A Guide to Selling Fashion Around the World Online

Total Page:16

File Type:pdf, Size:1020Kb

Load more

CheckOut 4

FASHION

A guide to selling fashion around the world online

The CheckOut2TheWorld alliance is brought to you by:

INFINITYBLUE

driving marketplace performance

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

CONTENTS

Introduction ........................................................................................................ 3 Fashion by numbers ....................................................................................... 4 How do consumers buy online? ............................................................... 7 Being discovered in new markets ......................................................... 14

Getting your clothes to international customers ........................ 19 Looking after your international customers .................................. 21

Focus on China ................................................................................................ 25 Interview with Lei ......................................................................................... 27

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

INTRODUCTION

The opportunities available to retailers within the fashion industry are enormous.

As the world becomes increasingly connected, it also becomes easier and cheaper to sell clothes, footwear and accessories to consumers in new countries. At the same time, as more people buy products online, the more sophisticated, streamlined and cost-effective the associated logistics become, making it faster and cheaper for sellers to reach their customers, wherever they may be.

The first section of this whitepaper takes an in-depth look at the statistics associated with the fashion industry and the size of the opportunity available to brands willing to take advantage of both the digitalisation and internationalisation of consumer culture.

The following sections address some of the questions that a fashion retailer must consider before selling their products online to multiple countries. We examine the habits of online consumers, the best way to market your online products in new regions, the different means of getting your products to your customers, and how to look after your international customers after purchase. The information provided should give retailers an idea of the various options available to them and how to choose the best ones for their business.

The final part of the whitepaper focuses on China, which is quickly becoming the most significant market for the fashion industry. The world’s most populous country also acts as an indicator of worldwide sales of clothes, footwear and accessories in the years to come.

3

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

FASHION BY NUMBERS

The fashion industry, consisting of clothing (or apparel), footwear and accessories (e.g. bags, watches, jewellery, eyewear, and cosmetics and fragrances) was valued at an estimated $2.5 trillion making up 3% of global GDP in 2017. 1 In the same year, clothing and footwear accounted for 7.25% of total worldwide retail sales, valued at $1.7 trillion.

These numbers demonstrate the wealth of opportunity available for fashion retailers, with approximately 7 billion

Where will growth emerge?

McKinsey predicts 3.5-4.5% growth in global sales within the fashion industry in 2019 (down from 4.5-5.5% growth in 2018), with emerging markets in APAC, Europe and Latin America forming the fastest growing regions. customers using their products every day. But which sectors and regions are expected to grow fastest over the next few years, and how is the consumer landscape changing within the industry? A look at some specific numbers can provide some clues.

Percentage sales growth in the fashion industry worldwide in 2019, by region

8%

8.0%

  • Low estimate
  • High estimate

7%

7.0%

6%

6.0%

5%

5.0%

4%

4.0%

3%

3.0%

2%

2.0%

1%

1.0%

0%

0.0%

  • APAC Emerging Europe Emerging
  • Latin America
  • Total fashion

industry

  • MEA
  • North America
  • APAC Mature
  • Europe Mature

1

The State of Fashion 2018, Link Statista, Link The State of Fashion 2018, Link

23

4

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

In 2019, China is expected to overtake the US as the largest fashion market in the world, with apparel sales reaching $335.5 billion.4 Growth is predicted to remain high at an average of 7.5% until 2021.5

In the US, growth is expected to decelerate from 2.7% in 2017 to just 2.0% in 2021.6 Apparel sales in the US are forecast to reach $334.2 billion in 2019, according to Statista’s Consumer Market Outlook, with growth averaging 2.2% over the next three years.7 However, some experts suggest there has been a decline in apparel sales in recent years, with some reports estimating a 2% decline between 2016 and 2017.8 Each of these reports measures slightly differing categories, but the overriding conclusion is that growth in the world’s largest fashion market is slowing dramatically.

Americans are also spending less on fashion. From 1977 to 2016 the percentage of consumer expenditure on apparel and related services has fallen by half, from 6.2% to 3.1%. The average US consumer now spends more on technology (3.4%) and “experiences” such as eating out, travel and other leisure activities.9

The trend outlined above is indicative

The growing importance of e-commerce

of a more significant overall trend in fashion spending.10 By 2025, McKinsey expects revenue from outside of Europe and North America will make up 55% of all fashion spending. With APAC, Latin American and African economies continuing to stabilise, and greater individual engagement with the internet, this trend is unlike to reverse any time soon.

E-commerce is a critical force for growth in the fashion industry. In 2017, e-commerce accounted for $450.7 billion of global fashion sales.11 In 2019, the amount is expected to grow by
14.1% year on year, reaching just under $600 billion over the 12-month period.

