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TV Character product placement,Omni-channel! A study ofnewly emerging Chinese fashion marketing plan within thesocial media context

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Citation for published version (APA):Wu, X., Vazquez, D., & Perry, P. (2016). TV Character product placement,Omni-channel! A study of newlyemerging Chinese fashion marketing plan within the social media context. In 24th International Conference onRECENT ADVANCES IN RETAILING AND SERVICES SCIENCE EIRASS EIRASS.

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24th International Conference on RECENT ADVANCES IN RETAILING AND SERVICES SCIENCE

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TV Character product placement,

Omni-channel! A study of newly emerging Chinese fashion marketing plan within the social

media context

Xiangran Wu, Dr. Delia Vazquez, Dr. Patsy Perry

School of Materials

University of Manchester

Introduction

Entertainment content such as TV soap operas and movies are highly desirable media for

placing products and brands because the characters naturally receive direct attention from

viewers, and because the characters often become celebrities in their own right (Hackley and

Tiwasakul, 2006). In particular, product placement and celebrity endorsement are popular

means of promoting fashion products. The prominence of consumption in the genre is

reflected in the importance of products such as clothing, makeup, home furnishings, and food

to the characters (Cornwell and Keillor 1996). In the clothing domain, fashion trends tend to

be associated with wealthy urban characters (La Pastina 2001) who serve as aspirational

referents. La Pastina (2001) argues that the desire to learn about fashion, lifestyle trends, and

behavior is intrinsically associated with soap operas, fueling knowledge of consumer goods

and lifestyles.

At present, consumers’ social networks are especially important because most people are

moderately connected to others and willing to share marketing information with others (Smith

et al. 2007). Given that the entertainment industry naturally provides popular topics for

discussion in social networks, it is expected that marketing actions in this domain to generate

social interactive effects that significantly increase the effectiveness of firms’ efforts beyond

their direct effects on consumers (Russell and Stern, 2004; Chung and Cho 2014; Noguti and


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Russell). It is proposed that social interactions driven by product placement and character

endorsement take the form of social network connectedness, which plays a significant role in

the fashion context where social utility is a prime determinant of behavior (McIntyre and

Miller 1992). Social network connectedness is able to directly enhance parasocial

relationships between viewers and characters that resemble real close relationships (Russell,

Norman, and Heckler 2004), even affects viewers purchase intentions and brand evaluations

of an advertised brand.

This study will be dedicated to investigating social media communication effects of TV series

especially the effectiveness of related character’s fashion content to target

audience-consumers, which is expected to be developed as a new social media content

marketing technique in fashion area. The investigation will mainly focus on Chinese SINA

Weibo and Chinese audience-consumers, which is due to its wide spread use of social media

marketing in fashion area related to TV series and character’s fashion content.

‘Second Screen’ Context

Sina Weibo Data Center (2015) illustrates that modern TV audiences in China prefer to watch

TV programs and simultaneously use social media to discuss the program content with their

friends or to follow the online virtual community. Lochrie and Coultion (2011) support that

among the target TV audience; social media use on computers or mobile phones is becoming

a ‘second screen’ when they are watching specific TV programmes that effectively enable

inter-audience interaction. In this study, it is proposed that the first screen is the TV screen

itself, which is able to do product placement to enhance audience’s product recall and brand

attitude as an effective traditional advertising campaign. Following the progress of

storytelling, audiences will be emotionally involved in the soap opera plot and build up a kind

of relationship with their favorite virtual character. At this moment, they are willing to move

to the second screen (social media) to search more information related to the soap opera and

character. Here, in a social media marketing perspective, whether the character related

marketing fashion content will be able to affect the target audience is the key achievement of


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this study.

SINA Weibo as a second screen

Much like Twitter, Weibo lets users post messages of up to 140 characters, which in Mandarin

Chinese is substantial, allowing for more detailed expression than is possible in English on

Twitter. Weibo also offers threaded discussions, voting and polling features, and events, as

well as Tumblr-like features which make it easy to post photos, videos and audio. Indeed,

Weibo’s product roadmap points towards a robust Facebook-like social networking site, with

expanded profiles and location-based services (SINA, 2012). SINA Weibo Data Center (2014)

reports that, until 30th September 2014 Weibo monthly active user (MAU) has arrived 167

million which keeps increasing within recent years.

