Transmedia Branding in Fashion: The Case of Burberry

ZoneModa Journal, 5, February 2016, Kindle Edition 1 Transmedia Branding in Fashion: The Case of Burberry Sergey Medvedev, National Research University – Higher School of Economics, Moscow What does it mean to be a transmedia storyteller for fashion branding? Branding is the process of creating the image of a unique product in the consumers' mind. The most delicate aspect of this multidimensional process is associated with providing a brand with symbolic, non-material characteristics. “The set of human characteristics associated with a brand” (Aaker, 1997: 347) creates a brand's personality and makes the brand more comprehensible to its audience. Due to this, the marketing strategy of providing physical products with symbolic values and personality traits is widely utilized by the industry for the purpose of market differentiation and building a long-term brand equity. Any true brand, be it an airline company or a sport franchise, can be described in terms of human personality traits: hundreds of coherent advertising campaigns were conducted to make an audience believe that Marlboro, for example, is masculine and adventurous, and IKEA is friendly and collaborative. But fashion brands are bound to express unique personal identity more than the products of any other industry, because of the inherent consumers’ purposes apparel serves. Apparel is an extension of people’s personalities into a physical world. While purchasing fashion brands, customers buy much more than just the products of certain qualities, design or styles. They look for an opportunity to self-actualize, become someone they want to be or associate themselves with someone (film characters, movie stars, etc.) they cannot be associated with by other means. That is why creating unique, strong and solid brand personality is an essential aspect of marketing in fashion industries. Brand personality does not exist without being delivered to the audience and believed by the audience. From anthropological perspective, the introduction of brand personality is rooted in the phenomena of animism and anthropomorphism, which means that “brands are routinely being perceived as some kind of animate humanlike entities by consumers” (Avis et al., 2012: 313). However, a brand is not a vital entity, its vitality is illusive. In order to maintain its existence in the consumers’ minds, a brand must constantly replicate consistent set of its personality traits on all the channels of its communication with the audience, e.g. corporate and package design, the design and construction of retail space, PR activities, sponsorship initiatives, charity and, of course, advertising campaigns. In order to communicate its identity to the target audience effectively, a brand has to follow media consumption habits of its target audience. New convergence tendencies in media consumption changed the way brand personality can be designed and delivered. Convergence of media technologies resulted in the phenomenon of multi-screen media consumption and blurred the line between media producers and consumers. To meet the demand of the audience, producers combined storytelling techniques with converged media landscape in so-called transmedia projects. Inside transmedia projects, the distinctive and valuable parts of a single storyworld are disseminated across multiple media platforms. By now transmedia storytelling has a 10-year history of successful application to a broad range of industries, including mass media entertainment, advertising, social campaigning and journalism. Among other industries, advertising has its own unique characteristics affecting its storytelling practices. While the products of mass media entertainment, such as movies and video games, for instance, capitalize on selling a story itself, in advertising there is always something behind a story to be sold, a product. That is why transmedia storytelling in branding is the art of constructing a brandworld with a number of stories personalizing a brand, the main character, rather than building a storyworld with a number of characters personalizing the story. This key distinction is helpful in explaining why transmedia The article is originally published in Medvedev, S (2015) ‘Il branding transmediale nella moda: il caso Burberry’. ZoneModa Journal, 5, 74-81. Copyright © 2015, Pendragon. ZoneModa Journal, 5, February 2016, Kindle Edition 2 brandworld can be designed without merging its building blocks into a solid narrative and still provide its audience with solid experience. While transmedia storytelling generally is the art of building a storyworld, which “unfolds across multiple media platforms with each new text making a distinctive and valuable contribution to the whole” (Jenkins, 2006: 95–96), the process of creating transmedia storyworld of a brand is the art of disseminating a solid brand identity through multiple online and offline platforms. Brand is a protagonist of its transmedia narrative. Its consistent identity unites individual stories into a single storyworld portraying a brand’s image and declaring what the brand stands for. According to Scolari, in transmedia storytelling “the brand is expressed by the characters, topics, and aesthetic style of the fictional world. This set of distinctive attributes can be translated into different languages and media: It is a "moveable" set of properties that can be applied to different forms of expression” (Scolari, 2009: 600). Participation is a driving force of transmedia storytelling