4,5

Statista, Link Statista, Link

6,7 8

NPD Group, Link Bloomberg, Link The State of Fashion 2018, Link Statista, Link

910 11

5

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

E-commerce revenue growth in the fashion industry

  • Apparel
  • Footwear
  • Bags & Accessories
  • %Growth

  • $900,000.00
  • 18.0%

16.0% 14.0% 12.0% 10.0% 8.0% 6.0% 4.0% 2.0% 0.0%

$900

$800,000.00

$800

$700,000.00

$700

$600,000.00

$600

$500,000.00

$500

$400,000.00

$400

$300,000.00

$300

$200,000.00

$200

$100,000.00

$100

$-

$-

  • 2017
  • 2018
  • 2019
  • 2020
  • 2021
  • 2022
  • 2023

Already the biggest slice of the e-commerce pie (29.4%), online
In the US, 31% of cross-border online purchases are those of clothing and accessories, but consumers are still concerned about increased delivery times and expensive returns.16 fashion sales are predicted to grow at a compound annual growth rate (CAGR) of 8.7% (faster than the overall e-commerce market), resulting in a

  • market volume of $836 billion by 2023.12
  • In 2020, China is expected to become

the largest cross-border B2C market, with 200 million consumers receiving goods from overseas, and the volume of imported goods purchased online reaching $245 billion (or 25% of all cross-border e-commerce revenue).17 The main reasons for this include
At the same time, the amount of money spent online across borders is estimated to top $1 trillion by 2020, equating to a 27.5% CAGR since 2014.13 A survey of consumers across 12 countries revealed that 64% of online buyers purchased from a foreign site in 2018.14 As consumers search for better prices, different brands or speciality products not currently available in their home markets, and they become increasingly comfortable buying online from international websites, the opportunity for retailers to reach new customers around the globe increases exponentially. By 2020, 45% of all online shoppers – more than 900 million people – will purchase products internationally.15 concerns about the quality of domestic products and high-levels of counterfeit products.18

Forward thinking businesses such as Alibaba’s foresee a merging of the benefits of traditional shopping and e-commerce, heralding a “new retail” in which the distinction between online and offline will become increasingly obscured.

12

Statista, Link McKinsey, Link Pitney Bowes, Link Alizila, Link Invesp, Link eMarketer, Link

13 14 15, 17 16 18

6

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

HOW DO CONSUMERS BUY ONLINE?

As technology continues to develop new methods for people to consume content, the ways in which people purchase changes accordingly.

A few of the resulting channels through which you can now sell your items online include: your own website (desktop and mobile), marketplaces, your own mobile app, various social media platforms, smart devices and crowdfunding campaigns.

Different markets do not only have different preferences when it comes to channels, but they also have different platforms and platform preferences within these channels. For example, Amazon may seem ubiquitous in most of the western world, and while the list of international sites and countries that it now ships to is always growing, it is often not the first choice for fashion consumers in all markets. In the US, customers are au fait with using Amazon to buy clothes, but in the UK it is not most customers first thought.

In 2017, Amazon was the 8th most popular destination for UK fashion e-commerce sales, with companies such as Next, John Lewis and Asos making far more sales.19 In the same year, Amazon was the second largest apparel retailer in the US (overall, not just e-commerce), and was expected to overtake Walmart in 2018 according to a Morgan Stanley report.20

Other factors to consider are the most popular devices within each market and the internet speeds available. In large portions of Africa, people must rely upon slower internet speeds and are more likely to make purchases on smartphones than a desktop computer. As a result, a simple, mobile-first webshop may be your most important channel in these markets.

19

Statista, Link CNBC, Link

20

7

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

financial affairs, is also a necessity.

E-commerce site

As previously mentioned, in some markets, mobile devices are used most commonly for online purchases, and in those countries your mobile site and user experience must be perfected. Even in regions where purchases tend to be made on a desktop browser, searching for and evaluating products may still occur on mobile devices and mobile sites therefore are a priority.
Making sales directly from your own e-commerce site presents several advantages. You have complete ownership of the platform and the versatility to adapt it as you please. Additionally, you are not required to pay any fees to a marketplace for the privilege of listing your goods on their platform. Further positives include complete control over your customer data, and more control over your shipping/return methods.

There is also an increasing trend for brands to create their own apps, allowing customers to install a mobile shopping experience on their phone or tablet. Apps are very effective in promoting brand loyalty, increasing repeat and regular custom, but can also be very expensive to run, keep updated, and translate and localise to many countries.

