tag:econsultancy.com,2008:/topics/video Latest Video content from Econsultancy 2017-08-11T11:05:43+01:00 tag:econsultancy.com,2008:BlogPost/69327 2017-08-11T11:05:43+01:00 2017-08-11T11:05:43+01:00 How brands are using empathy to enhance marketing Nikki Gilliland <p>So, what does empathy in marketing look like? And what makes it so effective? Here’s an explanation along with a few interesting examples.</p> <h3>What exactly is empathy?</h3> <p>While authenticity and <a href="https://www.econsultancy.com/blog/66380-how-brands-can-say-sorry-like-they-mean-it" target="_blank">honesty is also important</a> in marketing, a key differentiation is that these characteristics are owned by the brand.</p> <p>In contrast to <em>being</em> something – empathy is something that is offered. And unlike sympathy, which is the third-party emotion of feeling compassion, empathy means putting yourself in another’s shoes and truly identifying with their situation.</p> <p>For brands, empathy can be used to create <a href="https://econsultancy.com/blog/69322-what-are-customer-personas-and-why-are-they-so-important/" target="_blank">customer personas</a>, which can help to inform more effective targeting. In terms of marketing however, it means asking what customers truly value rather than what will sell. And by creating content that evokes empathy, consumers are more likely to take action - sharing, responding, and even prompting change within their own communities.</p> <p>But, why are brands suddenly realising the power of empathy? </p> <p><a href="https://www.thinkwithgoogle.com/consumer-insights/millennials-youtube-consumer-insights-marketing/" target="_blank">According to Google</a>, the assumption that millennials in particular are self-entitled or self-obsessed (and therefore likely to respond to content that indulges this) is misjudged. </p> <p>YouTube stats show that 70% of millennial users watched YouTube to learn how to do something new last year. Meanwhile, 39% of millennials say an online video has helped change their perspective, and 45% of users agree that a YouTuber has inspired them to make a personal change in their life.</p> <p>This shows that today's consumers are not only interested in passively consuming content. Rather, they are actively seeking out content that prompts change, in both themselves and/or the world around them.</p> <p>Let’s take a look at how brands are delivering this.</p> <h3>Procter and Gamble</h3> <p>Most people can relate to motherhood – whether that’s through personal experience or thinking about your own mother. Procter and Gamble cleverly turned this relatability into empathy in its ‘Thank You Mom’ campaign by depicting the struggles that come along with parenthood.</p> <p>The ad, which was released in time for the 2012 London Olympics, shows mothers in different locations and their difficulties in raising young athletes. By evoking empathy for the mums, viewers are enabled to truly invest and connect to the story, making the subsequent <a href="https://www.econsultancy.com/blog/67786-10-great-sports-digital-marketing-campaigns" target="_blank">sporting triumphs</a> of the children all the more powerful.</p> <p><iframe src="https://www.youtube.com/embed/LkrAKpimxYQ?wmode=transparent" width="854" height="480"></iframe></p> <h3>Delta</h3> <p>Delta showed the importance of brand-empathy earlier this year when it treated delayed passengers to a pizza party.</p> <p>With hundreds of Delta flights cancelled and delayed due to extreme weather in Atlanta, some passengers were left sat on the runway for hours. But while the event could have resulted in a swathe of social media complaints, Delta turned the situation around by ordering hundreds of pizzas to be handed out on planes and in surrounding airports.</p> <p>I think this example counts as more than just good customer service, as by going above and beyond what’s expected, Delta managed to further its reputation as a brand that truly cares about its customers. What’s more, by giving its employees the autonomy to take meaningful action whenever they choose – it fosters a collaborative and empathy-driven culture.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Does this mean we are gonna be here for a while? <a href="https://twitter.com/hashtag/stuckonaplane?src=hash">#stuckonaplane</a> <a href="https://twitter.com/hashtag/atlantastorms?src=hash">#atlantastorms</a> <a href="https://twitter.com/hashtag/deltapizzaparty?src=hash">#deltapizzaparty</a> <a href="http://t.co/N9Dpno3qb6">pic.twitter.com/N9Dpno3qb6</a></p> — david cates (@dbcates) <a href="https://twitter.com/dbcates/status/608419342863216640">June 9, 2015</a> </blockquote> <h3>National Autistic Society</h3> <p>According to the <a href="http://www.autism.org.uk/~/media/nas/get-involved/tmi/tmi_campaign_report_final_290316.ashx" target="_blank">National Autistic Society,</a> 99% of people in the UK have heard of autism, but just 16% understand it in a meaningful way. In order to combat this, the charity launched a <a href="https://econsultancy.com/blog/67834-why-virtual-reality-is-the-ultimate-storytelling-tool-for-marketers/" target="_blank">VR-driven campaign</a> to help people truly understand what it’s like to have the disability.</p> <p>The Autism TMI VR Experience lets users experience what it’s like for a boy with autism to navigate around a busy shopping centre. With flickering lights and intense and overwhelming sound – the video effectively highlights the sensory overload that occurs in busy and stressful environments.</p> <p>It’s an incredibly effective approach. This is because, unlike other charity examples that only tend to raise sympathy or compassion, it puts the viewer in someone else’s shoes – shocking them with the disarming reality of dealing with autism. Even <a href="https://www.youtube.com/watch?v=3Kt2nvI0C3A" target="_blank">watching somebody else</a> undergo the VR experience provides enough insight to evoke real empathy and emotion.</p> <p><iframe src="https://www.youtube.com/embed/Lr4_dOorquQ?wmode=transparent" width="854" height="480"></iframe></p> <h3>Dove</h3> <p>Unlike campaigns that aim to evoke empathy in the consumer – <a href="https://www.econsultancy.com/blog/68127-a-closer-look-at-dove-s-anti-sexism-mybeautymysay-campaign" target="_blank">Dove</a> is a brand that displays empathy <em>with</em> its audience. Its ‘Real Beauty’ campaign taps into the idea that both women and men struggle with low self-esteem, and in turn, encourages empowerment and self-belief.</p> <p>Its 2013 ‘Real Beauty Sketches’ ad was based on insight from customers, specifically the idea that just 4% of women consider themselves beautiful. The video involves a woman describing her facial features to a sketch artist before being presented with two results – one image based on the way she described herself, and the second based on how someone else sees her. </p> <p>With the tagline of ‘you are more beautiful than you think’ – the ad elicited a powerful and emotional response in viewers, contributing to more than 20m shares in the first week of release. It’s also worth noting that it doesn’t promote Dove’s products in any way, solely relying on the emotionally-driven context of the ad.</p> <p><iframe src="https://www.youtube.com/embed/XpaOjMXyJGk?wmode=transparent" width="854" height="480"></iframe></p> <h3>Hyatt</h3> <p>As you might imagine from an ad that uses the song ‘what the world needs now is love’ – Hyatt’s recent campaign is centred on notions of understanding and togetherness. First broadcast in the US during the Oscars, the ad depicts moments of understanding and empathy around the world.</p> <p>Sure, it’s a bit too sickly sweet, but it’s yet another example of a brand presenting a social statement rather than one centred around corporate gain. As well as allowing Hyatt to enhance its reputation as a brand that cares about social good, it also represents what it can offer customers – a meaningful and memorable travel experience.</p> <p><iframe src="https://www.youtube.com/embed/vOwVmRM9mIM?wmode=transparent" width="854" height="480"></iframe></p> <h3>Airbnb</h3> <p>Airbnb describes itself as a brand that aims to increase cross-cultural empathy and decrease cultural boundaries. However, while the brand itself might be based on tolerance, not everyone who uses it shares these same values. </p> <p>Last year, controversy arose when a customer accused the company (and an Airbnb host) of racial discrimination. Having already been refused a booking, the guest was then accepted after using a fake profile of a white man. In response to this, Airbnb launched the ‘Open Doors’ policy, announcing that the brand will place any guest who feels like they are being discriminated against somewhere else – whether in another Airbnb listing or a paid-for hotel. </p> <p>By highlighting its zero-tolerance stance on discrimination, it's clear that Airbnb wants to reclaim and further its reputation as an empathetic brand – and one that aims to instil this characteristic in others.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">We encourage local hosts in the area to list their spaces to help neighbors in need. (2/2)<a href="https://t.co/DPQCWGGmyL">https://t.co/DPQCWGGmyL</a></p> — Airbnb Help (@AirbnbHelp) <a href="https://twitter.com/AirbnbHelp/status/890843937778356224">July 28, 2017</a> </blockquote> <p><strong><em>Related reading:</em></strong></p> <ul> <li><em><a href="https://www.econsultancy.com/blog/68073-how-marketers-can-use-new-tech-to-deliver-meaningful-brand-experiences" target="_blank">How marketers can use new tech to deliver meaningful brand experiences</a></em></li> <li><em><a href="https://econsultancy.com/blog/66656-eight-examples-of-effective-emotional-video-content">Eight examples of effective emotional video content</a></em></li> </ul> tag:econsultancy.com,2008:BlogPost/69284 2017-07-31T11:37:39+01:00 2017-07-31T11:37:39+01:00 How Wonderbly uses data and personalisation to create a magical ecommerce experience Nikki Gilliland <p>So, alongside a winning product, what has been the key to Wonderbly’s success? Here’s a bit of an insight into what it’s been doing right.</p> <h3>Harnessing data and personalisation </h3> <p>Wonderbly’s first product, the <em>Little Boy/Girl Who Lost His/Her Name</em>, is a great example of personalisation in its own right. It’s a fairly simple but original premise – the characters and elements of the story correspond to the different letters in a child’s name – and different to the standard idea of using the child's name for the main character.