Among all the MAU users the age group in 19-35 account for 72% that means the main users

of SINA Weibo is 80s and 90s who are mostly young adults (SINA, 2014). Rocha, Hammond

and Hawkins (2005) argue that young adults are the main force of online fashion consumption,

especially in the multi-channel marketing because they are open to new things.

Among all types of Weibo post, 69% content has pictures and 8.6% content put website link

inside (SINA, 2014). These mainstream content format are useful for fashion retailers to

develop social media marketing on Weibo and the website link will guide consumers to buy

fashion products.

Iresearch (2014) shows that among all the trending topics on SINA Weibo, the topics related

to popular TV soap opera often ranked on the top three statuses. TV soap opera related social

media content, especially the character’s fashion information, is an increasingly important

area for marketers to explore, which is likely to be a stimulus for audiences to move towards

fashion consumption. However, there is a lack of academic research analyzing the

relationship between on-screen character fashion product placement and related social media

content marketing which will be developed in this study.


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First screen-TV product placement

Lehu (2009) argues that the exact definition of a product placement is still not given even

though the product placement has been familiar to the consumers and audiences. Actually,

product placement is a complicated and fickle advertising method based on communication

science, which can also be understood as a hybrid form of communication since it embodies

numbers of communications tools, such as celebrity endorsements, public relations and

sponsorship (Hackley et al., 2008). Lehu (2009) also discusses that product placement is a

developing advertising practice in numerous media forms, and in the future, it is likely to be a

part of sophisticated communication strategies. Moreover, another notable feature of product

placement is media selection, which not only refers to films and television programmes, but

also includes music and publishing industry (Lehu, 2009). As a result, product placement may

be visual, audible, or even a combination of the two in order to make much more effects to

audiences/consumers. Therefore, a relatively stronger theoretical definition is set up by Karrh

(1998, p12): Product placement, also known as brand placement, can be defined as a paid

inclusion of branded products or brand identifiers, through audio and/or visual means within

mass media programming.

Driven by the commercialization of TV and film industry (Wasko et al., 1993), product placed

on-screen has gradually shown the substantial business value and economic potential (Homer,

2009). Moreover, the entertainment content such as TV programme and movies are highly

desirable media for placing products and brands because the attractive plots and characters

naturally receive direct attention from viewers, and the characters often become celebrities in

their own right (ibid). In particular, celebrity effects are popular means of promoting fashion

products. The prominence of consumption awareness from the TV and film is reflected in the

importance of products such as clothing, makeup, home furnishings, and food to the

characters (Cornwell and Keillor 1996). In fashion area, fashion trends tend to be associated

with wealthy urban characters (La Pastina 2001) who serve as aspirational referents. La

Pastina (2001) discusses that the desire to learn about fashion, lifestyle trends, and behavior is

intrinsically associated with TV series, fueling knowledge of consumer goods and lifestyles.


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Faced with the challenge and market competition brought by commercialization, the fashion

retailers immediately realize the significance of brand added-value and the necessity of

shaping brand image (Rao et al., 2004). In terms of the argument of Aaker, ‘firms create brand

equity by delivering quality products and by creating strong brand associations through

appropriate communication and advertising strategies’ (1991, cited in Rao et al., 2004, p126).

Here, the product placement as one of the branding strategies and is believed to be the

advertisers, who ‘seek more effective means of influencing consumers’ attitudes in today’s

oversaturated and fragmented advertising/marketing environment’ (ibid).

Fashion product placement on different media platforms

Film

The first product placement appeared in Lumiere brothers’ film in 1986, at the request of

Francois-Henri Lavanchy-Clarke, a Swiss businessman who functioned as a European

distributor and promoter for the UK soap manufacture Lever Brothers (Consandrey & Pastor,

1992; Mannoni, 2000). In other words, the first media platform for product placement is film.

With the fast development of film industry, product placement is growing rapidly within film

area, and it has become a vital channel for branded companies to promote their products and

brands. Actually, as films can be watched many times, product placement are not restricted in

time to the original filmed item (Williams et al., 2011). Besides, research indicates that

viewers can correctly recognize brands or products inserted in films and that they do not

really mind seeing this (La Ferle & Edwards, 2013). Shapiro (1993) summarize four practiced

product placement methods in films which seems adapt to fashion product placement.

1. Offering only clear visibility of the product or brand being shown without any verbal

reference.

