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Luxury Brands, To Retweet or Not To Retweet?

Just as liking has become a behaviour synonymous with Facebook, tweeting and in turn, retweeting have become the behaviours most associated with Twitter.

What is a retweet? According to Wikitionary, it means to repost another user’s message on the social networking website Twitter. Effectively,  a retweet is an acknowledgement of another person or brand’s endorsement of a message from your brand.

When an influencer tweets something positive about a brand, it makes sense to retweet it. The original tweet is earned media and positive word of mouth, which means that a retweet further the potential for the original tweet to influence others.

However generally speaking, luxury brands tend not to trade off associations with their consumers or with other brands, so the question needs to be asked: Should luxury brands incorporate retweeting into their Twitter strategy? 

Before you begin, the first question you need to ask is: How does retweeting fit into my Twitter strategy & objectives?

If you’ve decided that your Twitter strategy is purely about providing brand information without any follower engagement, then you need to strongly consider whether retweeting is for your brand, as it is effectively a tacit form of conversation.

After all that, if you’ve decided, yes, retweeting does fit into your luxury brand’s Twitter strategy, then (as always) there are a few things that need to be decided.

1. Who will you retweet?

Some brands have decided that it’s within their strategy to retweet industry titles, such as Vogue, the Robb Report and Harper’s Bazaar. Other brands are focused on retweeting industry specialists, influencers, brand ambassadors and even competitors. Your Twitter guidelines should include a clear perspective on who you will retweet and the type of content from these individuals and brands that you would like to retweet.

2. Who won’t you retweet?

Just because you’ve decided you’ve decided who you will retweet, doesn’t mean that you shouldn’t have a point of view of who you won’t retweet. You might decide that like Dior, that you won’t retweet anyone. Another approach might be to decide that you won’t retweet anyone who isn’t associated and known in your industry, whether it be in hospitality, jewellery, fashion, food or beauty. You may also take a strong viewpoint on not retweeting celebrities. Either way, your Twitter guidelines need to include this a point of view on this.

3. How often will you retweet? Is it planned as a part of your editorial strategy or is there a level of spontaneity depending on the content of the original tweet?

Consider how retweeting can be incorporated into your Twitter editorial strategy. If you have a planned schedule of tweets which are aligned with your brand’s campaigns, launches and events, how does retweeting fit in? How often do you want to do this? Take some time and consider what criteria a tweet would need to meet in order for your brand to retweet it.

There is also an aesthetic point to consider – the more you retweet, the less visually consistent your brand’s Twitter page will appear. This won’t matter so much when people look at your brand’s Twitter page via mobile or 3rd party applications, but it does matter when they go on to Twitter directly. This leads to the next question.

4. Are you willing to accept other brands / user appearing in your Twitter stream? Are there limits to the aesthetic difference you’ll accept?

Compare Smythson’s Twitter page to the image of Gulfstream’s Twitter page below.

5. As part of your editorial strategy, are there certain events where you will retweet what certain influencers or industry specialists are saying about the event and what your brand is doing? For example, will you decide to retweet during your brand’s Fashion Show, during a benefit or event?

Today, Louis Vuitton decided to tweet influencer and media brand’s reactions to their S/S 2013 show as it was happening.

6. How much deviation from your brand’s tone of voice on Twitter are you willing to accept in a retweet?

If your brand’s tone of voice on Twitter is very serious and staid, then it may appear quite jarring to retweet an ambassador who tweets in a very chatty, fun voice. Conversely, you may be willing to accept this, as you may be using these tweets to implicitly say things that the brand cannot not say itself.

For example, Aston Martin have retweeted a follower who has tweeted about how excited she is to see that the brand is appearing in the next James Bond film. Looking at their Twitter tweetstream, this does not fit with the rest of the tone of voice on the page, but Aston Martin have accepted this, as she expresses something that the brand don’t necessarily want directly.

7. Finally, (and this could be a whole post in of itself), are you willing to let people tweet on your behalf?

Looking at Dior’s Twitter page, they do not retweet any other users or brands, apart from one exception in March this year. During the A/W 2012 show, Susie Bubble took over the Dior twitter page (which was arguably more of a coup for her than for Dior) and was tweeting on behalf of Dior. There are positives and negatives to this, but it is worth considering.

Here’s a summary of how a few luxury brands are approaching the retweeting conundrum. What is your point of view?

