and recreate these theories by considering the control factor in deeper depth. By doing this, it will gradually lead us to understand which theories allow a brand to get closer to the idea of controlling their brand image on any platform.

Different brands will have different characters or brand image intentions and according to these there will be different approaches to obtain control.

To have a clear vision of what we are going to go through in this part of the document we want to be aware of the fact that the idea is to find a way to communicate a controlled brand image.

Meaning; a brand sending out an image that is then received by the perceiver in the brand’s intended way.

YOU WANT THE VIEWERS’ PERCEPTION OF YOUR BRAND TO BE CONTROLLED.

YOU WANT THEIR OPINION TO BE GUIDED.

YOU WANT THEM TO PERCEIVE YOU THE WAY YOU INTEND TO BE PERCEIVED. 55

3.1.0. Introduction A quick reminder, the aim is to analyze brands, methods in which control can be created and finally the creation of the model that facilitates Controlled Image Communication in which the perceivers understands the message as intended.

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3.2.0. The Brand Category 3.2.1. Lovemarks Apllied

In this chapter, we learnt about Kevin Robert’s Lovemarks theory. Brands have different levels of relationships with their consumers. Why is this relevant? Think about a person you just met, there’s no relation, no love and no respect.

If you ask this person about their opinion on, let’s say, the cover of your favorite book, they will provide you with an opinion that has absolutely nothing to do with you, there is absolutely no control on what their judgement on the book will be, as they have no connection to you. They don’t know your taste, they have no clue what this book could be about. However, now do the same with you mother, she knows you, she knows your taste and what types of books you read, thus her opinion on the cover of the book will already be guided into a certain direction. What does this mean? Without doing much yourself, the opinion of the person you have no bond with, will be entirely uncontrolled, you’ll hear something you don’t want to hear about your favorite book, whereas your mother’s opinion will be controlled in the sense of her judgement to be something you will expect to hear, as she has a relationship with you and knows and understands you and thus will provide a more expected judgement of your book.

Transfer this onto a brand, instead of a cover of a favorite book, you want viewers’ perception of your brand to be controlled, you want their opinion to be guided, you want them to perceive you the way you intend to be perceived, and how best to do this? As we just learnt – the bond and the relationship facilitates control over perceptions.

So, there’s the four types of Lovemark categories, Products, Brands, Fads and the actual Lovemarks, clearly you want to be a Lovemark, but in order to understand these four, we will take an example per category and analyze these to understand the differences and analyze their level of control.

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3.2.1. Lovemarks Applied

As a quick reminder to this chapter, the idea here is to understand the first step of the aim; the Brand. In order to do so, we are going to quickly refresh the mind with the Lovemarks Graph on the right, which will be interpreted and analyzed in order to implement a reapplied version into the final model.

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3.2.1. Lovemarks Applied 1. Lovemarks Lovemarks are those that are innovative, they step outside the box and do new things. They take risks and create strategies that create loyal bonds with their consumers with the sole intention of doing so.

So what does this mean on social media, Lovemarks on social media are the ones that are all over the place, they don’t stick to rules or guidelines, they make their own and thus stand out.

Let’s use a brand as an example, Burberry: A strong example in Burberry’s case, is Ahrendts’ recreation of the brand, she did not only do so by altering aspects around the brand, she actually introduced her vision into the company, in an article in Forbes Magazine the journalist says “She empowered the sales staff to become a powerful force of brand advocates.” (Kotter, 2013) This company goes into the Lovemarks category, they are a company focusing on the core of the brand, passionate about the history of the brand and the products sold, they are those that create bonds by the love to their brand and the respect to the bond between their brand and customers.

Can you control the image of a Lovemark?

The reason why you want your brand to be a Lovemark, is because this is the category that focuses on creating bonds, true and genuine bonds with your customer. The existence of these bonds are consequently the factor that allows the brand to most controllably communicate their image out of the four categroies.

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3.2.1. Lovemarks Applied 1. Lovemarks Seen below, the perceiver has a bond to the Lovemark and thus the image communication will be controlled through the bond that was once previously created. The perceiver is tilted toward a perspective that allows the message to not be misinterpreted, just like the example with our stranger and mother judging the cover of our favorite book.