for brand building. It makes audience believe in a brand's personality by turning brand’s values into consumer’s experience. Tenderich highlights participatory mechanisms of transmedia branding: “the principle at the core of transmedia branding is this: rather than bombard audiences with unwanted and redundant brand messages, engage audiences in compelling conversations. This is done, across many different channels, in ways that consumers can and are encouraged to participate. Participation can be direct interaction with the brand or with other audience members, content creation, or even becoming part of the story themselves” (2014: 18). Buckner & Rutledge depict the nine advantages of a transmedia approach to branding: 1. Dialogue between consumer and brand; 2. Audience choice in engagement path; 3. Each media platform expands narrative with unique contribution; 4. Audience collaborates in story development; 5. Broadens life cycle and profitability of a campaign beyond traditional retail windows because content is monetizable; 6. Audience attention through invitation; 7. Audience participation enhances brand identity and creates customer loyalty; 8. Consumer is engaged long-term by providing value beyond the product; 9. Audience is validated and celebrated (Buckner & Rutledge, n.d.). According to them, “a transmedia story model positions a brand as a co-participant and collaborator by inviting each member of the audience to participate personally in the story world. Connecting with brand through story shifts consumer perception and allows consumers to create their own understanding of the brand in a social context” (Buckner & Rutledge, n.d.). Carlos Scolari addresses the issue of transmedia branding from semiotic perspective and states that “the brand — understood as a semiotic device able to produce a discourse, give it meaning, and communicate this to the addressees — expresses values and is presented as an ‘interpretative contract’ between the companies and the consumers: the brand proposes a series of values and the consumers accept (or not) to become part of this world” (Scolari, 2008: 170). According to Scolari, “brands appear as narrative or possible worlds since they constitute complex discourse universes with a strong narrative imprint” (Scolari, 2009: 599). The case of Burberry Burberry is an iconic British luxury brand best known for its costly plaid outerwear. Since mid-2000s, Burberry has been in an ambitious transition from a heritage company with conservative marketing approaches to a global luxury brand providing its target audience with most digitally-advanced brand experience. Now, with more than 500 stores around the world, Burberry is one of the most prominent success story of branding in fashion industry (Lamb, 2011). The Burberry case study will rely on transmedia project design analytical model by Renira Gambarato (Gambarato & Medvedev, 2015: 47) as a descriptive method. The model aims at outlining the essential features of transmedia projects and depicts how multiplatform production, audience engagement, and digital technology contribute to the overall performance of a transmedia storyworld. Burberry’s transmedia brand storytelling will be explored through the following ten topics of the model: Premise and purpose, Narrative, Worldbuilding, Characters, Extensions, Media platforms and genres, Audience and market, Engagement, Structure, and Aesthetics. Premise and purpose The Burberry brand was founded in 1856, when the first outfitters shop of 21-years-old dressmaker Thomas Burberry opened its doors in Basingstoke, Hampshire, England. The history of the trench coat dates back to 1901 when the Burberry fashion house was commissioned by the War Office to design a new The article is originally published in Medvedev, S (2015) ‘Il branding transmediale nella moda: il caso Burberry’. ZoneModa Journal, 5, 74-81. Copyright © 2015, Pendragon. ZoneModa Journal, 5, February 2016, Kindle Edition 3 uniform for British officers. After the World War I, when the soldiers returned from the front, they carried on wearing their trenches in civilian life (Som & Blanckaert, 2015: 79). Throughout the years the trench coat kept its original shape, still made of 26 pieces of gabardine, a buckled belt, epaulettes and D-rings. The Burberry's famous red, camel, black and white check was introduced as a lining to the trench coat in 1924 (Jackson & Shaw, 2006: 73). Digitalization and transmediation of the Burberry brand commenced in the mid-2000s, when Angela Ahrendts took a position as a CEO of the company (Thomson, 2012). The goal of the newly appointed management team was to turn the heritage company into a global luxury brand with a distinctly British attitude. It was decided to focus on the audience under 30, which constitutes the majority of worldwide population. Digitally-advanced technologies and online platforms were adopted as the best practice to rejuvenate the brand and start a mutually advantageous conversation with the young target audience. Regarding the competitive strengths and unique selling proposition, it was decided to build the brand's personality image on the Burberry's strong British heritage, modern tendencies in fashion and digitalization of customer experience. The brand vision was unified to make the conversation consistent across all the online and offline channels of communication with the audience (Leahey, 2012). Narrative Transmedia narrative of Burberry is built around its personality. In transmedia entertainment, character’s actions, thoughts and