Innovative Marketing Approaches by rachelleshantal

FASHION MARKETING AND INNOVATION 2018-2019

1. 3. 18. 19. 21.

INTRODUCTION INNOVATIVE APPROACHES

CONCLUSION

SOURCES

Innovative marketing approachES . .

Within the last couple of years, the definition of marketing has completely changed. About 30 years ago, people weâ&#x20AC;&#x2122;re only familiar with ratio marketing and propaganda. Most of the marketing approaches were based on supply and demand, while nowadays it is all about social media channels like Instagram and Facebook. Social Influencers play a major role within this. To be a future proof company, brands need to be aware of this growing technological generation. Keeping themselves up-to-date within this development is necessary.

This report contains eight innovative marketing approaches. The selection of these eight approaches came to existence through online and offline research. This report shows what the authors consider as being innovative marketing. By approaching different industries, it gives a broad perspective on innovations within marketing. Every approach has a clear structure. By first giving a small introduction about the campaign itself, it then gives a closer look into the companyâ&#x20AC;&#x2122;s goals and effects. Thereafter, every approach has been placed on the HyPo scale while it then lastly gives a couple interesting facts about the overall campaign.

2 A: When adding value in a modern and surprising way to attract consumers. In this way, it differentiates from others.

DEISEL - Go With The Fake “What do you mean not real Diesel..?” Diesel has secretly opened a real popup store on the corner of Canal street and Broadway in New York, SoHo neighborhood. The location was far from other fashion hotspots and in the center of the city’s most famed fake-fashion destination. In this knock-off shop Diesel was selling fake items that were actually real. These bootleg designs were being sold with the label DEISEL. The store’s collection features a series of denim, sweatshirts, caps, T-shirts, all printed with the intentionally misspelled Diesel logo.

‘‘When you can’t beat the counterfeit industry, join them’’ (R. Rosso, 2018). There has always been a knockoff culture. Diesel mentioned this as a problem and tried to create something positive. This false branding stunt was for its core fashion consumers who are looking for something exclusive that will turn heads and spark questions. In this way, the brand was aiming to let shoppers recognize the quality of the original Diesel merchandise. To promote the new Go With The Flaw collection, Diesel wanted to inspire people to embrace their imperfections and to feel free to wear in whatever they feel comfortable in. The knock-off items were one-of-a-kind pieces and became real collector’s items. Instore, the hoodies and T-shirts were being sold around $20-$60. Greedy resellers sold DEISEL products on websites like eBay for around $500. “These extreme price turnovers were very unexpected” (R.Rosso,

2018). Besides this, it also gave a boost to the brand image and increased awareness of the Go With The Flaw collection. The DEISEL - Go With The Fake campaign scores a 3-4 on the HyPo scale. By launching this campaign, the brand wants to make a statement about today’s viewpoint of logos as wearable status symbols. It tries to change the consumers perception. An interesting fact of this campaign is how people react to certain clothing items when they find out there is a brand involved. When they know about the real story of the product, they are more willing to buy it. By making use of this approach, Diesel makes its limited edition garments accessible for everyone, for a low price. With this, the brand makes fun of the fake fashion market and sells its limited edition products without being very exclusive at the same time.

(DeLeon, 2018).

(Amsterdam Fashion Week, 2018).

Lidl x Amsterdam Fashion Week Ever expected German supermarket Lidl on the Amsterdam Fashion Week? On the final day, the discounter showed its fifth fall collection for the very first time on the runway. This collaboration together with Heidi Klum was called “basic become eyecatchers”. Lidl approached 5 young talented students from different art universities, who had the opportunity to design the Fashion Statement Pieces. The inspiration for these fashion items was based on Lidl’s key pieces from the Heidi Klum collection. This womenswear collection consists of shoes, clothes and accessories with the typical price range of €2,99 to €29,99. Lidl intent to show people that trendy and affordable fashion can also be available in supermarkets. It wanted to surprise the customers. The discounter aims to give young talent an opportunity to show their skills on a high level. It was the most outstanding show at the Amsterdam Fashion Week. People did not know what to expect in advance but it turned out as a success. Fashion combined with day-to-day needs like fruits and fabric softeners. Timeless, stylish and for a low price. Most popular item? The old-fashioned white socks that Lidl put in the goodie bags. It became a total hype and nothing the supermarket expected before. They immediately became a hit on Instagram and went viral. Therefore, Lidl is considering selling the socks in stores, even in Belgium.