2. Being used in a scene without verbal reference.

3. Having a spoken reference.

4. Offering brand in use and being mentioned by lead roles.

In fashion area, films are one of the best media platform for retailers to promote their products

as this kind of products are daily goods and can be displayed very convenient. The branded

clothes, headbands, shoes and jewelries have already appeared in film based on the four forms


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for many years, and fashion product placement will grow fast following the development of

film industry.

Television

Apart from film, television is another important media platform for product placement, and is

the second one in terms of order they appear in product placement history. Neijens (2009)

states that product placement and brand-integrated programs are the future of television

advertising. Television attracts a large number of audiences. Compared with a 90-120 minutes

film, an episode of a TV series lasts on average only 42 minutes, and this short format is

appropriate for modern audiences who are always in hurry (Lehu, 2007). In addition, a good

series are likely to retain their audiences form episode to episode, over several season (Lehu,

2007), which means the consumer memorization about the brand or product emerged in the

series can be strengthened over and over, it enables brands to instill over time (Russell et al.,

2004; La Ferle & Edwards, 2006). Moreover, a television program is capable of identify its

viewers with some precision, and therefore to understand which part of the public it

successfully attracts. This is essential for advertisers, because ‘this is how it knows whether

the audience matches its target’ (Lehu, 2007, p.162). Additionally, according to Lord and

Gupta (1998), prominent product placement in television are more beneficial than subtle

product placement. In reality, product placements on television depends on many elements,

involving length of the time on air, when and how products are inserted into the story line,

and targeted viewers (Friedman, 2003). ‘

Key placement spots for fashion products

Prominence and Plot connection

Defined by Gupta and Lord (1998), prominence can be discussed in two aspects: intuitive and

subtle. For intuitive aspect, in general, prominent placement appears on screen focus on its

size and position, even status in a scene. These elements affect the degree of product

highlights in TV and movie, which determine the possibility of audience to accept messages.

For subtle aspect, there will no obvious label on screen prominently, but may be as a part of

the scene. Audience will in an unconscious situation to identify the product/brand followed


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with the narrative structure.

Russell (2002) illustrates, plot connection is regarded as whether product/brand adapt to the

content. Panda (2004) supports that a low plot connection will make no contribution on

product/brand and story even make audience conflict to both of them. Instead, a high plot

connection will make audience enter the storyline, at the same time accept the product/brand

consistently. Hakeley et al (2008) state that ‘to integrate brands seamlessly into the feature as

part of the plot or characterization, thus enhancing the verisimilitude and dramatic force of the

scene’.

Character

Celebrity effect is a mainstream technique for advertising process in quite long time, which

actor and actress in a TV or movie will cause the similar effect. The reason why audience

identifies with celebrity in advertising is because they look up to them: ‘they admire, aspire to

be like, and they want to share values with celebrities’ (Miciak and Shanklin, 1994). Choi et

al. (2005) define the effective celebrities as ‘ideal individuals’ who has abilities to affect

consumer behaviour. Generally, as Monaco (2009) illustrates that modern media productions

are targeting at collecting giant stars in order to attract audience. This situation maybe

decrease the efforts to seek a celebrity in traditional advertising but simply be completed by a

TV program or movie, in addition actor and actress have extra meanings for expand

product/brand images as well. According to Solomon (2009), celebrities are visual effects that

famous face will make our brains pay much more attentions on it. It means celebrities can

easily enhance brand awareness. In other words, characters are able to become celebrities who

are alive in a story with different images that is effective to present target product/brand

images, even create a new product/brand image in performance. However, it is not a simple

process to select actor and actress as product celebrities. Three factors to select celebrities are

summarized by scholarly literatures: trustworthiness (Powell, 2009), expertise (Alnawas,

2010) and attractiveness (Porpitakpan, 2003). Besides, as Solomon (2009) states that a

cultural meaning and audience’s preference are the key elements need to be focused on.


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Effects of Product placement

Brand recall

On one hand, as Balasubramanian et al. (2006) states short-term effects with brand recall are

the primary impact of product placement. In order to strengthen audience’s brand recall,

branded products or services need to make a combination with plot and prominent, which as

the background to set off brand’s certain characteristics especially the brand’s name to make

audience’s sense (Gupta and Lord, 1998). As a result, it can be included as classic placement

and corporate placement type from the four product placement types in previous literature

review. One the other hand, product placement has ability on long term effects with brand

recall, but it requires content to build up a more conscious process during brand’s exposure.

Evocative placement and stealth placement seem much more adapt to this long-term brand

recall target. Besides, product placement’s modality can affect brand recall as well.