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3.2.1. Lovemarks Applied 2. Brands As Roberts explains in his TEDx talk about his theory; brands are owned by brand managers, marketing managers and shareholders for instance, Lovemarks are owned by the people who love them, buy and talk about them. Brands are based on benefits, attributes and performance, it’s about being better, faster and cheaper. Brands create loyalty for a reason, Lovemarks create loyalty beyond reason. They have high respect but they don’t introduce love into their strategies. It is not a true bond that they are able to create with their perceivers, thus their bond is superficial.

It is not a passionate nor a real emotional bond.

Can you control the image of a Brand?

As we learnt in the introduction, control is facilitated by the tools that a brand is provided with by having a relationship with the customer. The higher and truer the bond, the more the customer’s perception is already influenced and thus the higher the level of control in image communication. In a Brand, this bond is however not entirely true, it is a non-existent connection, as the Brand is not intending to connect with their customer out of love.

Take H&M as an example, this is a brand, that sells fast fashion, they want to be the best and fastest in this sector, are they selling a lifestyle like Burberry is? Are they basing their entire company around the heart of the brand, the core, the history? H&M is a fashion company that sells their products, not their brand.

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3.2.1. Lovemarks Applied 2. Brands In the image you see the non-existence love bond is what makes the perception of the communicated image uncontrollable, there is no previous bond that has created a base of information which allows any sort of control in terms of love. The only bond that exists is out of the sole reason, that there is a bond with the product or the more superficial aspects of the brand due to a Brands high respect, but not as they created a loving and caring bond.

Slight Bond

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Slight control over the image, due to certain bond but not entre bond.

3.2.1. Lovemarks Applied 3. Fads FADS are those, that have a lot of love, they create connections and bonds, however low respect, meaning, this bond has a reason behind it. It is not a genuine bond with the brand, it is a superficial bond created in order to increase sales. I’m going to be your friend, so that I can use your cool car. They don’t intend to communicate in order to truly connect and bond with their customers.

Can you control the image of a Fad? It is possible, that a Fad at the beginning, can actually be able to control the perception of their communication, however, this control will not last, it is thus uncontrollable, why? Because as soon as a perceiver realizes, that the communicator is their friend in order to get to their cool car, then the perceivers image will be distorted again, and the friendship will not be true anymore. Without a true bond, the control over the perception fades. Meaning, Fads can create a relationship in order to control their communicated image, however they will easily be detected as their love is not with respected, and the long run results will not be controllable.

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3.2.1. Lovemarks Applied 3. Fads The Perceiver receives the image communication, however the use of non loyal bonds to the perceiver will cause problems in the long run and thus cause uncontrollable image communication.

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3.2.1. Lovemarks Applied 4. Products

The product, they don’t care about their brand, they barely want to even communicate any type of image let alone create bonds or relationships with customers. This could even be a company that sells toilet paper, what type of brand image will you really want to spend time on to communicate here, when your product is a need on the market. These types of companies do not love nor respect, as they simply intend to sell a needed product.

Can you control the image of a PRODUCT? If there really is any image at all that you are intended to control, then you don’t really have much control, as you never created any bonds or relationships with your customer.

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3.2.1. Lovemarks Applied 4. products This means, they are the stranger judging your favorite book by only its cover not knowing any side details about you because you never created any bond with them.

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3.2.1. Lovemarks Applied Conclusion

NOW THAT WE HAVE ANALYZED THE LOVEMARKS IN FURTHER DETAIL CONSIDERING THE FACTOR OF CONTROL, IT IS CLEAR, THAT EVERY COMPANY WILL FIT INTO ONE OF THESE CATEGORIES AND HAVE CERTAIN LOVE WHICH WILL CONSEQUENTLY LEAD THEM TO CREATE BONDS. THESE BONDS ARE THE FURTHER TOOL TO CONTROL AS WE WILL LEARN IN THE NEXT CHAPTER.

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3.2.2. Kevin Robert’s Bonds Reapplied

Now that we went through the four different types of brand that you can be, or intend to be, we must work our way back. How do you become a Fad or a Lovemark? By bonding, and how are these going to be created the way that is intended? We want bonds, which allow us to keep control over our image communication.