Conversely, adapting your website to ensure it drives sales in all your target markets will require significant time and effort. It is not just the cost of translations, but also guaranteeing the website is user-friendly, correctly localised and optimised to drive sales. Deciding if the investment is worthwhile may depend on the importance of brand to your product. If you benefit from having a one-onone conversation with your customers directly through your website, it may be an important sales channel. The creation of partnerships in new markets for warehousing, shipping, returns, payments, customer service and

8

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

Credit: Casimiro PT / Shutterstock.com

Marketplaces

Customer research shows that customer
Globally, almost 50% of online retail

sales take place on marketplaces and sales grew by 34% last year to $1.55 trillion.21 The increasing dominance of marketplaces is also evident in e.g. the fact that online shoppers in the USA are more likely to start a search for a new purchase on Amazon than Google.22 choose marketplaces when they are looking for a range of choice, ease of comparing items and convenience of looking in a single place. They also benefit from only having to sign-up once, fast checkouts and insurance against items that do not match their descriptions or fail to be delivered. This in contrast to other customers who prefer purchasing directly from brand websites because they have strong brand loyalty and trust, want to take advantage of loyalty programmes, and are looking for the top end customer experience that some brands offer.23
What all marketplaces have in common is that the product or service information is provided by multiple third parties, while the transactions are processed by the marketplace operator. Marketplaces usually charge a fixed fee and a percentage fee and many now offer additional services like fulfilment and financing. As such marketplaces offer a fantastic eco-system of solutions for online retailers
There is no doubt that marketplaces somehow flatten the customer experience for each brand. Marketplaces will always be more interested in promoting their brand than yours. But those platforms are continuously innovating, e.g. Amazon adding Brandshop, and Tmall setting up Luxury pavilions. Other more fashion specialist platforms like Farfetch, Mr. Porter an Zalando are now including social media and content as part of their positioning and marketing activities, both off and on platform – creating much improved appeal for both fahion-istas and fashion retailers.
Some marketplaces have become retailers in their own right, next to facilitating the sales of third parties. Others like eBay are designed to work on an auction basis and allow individuals to sell used or unwanted items, as well as enabling shops to sell new products. Amazon, Tmall, bol.com, Fruugo are generalists in the sense that they offer a wide range of products . Others specialise in market segments like Mano Mano (DIY and home improvement), or Farfetch, Mr. Porter and Zalando in fashion.

21

Digital Commerce 360, Link Infinity Blue webinar: ‘You can Export: Set-up and Sell Successfully on Global Marketplaces’, Link Pitney Bowes, Link

22 23

9

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

Why should you consider using a marketplace?

• Access an additional route to market – the benefit of opening up a second or third route to market will depend on many things, but in some countries marketplaces represent over 85% of online B2C purchases
• Export with ease - when expanding into new countries, you will only need to translate and localise the product copy for new marketplaces, without worrying too much about the complexity of customer delivery and returns
• Protect your band - brand registry (or the non-Amazon equivalent on other marketplaces) will ensure sellers that sell your products comply with your listing and brand standards. You can do this even if you do not intend to sell yourself.

Tip: Note that research has shown that the average retailer underestimates the importance of marketplaces for online buyers.24 So ignore marketplaces at your peril.

Which marketplaces should I choose?

Any discussion on specific marketplaces needs to start with Amazon and
There are at least 250 dedicated fashion marketplaces that are regularly discussed, including Farfetch, Mr. Porter, Net-a-Porter, Asos, Zalando, Bonobos, The Iconic and Poshmark. They differ in geography, audiences, brand protection, on-platform marketing and promotional possibilities, integration with social media, key opinion leaders etc.
Alibaba, behemoths of online retailing. Amazon is dominant in the USA and the EU (and barely touches China) while TMall’s dominance in China is even more substantial . TMall provides more opportunities for branding than Amazon. It is also much more focussed on the overall e-commerce ecosystem (including working closely with brick and mortar retailers). For now, the threat of Amazon and Tmall to fashion brands depends mostly on the type of apparel in question. Amazon customers for instance, when buying fashion largely buy underwear, socks, jeans and workout clothes.
For more information on marketplaces, including practical tips on how to overcome challenges and make the most of opportunities, see our guide, ‘You can export: Set-up and sell successfully on Global Marketplaces’.26

Both super-marketplaces are experimenting with fashion and luxury products. Tmall launched the Tmall Luxury Pavilion, offering its shoppers access to dozens of brands including Burberry, Hugo Boss and La Mer. Amazon is developing its own private labels, offering a testing service known as Amazon Wardrobe, which allows users to have items delivered to their homes in order to try them on and either keep or return. Amazon is also rumoured to be working on an automated clothing factory that uses personal preference data to create personalised tailormade clothing.25