The collaboration between Lidl and Amsterdam Fashion Week scores a 1-2 on the HyPo scale. There is no activity required from the consumer, they only need to receive a certain message. On the other hand, the socks we’re very much hyped by different influencers. In this way the consumer created a meaning around the socks by sharing the message on social media. An interesting fact of this approach is that there is a combination between different industries (food and fashion) what makes it very ingenious and appealing. The supermarket differentiates itself from its competitors in a new striking way.

SNICKERS “hungerithm”

“The angrier the internet, the cheaper the SNICKERS - to make everyone a little happier” (Snickers, 2017). By introducing the “Hungerithm” campaign with a short duration of 5 weeks, the brand Snickers gauged the mood of the internet and adapted the prices of its chocolate bars in the 7-Eleven stores through whole Australia. For this campaign, around 14,000 social media posts a day has been analysed. The in-store price at 7-Elevens nationwide was being updated more than 140 times a day. It was even able to drop as low as 82%. Customers needed to visit the website or app and simply click on a button to generate a 7-Eleven barcode on their phones to purchase a Snicker in-store. “The Hungerithm” is the perfect way to bring the Snickers world famous “You’re Not You When You’re Hungry” platform to life. Within this digital age Snicker created a real-life connection with the product. Snickers aimed to reach over 2 million millennials with this initiative. Nowadays, millennials are more interested in healthy snacks which makes it hard to reach them. Another objective was to increase sales of Snickers with its key retail partners by 10%. The campaign resulted in an increase of sales by 67%. The brand mentioned a massive increase of social-traffic by 1740%. Together with 30 million impressions and a 4 million reach of 18-35 year old Australians. The aim of growing sales in key retail partners by 10% has been reached. Snickers also won a “Cyber Lion Award” at

the 2017 Cannes Lions Festival. Hungerithm turned out successful which made Snickers consider to rollout in more markets globally. Snickers Hungerithm campaign scores a 5-6 and 7-8 on the HyPo scale. The consumer needs to do something repeatedly and belongs to a shared project. By having both a virtual and physical space, the company creates a link between online and offline. An interesting fact of this approach is that Snickers created a positive movement out of all the negativity on the internet. Technology has been used in an effective way to get dynamic price levels through big data. By making use of big data in such a fast time, the brand is way faster in analysing and using its available data.

(Feinn, 2018), (Nudd, 2018).

(Atacac, 2018)

Atacac - 3d modelling Atacac, the Swedish fashion studio, is exploring the border between the physical and virtual garment. The brand came up with new ways to enhance with its customers through 3D material visualisation. By showing all available materials and products in a virtual way on the website, the brand is able to present it before put in production. Customers can order free swatches of all garments to get a better understanding of feel and weight before making a purchase. Atacac also offers the possibility to download several patterns of its garments. This function is free of charge when sharing its website. Atacac believes it is crucial to explore new ways of making and presenting clothes. The brand constantly experiments with new possibilities and aims to inspire other brands. â&#x20AC;&#x153;We believe this will be beneficial for all parts â&#x20AC;&#x201C; for you, for me and for the planetâ&#x20AC;? (Atacac, 2016). The brand intents to make the digital world even more attractive. It creates a better experience in a virtual way due to people being more into technology nowadays. Atacac believes fashion will become technology. By making use of this innovative business model, the brand is can be able to limit stock and overproduction. Because of this, Atacac is able to work in a sustainable and transparent way. With use of virtual reality, the brand is able to add movement and music to the avatars when showing its clothes on the website. Doing this, Atacac differentiates itself through

presenting the digital fashion world in a very innovative and creative way. This innovative way of working is not yet applied on a large scale. Due to this, the effects are hard to measure for the time being. The expectation is that these new technologies will play a major role within the future fashion industry (CB Insights Research, 2018). There is not a specific spot for Atacac on the HyPo scale. The brand is a combination of 5-6 and 7-8. The company creates a virtual space for its consumers where the borders between commercial and private fade. Atacac is not for the mass market. The consumer belongs the specific group of (fashion) innovators. By being interactive, the brand is able to engage with its consumers by letting them share the message. An interesting fact of this approach is that the brand experiments and shares its findings and way of working with the rest of the industry. In this way, it wants to inspire others.