THE THREE BRAND ASPECTS APPLIED TO THE THREE TYPES OF CONSUMER BONDS.

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3.2.2. Kevin Robert’s Bonds Reapplied

Bonds are created by communicating, the different content of communication will create different bonds with your customers who are the perceivers of such communication. In order to obtain controlled image communication, you must focus on the bonds with your customers, according to the bond you create with them, you will be able to control the communicated image.

Here we will analyze the three different bonds related to each of Lovemark’s Brand Aspects. The diagram provides a visual understanding of the implementation of the bonds into the aim of the project.

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3.2.2. Kevin Robert’s Bonds Reapplied Branding control is created by three types of bonds with consumers:

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3.2.2. Kevin Robert’s Bonds Reapplied 1. Rational The aspects that make the bond be clear, a logic relation between one and the other. It is the sensuality factor of the bond, the details that are attractive in terms of the company and their product. This can be a connection that is built upon a reliable customer service for instance a loyal and consistently communicated brand image, that the customer trusts. It’s the bond that is created when the customer is happy with the most obvious aspects of the brand; a good quality product accompanied with good service for instance.

Maybelline is selling the product by visually promoting the quality and effectiveness of this product. It is good, so you should buy it.

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3.2.2. Kevin Robert’s Bonds Reapplied 2. Emotional This is the bond, that is more intimate, it is what makes a customer a special customer, when they don’t only buy your product because they are in need of it or desire it but also as they identify themselves with the brand and its communicated values. It is the intimacy factor, that bond that is created by experience and shared feelings. It’s the bond that makes a customer feel like they belong to the specific brand, it is what triggers them to buy as a result of the emotional attachment to the brand, a Harley Davidson driver for instance, buys this motorbike due to their identification with the brand’s image, not because the motorbike is practical.

BMW created an advertisement, in which the driver waves their hand outside the window of the driving car, allowing viewers to all relate to the feeling of the wind passing between your fingers. BMW here created an emotional attachment, a feeling that creates a bond to the brand, not the product.

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3.2.2. Kevin Robert’s Bonds Reapplied 3. Subconscious Response Aspect This refers to the part, in which keeping control over the bond you create with your customer becomes tricky, as this depends more on each individual customer than on the brand. This bond appears when a person subconsciously relates to the brand, the mystery factor caused by nostalgia or triggered memories. This can be because your parents dressed you in this brand when you were children, or that you have once noticed this brand appear in a movie but hadn’t directly been aware of it. It is a bond that is somehow created by coincidental past actions or happenings, if a brand advertises their product with a song that my parents used to listen to when I was a kid, then I immediately have a bond to this brand. Clearly, it is an aspect, that a brand can also use to their own benefit. Reebok for instance, is a brand that the 90s generation wore as their childhood shoes, nowadays that image is subconsciously implemented into almost all our minds, if the brand uses this to their own benefit creating a retro, back to the roots image, then the 90s generation will automatically feel this subconscious bond to this brand, due to the “remember when we were little” idea in their minds. (Djurovic, 2016) For example, the advertisement of Dior’s perfume: J’Adore; they play with a metonymy of the the flacon and the model. They associate the figure of the bottle with the model. Once this advertisement is seen, your mind will subconsciously relate it to the flacon, even if only Charlize Theron is seen in the ad, without the flacon, you will very likely think about the actual perfume, as you had seen it before. They utilize the subconscious response aspect in order to create a bond that allows a controlled image to be placed into the perceivers mind.

(Crepaldi, 2012) 73

3.2.2. Kevin Robert’s Bonds Reapplied The subconscious response aspect is the one that can be most effective, as it triggers a feeling in the consumer that they are familiar with but do not directly know how so.

Another example that relates to the subconscious response aspect can also be the smell of a store, that a consumer recognizes when walking through the street and then subconsciously remembers that smell. Another example could be in commercials, you could create a first commercial with information that the second commercial relies on, or base a new commercial on information that one will remember from an older commercial. The subconscious response aspect is incredibly effective but harder to obtain.

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3.2.3. Which Bonds to Focus on?

When seeking to control what you place in the consumer’s mind, you must consider the existing bond and respect each three bonds at the same time. A rational bond with a consumer will not provide you with the same results than with a consumer that has an emotional bond with you.