24

Pitney Bowes, Link Quartz, Link InfinityBlue, Link

25 26

10

A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE

Farfetch positions itself as the “only truly global luxury digital marketplace”. Dedicated to lovers of fashion, visitors can pick from an “unrivalled” range of products. They offer same-day delivery in 19 major global cities including Milan, Berlin, London and Paris. > 995 luxury sellers
Bonanza is a seller-friendly marketplace. Therefore
ASOS is a U.K-based marketplace, targets there are no listing fees and no monthly store fees. younger shoppers giving them the space
Originating in Germany, Zalando has made high street to high-end fashion easily accessible by offering Europe’s largest selection of clothing, accessories and shoes online.
Allowing sellers to make sales and build a brand by to be uniquely themselves and express developing relationships with their customers. themselves, selling over 30 sizes and home to
+ 24,6 million users

Recommended publications
  • Scottish Fashion Influencers: Constructing a Style Identity on Instagram

    Scottish Fashion Influencers: Constructing a Style Identity on Instagram

    MARCELLA-HOOD, M. 2020. Scottish fashion influencers: constructing a style identity on Instagram. International journal of fashion studies [online], 7(1), pages 73-96. Available from: https://doi.org/10.1386/infs_00017_1 Scottish fashion influencers: constructing a style identity on Instagram. MARCELLA-HOOD, M. 2020 This document was downloaded from https://openair.rgu.ac.uk Abstract This article builds on existing theories of self presentation and identity through a study into the behaviour of fashion influencers who position themselves as Scottish on Instagram. Fourteen interviews were carried out with Scottish fashion influencers who were asked to reflect on their online identity. The interaction between the offline and online self is explored, where national identity and a sense of place are recognised as important attributes of self identity in an offline setting and participants were sampled on the basis that they were projecting this as a key component of their online self. All were found to be seeking to convey an ideal identity on Instagram; this involved curating particular aspects of their offline style and showcasing these online. The issue of authenticity was complex and a spectrum of identity evolution on Instagram is observed and reflected on. The most career-minded participants tended to portray themselves in a more one-sided manner and were most strongly influenced by a sense of their audience. In contrast, the participants who were less career minded tended to explore more freely with their online self and were influenced most strongly by internal factors. Scottish fashion influencers: constructing a style identity on Instagram The popularity of personal fashion blogs and their influence is explored quite extensively in the literature (e.g.
  • Influencer Impact on Brand Awareness: a Mixed Method

    Influencer Impact on Brand Awareness: a Mixed Method

    INFLUENCER IMPACT ON BRAND AWARENESS: A MIXED METHOD SURVEY IN THE GERMAN FASHION SEGMENT Kai Dominik Renchen1;2 1SRH Hochschule Heidelberg, Germany 2Mendel University in Brno, Czech Republic Volume 6 Issue 2 ISSN 2694-7161 www.ejobsat.com ABSTRACT This study evaluates the impact of influencer marketing on consumers. Although online influencers are long established in German B2C markets, research in the field is scarce. Marketing managers are unsure how influencer marketing strategies should be drafted and which influencers shouldbe recruited in order to maximize their marketing efforts at the consumer level. Based on a review of previous theoretical and empirical literature, a mixed method empirical study comprising semi- structured interviews with three German fashion influencers and a consumer survey (N = 385) among the followers of these influencers are conducted to evaluate the impact of influencer activity on consumer followership, brand awareness and purchase intention. Results indicate that the intensity of influencer network involvement, intrinsic influencer motivation, authenticity of communication style and the real-life character of influencer posts increase the dependent variables. Hence, the empirical study has contributed to identify the most important determiners for the German B2C fashion influencer segment. Marketing managers are strongly advised to select influencers adequately and organize their marketing strategy in correspondence withtheir company and products. KEY WORDS influencer, marketing, B2C, fashion JEL CODES M3, M31, M37 1 INTRODUCTION The use of the internet as an information and more, buyers use virtual channels to find shopping medium by consumers has increased out about consumption options and products. rapidly in recent years (Franklin, 2008). Ever Among others, social media are very popular.
  • Iv Social Butterflies: How Social Media Influencers Are the New Celebrity

    Iv Social Butterflies: How Social Media Influencers Are the New Celebrity

    iv Social Butterflies: How Social Media Influencers are the New Celebrity Endorsement Kayleigh E. Burke Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts In Communication James D. Ivory, Chair John C. Tedesco M. Cayce Myers May 10, 2017 Blacksburg, VA Keywords: Social Media Influencer; Influencer Marketing; Experiment; Instagram Copyright, 2017 Kayleigh Burke v Social Butterflies- How Social Media Influencers are the New Celebrity Endorsement Kayleigh Burke ABSTRACT The rapid growth of visual microblogging platforms, such as Instagram, has created new opportunities for brands to communicate with stakeholders. As these platforms evolve, brands have had to adapt in order to use the available social media platforms to gain visibility in the millennial audience. Recently brands have turned to online “celebrities” known as a social media influencer (SMI) to distribute information and influence consumers’ product perceptions. This specifically has become a common tactic in communication and marketing efforts with the fashion and beauty industry. Ample research is available on the effects of celebrity endorsements but currently there is a gap in research pertaining to the consumer’s perspective towards SMIs and SMIs effects on consumers. The online experiment completed in this thesis addressed how promotion of a product by a SMI affects perceptions of consumers on Instagram by measuring social comparison and self-congruity. This is accomplished by comparing participant’s product perception to promotional posts on Instagram by a SMI, brand, and unbranded retail source. A three-condition experiment (SMI, Brand, Control) compared effects of product perception, social comparison, and self-congruity.
  • Download PDF (100.9