Nike’s “Just Do It” campaign

A portrait of social activist and former San Francisco 49ers quarterback is featured in the new Nike “Just Do It” campaign, celebrating the 30th anniversary of the slogan. It contains the message: “Believe in something, even if it means sacrificing everything.” (C. Kaepernick, 2018). Kaepernick refers to his protest against racism and excessive police violence against black Americans in 2016. He was kneeling during the American national anthem and refused to stand up. This move gained him world fame but made him lose his position. No other American football team wanted Kaepernick to be part of its team. Even the President Of America Donald Trump got involved in the discussion and called Kaepernick a “son of a bitch”. He also has been highly critical for Nike’s new ad. “We believe Colin is one of the most inspirational athletes of this generation, who has leveraged the power of sport to help move the world forward,” (G. Fisanotti, 2018). The brand beliefs that this movement will strengthen the tribe with millennials who are likely to be involved in protest movement, especially when their values and feelings are not aligned with political leaders opinions. To empower its position in the market, Nike showed confidence. Nike’s decision to build a campaign around Kaepernick has been a winning move. While initially shares dropped 3%, the brand rebounded. Online sales increased and product orders raised with 27%. Remarkably, Nike lost the old American

consumer while young consumers globally supported the brands decision. On Twitter the terms “Just Do It” and “Nike” became top trending and the hashtag #NikeBoycott was one of the most used. The Nike Just Do it campaign scores a 9-10 on the HyPo scale. The consumers spontaneously engage and organize peer-activities related to the brand, for example the #NikeBoycott. Nike dropped this campaign knowing in advance that tension would arise. The customers fill in the total meaning of the campaign. An interesting fact of this approach is that Nike signed Kaepernick already in 2011 but have not used him in its campaigns since 2018. Why did the brand not make use of Kaepernick in an earlier stage? Marketing campaigns work when people talk about it, does not matter in what sense. Nike teaches people about love and positivity but also about rumours and hate. The brand was aware of what this marketing strategy would bring with it, otherwise it would never take the risk. Nike does not follow the mass market, what they clearly show through this campaign.

(Metro, 2018)

(Tech girl, 2018).

Interactive Runway App - NYFW Luxury brand Badgley Mischka created an interactive runway app for New York Fashion Week, Fall 2018. The app allows the audience to interact with the collection, showed on the runway. They can vote on designs using ‘‘like’’ and ‘‘love’’ buttons and get exclusive details about the clothing items and models shown at that specific moment. By this, the audience can immediately give feedback on styles not yet in production. The provided data gives Badgley Mischka the opportunity to have a better response to future collections. To understand what the audience is feeling about the brands clothing and style, this app came into existence. “Why would we not put the top 10 dresses that were everyone’s favorite into production first instead of the lowest 10 dresses, when there’s maybe more of a demand for the ones that were everyone’s favorite?” (M. Badgley, 2018). By gathering feedback from consumers, buyers and influencers through the app, the brand can easily decide which styles to bring to the market. Because Badgley Mischka wanted to showcase on a wide audience, it decided to make the app available for people who did not visit the show. Using this app could lead to more meaningful interactions with its visitors and creates an innovative way to engage with the event and the brand at the same time. This system helps to manage the supply chain and reduce waste in the fashion industry, by knowing what the consumer prefers. This smart move helps to prevent

the brand from releasing items that won’t be popular among customers. The consumer is not there physically but is willing to share its opinion. As well both the brand and consumer feel more connected and engaged with this. The Interactive Runway App by Badgley Mischka scores a 5-6 on the HyPo scale. By gaining of the audience’s opinion the brand is making use of the old way of supply and demand. By using this strategy in a new context, the brand creates a space where consumers can share. This approach brilliantly fits well in today’s society. An interesting fact of this approach is that the consumer is involved in the buying process. They have the ability to influence what will be sold in stores. Badgley Mischka is sustainable in an innovative way because they already know what will sell in advance. But the question is in what timeframe is the brand able to use all of this relevant information to then put everything in production afterwards? If it takes more time then average, is this way of working still relevant for the consumers?