1. Stella McCartney: Actively retweet influential media brands such as W, as well as retailers such as Club 21 Global and Net a Porter, models & brand ambassadors and even Olympians! Interestingly, they’ve taken a decision to respond to some fans / followers.

2. Smythson: Take a similar approach to Stella McCartney and actively retweet media brands, models, influencers and other designers / competitors. Looking at their Twitter page, they seem to take quite a liberal approach to who they retweet, as their stream is littered with other brands / users’ logos & avatars.

3. Louis Vuitton; They take a different approach to Dior, their LVMH sibling. They retweet a lot – blogs, media brands and models.

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Twitter for Luxury Brands

Twitter now unofficially has over 500m registered users globally – a very substantial number, considering the service was launched about six years ago. For many brands, this scale brings credibility and the nod to ‘jump in’ and for others, the chance to learn from the early adopters – the Nikes and Lynxs of this world.

We know that in luxury digital marketing, Burberry has positioned itself as an early adopter, the perennial luxury case study.  Their Twitter usage is a key example of how they’re willing to dive into new platforms, test and learn and become the early standard bearer.

We can see that Burberry have set themselves a clear objective for how they use Twitter & have a clear POV on what they want to get out of the platform. Undoubtedly,  clear objectives are critical for any luxury brand looking to use the platform from an owned or paid perspective.

Above all, luxury brands must ask themselves a number of questions before diving into Twitter.

A. What are the objectives (and KPIs) for using Twitter?

1. Customer engagement: To provide new information about the brand & its products, to recruit new customers into the brand’s world, to provide content that creates earned conversations on Twitter, blogs & other platforms and to potentially have conversations with followers. Stella McCartney does a great job of this, even re-tweeting some of her followers!

2. Customer service: To answer questions, providing help & assistance. A great example is @BurberryService, set up to provide 24hr service to Burberry customers & clients.

3. Purely informational: To inform & to direct to other owned platforms, such as Facebook, Instagram, YouTube or the brand’s Dotcom, where a rich trove of content is held. Dior’s Twitter feed is an example of this approach.

Once you’ve set your objectives for the platform, you need a set of KPIs.  Your KPIs should be based on what do you want people to do with your tweets and content. Do you want them to react? To retweet? To quote? To click?  What’s the most valuable part of the engagement to you? This will effectively become your core metric for Twitter.

B. How are consumers / your target audience using Twitter?

Even if your approach to social platforms is to not talk directly to consumers, you’ve still got to take into consideration how they use the platforms, how they interact with the content & the devices they use to connect to the platforms. With Twitter, over half of usage is via mobile (with mobile revenue set to surpass desktop this year). Generally, we know that mobile usage of the platform is about scrolling & reading content on the go, so  if you want people to engage with your brand’s content (i.e. RT, quote, click, etc) on Twitter, then your copy needs to be sharp.

The 90/9/1 (consumers / curators / creators) rule is still roughly applicable on Twitter, although arguably, more people tend to curate on Twitter because it’s such an easy action. There’s a great debate on this very topic on Branch.

Anecdotally, it would appear that tablet / laptop users are more willing to watch videos on Twitter, while photos are easy to look at via the mobile Twitter stream. This leads to the conclusion that a multi-media editorial / content strategy with very sharp copywriting, that’s true to the brand’s tone of voice  & DNA & takes into consideration multi-device usage would be the smartest approach for any brand on Twitter.

C. How interactive do you want to be with your followers?

For luxury brands, social platforms aren’t inherently ‘social’. As I’ve mentioned before, luxury brands are making their own rules in the social space. They control the conversation through the content they post and control what people are saying & can say about them on their owned platforms. The content becomes the conversation.

As usual, Burberry is first out of the blocks with an approach that’s evolved from no conversation to limited, controlled conversation. For their S/S ready to wear show, Christopher Bailey was actively seeking feedback via Twitter on the show.

Christopher Bailey’s Looking For Feedback!

They also continued their tradition of ‘inviting’ their Twitter followers to the show.

More recently, they’ve taken it the final step and gone over the luxury ‘red line’. Christopher Bailey ‘took over’ the Twitter feed in the run-up to the Spring / Summer 2013 Burberry show during London Fashion Week.

D. What’s the conversation / content strategy? Is there is a mix of text, image, video and audio?

A clear editorial strategy and calendar must be defined for Twitter, as what works on another platform may not work on Twitter.

For example, think about how to differentiate between Twitter and Facebook editorially, with content, and with timing.