So, how will you control the image and consider all the bonds?

First off, you must keep in mind, that these three consumers along with their specific bond to the brand are not three different target markets that one can aim at. They’re core bonds created with different target markets, in which a stereotypical person fitting into a specific bond does not exist.

In order to reach the highest level of control, you as a brand will want to consider all three bonds. This means, you will for instance create an advertisement, that does not only portray the effectiveness and quality of the product (rational) but also create an experience, a mood and a scene (emotional) which also sometimes indirectly and only somehow reaches out to a hidden message or a memory of the brand and their consumers (subconscious response aspect).

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3.2.4. How are Bonds a Tool to Control?

Knowing what types of bonds you can create with your perceivers is one step that allows a more controlled image communication, however, in order to obtain more control in the long run, we will apply a theory called Closed-Loop-Marketing, (see Appendix page 110) and translate this onto branding.

The purpose of this model, is to include a more effective strategy that will allow a brand to analyze and adapt their success in creating bonds with their customers.

It is one little extra step needed in order to create a functional model that will allow a brand to obtain controlled image communication.

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3.2.5. A Long-term Analytical Tool for Bonds Closed Loop Branding In order to be able to measure this process and obtain as many loyal audiences that have bonded with the brand, the process must be analyzed over and over again. The factors that must be measured don’t only include the interactions of likes, comments and shares but also the quality of these. Are the comments positive? How positive are they? Are they recommending the brand or only showing interest? When do they recommend and when do they show interest? Watch, analyze and apply Closed Loop Branding.

The more the loop is measured and applied the more control the brand will be able to obtain due to the increase in knowledge throughout the process.

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3.3.0. THE PERCIEVERS

In order to increase the level of control on the perceived image, one must also understand the perceivers that the image will be received by. In the following section, we will analyze and reinterpret the community models that were studied in the literature review of the project.

3.3.1. The Brand Community Applied The brand community theory by David M. Kalman has introduced us to the different levels of customer connections to a brand. From those that do not yet have any contact with the brand to the ones that are absolute enthusiasts about the brand. Taking into consideration, that bonds with the perceivers are what allow a brand to obtain increased control over the perceived image, I found a certain correlation between the Lovemarks theory and Kalman’s Brand Community theory. The idea here is to be as close as possible to Lovemarks and thus obtain Brand Enthusiasts by your consequent bond creation.

An extra detail that you may have noticed here, is that the Prospects part of the Community model, that do not have a bond with the brand. As they are those, that have not yet interacted with the brand, their perception of a sent communication message will be interpreted by them freely, meaning the brand has barely to no control here.

Considering the fact that the stronger the bond is between the brand and the perceiver, the higher the control over the communicated and consequently perceived image, meaning; Prospects, which are those that have not yet interacted with the brand, have zero bonds to the brand which is equivalent to zero control, Prospects are the strangers that judge your book by its cover without any previous information that could facilitate you to direct their 78

judgement. Therefore, the Prospects are not of interest in terms of control and consequently will probably fall out of the diagram.

3.3.2. The Five Online Behaviors The F-Factor These users are relevant to the topic, as knowing the behavior of your perceivers will allow you to direct your communication better, however, when it comes to applying these in terms of control, one must ask yourself, whether it is a factor, that you as a company can influence or not? It seems to not directly be a tool that will allow the intended final model to increase its effectiveness. The users are an important part of how to control your brand image on social media, however when intended to apply the theory of five different types of users into the current model, it is not a clear step toward control, as the users are out of the companies’ control. I can’t control what type of social media users my perceivers are, just as much as I can’t control how often or in which way the stranger judges books by their covers.

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THE M ODEL CRE AT I ON

3.4.0 THE MODEL CREATION To begin with, the implementation of the Lovemarks theory is going to be the first step. Creating the model, that is based on the companies and the perceivers, I found a correlation between the Lovemarks theory and the Brand Community model. Allowing the Lovemarks and the Brand Enthusiasts to become partners, Fads and Brands to partner with Brand Admirers and Products with Brand Committals.