SFMAMO’S “Send Me” campaign “Send me a masterpiece” is what the San Francisco’s Modern Art Museum will send to the the ones interested. “SFMOMA is putting the “art” in artificial intelligence” (M. Robertson, 2017). The museum launched a service where customers can send an emoji, colour or keyword to get a related art piece in return. This process is user-friendly and straightforward. Anyone located in the United States that makes use of this service will receive a personalised art piece from the museum’s 35,000+ collection. This service is a way to let people see all the art the museum which the institute can simply not show on the floors.

The “Send Me” campaign is way to make art much more accessible for anyone and to shed light on the collection in a creative way. SFMOMA was aiming to get people more interested in art and to let them think about what they see. When visiting the SFMOMA gallery, visitors only see about five percent of the total collection. Due to this, the institution created something to let the customers notice artists and artworks they were not familiar with. Furthermore, it was aiming for 100,000 texts over summer. Within this digital age the SFMOMA liberates itself from the confines of physical space. The offered service gone viral and passed 2 million texts requests within 5 days. It even reached over 3.7 million within 1,5 month. Via this simple idea, the institute got a major increase in brand awareness. “I believe that the element of surprise is

fone of the reasons the project has been so well received” (K. Winesmith, 2017). This campaign earned a Webby Award in 2018 for leading international excellence on the internet. The museum is already working on expanding for non U.S. based consumers. The “Send Me” campaign by SFMOMA scores a 5-6 on the HyPo scale. Consumers need to do something in order to receive a personalized piece of art. In this way, it is a shared project. The consumer shares its preferences/mood through sending a simple emoji to the institute. An interesting fact of this approach is that the SFMOMA is attaining the new generation in a smart and creative way. Nowadays, millenials are not that much interested in art but more focussed on their mobile devices. The institute combines the old way of showing art with the current digital landscape. In this way, it differentiates itself from others and builds a solid fundamental to survive in the future.

(SFMOMA, 2017).

(Id-vice, 2018).

Supreme’s unique strategy So, what makes thousands of people que for hours for a T-shirt and a sweater? Supreme is a leading streetwear brand, selling everything from clothing to accessories, lighters and pinball machines. People are ready to buy new Supreme collections every Thursday, multiple times a year. Every six months the brand launches a “lookbook” on its website. This shows the consumer what the brand is will drop over the next months, but no one knows when the items will be for sale. The brand is not corporate or built for the masses, it is an incredibly-well kept secret. It is for the niche, cool-kid consumer. Supreme is a growing company, but unlike other brands this is not the goal of its existence. To keep the “friends-and-family” vibe, the brand does not have a lot of stores and does not make any use of influencers like other brands do.“The limited nature is a great marketing tool” (S. Karelis, 2017). Customers demand gets higher as Supreme’s supply stays the same. Products sell out in minutes and sometimes seconds. The brand has the ability to create desire and exclusivity. When missing out on a new release, consumers will never get the chance to buy it again. Unless paying extremely high prices in resale, which can go up to 1200%. “This is the true definition of limited edition” (T. Roberts, 2017) Supreme’s well kept secret scores a 9-10 on the HyPo scale. The consumers fill in the total meaning of the brand while

the brand itself does not do anything marketing-wise. The overblown hype is created through spreading a message. People want to belong to a certain ‘‘tribe’’ for example the “SupTalk”, Europe’s largest Supreme fan group. An interesting fact of this approach is that when people can not get something, they are much more eager to buy it. By temporarily disappearing from the radar once a year, when the website is out of service, the brand creates a certain anxiousness of what is coming next. Supreme’s followers are the ones who let the brand stay alive. This exceptional business model is very rare in a world where consumers get manipulated on social media all the time. Even high-end brands are now implementing its strategy to better connect with young consumers. This proves a successful business model.