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Juni's last Christmas present came, all the way from England! The little boy who lost his name <a href="https://twitter.com/LostMyName">@LostMyName</a> <a href="https://t.co/OpZjJCZWjs">pic.twitter.com/OpZjJCZWjs</a></p> — Sarah McTamney (@SarahMcTamney) <a href="https://twitter.com/SarahMcTamney/status/811009352215756800">December 20, 2016</a> </blockquote> <p>The brand’s other books, such as <em>Kingdom of You</em>, are based around even greater levels of <a href="https://econsultancy.com/blog/68285-six-things-to-consider-when-implementing-personalisation/" target="_blank">personalisation</a>, allowing customers to integrate specific details about a child such as their birthday or favourite food. </p> <p>Apart from shaping the product itself, Wonderbly is able to use the customer data it generates to take personalisation to another level, making elements of the path to purchase much more relevant and tailored to individuals.</p> <p>Speaking at last year's <a href="http://www.datasciencefestival.com/ryan-moriarty-using-data-help-create-impossibly-personalised-storytelling/" target="_blank">Data Science Fest</a>, Ryan Moriarty, Head of Data Science, explained how the company discovered that the female audience accounted for just a 29% share of sales for its book, <em>The Incredible Intergalactic Journey Home</em>. In contrast, <em>Lost His/Her Name</em> had a 50/50 split between boys and girls.</p> <p>On the back of this discovery, the brand re-designed the book’s cover to better highlight its value proposition (reinforcing the ‘home’ element) to appeal to all genders. There was a subsequent 25% increase in conversion rates to females as a result. While Ryan alluded to the fact that the change in design could be seen as Wonderbly giving in to sexist stereotypes, the increase in sales validated the decision.</p> <p><img src="https://assets.econsultancy.com/images/0008/7781/Nikki.JPG" alt="" width="780" height="290"></p> <p>Wonderbly also heavily draws on customer data to target and re-target consumers, largely focusing on Facebook and its ad platform. The company's co-founder, Depesh Mandalia, has <a href="http://figarodigital.co.uk/article/in-depth-depesh-mandalia-marketing-growth-at-lost-my-name/" target="_blank">spoken about</a> how Facebook's algorithm and its predictive capabilities has helped the company to better target users on social media.</p> <p>According to <a href="http://blog.ometria.com/im-a-sucker-for-handwritten-notes-ira-wichmann-on-next-level-personalisation" target="_blank">Ometria</a>, CRM is also a huge focus, with the company drawing on data from previous customers to inform future marketing. If a customer has already bought <em>Lost Her Name</em>, for instance, it will retarget the same person with a pre-personalised mock-up of <em>Kingdom of You</em> – re-engaging with the user based on an existing relationship, and allowing them to imagine the next step in the journey.</p> <h3>Using customer insight</h3> <p>In his talk at Data Science Fest, Ryan Moriarty also explained how, alongside using customer data to optimise on-site targeting (e.g. showing certain characters that might appeal to different genders or countries), Wonderbly also uses insight – usually in the form of surveys and online feedback – to inform the future product roadmap. </p> <p>For example, the assumption might be that all customers are parents or grandparents – but what if the buyer doesn’t necessarily know specific details about a child, such as their favourite food or home address?</p> <p>Before launching <em>Kingdom of You</em> – a book which relies on more personal details of a child – the brand surveyed potential customers on the likelihood they would buy the product in future. </p> <p><img src="https://assets.econsultancy.com/images/0008/7782/Perfectly_personal.JPG" alt="" width="780" height="351"></p> <p>Results found that as the relationship to the child grew more distant (i.e. from a parent to an aunt, to a family friend) – the likelihood decreased. Thanks to this feedback, Wonderbly is currently working on optimising the copy in targeted emails based on these differing relationships.</p> <p>Similarly, it’s also experimenting in the same way with customer intent, aiming to capitalise on the reasons why someone might buy a book for a child and how it might make them feel – as opposed to just the delight of the child.</p> <h3>Focus on UX </h3> <p>Another aspect that sets Wonderbly apart is its <a href="https://econsultancy.com/blog/66731-25-excellent-ux-examples-from-ecommerce-sites" target="_blank">focus on design</a>. With customers creating their own books online, a fun and seamless user experience is vital – something the brand certainly delivers on. </p> <p>At the heart of this UX is the book creation tool, which allows users to preview books in full before buying them. </p> <p>However, before customers even get into this process, the site’s use of video and graphics create a wonderfully immersive experience, hooking users in to the brand’s ethos and the story behind each book.</p> <p><iframe src="https://www.youtube.com/embed/DYhZLQP_X5w?wmode=transparent" width="854" height="480"></iframe></p> <p>The <a href="https://econsultancy.com/blog/63462-ecommerce-product-pages-where-to-place-30-elements-and-why" target="_blank">product pages</a> include a few nice touches, too, such as prominent reviews and a visible ‘free shipping’ promise. </p> <p><img src="https://assets.econsultancy.com/images/0008/7783/Free_shipping.JPG" alt="" width="650" height="447"></p> <p>However, the site’s preview tool is arguably its most impressive feature. With a lot of ecommerce sites still lacking in high quality product imagery, it’s a novel experience to be able to see exactly what the final product will look like. Moreover, it means that the company is perhaps able to reduce dissatisfaction with the final product – as customers will already be fully aware of what they’re going to receive. </p> <p>I also like the fact that the site’s simple UX is suited to all age ranges, too. So whether a parent or less-tech savvy grandparent is using the site, the functional design means it will be easy for most people to use.</p> <p><img src="https://assets.econsultancy.com/images/0008/7784/Creation_Tool.JPG" alt="" width="780" height="365"></p> <h3>Social media marketing</h3> <p>While much of Wonderbly’s growth has stemmed from word-of-mouth, which was then bolstered by paid advertising and CRM, it’s recently veered into other areas of online marketing with a number of social campaigns. </p> <p>Instead of just promoting the product, however, it aims to provide value, creating campaigns that inherently offer something useful or helpful for customers.</p> <p>It has previously supported worthwhile events and causes, such as World Book Day, encouraging youngsters to read with an incentivised ‘Snowy Book Peaks’ tutorial.</p> <p><img src="https://assets.econsultancy.com/images/0008/7785/WBD.JPG" alt="" width="550" height="437"></p> <p>Similarly, it uses competitions to encourage user involvement and interaction. Its 'Food Monster' award gave people the chance to have their child’s drawing turned into a professional illustration by artist Marija Tiurina. The competition generated an onslaught of interest online, and a follow-up competition as a result.</p> <p>More recently, the brand appears to be placing more focus on social media platforms such as Instagram and Pinterest, capitalising on hashtags to build engagement and encourage <a href="https://econsultancy.com/blog/67547-10-excellent-examples-of-user-generated-content-in-marketing-campaigns" target="_blank">user generated content</a>. </p> <p><img src="https://assets.econsultancy.com/images/0008/7786/_lostinthestory.JPG" alt="" width="600" height="380"></p> <p>Meanwhile, it's not afraid to use a personal or humorous tone of voice on Twitter, which serves to increase user engagement and levels of customer retention. Once someone has purchased one product (perhaps for their own child), the brand strives to re-engage with customers, using this kind of interaction to inspire repeat purchases and interest in new products.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Toddlers, explained in a venn diagram... <a href="https://t.co/ptAHzpsBMl">pic.twitter.com/ptAHzpsBMl</a></p> — Wonderbly (@Wonderbly) <a href="https://twitter.com/Wonderbly/status/781477006038953984">September 29, 2016</a> </blockquote> <h3>In conclusion…</h3> <p>Combining a smart use of data with slick design, Wonderbly is a great example of how to build a successful ecommerce company on the back of a single idea.</p> <p>What’s more, as consumer expectations only increase, it demonstrates how important it is to integrate personalisation into every step of the user experience.</p> <p><strong><em>Related reading:</em></strong></p> <ul> <li><em><a href="https://econsultancy.com/blog/69226-how-food52-successfully-combines-content-and-commerce">How Food52 successfully combines content and commerce</a></em></li> <li><em><a href="https://econsultancy.com/blog/69212-how-jo-loves-creates-a-memorable-retail-experience">How Jo Loves creates a memorable retail experience</a></em></li> </ul> tag:econsultancy.com,2008:BlogPost/69244 2017-07-13T10:32:38+01:00 2017-07-13T10:32:38+01:00 Eight inspiring examples of shoppable digital content Nikki Gilliland <p>So, how can retailers capture consumers in the moment?</p> <p>Shoppable content is one effective strategy. This refers to any kind of content – including images, video or blogs – that offers customers a direct opportunity to buy within just a few clicks. The strategy helps to bridge the gap between browsing and buying, effectively engaging consumers and increasing conversion rates in the process.</p> <p>So, what does effective shoppable content look like? Here are just a few inspiring brand cases and the reasons why they work.</p> <h3>Diesel</h3> <p>Shoppable video can be a mixed bag. While the medium sounds great in theory – allowing consumers to click directly on the products they’re seeing on screen – it can actually be a rather jarring user experience, interrupting the video and taking viewers away mid-action.</p> <p>That being said, Diesel’s shoppable video – created as part of its #forsuccessfulliving campaign and in celebration of the brand’s 30th anniversary – is a pretty seamless example. </p> <p>Directed by Alexander Turvey, the short follows various Diesel models as they prepare for their first catwalk show. Calls-to-action appear at certain points throughout, which allows the viewer to save items or go directly to the Diesel store. As the video only involves music, with no real narrative or plot, this means that the experience of ‘in the moment’ shopping is less disruptive.