How so? Taking the graph below as a reference to this, Brand Committals are those, that chose your brand as a result of a quick buying behavior without much thought behind it; I picked these eggs because their expiration date was the latest. Therefore, Brand Committals could fall to the category of users that Products would aim at.

Next, Brands, these are those that focus on selling you the best, they have high respect and thus create bonds that clients seek for when purchasing products or services that they have to rely on. Cleary, in terms of finances, a customer is seeking for this high respect and not necessarily much love, therefore Brands would go with Brand Admirers. They are Brand Admirers, as they trust you as a result of your good quality service or product. Another one that falls into this category however, not for the respect but for the love instead, are the Fads. They fall into this Brand Community category, as you become their Brand Admirer because they transmit this love you are seeking for, but don’t forget, Fads is the category you least likely want to be, as the Brand Admirers for Fads will not stay around for long due to the low respect of the Fads. Tamagotchis, they are fun for a short time, will you buy these the rest of 82

your life? Probably not.

3.4.0 THE MODEL CREATION Lastly, the Lovemarks, this is where you want to be. Lovemarks transmit all the love possible for their products and their brands and they do so with high respect. Brand Enthusiasts only exist because of these type of brands. Apple Inc. sell a lifestyle, they admire their product and lifestyle and they sell good quality products too. They are the example every company should look up to.

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(Myndset, 2008)

3.4.0 THE MODEL CREATION Now, after finding this connection between both models, we are going to combine them and thus take the first step into the creation of the final model.

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3.4.0 THE MODEL CREATION Now that both visually combined, we must implement where most control lays. As we have learnt whilst analyzing models and theories during this project, the more love and respect, the closer the customer, the higher the control.

Thus, our center of attention for the control will be right where our Lovemarks and Brand Enthusiasts are, these are the ones that come closest to control due to their bond. As previously picked up on, the Prospects from the Brand Community are not going to be part of the model, as they have no bond with no brand yet and thus do not have any partner or relevance in this model. The idea is for you as a new brand to step into this circle and become a product, to then preferably become a Brand and finally a Lovemark, in order to obtain the corresponding Brand Community and bonds that will facilitate Controlled Image Communication.

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3.4.0 THE MODEL CREATION In this next step the idea was, to include the Perceivers in more detail, however experimenting with the position and placement of these users, it was slowly clear, that they cannot make the model more effective, as the user behavior or character in general is not in the company’s control. Of course, the users can always be taken into consideration, and the Communication can be directed to one or another type of user, however in this model, we will leave them out and concentrate on what a company does have influence on in order to obtain 86

control.

3.4.0 THE MODEL CREATION Back to the model before, we are now in the need of steps toward the control. As a start-up company, I will want to get closer to control as soon as possible in order to communicate my brand image and spread the word about who I am without having anyone misinterpret me or the image I’m trying to communicate.

It is clear, that you cannot jump to being a Lovemark, some people will bump into your product and buy it, or even better they buy it because they think you’re the best on the market or they like the lifestyle you’re selling. Finally, you will be able to enter into the Lovemarks someday, however, step by step.

There will be four steps, the first one is to enter being a Product, the second is to become a Fad or preferably a Brand, however here you will need an extra step before becoming a Lovemark. Being a Brand or a Fad takes more responsibility than being a Product, you can now have Brand Admirers and you have to learn how to maintain these with your love or respect. You have to create a connection with them, they don’t just buy your product without thinking about it, they buy it for a specific reason, a reason that creates a bond between you and your customer.

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3.4.0 THE MODEL CREATION

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3.4.0 THE MODEL CREATION

Knowing, that there have to be certain steps in the model in order to obtain the desired control, it was clear, that is wasn’t going to become a short-term model that a company can implement in order to obtain control. It will be a long-term model, that a company has to keep in mind whenever communicating, thus this is where the Closed Loop Bonding comes in. It will be a cycle, of having Perceivers see, interact, bond and grow loyal to you. Each step of the cycle will allow you to get closer to control, however the cycle does not stop. It is a cycle that must be done over and over again, in order to understand how you customers became Brand Admirers, you have to analyze the three steps, that they took to become so. If your brand is not entering the Lovemarks, then you have to analyze what stops them from becoming loyal. These steps allow an analytical approach to get closer to the desired center.