Innovative marketing approachES . . What do you assume to be new? And what does really stand out nowadays? Because there is so much of everything, it makes it hard for companies to stand out. More and more brands arise while people being even more critical in today’s world due to the freedom and anonymity that social media brings with it. Besides this, there is a noticeable contrast between belonging to a certain tribe but also being your own unique self. Supreme, Diesel and Lidl are examples of companies that have proven that it’s very important to let your customer feel special. Limited editions are going viral and customers are willing to pay for this. For consumers this is a trigger because they want to be a part of an ‘exclusive’ group. Notable in here, consumers create their stories and match this to their own values. Badgley Mischka uses this in a different way by making the consumers opinions valuable. When looking at collaborations, this is nothing new in fashion. Brands connect to various influencers to promote their collections. But.. the new age of collaborations has arrived in a new context. Total different industries are merging together to create new kind of products and experiences, for example clothing vs. food. This is a surprising element which makes people curious of what is coming. Technological developments made the border between virtual and physical places fade. The SFMOMA is having an effect on making these two worlds disappear. Because it is getting harder for companies to reach their customers, the use of technology cannot stay behind. To better respond to millennials needs, brands are much more implementing this in their marketing approaches. Atacac is a perfect example of a brand using technology in every part of its business. Besides this, the way big data is being used is even faster than it was before. This makes it easier for brands to react to its customer needs. Stubborn and an own will. Various companies like Nike, Atacac and Supreme show how to bring products to the market in a unique and exceptional way. For brands it is important to stand up for their own values and connect this to their specific tribe. These brands prove that when not following the masses, this can be a way to success. Time goes by fast. What we consider as innovative today is not valid over a month. Marketing is constantly changing.. How will it evolve in the future?

DEISEL - Go With The Fake

Activation Ideas. (2018). Go with the Fake. [online] Available at: https://activationideas.com/blog/ go-with-the-fake [Accessed 18 Sep. 2018]. Cadogan, D. (2018). Diesel just created a fake store to sell real bootlegs. [online] Dazed. Available at: http://www.dazeddigital.com/fashion/article/38962/1/diesel-just-created-a-fake-store-to-sellreal-bootlegs [Accessed 18 Sep. 2018]. Dandad.org. (2018). Go With The Fake |Diesel |Diesel |D&AD Awards 2018 Pencil Winner | Outof-Home | D&AD. [online] Available at: https://www.dandad.org/awards/professional/2018/ experiential/26543/go-with-the-fake/ [Accessed 18 Sep. 2018]. DeLeon, J. (2018). Diesel Bootlegs Itself with â&#x20AC;&#x153;DEISELâ&#x20AC;? Pop-Up in NYC. [online] Highsnobiety. Available at: https://www.highsnobiety.com/p/diesel-canal-street-deisel-store/ [Accessed 18 Sep. 2018].

Glasheen, J. (2018). Diesel finds success with a real knockoffs pop-up. [online] RetailWire. Available at: https://www.retailwire.com/discussion/diesel-finds-success-with-a-real-knockoffs-pop-up/ [Accessed 18 Sep. 2018]. Nudd, T. (2018). This Blatant Knockoff Diesel Store on Canal Street Is a Real Diesel Store in Disguise. [online] Adweek.com. Available at: https://www.adweek.com/creativity/this-blatant-knockoffdiesel-store-on-canal-street-in-nyc-is-a-real-diesel-store-in-disguise/ [Accessed 18 Sep. 2018]. Pithers, E. (2018). Why Diesel Is Selling Knock-Offs To Unsuspecting Customers. [online] Vogue. co.uk. Available at: https://www.vogue.co.uk/article/diesel-fake-store-new-york-february-2018 [Accessed 18 Sep. 2018]. Stormezand, M. (2018). Diesel opent namaakwinkel Deisel in New York. [online] Fashionunited. nl. Available at: https://fashionunited.nl/nieuws/retail/diesel-opent-namaakwinkel-deisel-in-newyork/2018020930925 [Accessed 18 Sep. 2018]. Valentine, C. (2018). Diesel Beats Knockoff Culture By Joining It. [online] PAPER. Available at: http:// www.papermag.com/diesel-deisel-pop-up-fake-2533250617.html [Accessed 18 Sep. 2018].

Lidl x Amsterdam Fashion Week

Andc.tv. (2018). Supermarktketen Lidl krijgt Fashion Week stil met Heidi Klum-collectie. [online] Available at: https://www.andc.tv/item/video-advertorial-fashion-beauty-fashion-amsterdamfashion-week-show-lidl [Accessed 18 Sep. 2018].