    Download PDF (100.9

    index 36th Statistical Report on Internet ‘american dream’ 40, 324 Development in China 433 Analects 318 40 Kids Songs in Cartoon 279 anderson, benedict 28 5000 Years of Chinese Characters 254 anderson, Chris 46, 49 animation industry A Bite of China 248, 255, 256 and copycats 280 A Complaint Free World 316 control/censorship mechanisms across the taiwan strait and Hong 282–7, 289–90 kong film festival 487 domestic industry growth/challenges adorno, theodor 5, 17, 18, 20 277–8, 279–80, 282, 287–8, 290 Adventure Under the Sea 285 evolution of 278–80 advertising foreign animation culture 279–80, and commercialization of television 288 industry 361, 369–72 and ‘going global’ 136, 140–41, and cultural governance of mass 277–8, 287–8 media 192, 199, 200 ‘golden eras’ of 279 and digital publishing industry government policy/regulation 277–8, 388–9 280–87, 288, 289–90 and e-commerce 416–17 international industry growth 276–7, and genesis of cultural industries 5–6 279–80 and ‘going global’ 125, 131, 137, ‘managed creativity’ in 288–90 and industrialization of art 520, 522 recommendation and awards and mobile internet 402–5 systems 283–4 and online video platforms 347, 348, anti-culture process 17, 18 351–2, 355–6, 403 app-based distributors (digital and radio 5, 260, 262–3, 265, 267–8, publishing industry) 383–4 271, 272 Approval for Foreign Cultural and Advice on Further Strengthening and Artistic Performance Groups & Improving the Work of Exporting Individuals in Song & Dance 140 Cultural Products 129 apps 332, 367, 369, 382–4, 403–4, Aftershock
  • Chinese Charities Evaluated Charity Name Type 1 L.O.V.E

    Chinese Charities Evaluated Charity Name Type 1 L.O.V.E

    APPENDIX A Chinese Charities Evaluated Charity Name Type 1 L.O.V.E. Non-public fundraising foundation* Founded by Li Bingbing. Environment. 2 World Wildlife Fund (WWF) INGO. Conservation, http://www.wwf.org 3 阿里地区红十字会 Government. Public fundraising foundation** Ali (Ngari Prefecture) Red Cross Medical aid/Disaster relief 4 爱心火炬基金 Government. Public fundraising foundation. Poverty Torch Foundation alleviation, http://www.sygoc.org.cn 5 保护国际 CI 组织 INGO Conservation, http://www.conservation.org.cn/ Conservation International 6 阳光文化基金会 Non-public fundraising foundation. Founded by Sun Culture Foundation Yang Lan. Arts/Culture/Philanthropy, http://www.sunculturefoundation.com/en/about.php 7 北京成龙慈善基金会 Non-public fundraising foundation. Founded by Beijing Jackie Chan Charitable Jackie Chan. Disaster relief, Foundation http://www.chengloongcishan.org/ 8 Government. Non-public fundraising foundation. 北京国际音乐节艺术基金 Arts / Culture, Beijing Music Festival Arts Foundation http://www.bmf.org.cn/jigoujianjie.html 9 北京绿化基金会 Government. Public fundraising foundation. Beijing Green Foundation Environment, http://www.greenbeijing.org/ 10 北京青少年发展基金会 Government. Public fundraising foundation. Youth, Beijing Youth Development Foundation http://www.bjydf.cn/ 11 北京市慈善协会 Government. Public fundraising foundation. Medical Beijing Charity Association aid/Poverty alleviation, http://www.bjcsh.org.cn/ 12 北京市地震局北京受灾者救助协会‘回 Government. Public fundraising foundation. Disaster 家’专项基金 relief Beijing Seismological Bureau Fund for Helping Disaster Victims Return Home 13 Private Foundation. Public fundraising foundation. 崔永元公益基金 Founded by Cui Yongyuan. Education, Cui Yongyuan Charity Foundation http://www.xiaocui.org/ 14 大学生和平大使慈善基金 Private enterprise. Public fundraising foundation. University Student Peace Ambassador Youth, http://www.cswef.org/fzjg/2013/0412/18.html Fund 15 兜兜传爱基金会 Government. Public fundraising foundation, affiliated Dou Dou Love Foundation with Chinese Red Cross.
  • Chinese Music Reality Shows: a Case Study