</p> <p><a href="https://www.instagram.com/p/BKA4Zndgnja/" target="_blank"><img src="https://assets.econsultancy.com/images/0008/7407/Diesel.JPG" alt="" width="780" height="497"></a></p> <p>Meanwhile, the video capitalises on the ‘<a href="https://econsultancy.com/blog/68305-runway-to-retail-how-fashion-brands-are-introducing-see-now-buy-now" target="_blank">see now buy now trend</a>’, selling exclusive items ahead of Diesel’s FW16 runway show in Tokyo to provide extra value for consumers.</p> <h3>Lazy Oaf</h3> <p>Instagram is now the top social media platform in terms of user engagement. Instead of just likes and comments, however, many brands want to transfer this engagement into direct purchases. </p> <p>While Instagram itself has been testing its new shopping features, retailers like Lazy Oaf have been busy finding their own ways to make the user experience more shoppable. It has created its own ‘Insta-shop’ – which lives on its main site, but is also linked to from its Instagram channel.</p> <p><img src="https://assets.econsultancy.com/images/0008/7397/Instashop.JPG" alt="" width="550" height="273"></p> <p>Essentially, it allows consumers to browse the Lazy Oaf Instagram feed (but on its own website) and means they can directly click on and buy any item they like. By hovering over each photo, users can instantly see whether an item is shoppable, also making it easy for consumers to buy multiple items in one go.</p> <p><img src="https://assets.econsultancy.com/images/0008/7396/Lazy_Oaf_2.JPG" alt="" width="780" height="442"></p> <h3>Made.com</h3> <p>Made.com’s Unboxed cleverly shows how to merge <a href="https://econsultancy.com/blog/67547-10-excellent-examples-of-user-generated-content-in-marketing-campaigns" target="_blank">user-generated</a> and shoppable content. Building on the idea that people want to see how furniture or homeware looks in real life before investing, it allows customers to upload photos of their Made.com purchases. </p> <p>Alongside this, it also includes links to available items in each photo, encouraging customers to take action instead of just inspiration. Users can even get in touch with the people who have uploaded photos in order to ask questions and hear honest reviews.</p> <p>While it's not the most seamless example of shoppable content (perhaps focusing the user's attention on reviews rather than clicking through to the products themselves) - it still helps to drive purchases in the long run.</p> <p><img src="https://assets.econsultancy.com/images/0008/7400/Made_Unboxed.JPG" alt="" width="650" height="588"></p> <h3>Net-A-Porter</h3> <p><a href="https://econsultancy.com/blog/68219-four-things-brands-can-learn-about-content-marketing-from-net-a-porter" target="_blank">Net-A-Porter</a> is a retailer that truly understands the importance of shoppable content, using it to drive customer loyalty both on- and offline. Its print magazine, Porter, works in conjunction with a digital-version, allowing users to shop items directly from the page. By downloading the Net-A-Porter app and scanning the magazine, readers can find and buy items as they flip through.</p> <p><img src="https://assets.econsultancy.com/images/0008/7402/Porter.JPG" alt="" width="453" height="479"></p> <p>Net-A-Porter's weekly online publication, The Edit, uses the same formula, including handy links to all the items featured in the magazine.</p> <p><img src="https://assets.econsultancy.com/images/0008/7401/Net_A_Porter.JPG" alt="" width="780" height="556"></p> <p>Delivering instant gratification to consumers (and taking away the frustration of seeing something you like and not being able to find or buy it) – Net-A-Porter ensures that there is minimal friction between browsing and buying. </p> <h3>Tesco</h3> <p>It’s not only fashion or homeware retailers that benefit from shoppable content. Tesco is one supermarket that puts this at the heart of its digital strategy, using its ‘Real Food’ content hub to drive conversions online. </p> <p><img src="https://assets.econsultancy.com/images/0008/7404/Real_Food.JPG" alt="" width="550" height="429"></p> <p>The reason it works so well is because it makes buying multiple ingredients incredibly quick and easy. Instead of writing down and searching for individual items, users can be one click away from buying everything that’s needed for a recipe. What’s more, Tesco also prompts users in case they don’t have store cupboard items like olive oil or ketchup.</p> <p><img src="https://assets.econsultancy.com/images/0008/7403/Tesco.JPG" alt="" width="650" height="487"></p> <p>This example also demonstrates how FMCG brands can capitalise on faster purchase intent. Unlike fashion or retail brands – where the path to purchase involves much greater deliberation and comparison – people are much more likely to see and buy when it comes to food and drink.</p> <h3>Kate Spade</h3> <p>Kate Spade is one fashion retailer that has taken shoppable content to a whole new level, launching a series of ads designed to be watched and enjoyed like a TV show.</p> <p>Starring recognisable faces like Anna Kendrick, the #missadventure series is billed as a series ‘about interesting women leading interesting lives.’ Naturally, however, Kate Spade also hopes that people will be just as interested in the clothes and accessories they wear, allowing viewers to find and buy all the clothes featured.</p> <p>In order to avoid disruption to viewers, the brand collates all shoppable items into a list, which can be clicked on during or at the end of the video. </p> <p><iframe src="https://www.youtube.com/embed/j8XCi71rwsg?wmode=transparent" width="854" height="480"></iframe></p> <p>By truly immersing viewers into world of Kate Spade, the brand is able to increase the chances of them becoming paying customers.</p> <h3>One Kings Lane</h3> <p>Home décor brand, One Kings Lane, has generated effective results from its shoppable blog. However, that doesn’t mean it focuses on revenue over and above engagement. Instead, it focuses on creating high quality content and photography, providing customers with inspiration and value above everything else.</p> <p><img src="https://assets.econsultancy.com/images/0008/7405/One_Kings_Lane.JPG" alt="" width="780" height="486"></p> <p>One danger of shoppable content, especially in blog form, is that it can soon become outdated. Products will be sold out or limited, leaving content filled with old or broken links. In order to combat this, One Kings Lane <a href="https://adexchanger.com/ecommerce-2/one-kings-lane-uses-content-convert/">focuses on refreshing content regularly</a>, and ensuring that its shoppable content stays up to date.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Tour the colorful and collected home of the founder of <a href="https://twitter.com/RollerRabbit">@RollerRabbit</a> → <a href="https://t.co/lGLHmOAZJ6">https://t.co/lGLHmOAZJ6</a> <a href="https://t.co/QuRyevrFKW">pic.twitter.com/QuRyevrFKW</a></p> — One Kings Lane (@onekingslane) <a href="https://twitter.com/onekingslane/status/876092396366422016">June 17, 2017</a> </blockquote> <h3>Matches Fashion</h3> <p>Lastly, instead of using shoppable video to create film-like ads, Matches uses industry experts and behind-the-scenes insight to entice viewers to buy,</p> <p>Its ‘Digital Trunk Shows’ series involves a number of designers talking about the inspiration for and creation of their collections. Viewers can simply click on an item for it to be automatically added to their basket.</p> <p>This approach aims to use information and insight to offer real value to consumers, softly encouraging them to make purchases rather than blatantly selling.</p> <p><iframe src="https://www.youtube.com/embed/v-fO50XoNNY?wmode=transparent" width="854" height="480"></iframe></p> <p><em><strong>Related articles:</strong></em></p> <ul> <li><em><a href="https://econsultancy.com/blog/67909-selfridges-unveils-ios-app-with-shoppable-instagram-feed-is-it-any-good/" target="_blank">Selfridges unveils iOS app with ‘shoppable’ Instagram feed: Is it any good?</a></em></li> <li><em><a href="https://econsultancy.com/blog/66625-shoppable-video-the-missing-piece-of-your-marketing-strategy/" target="_blank">Shoppable video: the missing piece of your marketing strategy?</a></em></li> <li><a href="https://www.econsultancy.com/blog/68275-ted-baker-unveils-shoppable-video-google-voice-search-stunt-for-aw16-campaign"><em>Ted Baker unveils shoppable video &amp; Google voice search stunt for AW16 campaign</em></a></li> </ul> tag:econsultancy.com,2008:BlogPost/69184 2017-06-22T13:59:10+01:00 2017-06-22T13:59:10+01:00 Five successful brands on YouTube: From Adidas to Sarson's vinegar Nikki Gilliland <p>Google recently recognised a number of brands who are using YouTube to<a href="https://www.thinkwithgoogle.com/intl/en-gb/collections/2017-winners-of-youtube-works-for-brands.html" target="_blank"> deliver exceptional results</a>. So, building on this, here’s a bit of a deep dive into some of those mentioned and more on why they’ve succeeded. </p> <h3>Sarson’s Vinegar</h3> <p>Sarson’s is certainly not the most recognisable brand, and neither is vinegar the most exciting product. In recognition of the public’s dwindling interest, the brand decided to launch a video marketing campaign to target a younger audience – with the aim of showing them that vinegar is not just something you put on your fish and chips.</p> <p>Looking at what younger people were searching for on YouTube in relation to the product, Sarson's found recipes, home cooking and ‘pickling’ in particular to be the biggest trends. On the back of this discovery, they decided to create a series of recipe videos to showcase how vinegar can be used in different ways, such as for sauerkraut, pickled beetroot, and even as an ingredient in cocktails.</p> <p>Sarson’s targeted users based on their demographic, as well as people searching for specific keywords. The brand served short-form content to these users initially, before delivering longer videos to anyone who engaged.</p> <p><iframe src="https://www.youtube.com/embed/ic62hHcD_F4?list=PLjRELKmqLCAJl97luZvHSM11PezqM-7nj&amp;wmode=transparent" width="854" height="480"></iframe></p> <p>The approach certainly worked - the campaign generated 4m views in 2016, and a growth of 541% on inbound website traffic compared to 2015. It not only succeeded in changing brand perceptions – showing the product in a new light to those already aware of it – but it also opened it up to a whole new audience, making younger people aware of the brand and its potential role in cooking.</p> <p>Since the initial campaign, Sarson’s has further built on this interest from food lovers with a series of recipes inspired by <a href="http://www.greatbritishchefs.com/">Great British Chefs</a>. By recognising a demand for content and delivering it, Sarson's has managed to successfully tap into a new audience and increase its digital presence.