Fonkonline.nl. (2018). Marketing: LIDL showt voor het eerst tijdens Amsterdam Fashion

Week en omarmt jong talent. [online] Available at: https://fonkonline.nl/artikelen/ marketing/lidl-showt-voor-het-eerst-tijdens-amsterdam-fashion-week-en-omarmt-jongtalent-45922.html [Accessed 18 Sep. 2018]. Neerman, P. (2018). Lidl socks steal limelight at Amsterdam Fashion Week. [online] RetailDetail. Available at: https://www.retaildetail.eu/en/news/fashion/lidl-socks-steallimelight-amsterdam-fashion-week [Accessed 18 Sep. 2018]. Parool.nl. (2018). Een modeshow van Lidl? De sokken vielen in de smaak. [online] Available at: https://www.parool.nl/stadsgids/mode-tussen-de-levensmiddelen~a4604067/ [Accessed 18 Sep. 2018]. van Glabbeek, T. (2018). Daily Paper opent pop-up in Londen, Jean School is jarig en Lidl-sokken gaan viral. [online] Textilia. Available at: https://www.textilia.nl/Nieuws/ Daily_Paper_opent_pop-up_in_Londen_Jean_School_is_jarig_en_Lidl-sokken_gaan_ viral-180913232016#.W6Px0xMzbL9 [Accessed 18 Sep. 2018]. van Mechelen, T. (2018). Supermarktketen Lidl verrast op Amsterdam Fashion Week, al vallen vooral de sokken in de smaak. [online] Hln.be. Available at: https://www.hln.be/nina/ style/supermarktketen-lidl-verrast-op-amsterdam-fashion-week-al-vallen-vooral-de-sokkenin-de-smaak~aed4d03f/?referer=https%3A%2F%2Fwww.google.nl%2F [Accessed 18 Sep. 2018].

SNICKERS “Hungerithm”

Dandad.org. (2018). Hungerithm. [online] Available at: https://www.dandad.org/awards/ professional/2017/digital-marketing/26371/hungerithm/ [Accessed 19 Sep. 2018]. Digitaltrainingacademy.com. (2018). Snickers ‘Hungerithm’ bases 7/11 prices on internet’s mood - Digital Training Academy. [online] Available at: http://www.digitaltrainingacademy.com/ casestudies/2017/08/snickers_hungerithm_bases_711_prices_on_internets_mood.php [Accessed 19 Sep. 2018]. Macleod, D. (2018). Snickers Hungerithm - The Inspiration Room. [online] The Inspiration Room. Available at: http://theinspirationroom.com/daily/2016/snickers-hungerithm/ [Accessed 19 Sep. 2018]. MediaCom. (2017). Snickers Hungerithm wins Media Plan of the Year :: MediaCom. [online] Available at: https://www.mediacom.com/us/news/news/2017/snickers-hungerithm-wins-mediaplan-of-the-year [Accessed 19 Sep. 2018].

MediaCom. (2018). Hungerithm :: MediaCom. [online] Available at: https://www.mediacom. com/en/work/hungerithm [Accessed 19 Sep. 2018]. Nudd, T. (2018). Snickers ‘Hungerithm’ Sets the Candy’s In-Store Price Based on the Internet’s Mood. [online] Adweek.com. Available at: https://www.adweek.com/creativity/ snickers-hungerithm-sets-candys-store-price-based-internets-mood-171674/ [Accessed 19 Sep. 2018].

Atatac - 3D Modelling

Atacac.com. (2018). Atacac – The Company. [online] Available at: http://atacac.com/company/ [Accessed 18 Sep. 2018]. Inside Fashion Design. (2018). Friday Find: Atacac | Inside Fashion Design. [online] Available at: http://insidefashiondesign.net/friday-find-atacac/ [Accessed 18 Sep. 2018]. Institute, A. (2018). Technology is transforming the fashion industry - AMFI. [online] AMFI. Available at: http://amfi.nl/technology-transforming-fashion-industry/ [Accessed 18 Sep. 2018]. Jacobs, J. (2017). Atacac - using game technology to turn fashion upside down - MAGIC FABRIC. [online] MAGIC FABRIC. Available at: http://magicfabricblog.com/atacac-uses-game-technologychange-fashion-system/ [Accessed 18 Sep. 2018]. Prahl, A. (2017). 3D digital technologies: Material focus. [online] Innovationintextiles.com. Available at: https://www.innovationintextiles.com/3d-digital-technologies-material-focus/ [Accessed 18 Sep. 2018].