personality are subject to a plot. In contrary, in transmedia branding the development of narrative events is determined by brand’s own values and objectives and does not require dramatic qualities. In this respect, the transmedia narrative of a brand has more in common with the life of a person, than with the clear storyline of a fictional character. Britishness, trendiness and a meaningful digital experience. The three values were put into the heart of Burberry's personality. Discrete events of the brandworld build up Burberry's narrative by portraying the consistent set of brand's values on different online and offline platforms. Young Britishness and trendiness of the brand is emphasized by multiple advertising campaigns featuring iconic British fashion models and actresses Kate Moss, Emma Watson and Cara Delevingne, among others, and by some of the brand's online projects, such as Burberry Acoustic (“Burberry Acoustic”, n.d.). Emerging British bands are featured on the web page of the project to portray Burberry as a part of the contemporary art and youth culture of the capital. As Angela Ahrendts has said about the Burberry personality image: “All the music we use is British, all the models are British, the design team is 80pc from British design schools like St Martins. It is the attitude. We are selling the British attitude all over the world” (Hall, 2011). The brand's narrative is constructed of the mix of live shows, fashion events, advertising campaigns and commercials, depicting the brand's life. Some of them are self-contained stories with their own characters and storyline, like From London with Love film, which in an expressionistic way narrates “the tale of a young couple falling in love”. Worldbuilding The article is originally published in Medvedev, S (2015) ‘Il branding transmediale nella moda: il caso Burberry’. ZoneModa Journal, 5, 74-81. Copyright © 2015, Pendragon. ZoneModa Journal, 5, February 2016, Kindle Edition 4 Geographically, the world of the brand spreads over more than 500 boutique stores and franchises Figure 1. The Burberry world around the globe. Burberry operates in three major areas, i.e. Asia Pacific, EMEIA (Europe, Middle East, India and Africa) and Americas. The rapidly growing consumer market of Asia, and China specifically, made the Asia Pacific region the hard driver of the Burberry's revenue growth (“Annual Report 2014/15”, 2015: 20). About 80% of China's wealthy consumers are under 45 years of age (compared with 30 percent in the US and 19 percent in Japan), which makes the country perfectly fit to the new digitally-advanced communication strategy of the British brand (Atsmon & Dixit, 2009). In April 2011, Burberry launched its first high tech store in Beijing. A special holographic catwalk show was a part of the opening ceremony, which became one of the largest fashion events ever held by a luxury brand in China. Interestingly, the first city to host Burberry World Live show, the large immersive multimedia project, became Taiwan, the other major city of Asia. The Burberry flagship store in the region is hosted by China's Shanghai. The center of the Burberry world is situated in London streets, where the brand, its styles and values originate from. Particularly, the flagship Burberry store is located on Regent Street, London (Parr, 2012) and some of the most memorable photo shoots of Burberry collections were held in the London historical center. Along with offline presence in the three major geographical areas, Burberry world is available online for Internet users all around the world. The article is originally published in Medvedev, S (2015) ‘Il branding transmediale nella moda: il caso Burberry’. ZoneModa Journal, 5, 74-81. Copyright © 2015, Pendragon. ZoneModa Journal, 5, February 2016, Kindle Edition 5 Figure 2. Burberry world on Google Characters Burberry brand is the protagonist of its storyworld. Its personality traits determine all the aspects of the story, including the choice of the other characters, whose main purpose is to highlight, illustrate and exemplify the brand’s identity. The young British bands in the Burberry Acoustic project are carefully chosen to be the ambassadors of the brand’s values and stress the Burberry's true Britishness. Iconic young British actress Emma Watson is one of the most remarkable members of the Burberry family. The Harry Potter star has been a part of Burberry advertising campaigns since 2009, personifying the new generation of Britons and a true-blue British style simultaneously. David and Victoria Beckham's son Romeo is another noteworthy character of the Burberry brandworld. In 2014, the celebrity child filmed for the brand's Christmas advert From London with Love, that reached impressive 9,4m views on YouTube. In 2015, Burberry's Lunar New Year campaign featuring Romeo Beckham received more than 120,000 likes overall on the social platforms of the British brand. Consumers are the characters of the Burberry brandworld. Among other opportunities, Burberry provides its audience with Art of the Trench social networking platform. On the platform, the Burberry storyworld is extended with selfies, picturing the real consumers of the heritage trench coats from all around the world and demonstrating the cultural diversity of the Burberry brandworld (“Art of the Trench”, n.d.). Extensions The digital world of the brand has been formed gradually since mid-2000s. Now it consists of at least 11 extensions overall: 1. Art of the Trench social networking platform, which provides users with opportunity