Timing: Although you may decide to use the some of  same content on both platforms, your publishing cadence needs to be different. You could potentially post 2 times a day on Facebook  (depending on content, geo-targeting & time zones) and up to 4 times a day on Twitter (with the same caveats). Once you have access to the Twitter analytics platform, you’ll be able to see with greater accuracy when in the day people are reacting to your content and post accordingly, which is especially important if your KPIs are centered around volumes of engagement. However, in the beginning of your Twitter strategy, logic would tell you to align your tweets with natural downtimes (i.e. on the morning commute, lunchtime, towards the end of the day).

It also makes sense to be aware of moments when your target audience might be totally engrossed in a social TV moment, i.e. Downton Abbey, the 100m final of  the Olympics or the FA Cup final. Can you leverage those moments or would a tweet during this time get lost? A global / regional Twitter editorial strategy should also take this into consideration, although this is potentially less important than considering the time zone the tweet gets published in.

Leveraging Brand Moments: Another element to consider is to how to use the platform to leverage the big moments for your brand. How can you align those big moments with your Twitter content strategy without being gimmicky? For example, the mechanic of Burberry’s Tweetwalk during their Autumn / Winter Ready to Wear show wasn’t gimmicky (they were effectively just tweeting images of each look before they went onto the runway), but the name was.

For luxury autobrands, the big moment to think about special content might be during big international auto shows and for luxury fashion and beauty brands, it might be during the international fashion weeks. Your core followers will be expecting your brand’s perspective and content during these key moments, so why not reward them? You can also reward your followers (without necessarily being gimmicky) with exclusive contenta look backstage, an interview with a model / the designer, even the POV of the creator. Again, going back to Burberry, Christopher Bailey has rewarded the followers of the Burberry Twitter feed by ‘taking over’ (as much as 10-15 perfectly curated tweets can be).

E. How are you planning to use hashtags?

As I’ve written in a previous post, hashtags can be quite powerful. On Twitter specifically, luxury brands should use hashtags to:

  • Help categorise the tweet (i.e. #lfw)
  • Spark conversations (i.e. #odlrlive)
  • Help people find their content on Twitter when they’re looking for it (i.e. #proenzaschouler)
  • Connect with hashtags being used on other platforms, like Instagram
  • Capture or take ownership of conversations around a specific subject (i.e. #DVFthroughGlass)
  • Optimise their content on for searches on Google and other search engines

As ever, regular monitoring should be done on any hashtags that you choose to use to see what people are saying and to proactively assess if the hashtag you’ve used has been or is about to be hijacked.

F.  Should you be re-tweeting?

A retweet is effectively an endorsement of  the tweeter’s brand and their tweet. Luxury brands should think carefully about this – an endorsement is effectively borrowing associations from that brand. This is quite a rich territory so I’ll be writing a post specifically on this.

G. Should you use paid media on Twitter? What are the benefits?

Here are currently three different paid media products on Twitter and a pithy summary of why you might use them.

  • Promoted Trends: If you have a big brand moment that you want to amplify or if you want to piggyback on a national or international moment (i.e. the Olympics, the US Presidential elections, the Oscars)
  • Promoted Tweets: If you want to amplify your content to your followers, their friends and people who are potentially interested in your brand
  • Promoted Accounts: If you want to grow the number of followers on your account quickly

Whether or not a luxury brand chooses to use paid media on Twitter should be dependent not only on their objectives for Twitter, but also for the campaign this activity would be tied into.  Choose wisely, as using paid media, especially promoted trends and promoted accounts might be a bit too ‘pushy’ for a luxury brand.

So those are six considerations. Are there any more? What do you think?

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Should Luxury Brands Use Hashtags In Paid Advertising?

In the blink of an eye, hashtags have gone from a way of expressing sarcasm on Twitter to a serious marketing tool. Going beyond Twitter, hashtags are now seen on multiple platforms from Facebook to Foursquare to Instagram to Google+.

Hashtags have made their way onto everything from tv, print, outdoor and digital display advertising to Tumblr blog titles to movie titles. For those of you not familiar with hashtags and what they are, Mindshare have written a great summary that can be read here.

So, with the proliferation of the hashtag into pop culture, what do they mean for luxury brands? What is the right usage of hashtags for luxury brands?

Beyond their usage on Twitter, which I’ll come back to in another post, there are already a few examples that I’ve seen of luxury / upmarket brands incorporating hashtags into their paid media advertising.