</p> <h3>Adidas </h3> <p>Adidas is a brand that has enjoyed a resurgence in recent years, <a href="https://econsultancy.com/blog/68860-four-ways-nostalgia-can-help-to-boost-your-marketing-efforts/" target="_blank">tapping into nostalgia</a> and the transformative <a href="https://econsultancy.com/blog/69086-how-adidas-uses-digital-to-enable-powerful-experiences/" target="_blank">power of sport</a> to deliver in both high-fashion and sporting arenas. </p> <p>As the official sponsor of the Champions League, Adidas Football wanted to build on the interest of football fans, turning their love of the game into love and long-term loyalty for the brand. Its target demographic was football-obsessed teens of around 14 to 20 years of age – those who typically use social channels like YouTube to consume media. </p> <p>But what type of content does this demographic desire?</p> <p>Adidas recognised that a lot of football content on traditional TV channels can be quite dry, usually involving serious analysis and commentary about upcoming or past games. In contrast to this, the brand decided to create Adidas ‘Gamedayplus’ - a series of fun and purely entertaining videos featuring big name football clubs and players. Examples include Suarez taking the ‘first touch challenge’ or David Silva testing his target practice. </p> <p><iframe src="https://www.youtube.com/embed/S081lUbP4t0?list=PLfl6xCUNPx0pMXW-s8CuhXcMDvqWA6aSp&amp;wmode=transparent" width="854" height="480"></iframe></p> <p>With an existing and highly active audience of young users already searching for football content, Adidas Football managed to draw in 315,000 new subscribers as a result of the campaign. The channel also saw a 65% increase in organic views, with users typically watching for longer without clicking away. </p> <p>By tapping into the ‘always on’ digital mind-set of young consumers, Adidas is a great example of how to deliver the type of content that’s perfectly suited to both the channel and its audience.</p> <h3>Tesco</h3> <p>While brands like Adidas use YouTube to target a specific demographic, others, like Tesco, use it to build trust and drive purchases across a large and varied audience.</p> <p>Tesco has traditionally focused on capturing consumer attention with seasonal campaigns, often centred around popular cultural events like Christmas and Halloween. However, with trust in the brand dwindling in recent years, transferring this strategy to YouTube has allowed Tesco to experiment with short form video content, aiming to deliver real value on the promise of ‘every little helps’.</p> <p>Its ‘Spookermarket’ series was the first example of this, involving a video that captured the reaction of customers as Tesco staff played out Halloween-related pranks. </p> <p><iframe src="https://www.youtube.com/embed/yqWeuBJfxsQ?wmode=transparent" width="854" height="480"></iframe></p> <p>The video went on to become one of the top ten ads of 2015 - a result that also helped to spur on the rest of the campaign. Using its light-hearted nature to capture initial attention, Tesco then served more in-depth and helpful videos to users, including a jack-o-lantern tutorial and other Halloween-related ‘how-to’ content. This staggered approach ensured the campaign’s impact would be much bigger, with consistent content rolled out to reach consumers over time.</p> <p>One reason Tesco has been so successful on YouTube appears to be this considered approach - one that uses data to shape future marketing efforts. Taking into account the type of videos that customers engage with the most, it is able to create content on this basis, delivering value and a real reason for viewers to invest in the brand.</p> <p>With a 9% uplift in purchase intent from its YouTube TrueView Shoppable ads, it is clear that Tesco’s strategy is doing more than just build trust.</p> <h3>Halifax</h3> <p>Another brand that has used helpful content to drive brand awareness is Halifax bank. However, it has also used YouTube to help differentiate itself from competitors. </p> <p>With its series of short, simple and easy to understand ‘jargon buster’ videos, it aimed to deliver a campaign that was both large in scale and hugely valuable for customers, ultimately drawing them away from other banks.</p> <p>Halifax used YouTube’s TrueView platform - meaning ads would play in-stream or alongside related content - in order to gain mass reach. To build momentum, each video followed a distinct and recognisable formula. It involved a single question – such as ‘What’s a lump sum?’ and ‘What’s an ISA?’ – which was then explained in under 30 seconds using both visuals and audible commentary. </p> <p>Its simplicity was key. Nielsen analysis of the campaign found the videos scored 100% for the metric 'easy to understand' and generated a 31% uplift in brand consideration for those who were exposed to the campaign.</p> <p><iframe src="https://www.youtube.com/embed/XHlKXKFNn9s?wmode=transparent" width="854" height="480"></iframe></p> <p>One reason I also like this example is that is clearly designed for YouTube. While a lot of brands are guilty of adapting or tweaking campaigns to a particular channel, the best results occur when videos or ads are first created with the medium in mind.</p> <p>In the case of Halifax, its short, snappy, and super simple explanations of confusing subjects are perfectly suited to viewer behaviour. It does not disrupt the user, and is both interesting and succinct enough to convey a memorable message. </p> <h3>EE </h3> <p>YouTube has become synonymous with <a href="https://econsultancy.com/blog/69161-micro-influencers-how-to-find-the-right-fit-for-your-brand/" target="_blank">social influencers</a>, and as a result, many brands have generated interest from influencer partnerships. EE is a brand that has used this approach on a massive scale, drawing on the combined reach of multiple influencers for a single campaign.</p> <p>The Wembley Cup 2016 was EE's second mini-football tournament involving YouTubers against former FIFA Legends, and culminating in a final at Wembley Stadium.</p> <p>So, why did it choose influencers and not mainstream celebrities? Like previous examples, it wanted to reach a specific demographic, with the aim of becoming the number one provider for a young age range. With this age bracket already highly engaged with influencers on YouTube, EE recognised the potential of creating a campaign that could capitalise on this existing interest.</p> <p>The results were impressive, with the series amassing 40m views and 1.5m watching the live final. In addition, 20,000 people filled the stadium to watch. What’s more, there was a 36% increase in brand search terms following the campaign, with EE succeeding in its aim of becoming the number one choice for young mobile users.</p> <p><iframe src="https://www.youtube.com/embed/ZrL1DTZoLW4?wmode=transparent" width="854" height="480"></iframe></p> <p>With a focus on episodic content, EE is also a great example of how to reach an increasingly elusive audience. As young people turn away from TV and towards online media, the sheer amount of content out there means it is even harder for brands to create campaigns that resonate. For its 2016 series, EE deliberately involved the digital audience, allowing them to have a say in picking the team and choosing substitutions. </p> <p>Combined with episodic content, this meant EE was able to hook in viewers from the outset and create deeper levels of emotional engagement.</p> <h3>Ingredients for success</h3> <p>So, let’s recap on what we can learn from the aforementioned brand campaigns.</p> <p><strong>Drawing on data:</strong> Whether it’s using search data to inform targeting or using watch times to shape future strategy, it’s vital for brands to consider metrics when creating YouTube campaigns. Brands that do, like Tesco, are far more likely to succeed. Solutions like Google’s DoubleClick allow brands to delve below surface data (such as basic clicks) to gain a much more in-depth picture of how ads and videos impact user behaviour. </p> <p><strong>Finding a niche:</strong> One problem for brands on YouTube is saturation. Take recipes, for instance, where endless channels compete on the same subject matter. In this instance, it is important to create a point of difference based on the brand, finding out how to create content that people are really interested in. I mean, who knew pickling was so big?</p> <p><strong>Creating campaigns specifically for the channel:</strong> Like Halifax’s super short and concise finance videos, the best YouTube campaigns are specifically designed to cater to the digital audience. Taking into consideration the context of the user and what else they’re doing online at that moment, other than watching an ad, can be incredibly powerful.</p> <p><strong>Using episodic content:</strong> Lastly, the campaigns from Adidas and EE show how episodic content can build engagement and brand loyalty over time. Both brands have since gone on to repeat the same formula, with viewers clearly hooked and ready for more.</p> tag:econsultancy.com,2008:BlogPost/69137 2017-06-20T10:28:00+01:00 2017-06-20T10:28:00+01:00 Livestreaming in China: Everything you need to know Ben Davis <h3>Livestreaming is primarily a form of communication</h3> <p>Livestreaming takes a number of different forms with a variety of content. Fundamentally though it’s about gameplay or performance.</p> <p>The performance side incorporates social media influencers that showcase their lives through live video, communicating in a more immediate way with their followers. This occurs on many social apps such as YY and Weibo.</p> <p>It is this trend for influencers sharing video that has bled into commerce, with fashion brands sponsoring so-called KOLs (key opinion leaders). Big players like Alibaba and JD.com have created their own livestreaming functionality, in order to use this trend to push ecommerce sales.</p> <p>Though this vertical integration is more and more visible, livestreaming is still ultimately about communication. Nowhere is this more evident than on the Momo app. Momo is a social dating app which has seen livestreaming become its biggest revenue stream since its introduction as recently as late 2015. This revenue is partly down to virtual gifts that viewers can give to streamers. This virtual gift-giving is a central element to livestream viewing.</p> <p><img src="https://assets.econsultancy.com/images/0008/6874/momo.jpg" alt="momo app" width="300"></p> <p><em>The Momo app </em></p> <h3>Almost half of China’s internet users have tried it</h3> <p>Nearly half (47.1%) of China’s internet users, which total 344m, had watched a livestream by the end of 2016, according to the <a href="https://cnnic.com.cn/IDR/ReportDownloads/201706/P020170608523740585924.pdf">CNNIC</a>.