    Chinese Music Reality Shows: a Case Study

    Chinese Music Reality Shows: A Case Study A Thesis Submitted to the Faculty of Drexel University by Zhengyuan Bi In partial fulfillment of the requirements for the degree of Master of Science in Television Management January 2017 ii © Copyright 2017 Zhengyuan Bi All Right Reserved. iii DEDICATION I dedicate this thesis to my family and my friends, with a special feeling of gratitude to my loving parents, my friends Queena Ai, Eileen Zhou and Lili Mao, and my former boss Kenny Lam. I will always appreciate their love and support! iv ACKNOWLEDGMENTS I would like to take this opportunity to thank my thesis advisor Philip Salas and Television Management Program Director Al Tedesco for their great support and guidance during my studies at Drexel University. I would also like to thank Katherine Houseman for her kind support and assistance. I truly appreciate their generous contribution to me and all the students. I would also like to thank all the faculty of Westphal College of Media Arts & Design, all the classmates that have studied with me for these two years. We are forever friends and the best wishes to each of you! v Table of Contents DEDICATION ………………………………………………………………………………..iii ACKNOWLEDGEMENTS…………………………………………………………………...iv ABSTRACT……………………………………………………………………………………vii Chapter 1: Introduction………………………………………………………………………..1 1.1 Introduction………………………………………………………………………………...3 1.2 Statement of the Problem…………………………………………….................................3 1.3 Background…………………………………………………………………………………4 1.4 Purpose of the study…………………………………………………………………….....5
  • September 2015 |

    September 2015 |

    Communications & New Media Sept. 2015 I Vol. 29 No. 9 September 2015 | www.odwyerpr.com Vol. 29. No. 9 Sept. 2015 EDITORIAL PR CONGLOMERATES Investing in the personal SLOG THROUGH Q2 economy. 6 18 Revenues at the major marketing conglomerates inched up in the second quarter, setting the stage 32 CHARGED AFTER for growth in 2015. NEWSWIRES HACKED Authorities have broken up a glob- 8 PEOPLE IN PR al fraud scheme that hacked into three major newswires and reaped 12 $100 million in profits since 2010. 20 PROFILES OF BEAUTY THE DO’S AND DON’TS OF AND FASHION PR FIRMS INFLUENCER RELATIONS 22 Tips on how influencer relations 9 can be used as a revenue generat- ing resource for your client. RANKINGS OF BEAUTY AND FASHION PR FIRMS BACK-TO-SCHOOL GETS 29 A+ MARKETING 14Cover photo by Michael O’Shea Thanks to mobile and social me- 10 WASHINGTON REPORT dia, the ways in which students WWW.ODWYERPR.COM and parents participate in back-to- 32 Daily, up-to-the-minute PR news school shopping have evolved. TOURISM EMERGES AS columns TOP FASHION VENUE PROFESSIONAL DEVELOPMENT Designers have led the charge for 12 30 Fraser Seitel pairing fashion with destinations. As a result, tourist attractions are quickly becoming the new runways. FINANCIAL MANAGEMENT 31 Richard Goldstein THE GROWING TREND OF ANDROGYNOUS FASHION PR BUYER’S GUIDE Consumers and marketers have re- 14 34 cently turned a greater attention to the booming world of LGBT fashion. EDITORIAL CALENDAR 2015 January: Crisis Comms. / Buyer’s Guide July: Travel & Tourism WHAT A CLIENT’S IPO February: Environmental & P.A.
  • Read the Full Issue As A