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3.4.0 THE MODEL CREATION Lastly, not to forget, Kevin Roberts’ three Brand Image Dimensions, which we reapplied into the three bonds. Why implement this? Maybe you’re stuck in the Brands and are not able to become a Lovemarks, following the Closed Loop Branding strategy in combination with the three bonds you might realize, that your communication is based on a rational bond, which makes your cycle end at this bond. Users see receive the message that your product is good quality, but theres not more to it, therefore you must take the next step and risk creating content that will create one of the next two bonds. By doing such, and respecting the characteristics of a Lovemarks along with those of the Brand Enthusiasts you may enter that circle.

Even as a Lovemark, you will have users that do not become Brand Enthusiasts, thus the cycle must be analyzed again and again until one understands why the Brand Committals are not becoming Brand Enthusiasts.

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3.4.0 THE MODEL CREATION Final Controlled Image Communication Model

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3.4.0 THE MODEL CREATION Conclusion At the beginning of this project, I thought, that control was not going to be reachable. I believed the model that I would create in the end would be based on different factors, such as content creation and the different types of characters that brands can have on social media. However, closer to the end it was slowly clear, that it is not necessarily about the type of content you communicate, it is about the relation you have to those that perceive this communicated content. It is the perfect example of a stranger and your mother judging the cover of my book. Their opinions will be entirely different and mostly due to the fact that one of them already knows you and your taste and can consequently already expect what the book will be about.

I realized, that the problem is not so much the big and unlimited world of social media, but the way you are with those that perceive you and your communication. The existence of creation of bonds are obviously the key to obtaining the most controlled communication on social media, no matter how unlimited it is in terms of sharing opinions and distorting images. The more users you have a bond with, the less likely it is for your communication to be misinterpreted.

As a conclusion, the model allows new brands just as much as known brands to implement it in order to obtain the most control. Eventhough the visual creation of the model was a challenge in order for everything to correlate and be effective, I managed to create the desired broad model.

So, can you control your brand image on social media?

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You can control your brand image on social media, but you will clearly always have a lot of work ahead of you to obtain that desired control and most of all to then keep it.

THE CONTROLLED IMAGE COMMUNICATION MODEL

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January(20). Guangzhou, China.

A P P END I X

A Study of the Evolution and Future of Branding A study from Hanken School of Economics created a table in which it is clearly shown how branding has changed over the centuries and who was part of these changes. It is made clear that brands used to evolve around being labels or defined by the product’s characteristics, brands were limited even though the advantage of branding had already been picked up on.

Nowadays, brands are identities, they are what customers want to re100

late to.

Zhang’s Table of Evolution

Yi Zhang, from the Department of Marketing, Management School, Jinan University, Guangzhou, China created a table of evolution in the way brands have change and which models were part of these changes.

She categorizes the brand’s role into four perspectives:

(Zhang, 2015)

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Zhang’s Table of Evolution It is clear, that the four perspectives transform over the years from a brand being a label as Anders Hampf and Kirsti Lindberg-Repo also found from their ‘Study of the Evolution and Future of Branding’. Gradually, and right before the recession brands evolved into becoming meanings and messages, which takes us one step further from only being a label. After the first recession and before the second in 1982, brands became something that consumers were able to relate to, this already comes closer to what brands are today. A brand being its version of the human person it would be. Lastly, we have the cognitive elements, which defines the overall perception, not only of its human side, but of its actions, its emotions and the way the brand acts and reacts.

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The Value of Your Brand Dubberly’s Model Dubberly is a design office that concentrates on making products more useful, usable and delightful.

Dubberly’s model that bases on the understanding of branding was created on the following four principles: 1. Brand is not only a symbol or name 2. Essence of brand relies on the experience provided with it 3. Brands are a part of the system of signs 4. Brand perceptions can be measured (Dubberly, 2001) On the following page is the simplest form of Dubberly’s model, it is made clear, that all four principles are vital factors when creating a brand, it is not only about creating a name and a perception along with it, as these are factors that need to be created considering the experience, the individual’s perception, the symbols used, the promise supporting the product that creates the experience. Dubberly creates a visual presentation of the factors that create a brand and allows us to visualize where one would need to begin in order to create the wanted outcome in the brand. Rather than creating a brand and leaving it up to the individuals to see what they see it is made clear that by considering the outer principles one is lead to the core and the brand that is expected or desired.