</p> <p>However, as you might expect, the trend is all about young people. There are plenty of varying figures to support this claim. A May 2016 report from Tencent MyApp Big Data, for example, stated that 83.1% of livestream viewers are under the age of 30, and that users under the age of 20 account for as much as 42.7%.</p> <p>Traditionally, viewers have been male, with female content creators stereotypically conforming (even using plastic surgery) to a particular ideal of female beauty, but who are criticized by others in society for being seemingly vapid and over-sexualized (more on that below).</p> <p>Viewership is changing though, becoming more balanced, with an increasing proportion of female viewers. This is evidenced by the aforementioned Tencent study which states that female users made up 33.2% of livestreaming viewers, and a study by <a href="http://report.iresearch.cn/report/201703/2962.shtml">iResearch</a> suggesting female viewership is up from 31% to 36% over the course of 2016.</p> <p><img src="https://assets.econsultancy.com/images/0008/6861/iresearch_gender_livestream.png" alt="" width="597" height="300">  </p> <p>The increased female viewership is a part of the livestream trend going more mainstream, with a wider range of content, and plenty focused on topics such as fasion and cosmetics.</p> <h3>The revenue generation from livestreaming is considerable </h3> <p>In 2016 livestreaming produced revenues of more than 30 billion yuan ($4.3 billion) according to <a href="http://www.reuters.com/article/us-china-internet-livestreaming-idUSKBN17E0EV">Chinese Renaissance Securities</a> and reported by Reuters. This figure is to increase by more than 300% by 2020. YY, one of the top livestreaming platforms made $88.2m in profit in Q1 2016.</p> <p>A chart in Mary Meeker’s <a href="http://www.kpcb.com/internet-trends">2017 internet trends </a>presentation shows the per hour monetisation of livestreaming (including subs, advertising and paid downloads) beats other media such as online gaming, TV and music.</p> <p><img src="https://assets.econsultancy.com/images/0008/6857/Screen_Shot_2017-06-15_at_14.40.00.png" alt="" width="400"> </p> <p>The punchy per-hour revenue rate combined with the aforementioned rise in number of people livestreaming means that the medium is second only to online gaming in overall revenue, when compared with other online pursuits (see chart below). Again this data comes from KPCB and Mary Meeker.</p> <p><img src="https://assets.econsultancy.com/images/0008/6858/Screen_Shot_2017-06-15_at_14.39.17.png" alt="" width="400"></p> <p>Increasingly, it is the KOLs in fashion that are proving most profitable to marketers, given their ability to increase the sales of products for big brands and big ecommerce players.</p> <h3>KOLs or Wanghong?</h3> <p>We touched earlier on the controversial nature of a stereotypical female livestreamer.</p> <p>Internet celebrities, often called Wanghong in China, can be seen in the context of a growing consumer society and one in which traditional views on morality are being challenged.</p> <p>Whilst many livestreamers are analogous to Western influencers, there is also a more provocative type of Wanghong which the Chinese Ministry of Culture is attempting to crack down on, by prohibiting various acts (such as violence or, bizarrely, seductively <a href="http://www.bbc.co.uk/news/blogs-news-from-elsewhere-36226141">eating a banana</a>).</p> <p>This style of performance livestreaming has to some extent led those in media and advertising to adopt the term KOL instead, free from any potentially controversial connotations.</p> <p>The number of these, predominantly female, KOLs is astonishing, and shows both how big a country China is, as well as how quickly such culture has developed. Miranda Tan, CEO of influencer big data company Robin8, <a href="http://www.mumbrella.asia/2016/09/influencers-the-most-effective-way-for-wary-brands-to-make-money-says-vs-medias-ivy-wong/">tells Mumbrella</a>, there are 10,000 KOLs with more than 10m subscribers.</p> <p>There are more than a million KOLs in a long-tail of influencers with more than 10,000 subscribers.</p> <h3>Brands are getting stuck in</h3> <p>69% of global beauty brands have used a livestreaming platform in China, according to <a href="https://www.l2inc.com/daily-insights/chinas-livestream-boom-beauty-at-the-vanguard">research by L2</a>. 49% of beauty brands have done so via Tmall and 35% with Taobao.</p> <p>It’s not just about beauty though, with a survey conducted by <a href="http://www.admaster.com.cn/eng/index.php?c=downloads&amp;a=view&amp;id=95">Admaster</a> suggested 37% of advertisers in China would consider working with celebrities or livestreaming hosts in 2017. </p> <p>Brand broadcasting can be more along the lines of TV shopping, with higher production values and many staff involved. Such streams may not be consigned to one streaming app, and so brands will be working with audiences on multiple platforms.</p> <p>Here are some of the 2016 brand livestreaming campaigns I could find:</p> <p><strong>Maybelline</strong> <a href="http://socialbrandwatch.com/maybelline-sells-10000-lipsticks-china-within-two-hours/">sold 10,000 lipsticks</a> in two hours through its livestreaming with Angelababy on Meipai.</p> <p><strong>Mondelez</strong> and agency Carat <a href="http://www.business-circle.com.au/en/?p=3341">worked with popular singers</a> to launch its double chocolate Oreo. Da Zhangwei had to sing Oreo’s ingredient list to the tune of a love song whilst the biscuits were pushed into his mouth. The show was aired on Alibaba’s platforms (Taobao, Tmall, Youku Tudou, Laiwang) and got 4.5m live views.</p> <p><strong>Adidas</strong> worked with a graffiti artist on its ZX Flux livestream. The viewers were able to influence the artist’s designs. <a href="http://www.bilibili.com/video/av4016268/">Watch it here</a>.</p> <p><strong>Changdi</strong>, electric oven manufacturer, ran a weekly series of livestreams with a KOL, focusing on easy recipes such as cookies. Viewer numbers exceeded 300,000 according to <a href="http://daxueconsulting.com/chinese-live-streaming-millionaires/%20">daxue consulting</a>.</p> <p><strong>Chong</strong>, an upmarket clothing brand, worked with writer and food KOL WenYi, answering questions from fans in a more conventional influencer-style promotional livestream. Revenue reached ¥5m the day after broadcast.</p> <p><strong>Hilton</strong> worked with KOLs and their families staying at Hilton Hotels during the National Holiday. This campaign differed because each location and hotel managed its own KOLs and content. <a href="https://jingdaily.com/live-streaming-luxury-travel-china/">More from Jing Daily</a>. </p> <h3>There are numerous livestreaming platforms</h3> <p> Here’s a rundown of some of the most notable livestreaming platforms (there are more than 30 in total).</p> <ul> <li>Youku Tudou – owned by Alibaba and very much like China’s YouTube.</li> <li>WeChat – the multifunctional messaging app includes livestream functionality.</li> <li>YY Live – the earliest and largest livestreaming community on PC used YY, but the platform has fallen behind as other tech companies have invested in mobile.</li> <li>Inke Live – popular mobile app that includes broadcaster tools such as a ‘beautycam’ which smoothes skin and a sound equaliser.</li> <li>Weibo – the equivalent of Twitter. Has seen an upturn in its fortunes thanks to livestreaming. More MAUs and 200m livestreams between April and June 2016 alone.</li> <li>Huajiao Live – app which saw impressive user growth in 2016 and is becoming more central to social networking in China.</li> <li>Momo – the social dating app mentioned previously, livestreaming is becoming an important revenue channel.</li> <li>6Rooms (6.cn) – possibly the first service to offer livestreaming back in 2008.</li> <li>Meipai – a free app that became very popular, very quickly in 2015, thanks to a growth hack (share the app to unlock features) and a large number of special effects to make anyone a ‘producer’.</li> <li>Bigo – made in Singapore and big in South East Asia. An app where participation (including gifting) rewards viewers and streamers with points which help them to promote their own content.</li> </ul> <p><img src="https://assets.econsultancy.com/images/0008/6871/inke.jpeg" alt="" width="300"> </p> <p><em>The Inke app</em> </p> <h3>Alibaba is serious about livestreaming </h3> <p>Taobao has its own livestream channel, Taobao Live, which according to Alibaba sees a conversion rate of 32% i.e. 32 items added to cart for every one hundred views.</p> <p>Alibaba has also been investing in other companies such as Weibo (31.5%) and Youku Tudou (which it owns), and this helps to bring popular KOLs across to Taobao. Products will be promoted with clickable links during livestreams on a variety of topics.</p> <p>This live video is important in the context of rapidly growing numbers of mobile shoppers (around 500m on Taobao) who each engage multiple times a day with the Taobao app for an average of around half an hour. Livestreaming is just one part of a strategy to make shopping more sticky and deliver the same addictive hit as social media.</p> <p>Interestingly, as reported<a href="https://www.forbes.com/sites/ywang/2017/01/26/superstar-influencers-chinas-internet-celebrities-at-heart-of-alibabas-growth/#7913ab932c98"> in Forbes</a>, Alibaba invested $46m in 2016 in a company called Ruhan whuch incubates KOLs, teaching them how to blog and interact with fans.</p> tag:econsultancy.com,2008:BlogPost/69094 2017-05-17T10:36:26+01:00 2017-05-17T10:36:26+01:00 Five examples of brands using interactive video Nikki Gilliland <p>This is where interactive video comes in. Instead of a passive user experience, interactive video requires the person watching to take action – e.g. answer a question or make a decision – usually to inform how the rest of the video unfolds.</p> <p>There are many benefits, including longer viewing times, greater engagement, and even data capture.</p> <p>While the technology is certainly nothing new, there appears to have been a surge in brands experimenting with it lately. Here are a few examples and the reasons why it works.</p> <h3>Mended Little Hearts</h3> <p>Mended Little Hearts is a charity for children with congenital heart disease. Its recent campaign, ‘Give a Fuller Life’, uses interactive video to show how donating money can transform the lives of those affected.</p> <p>The animated video depicts a day in the life of 11-year-old Max, who we first see wandering along the street looking lost and lonely. Viewers are prompted to pledge a donation, which results in Max’s life becoming a little brighter each time. Gradually, the street becomes sunnier, and family, animals, and toys also start to appear. </p> <p>The video is simple but surprisingly emotive, effectively highlighting how a small act (which often involves just a few clicks online) can dramatically transform a child’s life.