Nike’s “Just Do It” campaign

Boren, C. (2018). Nike’s Colin Kaepernick ad campaign gets more yeas than nays from young people. [online] Washington Post. Available at: https://www.washingtonpost.com/news/earlylead/wp/2018/09/13/colin-kaepernicks-nike-ad-campaign-gets-more-yeahs-than-nays-from-youngpeople/?noredirect=on&utm_term=.d77e40dfb587 [Accessed 19 Sep. 2018].

Bouma, F. (2018). Activistische quarterback Colin Kaepernick gezicht Nike-campagne. [online] NRC. Available at: https://www.nrc.nl/nieuws/2018/09/04/activistische-quarterback-colin-kaepernickgezicht-nike-campagne-a1615199 [Accessed 19 Sep. 2018]. Darville, J. (2018). Colin Kaepernick is the face of Nike’s new “Just Do It” campaign. [online] The FADER. Available at: https://www.thefader.com/2018/09/03/colin-kaepernick-nike-just-do-it-adcampaign [Accessed 19 Sep. 2018]. Draper, K. and Belson, K. (2018). Colin Kaepernick’s Nike Campaign Keeps N.F.L. Anthem Kneeling in Spotlight. [online] Nytimes.com. Available at: https://www.nytimes.com/2018/09/03/sports/ kaepernick-nike.html?smtyp=cur&smid=tw-nytimes [Accessed 19 Sep. 2018]. Fashionunited.uk. (2018). Colin Kaepernick’s “Just Do It” campaign boosts Nike sales. [online] Available at: https://fashionunited.uk/news/business/colin-kaepernick-s-just-do-it-campaignboosts-nike-sales/2018091038763 [Accessed 19 Sep. 2018]. Franck, T. (2018). Nike’s Kaepernick campaign ‘a stroke of genius,’ says analyst, upgrading stock to buy. [online] CNBC. Available at: https://www.cnbc.com/2018/09/11/nikes-kaepernick-adcampaign-a-stroke-of-genius-analyst-ups-stock.html [Accessed 19 Sep. 2018]. Search Engine Journal. (2018). 3 Valuable PR Lessons You Can Learn From the Nike Controversy. [online] Available at: https://www.searchenginejournal.com/pr-lessons-from-nikecontroversy/268965/ [Accessed 19 Sep. 2018]. Taylor, N. (2018). Nike’s controversial Kaepernick ad campaign wins US polls approval, especially

among 18 to 34-year-olds. [online] WGSN. Available at: https://www.wgsn.com/news/nikescontroversial-kaepernick-ad-campaign-wins-us-polls-approval-especially-among-18-34-year-olds/ [Accessed 13 Sep. 2018].

Interactive Runway App - NYFW

Kapfunde, M. (2018). Badgley Mischka AW2018- Interactive Runway App. [online] FashNerd. Available at: https://fashnerd.com/2018/02/nyfw-badgley-mischka-interactive-runway-app/ [Accessed 19 Sep. 2018]. Prnewswire.com. (2018). SAP and Badgley Mischka Introduce the Badgley Mischka Runway Mobile App by SAP for New York Fashion Week: The Shows. [online] Available at: https://www.prnewswire. com/news-releases/sap-and-badgley-mischka-introduce-the-badgley-mischka-runway-mobile-appby-sap-for-new-york-fashion-week-the-shows-300596255.html [Accessed 19 Sep. 2018]. Pugh, C. (2018). The Most Interactive New York Fashion Week Show Ever Comes From a Tech Phobic Designer. [online] Papercitymag.com. Available at: https://www.papercitymag.com/fashion/ badgley-mischka-interactive-new-york-fashion-week-show-ever-high-tech-app/ [Accessed 19 Sep. 2018]. Stolyar, B. (2018). At N.Y. Fashion Week, Badgley Mischka let audience vote on designs with an app. [online] Digital Trends. Available at: https://www.digitaltrends.com/mobile/badgley-mischkarunway-app-new-york-fashion-week/ [Accessed 19 Sep. 2018]. Williams, R. (2018). Badgley Mischka debuts interactive runway app for New York Fashion Week. [online] Mobile Marketer. Available at: https://www.mobilemarketer.com/news/badgley-mischkadebuts-interactive-runway-app-for-new-york-fashion-week/516837/ [Accessed 19 Sep. 2018].