to show off their trench coats creatively via selfies posted on Instagram or Pinterest (Davis, 2014); 2. Burberry Acoustic project filming new British bands and streaming the filmed music videos to the Burberry’s website, digital screens in stores, outdoor sides and mobile devices (Ahrendts, 2015); 3. Burberry Bespoke website application, which allows users to design customized coats (Davis, 2014); 4. The monogramming service available in store and at burberry.com to create a personalized Burberry poncho or My Burberry bottle; 5. Burberry Kisses application inviting users to literally kiss the touch screens of their mobile devices, generate lip prints and send them to loved ones (“Burberry Kisses”, 2015). The most recent campaign of the Burberry Kisses invited 3,8 thousands followers of the brand on Twitter to nominate a friend to receive a free Burberry Kisses lipstick (Fleischmann, 2015); 6. Digitally Integrated Stores providing consumers with an extended audiovisual experience via RFID chips woven into apparel and accessories, digitally-enabled events spaces including a hydraulic stage, and iPads carried by store employees to find details of customers’ purchase history and preferences (Ahrendts, 2015); 7. Burberry World Live show with a 360-degree cylindrical space combining film, live music, augmented reality and interactive effects The article is originally published in Medvedev, S (2015) ‘Il branding transmediale nella moda: il caso Burberry’. ZoneModa Journal, 5, 74-81. Copyright © 2015, Pendragon. ZoneModa Journal, 5, February 2016, Kindle Edition 6 (Alexander, 2012); 8. The Burberry Foundation dedicated to help young people realize their dreams through creative activities (“The Burberry Foundation”, 2015); 9. Burberry's communities and profiles on the networking websites, i.e. Facebook, Instagram, Twitter, Pinterest, Google+, Chinese messaging platform WeChat and Japanese messaging app LINE, among others, with distinctive and creative content. For instance, in the run-up to the 2015 London Fashion Week “a series of #cinemagraphs of animated sketches from their LFW collection, catwalk makeup designs and moving images of scenes around London” were posted by Burberry on Instagram (Deering, 2015); 10. Burberry's channel on Apple Music; 11. Advertising campaigns of the brand. Media platforms and genres Burberry brand utilizes a number of online and offline platforms. On the one hand, online platforms of the brand - especially the official website - are designed in such a way that they can provide users with an immersive experience close to that of offline shopping. On the other hand, Burberry enhances customers’ experience of the brand in its offline platforms with integrated digital technologies, e.g. all Burberry stores have “plasma screen video walls with touchscreen technology, allowing customers to scroll through products and outfits in store” (Thomson, 2012). Online and offline platforms are closely interconnected with each other. For instance, “almost a quarter of Burberry's online sales are picked up in store” (Weinman, 2015: 108). Social media platforms of the British brand are praised by the Burberry's fans and SMM professionals for providing the followers with exclusive content of high quality. Christopher Bailey, the acting chief creative and chief executive officer of Burberry Group, enjoys the well-deserved reputation of being a social marketing guru. Burberry's Facebook page is followed by more than 17m people, which is an all-time record for a fashion brand. In total, the audience of the brand on social platforms exceeds 30m users (Weinman, 2015: 107). Audience and market In the period of transformation, the fashion house took back control of the Burberry brand. Local licenses in China, Spain and Japan, among other countries, were bought out, which made the London headquarters capable of pursuing a unified marketing policy globally. As planned by the company’s management, Asia had to became Burberry's largest sales driver. The chosen marketing strategy of the brand focuses on the audience under 30, which is demonstrated by multiple campaigns featuring British youngsters wearing Burberry. The strategy paid off. In contrary to European demographics, young people constitute a majority of the population of the booming Asian market. They love new digital technologies and have an interest in Western culture and fashion. According to 2014-2015 Burberry annual corporate report, Asia Pacific region represented 38% of retail/wholesale revenue of the brand and left behind Europe, Middle East, India and Africa (EMEIA) region (35%) and Americas (27%) (“Annual Report 2014/15”, 2015: 20). Although a sharp economic slowdown in China and Hong Kong in the second quarter of 2015 negatively affected the Asian market of luxury goods, Burberry finds new opportunities to maintain its position in the strategic region. This year Burberry finally solved the long-standing “Burberry Japan problem”. The license to operate under the Burberry brand in Japan was bought out from Sanyo-Shokai in June 2015. Since then, six standalone stores (Ginza, Kobe, Omotesando, Osaka, Roppongi and Shinjuku) have been opened in the country, including the flagship in Tokyo. Personalized for You concept of the store is a new in-store experience which “presents the brand’s most iconic designs and showcases the expert craftsmanship behind them, placing luxury personalisation at the heart of the experience” (“Burberry Celebrates”, 2015). Engagement Consumers’ trust and loyalty begins with conversation. Engagement