</p> <p><iframe src="https://www.youtube.com/embed/T88vbtCsuEw?wmode=transparent" width="854" height="480"></iframe></p> <h3>Warner Bros.</h3> <p>Focus is a 2015 movie starring Will Smith as a veteran conman. Alongside the standard trailer Warner Bros. released an interactive video to promote the movie before it hit cinemas.</p> <p>It allows viewers to test their own skills as a con artist by making a series of decisions as they go. The potential 'marks' include an internet mogul, an investment banker, and an art dealer, with each one presenting a different challenge for participating viewers.</p> <p>While Focus turned out to be fairly predictable as a film, its interactive video is far more innovative. Combining gamification and movie marketing – it’s a great example of how to pique interest and engage consumers in the run up to a release.</p> <p><a href="http://www.raptmedia.com/customers/warner-bros-focus/" target="_blank"><img src="https://assets.econsultancy.com/images/0008/6108/Focus.JPG" alt="" width="780" height="444"></a></p> <h3>Deloitte</h3> <p>Most recruitment videos tend to be quite dry, however Deloitte chose a more light-hearted tack for its New Zealand graduate recruitment program.</p> <p>Filmed as a ‘day in the life’ of a Deloitte employee, the gamified video allows users to choose how they’d react to a number of different work-based scenarios. From telling a co-worker about spilt coffee on their jacket, to what to do if a printer breaks – each one highlights the various skills and attributes valued by the company.</p> <p>The result is a highly engaging and immersive video experience, which effectively educates viewers about Deloitte while simultaneously prompting them to think about whether they’d be a good fit. </p> <p><iframe src="https://www.youtube.com/embed/EUw0vzyN9ZM?wmode=transparent" width="854" height="480"></iframe></p> <h3>Honda</h3> <p>To promote its Civic Type R, Honda wanted to create a video that showcased another side of the typically reliable automotive brand.</p> <p>The result was an interactive, dual-narrative video that allowed viewers to switch between two storylines. The first involved a father picking up his daughter from school and taking her to a party. However, when viewers pressed the ‘R’ key on their keyboard or tablet, the other side of the story was revealed, with the father becoming an undercover cop by night. </p> <p>By controlling exactly how the video can be watched, the user experience immedately changes from a passive to an active one, becoming far more engaging as a result.</p> <p>What’s more, the video is also an example of how to engage a wider audience, with all kinds of people likely to enjoy it, regardless of whether they have an interest in the brand or product itself.</p> <p><iframe src="https://www.youtube.com/embed/FU5CLg2LAmg?wmode=transparent" width="780" height="439"></iframe></p> <h3>Maybelline New York</h3> <p>While a lot of <a href="https://econsultancy.com/blog/67884-seven-ways-social-media-is-shaping-the-beauty-industry/" target="_blank">beauty-related videos</a> are more interactive than other industries (in that they offer tutorials or advice), Maybelline takes this one step further with its interactive tutorial video for Big Eyes Mascara.</p> <p>For the video, Maybelline teamed up with Kelly Framel, a popular fashion blogger, to create a tutorial of four different looks based around a single core product.  </p> <p>The video allows viewers to navigate different beauty tutorials, choosing the style and context of each one, such as ‘day’ or ‘night’ and ‘club tropicana’ and ‘rebel chic’. While the video isn’t exactly ground-breaking, it shows how interactive video can potentially be used to increase conversion. </p> <p>Unlike buying a car, for example, the nature of shopping for beauty products is much more instinctive and spontaneous, meaning that interactive video can prompt an immediate response from viewers. </p> <p><a href="https://www.raptmedia.com/customers/maybelline-new-york-engagement-conversions/" target="_blank"><img src="https://assets.econsultancy.com/images/0008/6109/Maybelline_video.JPG" alt="" width="780" height="434"></a></p> <p><em><strong>Further reading: </strong></em></p> <ul> <li><em><a href="https://econsultancy.com/blog/67932-the-future-of-video-is-vertical-texted-emotional/" target="_blank">The future of video is vertical, texted &amp; emotional</a></em></li> <li><em><a href="https://econsultancy.com/blog/68640-why-live-video-was-the-biggest-social-trend-of-2016/" target="_blank">Why live video was the biggest social trend of 2016</a></em></li> </ul> <p><em><strong>For more, you can also check out Econsultancy's <a href="https://econsultancy.com/training/courses/video-marketing-strategies" target="_blank">Video Marketing Strategy Training</a> course.</strong></em></p> tag:econsultancy.com,2008:BlogPost/69052 2017-05-09T10:00:00+01:00 2017-05-09T10:00:00+01:00 How VisitScotland is transforming the traditional tourist body Nikki Gilliland <p>Here’s a summary of what he said along with some further insight into the topic in general.</p> <h3>Promoting the bigger picture</h3> <p>VisitScotland’s aim is to become more than just a traditional tourism website. While it is still very much focused on attracting new people into the country, as well as providing sufficient information during their visit, its strategy is also to sell Scotland as part of the global marketplace.</p> <p>Its core aim is to build equity within the nation based on factors like heritage and history. Its second is to demonstrate other attributes – such as innovation or an inclusive society – that people outside of Scotland might not know about. </p> <p>Luckily, one facilitates the other, with Scotland’s biggest assets – i.e. its people and place – providing a natural halo effect for other sectors and products, such as academia or trade and investment.</p> <h3>Forging strategic partnerships</h3> <p>Alongside marketing via its own channels, a big part of VisitScotland's strategy is to increase visibility through strategic partnerships.</p> <p>It has recently signed a deal with TripAdvisor to work on a joint marketing campaign, designed to target potential travellers who aren’t necessarily considering Scotland as a destination. For example, if a user is researching other places associated with golf or hiking, they'll be served ads promoting similar activities in Scotland.</p> <p>By capitalising on TripAdvisor’s large and loyal customer-base – those who typically visit the site to seek advice – it will be able to reach a new and untapped audience. </p> <blockquote> <p>At this point, we're less concerned how people come across Scotland (in terms of channel) - only that at the point of research or booking they’re getting the very best experience possible. </p> </blockquote> <p><img src="https://assets.econsultancy.com/images/0008/5849/TripAdvisor.JPG" alt="" width="760" height="492"></p> <h3>Getting social users to take action</h3> <p>While partnerships provide a platform, VisitScotland also heavily relies on word of mouth as the ultimate marketing tool. After all, 92% of consumers are said to trust a recommendation from a friend rather than an ad. When it comes to the inspiring nature of travel, nothing beats hearing about someone else’s first-hand experience.</p> <p>With the aim of nurturing the existing goodwill that exists for the country, VisitScotland increasingly invests in channels that enable people to spread the word. However, it also recognises that being active on social media is not enough. The key is in mastering the technical aspects of social that prompt people to take action.</p> <p>So what exactly turns a passive social user into an actual consumer?</p> <p>Charlie suggests that it is never one great campaign or a single viral video, but an accumulative experience people have over time. This also falls into the mind-set of the millennial audience – a traveller who is much more interested in experiencing a culture from a local's perspective than that of a holiday-maker or tourist. Channels like Instagram, where users can upload and <a href="https://econsultancy.com/blog/68604-why-ugc-is-the-future-of-social-media-in-travel-and-tourism-marketing/" target="_blank">share their own authentic experiences</a>, are highly effective for driving advocacy.</p> <p><img src="https://assets.econsultancy.com/images/0008/5850/Instagram_VS.JPG" alt="" width="760" height="517"></p> <h3>Using the political climate to its advantage</h3> <p>So, what about marketing a country in the midst of political upheaval?</p> <p>Charlie says that, instead of being a negative, politics can actually make people more engaged in a country or the conversation that surrounds it. This is because modern travellers are also increasingly interested in finding out about socio-economic or political factors – e.g. a sense of fairness or opportunity – as an integral part of travel. To ignore this would result in a less authentic experience. </p> <blockquote> <p>Any negative sentiment that exists could provide the ideal opportunity for us to talk about Scotland and what is has to offer in a positive way. </p> </blockquote> <h3>Creating an emotional pull</h3> <p>When it comes to attracting consumers, the problem for most national tourism bodies is direct competition from travel providers such as Skyscanner or <a href="https://econsultancy.com/blog/68330-an-in-depth-analysis-of-how-expedia-converts-visitors-into-customers-part-one/" target="_blank">Expedia</a> and indeed sites like TripAdvisor. </p> <p>One reason people might naturally turn to these instead is likely to be a perceived lack of digital innovation. In the past year or so, VisitScotland has been working hard to dispel this notion, combining new technology with emotive or story-focused content to engage potential consumers. Its VR app, which allows users to explore iconic locations in 360-degrees, is just one example of this.</p> <p>Lastly, instead of fighting against the competition, the brand also recognises that greater opportunity arises from working together. By creating and providing quality content to consumers, regardless of where they come across it, VisitScotland ensures it is able to spread its message to as many people as possible.