Pinterest is used by more than 21% of all American adults. This is up from 15% on the previous year.
This figure comes from the last study by Pew Research, which also states the even more incredible fact that one-third of all women in the USA use Pinterest.
Pinterest drove an unprecedented amount of traffic to retail sites in Q4 2013 achieving a 50% quarter-over-quarter increase in revenue-per-visit (RPV). In fact, Pinterest has overtaken Facebook for UK referral revenue and is expected to do the same in the USA this year.
Also, with the amount of Pinterest Pin it buttons overtaking the amount of Facebook Likes on product pages, retailers are realising that Pinterest is a key way to drive sales.
Let’s take a look at how the top 10 US retailers (in terms of 2013 sales) use Pinterest.
Forgive the first person pronoun in the headline, but television is the most emotive of subjects.
Not for nothing does the Simpsons use the TV set as a cultural trope. Perhaps the emergence of broadband and the creative decline of the Simpsons is more than correlative?
Anyway, I don’t dispute the second screen phenomenon, not one bit. I use my phone whilst watching TV all the time.
What I am disputing, outside of a few important examples, is the extent of consumer demand for contextual second screen experiences. Within this disputation comes the assertion that a lot of second screen use is indeed not contextual (aside from social media use) and cannot therefore be ‘monetised’ as such.
Of course, fans of the second screen may point out that the reason second screen usage isn’t yet contextual is because second screen services and apps are nowhere near maturation yet. There may be improved uses and better content to come.
I’d argue that the same problems that beset social advertising (a place for branding but not sales) will ultimately beset the second screen, driven as it is by the demand for socialising whilst watching the box.
See if you agree with my devil’s advocate’s views.
Although founded in 1939 as Timely Comics, the modern version of Marvel Comics that all fanboys know and love today was launched in 1961. With Fantastic Four, Spider-man, Avengers and X-Men all first appearing on comic book pages in the first half of the 60s.
With the arrival of the digital age, the expectation was that this 75 year-old company, whose very business is completely ingrained in traditional print media, would just be left to wrinkle and brown like the early-90's Ghost Rider comics I have boxed away in my attic.
However this has been far from the fate of mighty Marvel! (I can get away with exclamation marks here because I’m writing about comic books).
Marvel has played a huge part in the push to build a bridge between print and digital content since mid 2012 by revolutionising the way comic books are consumed, through innovative app design and comprehensive online and offline access to its brand new and vintage comics.
Marvel has also shown incredible skill in rebuilding its own brand through expert content marketing and becoming a peerless heavyweight in the summer blockbuster market.
How does Marvel market its huge amount of content online? Through its many and varied social media channels each offering unique content, tailored to the respective platform.
Let’s take a look at how Marvel uses Google+, Pinterest, Instagram and Twitter to ‘make everyone’s Marvel’.
WaterAid has increased its Instagram presence by 12,000 followers in just one week after entering a single Instagram video to Instagram’s ‘Weekend Hashtag Project’.
WaterAid’s team entered the 15 second Instagram video #WHPfromwhereiwalk featuring a woman in the remote fishing community of Brubeng, Ghana walking to collect unsafe water in Lake Volta.
The unique film offers point-of-view footage that highlights what it’s like for the millions of women around the world who walk miles to collect water each day.
As of writing, since the video was uploaded on Instagram two weeks ago, WaterAid has achieved more than 22,000 followers, gaining roughly a thousand users per day. Before this WaterAid had only 3,800.
Here's the footage...
Samsung has generated a bit of buzz in the tech world this week by announcing a Kanye West and Jay Z concert at SXSW that is only open to owners of its Galaxy devices.
It marks the continuation of Samsung’s association with Jay Z, as back in 2013 Galaxy owners could grab a free copy of the rapper’s new album by downloading an app.
This inspired me to delve further into Samsung’s back catalogue to see what other interesting digital marketing campaigns it had been come up with over the years.
You can also read similar posts focusing on digital campaigns from Coca-Cola, Nike and McDonald’s...
Social media is still growing rapidly. I’m pointing out the obvious here but social networks are a dynamic medium for entertainment and interaction, including content discovery and product recommendation.
As such, the auto industry seems almost uniquely suited to social.
While most consumers buy cars infrequently, their interest in them (based on price tag, necessity and if you indulge me, the embodiment of the American dream) often transcends the purchase event.
As such, social analytics has cause to mature in the automotive industry, where it surely stands to play a part in the sales funnel other than simply branding.
I’ve been reading a nice little CMO Council report on social analytics in the auto industry. Here are some thoughts on integrating social into automotive sales.
Last year Econsultancy published an article claiming that some businesses doubt the value of personalisation.
Although 94% of companies agree that personalisation ‘is critical to current and future success’ less than half of companies are personalising their website experience.
This isn’t because they think personalisation is unimportant, but because they don’t actually know how to make the most of it.
However, even the smallest of companies can target their consumers directly using personalised content.
In January I forgot to publish our monthly roundup of impressive social media campaigns. Please accept my apologies.
But fear not, for this post includes examples of high quality social campaigns that ran in the first two months of 2014.
So read on to see eight examples of innovative or interesting campaigns, featuring Urban Decay, Land Rover, Esurance, Renault and Juventus FC...
The low-cost clothing brand has entered the top five of the 100 UK retailers on social media for the first time.
According to eDigitalResearch’s Retail Social Media Benchmark, Primark now has almost 2.4m followers on Facebook alone, a steep rise from its reported 700,000 followers just six months ago.
It can be very easy for a high street brand to accrue a high number of followers on any social media platform just through brand identity alone.
However, in order to be an effective driver of traffic to online and offline commerce, brands need to use social media to directly engage with customers through conversation, quality entertaining content and through personalised, always-on customer service.
Therefore a high follower count isn’t necessarily the best metric to gauge whether a brand is ‘doing social media right’. Although the sharp rise in Primark’s social profile is indicative of Primark upping its game considerably.
Let’s take a look at Primark’s Facebook page to see if there’s anything to be learnt from its strategy.
GoPro is the fifth biggest brand on YouTube according to The Touchstorm Video Index and as only 2% of the top 5,000 YouTube channels are from brands, this is a considerable achievement.
With 1.7m subscribers to GoPro's YouTube channel, how does this California-based digital camera manufacturer keep its audience entertained and engaged, on a social video platform notoriously difficult for brands to achieve success on?
If your answer is "because GoPro makes the kind of exhilarating, extreme sports videos that make you lose control of your bodily functions while sat at your desk” you’ll be half right.
Here I’ll be taking a look at GoPro’s YouTube strategy, using the best practice tips I laid out in my article from last year: YouTube strategy for brands.