    Read the Full Issue As A

    LAW À LA MODE Issue 27 - November 2018 Word from the industry’s mouth Enforcement of IP rights through Ukrainian customs register E-commerce in Poland The development of artificial intelligence in the fashion industry Reinventing retail E-commerce in Brazil The rising star of the social media influencer The California Consumer Privacy Act: More than an encore of the EU GDPR Requirements for the labelling of pure textile products Blockchain and fashion UK: Compliance with the national minimum wage Influencers watch out: Digital communication in Italy Will 3D body scanning change the future of online shopping? Fashion retailers: Data protection Retail Sector Group Contents EDITORIAL 03 WORD FROM THE INDUSTRY’S MOUTH 04 ENFORCEMENT OF IP RIGHTS THROUGH UKRAINIAN CUSTOMS REGISTER: COMMON MISTAKES AND LIFE HACKS 06 E-COMMERCE IN POLAND: A TRUE WINNER OF THE SUNDAY TRADING BAN? 07 THE DEVELOPMENT OF ARTIFICIAL INTELLIGENCE IN THE FASHION INDUSTRY: AN OPPORTUNITY OR A THREAT? 08 REINVENTING RETAIL: THREE CONTRACTUAL LEVERS TO DELIVER TECHNOLOGY-LED TRANSFORMATION 10 E-COMMERCE IN BRAZIL: PRACTICAL SPECIFICITIES FOR COMPLYING WITH THE BRAZILIAN ONLINE MARKET 12 THE RISING STAR OF THE SOCIAL MEDIA INFLUENCER 13 THE CALIFORNIA CONSUMER PRIVACY ACT: MORE THAN AN ENCORE TO THE EU GDPR 14 REQUIREMENTS FOR THE LABELING OF PURE TEXTILE PRODUCTS 15 BLOCKCHAIN AND FASHION: IMPLICATIONS FOR SUPPLY CHAIN MANAGEMENT, ETHICAL SOURCING AND ANTI-COUNTERFEITING 16 UK: COMPLIANCE WITH THE NATIONAL MINIMUM WAGE 18 INFLUENCERS WATCH OUT: A NEW ERA OF DIGITAL COMMUNICATION IN ITALY 19 WILL 3D BODY SCANNING CHANGE THE FUTURE OF ONLINE SHOPPING? 20 FASHION RETAILERS: DATA PROTECTION AS A TOOL TO ENSURE CONFIDENCE AND INCREASE COMPETITIVENESS 22 02 | Law à la Mode US Editorial EDITORIAL TEAM The US editorial team is delighted to bring you Tamar Duvdevani (NY) the 27th edition of Law à la Mode, the quarterly legal magazine produced by DLA Piper’s Retail Melissa Reinckens (San Sector Group for clients and contacts of the firm Diego) worldwide.
  • Universidad De Valladolid Facultad De Ciencias Sociales Jurídicas Y De La Comunicación

    Universidad De Valladolid Facultad De Ciencias Sociales Jurídicas Y De La Comunicación

    UNIVERSIDAD DE VALLADOLID FACULTAD DE CIENCIAS SOCIALES JURÍDICAS Y DE LA COMUNICACIÓN GRADO EN PUBLICIDAD Y RELACIONES PÚBLICAS CURSO 2018-2019 LA EVOLUCIÓN DEL CONCEPTO INFLUENCER Y SU REPERCUSIÓN EN LOS EVENTOS DE MODA TENDENCIAS DE LA COMUNICACIÓN Y LA CREATIVIDAD EN EL S.XXI Alonso Valverde, Almudena Botana Botana, Ana Isabel Tutorizado por: Teresa Gema Martín Casado SEGOVIA, JUNIO DE 2019 AGRADECIMIENTOS Queremos agradecer el apoyo y atención prestados a nuestra tutora Teresa Gema Martín Casado y a nuestros padres, sin los que estos maravillosos cuatro años de carrera no serían posibles. 2 ÍNDICE 1. Introducción 2. Justificación del estudio 3. Objetivos del trabajo 4. Hipótesis 5. Parte teórica 5.1. Influencers, ¿quiénes son? ​ 5.2. Eventos de moda 5.3. Evolución del concepto de influencer ​ 5.4. Repercusión de los influencers en los eventos de moda ​ ​ 6. Parte empírica 6.1. Justificación metodológica: Método de análisis, estudio de caso 6.2. Análisis del evento Mercedes-Benz Fashion Week ​ 6.3. Estudio de las marcas colaboradoras 6.4. Público objetivo del evento 6.5. Estudio de los influencers en el evento ​ ​ 6.6. Comunicación del evento 7. Resultados 8. Conclusión 9. Bibliografía 3 RESUMEN Actualmente el fenómeno de los influencers está en auge. Las marcas recurren cada vez más ​ a ellos para dar visibilidad o ampliar el público de determinados eventos en la industria de la moda, en la que centraremos nuestro estudio. Analizaremos el nacimiento del concepto, así como su evolución y su utilidad a nivel empresarial y, más en concreto, en los eventos de moda. PALABRAS CLAVE Eventos, industria de la moda, influencers, comunicación, estrategia empresarial, estrategia ​ ​ de marketing, público objetivo, engagement, redes sociales ​ ​ KEY WORDS Events, fashion industry, influencers, communication, business strategy, marketing strategy, target, engagement, social media ABSTRACT Nowadays, the concept of influencers is booming.
  • PROYECTO DE GRADUACIÓN Trabajo Final De Grado