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Caught on camera, one of the sweetest moments <a href="https://twitter.com/hashtag/spring?src=hash">#spring</a> brings! <a href="https://twitter.com/hashtag/WildAboutArgyll?src=hash">#WildAboutArgyll</a> IG/jonathanwillb <a href="https://t.co/V8yYLqwncD">pic.twitter.com/V8yYLqwncD</a></p> — VisitScotland (@VisitScotland) <a href="https://twitter.com/VisitScotland/status/858243210384211969">April 29, 2017</a> </blockquote> <p><em><strong>Related articles:</strong></em></p> <ul> <li><em><a href="https://econsultancy.com/blog/68849-three-reasons-to-appreciate-visitscotland-s-tourism-website/" target="_blank">Three reasons to appreciate VisitScotland’s tourism website</a></em></li> <li><em><a href="https://econsultancy.com/blog/67952-five-tourism-websites-guaranteed-to-give-you-wanderlust/" target="_blank">Five tourism websites guaranteed to give you wanderlust</a></em></li> </ul> tag:econsultancy.com,2008:BlogPost/69060 2017-05-08T10:00:00+01:00 2017-05-08T10:00:00+01:00 Why brands can’t resist partnering with Buzzfeed Tasty on Facebook Nikki Gilliland <p>So, why can’t users get enough of Buzzfeed’s take on food? More importantly, why are other brands (even in industries other than FMCG) falling over themselves to get involved?</p> <p>I recently heard Ashley McCollum, general manager at Buzzfeed Tasty, speak about this topic at Millennial 20/20. Here are a few key takeaways.</p> <h3>Adapting to the changing nature of food and social</h3> <p>When Buzzfeed Tasty first began, <a href="https://econsultancy.com/blog/67856-four-delicious-examples-of-food-drink-brands-on-instagram/" target="_blank">food content</a> on the internet was vastly different, being more about food porn and Pinterest-style imagery than everyday recipe videos. Since then, consumer interest has shifted towards fast and simple how-to's, prioritising the contrasting verticals of comfort and health.</p> <p>Content relating to these trends tend to be the most relatable and easy to replicate at home. In fact, according to Ashley, 50% of the audience has at some point made a Tasty recipe themselves. The most common type of comment is also a user tagging family or friends and saying ‘we should make this at the weekend’.</p> <p>This accessibility has undoubtedly been a huge factor in Buzzfeed’s success. And be it pizza cones or grow-your-own herbs – it is the publisher’s ability to tap into current trends and user interests that has helped audience figures to sky-rocket.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fbuzzfeedpropertasty%2Fvideos%2F1852979081581430%2F&amp;show_text=0&amp;width=400" width="400" height="400"></iframe></p> <h3>Accidentally global</h3> <p>The relatable nature of food also links back to why Tasty started, first being launched as an experiment to crack Facebook video.</p> <p>The fact that it has generated international interest is a happy accident. But that's the beauty of it, of course, with videos resonating regardless of language or location. The content disrupts the inaccessiblity of restaurants and high-end chefs, with videos that are short, relatable and easy-to-follow being watched in home kitchens around the world.</p> <p>So while they might have started out as part of an experiment, Buzzfeed’s spin-off channels have gone on contribute to the brand’s global audience growth. Proper Tasty might be a local channel, but content created for the platform has been replicated in other European markets. Meanwhile, Proper Tasty itself has also seen an increase in views for videos that celebrate global cuisine.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fbuzzfeedpropertasty%2Fvideos%2F1889978077881530%2F&amp;show_text=0&amp;width=400" width="400" height="400"></iframe></p> <h3>Loyalty in a crowded marketplace</h3> <p>More brands are now working on sponsored content with Buzzfeed on the basis of its growth – even choosing Tasty over other established industry publishers like the Food Network. Reach and scale is just one reason, of course. Engagement is perhaps the biggest driver. </p> <p>With content that's tailor-made for Facebook - where features like <a href="https://econsultancy.com/blog/67442-how-to-create-facebook-video-ads-that-cater-for-silent-autoplay/" target="_blank">auto-play and subtitles</a> enable users to watch directly from their feed – comments and views are typically high.</p> <p>Take the below video of a cheese fondue bowl, for example, which has had 12m views and over 43,000 shares since it was published.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fbuzzfeedpropertasty%2Fvideos%2F1905931132952891%2F&amp;show_text=0&amp;width=400" width="400" height="400"></iframe></p> <p>As Ashley pointed out, it is also Buzzfeed’s existing brand reputation that has generated such a large and loyal audience. Users can spot a Buzzfeed copycat a mile off, with similar formats coming across as unoriginal as a result. </p> <h3>Connection between food and lifestyle</h3> <p>While access to Tasty’s audience undoubtedly holds appeal, it's easy to assume that only FMCG brands would naturally align with the theme and style of its content. This is not the case. In fact, auto, finance and <a href="https://econsultancy.com/blog/67786-10-great-sports-digital-marketing-campaigns/" target="_blank">sports</a> are growing categories for Tasty and Proper Tasty, with brands across all industries showing interest in producing partnered content related to the core topic.</p> <p>Again, this boils down to the fact that food is an intrinsic part of all aspects of life, extending out of the kitchen and into other areas such as travel, home, and even fashion (demonstrated by the below image from ASOS).</p> <p><img src="https://assets.econsultancy.com/images/0008/5894/ASOS_burger.JPG" alt="" width="460" height="598"></p> <h3>Proof is in the pudding</h3> <p>So, what kind of success are brands seeing with Buzzfeed Tasty? Ashley highlighted the example of Oster Grill, whose minute-long video featuring a jalapeño and cheese-stuffed hamburger generated 20m views over the course of a single weekend.</p> <p>As a result of this, the brand requested that Buzzfeed pull the plug on its planned follow-up videos. The reason being that they had completely sold out of stock and were unable to meet customer demand.</p> <p>Success stories aside, it is also clear that Buzzfeed does not rest on its laurels. As a data-driven company it continuously uses data science to drive and inform decision-making. </p> <p>It recently partnered with Quaker Oats on a campaign that had already launched in the US. However, from looking at metrics from across the pond, it recognised that users were switching off during beauty shots – i.e. moments with zero context or information about how to actually make the oats.</p> <p>By making the video more utility-driven, the UK version ended up performing 20 times better than the US campaign, proving that even the biggest brands can benefit from a test and learn approach.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fbuzzfeedpropertasty%2Fvideos%2F1823070134572325%2F&amp;show_text=0&amp;width=400" width="400" height="400"></iframe></p> <p><em><strong>More on Buzzfeed:</strong></em></p> <ul> <li><em><a href="https://econsultancy.com/blog/67150-buzzfeed-the-art-and-science-of-social-video/" target="_blank">Buzzfeed: The art and science of social video</a></em></li> <li><em><a href="https://econsultancy.com/blog/68426-a-brand-that-loves-you-how-buzzfeed-uses-empathy-to-connect-with-its-audience/" target="_blank">A brand that loves you: How Buzzfeed uses empathy to connect with its audience</a></em></li> </ul> tag:econsultancy.com,2008:BlogPost/69013 2017-04-20T10:00:08+01:00 2017-04-20T10:00:08+01:00 What do Facebook's new VR and AR platforms mean for marketers? Ben Davis <h3>AR: The Camera Effects Platform</h3> <h4>Snapchat on steroids gives creative power to the consumer</h4> <p>The best way to think of the Camera Effects Platform is as Snapchat on steroids. Take a look at the BuzzFeed video below and you'll see the platform takes the idea of Snapchat lenses and extends this functionality to other objects and parts of the scenery.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FBuzzFeedTech%2Fvideos%2F1298622390258734%2F&amp;show_text=0&amp;width=400" width="400" height="400"></iframe></p> <p>The video is compelling because it shows how photo and video sharing might be taken to the next level. One can imagine the creative lexicon of Facebook and Instagram users expanding quickly.</p> <p>My first thought was: 'What does this mean for Photoshop?' Creative content production is becoming ever easier. With the Camera Effects Platform open to developers, these effects will multiply. Much like the app model, effects have to be submitted and reviewed by Facebook before being made available.</p> <p>As the platform becomes richer, will we see consumers creating an even greater share of the most popular content online, just by using their social apps? Where brands were slightly slow to get to grips with Snapchat and perhaps justified this by thinking of it as a small(ish) walled garden, the same rationale cannot be applied to any camera app developed by Facebook.</p> <p>The possibilities for brands to produce their own magical AR content are exciting, but so too are the possibilities of harnessing newly AR-literate <a href="https://econsultancy.com/reports/the-voice-of-the-influencer/">influencers</a> to create some of this stuff on their behalf.</p> <h4>Big advertising opportunities</h4> <p>We've already seen the potential for sponsored Snapchat lenses and filters. With Facebook's Camera Effects Platform, this potential is multiplied many times.</p> <p>With any object recognisable, not just a face, the relevance for brands increases greatly. From cars to clothes, furniture to buildings, food to scenery, the creative applications should allow Facebook to create some snazzy branded experiences. </p> <p><img src="https://assets.econsultancy.com/images/0008/5575/feeding_time.gif" alt="feeding time gif" width="203" height="360"></p> <h4>Adding sticky notes to real world objects</h4> <p>One of the immediate uses of the AR Studio (one part of the Camera Effects Platform open to developers) is to add information cards to real world objects. In his keynote, Mark Zuckerberg described the scenario of visiting the Coliseum and learning about the building by holding up your phone.</p> <p>The implications of this are broad but are particularly interesting in education. The smartphone has long been touted as a way of making real-world learning more fun, but apps <a href="https://econsultancy.com/blog/63197-pedigree-teams-with-zappar-for-augmented-reality-children-s-annuals/">such as Zappar</a> have had limited success in this area. Facebook's use of precise location data and not just visual triggers looks like it might expand the possibilities for annotating the real world.</p> <p>These virtual sticky notes are of obvious interest if they can be updated regularly and provided in multiple languages. They may have uses in providing product information, too. The still below from Facebook's example shows a card applied to a bottle of wine when the user clicks the highlighted blue dot as they look through their phone.