SFMOMA’S “Send Me” campaign

Caldwell, E. (2017). A Museum in the Palm of your Hand | JSTOR Daily. [online] JSTOR Daily. Available at: https://daily.jstor.org/a-museum-in-the-palm-of-your-hand/ [Accessed 21 Sep. 2018]. Cascone, S. (2017). How SFMOMA Used Text Messages to Make Art Go Viral | artnet News. [online] artnet News. Available at: https://news.artnet.com/art-world/sfmoma-made-art-go-viral-1023440 [Accessed 21 Sep. 2018]. Flynn, C. (2017). Whoa! This Museum Will Text You Art That Matches Your Mood. [online] Refinery29.com. Available at: https://www.refinery29.com/2017/07/164496/san-francisco-momaart-text-service [Accessed 21 Sep. 2018]. Forbes Agency Council (2017). [online] Forbes.com. Available at: https://www.forbes.com/sites/for besagencycouncil/2017/12/14/12-most-memorable-marketing-campaigns-of-2017/#3f4564df1464 [Accessed 21 Sep. 2018]. Mollica, J. (2017). Send Me SFMOMA. [online] SFMOMA. Available at: https://www.sfmoma.org/ send-me-sfmoma/ [Accessed 21 Sep. 2018]. Mollica, J. (2017). Sending “Send Me SFMOMA” Abroad. [online] SFMOMA. Available at: https:// www.sfmoma.org/read/sending-send-me-sfmoma-abroad/ [Accessed 21 Sep. 2018].

Robertson, M. (2017). SFMOMA always texts back with ‘Send Me’ project. [online] SFGate. Available at: https://www.sfgate.com/art/article/You-can-now-text-SFMOMA-for-art-ondemand-11042338.php#photo-12646714 [Accessed 21 Sep. 2018]. Sawa, D. (2017). Send me a masterpiece: the museum texting its artworks to anyone who asks. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/2017/jul/21/sendme-a-masterpiece-san-francisco-museum-of-modern-art-texting [Accessed 21 Sep. 2018]. Tepper, F. (2017). You can text SFMOMA and it will respond with art on demand. [online] TechCrunch. Available at: https://techcrunch.com/2017/07/10/you-can-text-sfmoma-and-it-willrespond-with-art-on-demand/?guccounter=1 [Accessed 21 Sep. 2018]. Voon, C. (2017). Send a Text to SFMOMA and They’ll Text You Back an Artwork. [online] Hyperallergic. Available at: https://hyperallergic.com/388131/send-a-text-to-sfmoma-and-theylltext-you-back-an-artwork/ [Accessed 21 Sep. 2018]. Webbyawards.com. (2018). [online] Available at: https://www.webbyawards.com/winners/2018/ mobile-sites-apps/general/cultural-institutions/send-me-sfmoma/ [Accessed 21 Sep. 2018].

Supreme’s unique strategy

Dhillon, K. (2017). Supreme Clothing: All You Need to Know. [online] Highsnobiety. Available at: https://www.highsnobiety.com/2017/04/25/supreme-clothing-all-you-need-to-know/ [Accessed 19 Sep. 2018].

Moran, G., Hounslea, T. and Sutherland, E. (2018). The secrets of Supreme success. [online] Drapers. Available at: https://www.drapersonline.com/retail/the-secrets-of-supremesuccess/7025817.article [Accessed 19 Sep. 2018]. Roberts, T. (2017). How Supreme’s Unique Marketing & Business Strategy Works.. [online] Linkedin. Available at: https://www.linkedin.com/pulse/how-supremes-unique-marketing-business-strategyworks-thomas-roberts/ [Accessed 19 Sep. 2018]. Von Wilpert, C. (2018). Sumo Growth Study: Supreme Streetwear’s Insane Success. [online] Sumo. Available at: https://sumo.com/stories/supreme-marketing [Accessed 19 Sep. 2018]. Williams, A. (2018). Guerrilla Fashion: The Story of Supreme. [online] Nytimes.com. Available at: https://www.nytimes.com/2012/11/22/fashion/guerrilla-fashion-the-story-of-supreme.html [Accessed 19 Sep. 2018].

Rachelle De Jong, Britte Onink, Britte Hubregtse, Evelien van Ruiten