Cole Haan, the footwear brand has incorporated the #DontGoHome hashtag as a focal point of its latest New York focused campaign.

These ads click through to a Facebook tab, created to support this campaign, which does what it says on the tin  - it gives you ways to avoid going home in New York, by connecting you with the latest information on the New York nightlife scene.

Another luxury advertiser incorporating hashtags into their advertising is Emporio Armani. They recently ran a campaign, which used #EmporioArmaniLive in the digital display to promote the opening of their new New York flagship store.

When the ads are clicked on, you got taken to a great landing page with a customised Spotify playlist, which has some really great tracks on it, from some of the bands performing at the event.

What’s great about both of these campaigns is that the hashtag has become a campaign device and not just a means of tracking conversations online. The #EmporioArmaniLive hashtag is short-term and tactical and can be used again not only for other events, like fashion shows or exhibitions, but also in other cities for other store launches & events.  The Cole Haan #DontGoHome hashtag is something that is internationally relevant (who doesn’t sometimes want to stretch the night out longer?) and could be used again in other cities with vibrant nightlife, such as London, Paris, Milan or Miami.

Beyond these great, tactical examples, there are several questions a luxury brand should ask itself before incorporating hashtags into its paid advertising activity. As I’ve talked about before, something that creates desire for a luxury brand and its products is that intangible, emotional element, the near-inaccessibility of the brand. Luxury brands should be careful not to ‘lift the hood’ too much on their brand and be too accessible. Being ‘social’ without having a direct conversation with consumers is one way to do this.

Questions To Ask Before Incorporating Hashtags Into Paid Communication

1. Is the hashtag easy to remember? Is it an existing catchphrase or brand name?

Don’t make people work too hard to remember something that is effectively a tagline. Equally, avoid anything that strays into gimmicky territory.

2. If you’re using a hashtag to spark or harness conversation, are you actually monitoring the conversation to check consumer reaction?

There’s zero point in incorporating a hashtag in your communications if you don’t have a solid social listening programme to track the conversations the hashtag is generating.

3. If the hashtag isn’t about creating or harnessing conversation, are you clear about what you want people to do with the hashtag once they’ve seen it in your ads?

Be clear about what you want people to do and where you want them to go. Do you have a hashtag, as well as a URL,  Twitter, Facebook, YouTube and Pinterest logos in your paid media creative? If so, you need to start asking yourself how much is too much in terms of number of points of communication.

4. Does the hashtag work creatively?

Think carefully about how you use the hashtag. There’s no point in slapping a hashtag in the middle of a six-sheet. Arguably, that would be surprising, but would negate the luxury element of the advertising. Equally, there’s not really much point in hiding it away in the bottom right-hand side of the creative.

5. Are you prepared if the hashtag gets hijacked?

Are you in control enough of the rest of your communications to be able to handle if this element gets used by spambots or people looking to promote themselves on your hashtag, especially if it starts trending? What are your contingency plans if the hashtag gets hijacked? Here’s what happened to a few other brands.

6. Have you thought about what next? How can you build learnings from this activity into your next campaign?

What do you think? Do hashtags have a place in luxury brand advertising?

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The Problem with Vogue’s September Issue

I tweeted the following question in late July: Vogue US’ September Issue will be their biggest yet, with 658 pages of ads. Does it really matter, if their print circulation is going down? 

Turns out I was wrong about the print circulation (it’s actually steady year on year), but there are still other questions to be answered.

All in, the September issue of US Vogue weighs 4.5 pounds (and is even causing issues for US Postal Service workers!) and has a total of 916 pages.  So let’s get this straight – 916 total pages in the book and 658 of those pages are advertising.  71% advertising.  Obviously this is a great deal for Vogue –  it’s their largest issue to date, which they put a lot of PR against and more importantly,  their September issue enables them to generate a lot of ad revenue in a declining market.

Is it a good deal for advertisers? For readers?

It appears that advertisers are persuaded by a quantity argument. The September issue of Vogue, as well as for other fashion print books, is traditionally the largest issue of the year, followed closely by March. They know that people who are might occasionally buy Vogue or one of its glossy competitors are more likely to buy in September, when they know they’ll get an update on the trends for the year to come… or so the old argument goes. I think this is less true in the digital age, when you can easily check out the numerous fashion and styles blogs for an instant update.