</p> <p>Again, companies such as Blippar have so far failed to combine the physical and the virtual in this way – Facebook's tech will prove if those pioneers were hampered by lack of users or something more fundamental.</p> <p><img src="https://assets.econsultancy.com/images/0008/5574/pinot.jpg" alt="pinot AR" width="320" height="569"></p> <h4>Are creative uses as exciting as functional ones?</h4> <p>Though the labelling of real world objects is a functional use, many have pointed out that the real sweet spot in AR is actually identification and search – pointing your camera at something (let's say a plant) and being told what that thing is and either where to get it or what to do with it.</p> <p>This is functionality that has been around in admittedly limited form for some time (Amazon Firefly, Google Goggles, Bing visual search) but hasn't taken off (perhaps because of device and functionality limitations). As Pinterest and other tech companies enter this space again in pursuit of visual search, it's interesting that Facebook is concentrating on fun. Indeed, the fun side of AR is probably the only proven use case on a large scale, so Facebook is arguably putting its money on the right horse.</p> <p>Of course, search has never been a big thing for Facebook, but sharing content has.</p> <h3>VR - Facebook Spaces</h3> <p>In the great tradition of tech product launches, Facebook's explainer video for Spaces is cringey beyond belief, but it's probably the quickest way to understand the platform. It's a heady mix of communication through avatars, 360-degree scenery, content sharing and 3D drawing.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FFacebookTips%2Fvideos%2F10155260579068466%2F&amp;show_text=0&amp;width=560" width="560" height="315"></iframe></p> <h4>A premium on 360-degree content</h4> <p>Facebook's new release says: "You and your friends can relive personal memories from your own Timelines, or even make new ones as you explore things that interest you from people and Pages you follow."</p> <p>There's an obvious opportunity for publishers and brands here. Spaces needs 360-degree photos and videos for people to explore, and brands can provide this. Yes, there are brands that have already experimented here (e.g. <a href="https://econsultancy.com/blog/67766-10-examples-of-great-travel-marketing-campaigns/">Thomas Cook</a>, <a href="https://econsultancy.com/blog/68900-ted-baker-uses-360-video-and-instagram-stories-for-new-ss17-campaign/">Ted Baker</a>, <a href="https://econsultancy.com/blog/67877-how-automotive-brands-are-blurring-the-lines-between-digital-reality/">Renault</a>) but the addition of social interaction makes for an interesting prospect.</p> <p>Even from an experiential/events marketing point of view, rather than simply whacking a headset on a person, a salesperson can interact with the consumer within the content, leading to much more personable and enjoyable experiences.</p> <h4>Patience, everyone need a headset</h4> <p>VR headsets are few and far between at the moment (among the general populace), which means that as Facebook Spaces is rolled out, many interactions must necessarily be between one caller in real life and one in VR. Will these interactions work?</p> <p>I know you've just watched one cringey video, but I'm going to make you watch another that illustrates one of these interactions.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FFacebookTips%2Fvideos%2F10155247823158466%2F&amp;show_text=0&amp;width=560" width="560" height="315"></iframe></p> <p>I don't think it's such a terrible experience for the non-headset person as they can enjoy the cartoon avatar and relative novelty of the experience. However, I'm unsure of the benefit for the person calling in VR – all they see is a projected video call, just as they would do if they were looking at their smartphone.</p> <p>Truly social experiences in VR will depend on headset penetration increasing dramatically. Brands don't need to worry about this in the wild for a while yet.</p> <h4>Is there an appetite for animation?</h4> <p>The unknowable is whether people will enjoy these types of experiences. Whilst I can relate to millennials and youngsters who want to hide behind an avatar, I also know that bitmoji isn't for everyone. That Groove Armada lyric comes to mind – "<a href="https://www.youtube.com/watch?v=OOI-zEwjdEQ">if everybody looked the same...</a>"</p> <p>Personally, I would use social VR over Skype (or webinar tech) in a heartbeat, if the animations and the mouth movement are indeed convincing. However, much further down the line, it's not hard to imagine a world of AR and VR making <em>real</em> experiences all the more valuable.</p> tag:econsultancy.com,2008:BlogPost/69011 2017-04-19T15:00:00+01:00 2017-04-19T15:00:00+01:00 Jumping on the bandwagon: How brands capitalised on Coachella Nikki Gilliland <p>Last weekend, the Californian desert was home to music, merriment, and a whole heap of marketing - with brands taking the opportunity to capitalise on the ‘coolest’ event in the calendar.</p> <p>Here’s a few examples of how brands of all kinds capitalised on it.</p> <h3><strong>Pop-ups and parties </strong></h3> <p>This year, brand involvement began even before Coachella started, with ecommerce retailer Revolve taking advantage of inevitable excitement and pre-festival buzz.</p> <p>Revolve’s Social Club typically holds exclusive and members-only events, however, it launched a special pop-up shop – which was also open to the general public – a week before the festival started.</p> <p>Selling limited edition items inspired by the festival, its aim was to generate excitement for people going as well as those who might be missing out.</p> <p><img src="https://assets.econsultancy.com/images/0008/5525/Revolve_social.JPG" alt="" width="760" height="491"></p> <p>Pre-festival events like these are just the beginning of the story, of course, with most pop-ups and parties occurring during the festival weekend itself.</p> <p>While sponsorship is also commonplace at concerts and sporting events, festivals are the perfect environment to go one step further with an <a href="https://econsultancy.com/blog/66908-10-inspiring-experiential-marketing-examples/" target="_blank">experiential marketing</a> approach. Heineken is one example of a brand that delivers an ‘experience’ for festival-goers, using its ‘Heineken House’ concept to entertain visitors and bring a sense of fun along with its brand message.</p> <p>This year, the pop-up included a sustainable dancefloor – powered by the movement of dancers during musical sets – and a free water initiative designed to encourage responsible drinking.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Our <a href="https://twitter.com/hashtag/HeinekenHouse?src=hash">#HeinekenHouse</a> lineup is finally here, and it's looking like our most impressive line-up yet! You're not going to want to miss this. <a href="https://t.co/SvbMMmEPcI">pic.twitter.com/SvbMMmEPcI</a></p> — Heineken US (@Heineken_US) <a href="https://twitter.com/Heineken_US/status/851438114526695424">April 10, 2017</a> </blockquote> <h3><strong>Freebies </strong></h3> <p>It’s ironic that the more famous people become, the more freebies they're able to get their hands on. Coachella is no exception, providing the perfect spotlight for brands for showcase their products, with the knowledge that the images will be circulated in the media and fashion magazines.</p> <p>Meanwhile, luxury brands are willing to give away products simply because the Coachella demographic is exactly the type of consumer they would normally target. For instance, tequila company Casa Dragones partnered with a startup helicopter service to offer consumers a journey like no other. (Yes, I did say 'startup helicopter service'. Moving swiftly on.)</p> <p>Offering free shots to all passengers, it ensured brand visibility at a time when consumers would be most receptive to it. </p> <p><img src="https://assets.econsultancy.com/images/0008/5526/Casa_Dragones.JPG" alt="" width="760" height="412"></p> <p>With transportation company Tesloop also reportedly offering free rides home from after-parties, it appears companies of all kinds are vying just for the opportunity to have a presence at the festival.</p> <h3><strong>Fashion inspiration</strong></h3> <p>While high-end fashion designers are typically seen at Coachella, high street brands still try to emulate the festival look with items inspired by the event itself – even if they aren’t directly affiliated with it.</p> <p><a href="https://econsultancy.com/blog/66292-how-urban-outfitters-can-improve-in-joining-offline-with-online/" target="_blank">Urban Outfitters</a> landed in hot water last month over its recent Coachella-themed range, so much so that the festival filed a lawsuit against the retailer for exploiting the trademark without authorisation. Free People were also hit with the lawsuit, suggesting that the items falsely implied the brand was an official sponsor.</p> <p>Regardless of the outcome, this demonstrates just how synonymous Coachella has become with fashion, with brands using its name to drive sales as well as directly influence designs.</p> <p><img src="https://assets.econsultancy.com/images/0008/5527/Urban_Outfitters.JPG" alt="" width="760" height="528"></p> <h3><strong>Social media influencers </strong></h3> <p>These days, brands don’t only want to see their products promoted by celebrities, with some choosing to pay for <a href="https://econsultancy.com/blog/68409-four-key-trends-within-the-world-of-influencer-marketing/" target="_blank">social media influencers</a> to attend festivals like Coachella instead.</p> <p>This is because, instead of counting on third-party publications to cover the event, brands are able to rely on influencers dedicating posts or even entire blogs or vlogs to them. Keihl’s took several beauty influencers to Coachella this year, featuring them on its own social media channels as well as capitalising on their combined audiences.</p> <p>Fleur de Force, just one influencer involved, has over 1.4m subscribers on her second YouTube channel. By working with influencers like Fleur, whose dedicated audience is likely to trust her advocacy, the brand is able to ensure extra visibility and greater authenticity – as well as a strengthened relationship with the influencers themselves.</p> <p><iframe src="https://www.youtube.com/embed/os_DqBG6Xm4?wmode=transparent" width="854" height="480"></iframe></p> <p><strong>To find out more about influencer marketing, check out Econsultancy's <a href="https://econsultancy.com/reports/the-rise-of-influencers/" target="_blank">Rise of Influencer</a> report.</strong></p>