helps people understand brand’s values better and feel a personal attachment with a brand. Burberry online and offline platforms offer their visitors multiple opportunities for engagement and self-expression. Engagement strategies are utilized by the brand in two major ways: first, as a quick sales driver, e.g. the Burberry Bespoke application allows the Burberry website users to personalize their trench coat purchase, and second, as a long-term relationship builder which makes fans feel part of the Burberry family (Thomson, 2012). The article is originally published in Medvedev, S (2015) ‘Il branding transmediale nella moda: il caso Burberry’. ZoneModa Journal, 5, 74-81. Copyright © 2015, Pendragon. ZoneModa Journal, 5, February 2016, Kindle Edition 7 The personalized My Burberry advertising campaign is one of the most recent examples of how the brand expresses its commitment to the cutting-edge technologies of engagement and customization. While watching the commercial of a new Burberry perfume, Channel 4’s viewers could use 4oD TV catch-up service to end the commercial with their own initials appearing on My Burberry bottle on the screen. In an interactive billboard campaign, consumers could interact with the British brand on digital billboards by means of their own smart phones in order to personalize and project a giant My Burberry bottle with their initials. Then, live-mapping directions guided the users to the nearest Burberry store where they could purchase their monogrammed My Burberry bottles (Mortimer, 2014). In the build-up to the 2015 London Fashion Week, Burberry launched the #Tweetcam campaign. The followers of the brand on Twitter could receive a personalized photo right from the catwalk, simply tweeting @Burberry with the hashtag #Tweetcam. Structure Product mix of the brand is made up of apparel, accessories and beauty-line: “for 2014/15, accessories represented 36% of retail/wholesale revenue, womens 30%, mens 23%, childrens 3% and Beauty 8%” (“Product Mix”, 2015). Transmedia structure of the brand is designed to follow the two major marketing purposes: 1. to increase customer's satisfaction of the process of purchasing and boost offline and online sales; 2. to gain customer's long-term loyalty. The structure is depicted on the following chart: Figure 3. The platforms of Burberry world for transmedia branding Despite the fact that the main purpose of the company's social media strategy is to build a longterm relationship with the target audience, Burberry also finds new opportunities to monetize its presence online. For instance, in 2014 Burberry capitalized on selling its products through the Buy Now function on Twitter (Deering, 2015). Aesthetics Corporate look and product design are a huge aspect of branding in fashion because of the role they play in shaping brand’s personality. Iconic Burberry check symbolizes quintessentially British style, heritage and quality. Digital technologies, such as plasma screen video walls in stores and Burberry World Live shows with 360-degree cylindrical spaces, immerse the audience into the interactive audio-visual universe of the brand’s aesthetics. In addition, Burberry Acoustic extension makes modern British music part of the Burberry brandworld. In September 2015, Burberry launched its own channel on Apple Music (Statt, 2015). Angela Ahrendts has been recently hired by Apple Inc. as a senior vice president of retail and online stores, which promises a close partnership between the two brands in the future. The article is originally published in Medvedev, S (2015) ‘Il branding transmediale nella moda: il caso Burberry’. ZoneModa Journal, 5, 74-81. Copyright © 2015, Pendragon. ZoneModa Journal, 5, February 2016, Kindle Edition 8 Conclusion A 159 year-old fashion house, Burberry managed to express its brand personality through cuttingedge digital technologies in Burberry stores, provide audience with an extended experience in live shows and give users multiple opportunities for engagement and self-expression on the company’s online platforms. Its innovative approach to telling a brand story through integrated digital technologies and multiple online and offline platforms immersed consumers into a storyworld of the brand and completely changed the way Burberry is now perceived by its target audience. The strategy of transmediation and digitalization was chosen to attract the younger target audience, and it paid off. Today Burberry is the most followed fashion brand on Facebook with an impressive 30m audience on social platforms. Besides the customer's long-term loyalty, a variety of digital campaigns and projects increased customer's satisfaction of the process of purchasing and boosted offline and online sales. Burberry's global revenue more than tripled since Angela Ahrendts and then Christopher Bailey took up the position of Burberry's CEO, from 743 million GBP in 2006 to 2523 million GBP in 2015 (“Annual Report 2005/06”, 2006; “Annual Report 2014/15”, 2015). The brand greatly capitalized on the Chinese luxury market growth. The vast majority of China's wealthy consumers are under 45 years of age, which made the country perfectly fit to the Burberry's digitally-advanced communication strategy. The current objective of the brand is to further diversify its business in the strategic Asia region by entering the Japanese luxury market. References: Aaker, J.L. (1997). Dimensions of Brand Personality. Journal of Marketing Research, 34(3), 347-356. Ahrendts, A. (2015). 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