The other argument, which holds more weight,  is that Vogue is still a trusted curator of fashion and style, especially to older, affluent female audiences. This makes sense, given that the Vogue US reader has a median age of 37.4,  is 89% female and has a median household income of USD $63,000. September is the big moment to reach as many of these readers as possible.  Vogue’s current print circulation is 1,248,121, which is steady year on year.

Are readers persuaded by this quality argument?  Glossed Over has a great live-blog post of her reading the September 2012 edition of Vogue and includes this gem: “THERE ARE A LOT OF ADS. So many ads I’m actually looking forward to getting to the content… There are twenty pages of ads between the first and second pages of Wintour’s letter, and another twenty pages of ads between the second and third pages. Good call, Vogue. It’s really easy to read a dozen paragraphs when you spread them over forty pages.”

The majority of people buy magazines for the content, not to see advertising. In my view, great ads are a bonus. This trend of blockbuster issues of fashion glossies is already feels gimmicky. In a world where people just want to get to the great content, I wonder how much longer fashion books will be able to play this ‘biggest issue ever’ game, without backing it up with at least a 50% advertising to content ratio.

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Barbie’s Next Career

What will Barbie be next? That’s what Mattel are asking, in a cute campaign I spotted in New York earlier this week.

She’s had over 120 different careers!  Over the years, Barbie’s been many things, including a Doctor,  an Astronaut and a Race Car Driver – quite a bit more prolific than the average 7 -10 jobs a person is supposed to have over their career.

So what was the result of the vote? Quite excitingly (or maybe the result of a rigged popular vote?!), Barbie is going to be a Computer Engineer! Oh, and a News Anchor as well- the result of the Girls vote.

Much better than the Teen Talk Barbie of ’92, which was programmed to say “Math class is tough!”

I love that Computer Engineer Barbie (her 126th career!) is going to be kitted out with a smart phone, a laptop case and a Bluetooth earpiece and her t-shirt has binary code all over it.

Hopefully this will inspire more girls to study computers, engineering and start coding away!

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Relax

I love this.

Serena Williams

Spotted outside a church on Washington Square Park in New York earlier this week.

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Scenes From New York

Apologies for the radio silence, but I’ve been off recharging my batteries in Miami and New York. Two weeks away, with very little internet access (other than the wi-fi I was able to steal) does not good digital connectivity make.

Anyway, I saw lots and lots of interesting things on my trip.

1. Disused storefronts and buildings used as media space.

2. A really great Google Maps / local business partnership – spotted outside the Y3 store on W13th Street.

3. Obama cupcakes from Chelsea Market.

4. An amazing plea for a tip on the bill from Cafeteria in Chelsea – 18%!  The service barely constituted a standard 15% tip… just saying.

5. The incredible elevator (that people were lining up on the coldest day of the year to take) that only goes up and down one floor and the madness in the Apple Store below.

6.  The amazing New York Bomb Squad logo. I didn’t believe this was real when I first saw it, but a quick chat with some NYPD officers verified its authenticity.

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The Book Seer

Just discovered this lovely little site.

the book seer

5 minutes in and I’d already bought 3 books and signed up to an Amazon Prime free trial.

I’m suggestible, aren’t I?

 

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The New Path To Purchase

This sums it up quite nicely.

Via

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Le Social, C’est Chic

I’ve been involved in a fantastic IPA project with the lovely and talented John, Katy, Amelia, Faris, Neil, Mark, Jamie, Asi and Nigel, which is basically the follow-on from the aftermath of an IPA 44 Club event in January. Willsh has already summarised this nicely here.

We’ve established 10 principles of social media, written them up and will be posting them on our respective blogs next week, to kick-off the conversation and get feedback. The IPA are also putting together a blog that will pull all of this chatter together based on the way things have been tagged (or by magic as I like to think of it.)

All of this great thinking, talking and sharing will then feed into an event the IPA are putting on on 6th October, which I urge you all to attend if you can.

Be social! Have a look at each blog next week and join the conversation.

1. People not consumers – Mark Earls

2. Social agenda not business agenda – Le’Nise Brothers

3. Continuous conversation not campaigning – John V Willshire

4. Long term impacts not quick fixes – Faris Yakob

5. Marketing with people not to people – Katy Lindemann

6. Being authentic not persuasive – Neil Perkin

7. Perpetual beta – Jamie Coomber

8. Technology changes, people don’t – Amelia Torode

9. Change will never be this slow again – Graeme Wood

10. Measurement – Asi Sharabi

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