    PROYECTO DE GRADUACIÓN Trabajo Final De Grado

    PROYECTO DE GRADUACIÓN Trabajo Final de Grado Masculinidades OnLine La resignificación de la masculinidad en el lenguaje fotográfico de las prácticas fashion blogger y fashion influencer en Colombia. Roger Chávez Moreno Cuerpo B del PG 05-05.2017 Maestría en Gestión de Diseño Categoría Medios y estrategias de comunicación Agradecimientos A los Señores Don Omar Chavez y Doña Isabel Moreno, porque los verdaderos maestros no necesitan etiquetas ni titulaciones. 1 DESGLOSE Tema: Masculinidades OnLine: La resignificación de la masculinidad en el lenguaje fotográfico de las prácticas fashion blogger y fashion influencer en Colombia. Línea temática de investigación: Medios y estrategias de comunicación, nuevos profesionales Pregunta guía: ¿Cuáles son las nuevas significaciones de la masculinidad que se proyectan en la comunicación Online de la moda de indumentaria a través de las prácticas blogger e influencer en Colombia? Hipótesis: La comunicación Online de la moda de indumentaria en Colombia, entre los años 2010 y 2014, propuso la resignificación del concepto de masculinidad a través del lenguaje fotográfico y nuevos agentes de desarrollo como fashion bloggers e influencers Objetivo general: Analizar la representación de la masculinidad a través del lenguaje fotográfico utilizado en la comunicación OnLine de la moda de indumentaria por las prácticas blogger e influencer en Colombia. Objetivos específicos 1. Analizar las características que las prácticas blogger e influencer proyectan respecto a la significación de masculinidad mediante la representación fotográfica en los mensajes de comunicación de la moda de indumentaria masculina. 2. Identificar los conceptos de interpelación de la masculinidad que emergen de la comunicación de la moda de indumentaria a través de las prácticas blogger e influencer en Colombia.
  • How Instagram Influencers Affect the Value Perception of Thai Millennial

    How Instagram Influencers Affect the Value Perception of Thai Millennial

    sustainability Article How Instagram Influencers Affect the Value Perception of Thai Millennial Followers and Purchasing Intention of Luxury Fashion for Sustainable Marketing Akawut Jansom and Siwarit Pongsakornrungsilp * School of Management, Walailak University, Nakhon Si Thammarat 80160, Thailand; [email protected] * Correspondence: [email protected]; Tel.: +66-75-677-220 Abstract: Social media influencers play a significant role in marketing by introducing products to their followers. We investigate how Instagram influencers impact consumer parasocial interaction (PSI) in the relationship between value perception and purchase intention. Whereas customers influence the attractiveness (social and physical) PSI of social media influencers, studies of the effects of luxury purchasing PSI in Thailand are limited. We examine the relationship between PSI and followers of luxury fashion’s value (social, personal, and conspicuous) on social media. We use structural equation modeling to evaluate hypotheses by conducting an online survey with 400 Thai millennial respondents who had experience following influencers on Instagram. The findings indicate that Thai millennials accept Instagram influencers’ PSIs in terms of value perception and motivation to purchase luxury fashion. The attractiveness of influencers initiates the formation of PSI; followers receive value perception and react to purchasing intention from influencers. The Citation: Jansom, A.; Pongsakornrungsilp, S. How concepts were investigated to prove that influencers’ power can encourage followers to mitigate Instagram Influencers Affect the negative consequences by delivering value perceptions on PSI. These findings provided managerial Value Perception of Thai Millennial implications for comprehending consumers in the field of digitalization. Followers and Purchasing Intention of Luxury Fashion for Sustainable Keywords: social media; influencer marketing; parasocial interaction (PSI); value perception; millen- Marketing.
  • The Social Influencer and the Fast Fashion Haul

    The Social Influencer and the Fast Fashion Haul

    The social influencer and the fast fashion haul: Understanding online awareness about climate change Laura Elisa Briganti MA Thesis New Media & Digital Culture Bogna Konior 23.753 words 1 Contents Abstract 3 1. Introduction 4 2. Theoretical framework 6 2.1 The Rise of the Social Influencer 13 2.2 The Fashion Industry and Climate Change 19 2.3 From Mass Media to Web 2.0 22 3. Case studies 30 4. Conclusion 40 Bibliography 48 2 Abstract This thesis explores the link between social influencer marketing and online awareness about the fast fashion industry and its impact on climate change. While much has been written on both of these topics separately, the link between them has been underexposed. It deserves to be focused on because social influencer marketing is a contemporary business that is growing rapidly and climate change is a pressing issue that is largely impacted by the fast fashion industry. This thesis will do so by shedding light on the haul video, in which social influencers recommend fashion items to their audience and their (lack of) awareness around the influence that these videos have on purchases which in turn affect climate change. Web 2.0 has allowed for new ways of communication and it is intriguing to zoom in on the moral responsibility some social influencers feel like they have, or do not have when they have grown from “the girl next door” to an online personality with brand deals involving great amounts of money. It is argued that although ethical consumerism on an individual level promoted by social influencers does impact climate change positively, it is essential to see this impact within the larger context of climate change responsibility in which corporations and businesses play a large role too.