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The Value of Your Brand Dubberly’s Model

(Dubberly, 2001)

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Capturing Opportunities in Challenging Times The brand is not only important considering the relation to the customer and the public, but also as a tool to pick the brand up whenever it struggles. To summarize, there are the following situations in which the authors of this article, Jess Systun, Les Binet and Dan Miller, evaluate the value and the power the brand image can have.

Brand as a Long-Term Asset The authors of this article define three main reasons why branding is vital: 1. Branding is a strategic tool that has outgrown the old fashion tools 2. Efficient branding results in share but most of all profit 3. Planned and continued brand investment can provide the power to overcome competitors (Jess Systun) (shown below) (Jess Systun) Managing Brands in Downturn The three researchers from the DBB provide us with six steps to integrate brands as an asset.

1. Understand consumers 2. Evaluate your brand 3. Don’t downgrade your brand promise 4. Make sure to be different 105

Capturing Opportunities in Challenging Times Managing Brands in Downturn The three researchers from the DBB provide us with six steps to integrate brands as an asset.

1. Understand consumers 2. Evaluate your brand 3. Don’t downgrade your brand promise 4. Make sure to be different 5. Let the price reflect the brand value on the long run 6. Constant communication We are given six steps which lead from the principles of listening to the target, understanding yourself as a brand, to make sure to be confident in your words, to constantly focus on being different and outstanding the competitors with the same products or services, to reflecting the brand’s value in the price even if this may cause a loss in a few customers in the short term, and to finally from the first step of listening also to communicate (Jess Systun). Communicate the value and give the consumers the freedom to relate rather than push marketing – pull.

This supports one of Bill Bernbach’s, the founder of the DDB, sayings: “The future, as always, belongs to the brave.”

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Media Technology According to David Croteau and William Hoynes, who are the authors of the book Media/Society: Industries, Images, and Audiences, the following table is created in order to visualize the difference between traditional mass media and new media. It is clear form the sum-up table, that the new media makes it harder to control who is the sender and who is the receiver of certain information. There is no anonymity and no distinction between the producer and reader in new media.

The authors state that the launch of internet in the 2000s allowed: “users to customize, create, and share content�

(David Croteau, 2013). It was in 2004, when web 1.0 turned into a platform that was a utility to companies, the web 2.0. The use of interaction and sharing was introduced, the technology of the internet itself hadn’t changed, however the methods of use had been discovered and it became a marketing hype (David Croteau, 2013).

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2.2.3. Who are these Users?

So the methods and the way that the internet can be used have been discovered, but how many people actually make use of this?

The authors pick up on Jakob Nielsen’s theory that “In most online communities, 90% of users are lurkers who never contribute, 9% of users contribute a little, and 1% of users account for almost all the action.” (Alicetiara, 2006) Three categories of online users: 1. Lurkers 2. Rare contributors 3. Constant contributors However, Croteau and Hoynes also consider the fact that a person who is a lurker on one site can also be a contributor on another. Forrester Research conveys a survey in which they combine the three categories of online users into merged seven users (David Croteau, 2013).

The seven Social Technographics®: 1. Creators 2. Conversion lists 3. Critics 4. Collectors 5. Joiners 6. Spectators 7. Inactives 108

Below are the findings of the Forrester Research survey which explain the different characteristics of each online user:

2.2.3. Who are these Users?

(Rousseau-Anderson, 2010) Croteau and Hoynes consider John Palfrey and Urs Gasser’s, authors of the book Born Digital, understanding of the increase in the forms of participations throughout the years due to the children that are born into the world of new media.

To sum this up, new media has become a platform which is increasingly used by customers that can be segmented into different categories of online users.

Being able to categorize them and understand the way in which they use the internet could consequently allow brands to understand and make use of the different users that may fall into their target.

The more a brand knows about the behavior of their consumers on new media, the more a brand will be able to understand and direct certain information or platform to these people. Controlling information in a world of unlimited communication is an issue that can be segmented into different directions in order to know at least in which category one is aiming to control a message.

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Closed Loop Marketing

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(Street, 2014)

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