Kaijansinkko (2003) illustrates that the audio-visual modality is the best for recalling brands,

then followed by the audio only, while the visual only is the lowest level of brand recall.

Brand attitude

In order to affect consumers’ brand attitude with product placement in soap opera or movie,

plot and prominence is essential to the success. Cowley and Barron (2008) support when the

audience are located in a situation characterized by high involvement and low awareness,

product placement will reach the target of shifting brand attitude subtly. However, Cowley

and Barron (2008) argue that audience mostly conflict with the too obvious and commercial

intentions product/brand placement appears on screen, which disturb their watching. It is not

the simple process as the area about brand recall to increase memories that often effective to

communicate to audience especially in audiovisual media. To develop brand attitude is a

beneficial process in marketing strategy but risky as well, which need to carefully focus on

consumer behavior and audience watching habits.

TV audience involvement

Generally, Rubin and Perse (1988) summarized that TV audience involvement has two

meanings in communication research. First view is derived from persuasion and marketing


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research that involvement reflects perceived importance of information, which influences

people’s reactions to messages. To be specific, when faced with messages about important

topics, people are motivated to pay attention to informational message elements and process

them more intensely. Second meaning of TV audience involvement is represented as direct

personal experience during or after message reception. When people are involved they focus

on the message and react emotionally. Involved TV audience pay attention to and think about

the message, get caught up in the action of the drama, and identify with TV characters, which

can be classified as participant involvement (Rubin and Perse, 1988) includes parasocial

interaction with television personalities and thinking about and discussing media messages.

Para-social relationship-interaction with TV characters

Initially, Horton & Wohl (1956) point out the conception of Parasocial Interaction (PSI) that

explains why audience often feel they have closer friendship with TV celebrities who they did

not have real face-to-face relationship before. In other words, the parasocial interaction is led

by actor and actress who use their drama playing skills to bring audience to the drama plot

and the internal social relationships in order to affect them to be a part in the story subtly.

Then, Horton & Wohl (1982) clearly define the parasocial interaction as “the illusion of

face-to-face relationship with media personality, and the specific relationship between

audience and media personality is defined as parasocial relationship which will emotionally

affect the audience to write letters, collect related souvenir and even buy the product

recommended by their favorite media personality to keep staying in or enhancing this

relationship (Horton & Wohl, 1956).

With the following research on parasocial interaction, scholars were mostly focusing on

investigating the effects of prarasocial relationship between audience and media personality

within different media context. Cole & Leets (1999) summarized five kinds of media

personalities would be able to lead to trustworthy parasocial relationships with audience

psychologically and emotionally, which include TV news broadcasters (Houlberg, 1984; Levy,

1979; Perse, 1990; Rubin, Perse & Powell, 1985), famous TV actor and actress (Hoffner,

1996; Rubin & McHugh, 1987), popular soap opera character (Perse & Rubin, 1989; Rubin &


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Perse, 1987), comedy role (Auter & Palmgreen, 1992) and TV shopping host (Grant, Guthrie

& Ball-Rokeach, 1991; Stephens, Hill, & Bergman, 1996). Thus it can be seen that based on

the rich content formats on TV, TV personality are effectively lead to the parasocial

interaction on the target audience.

Coincidentally, the efficient TV parasocial interaction gives more space to create product

placement. Russell & Stern (2006) present a balanced model of product placement effect

which enhance the parasocial relationship as a key effectiveness between the consumer and

character, which explains that the parasocial interaction will be able to help the

audience-consumers to get involved in better understanding and trusting the placed product in

TV program.

(Rusell and Stern, 2004)

Recently, Chung & Cho (2014) bring social media effects to develop the TV parasocial

relationship, which consider that social media interaction will enhance the parasocial

interactivity effects in order to “help breaking the wall between the media characters and

viewers”. This motives people to use more SNSs to connect with favorite TV characters,

leading to strengthened parasocial relationships with them, which enhance the brand

credibility and audience’s purchase intention. Moreover, Chung & Cho (2014) agree that

audience move to social media platform to strengthen the parasocial relationship is attributed

to the social media’s interactivity and entertainment factors.

Entertainment education-thinking and discussing TV messages


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Whetmore and Kielwasser (1983) reported soap opera viewer’s involvement on several levels:

looking for clues to predict plot outcomes, attention to fashion, identification with a favorite

character, and observation of interpersonal dynamics. Content and production techniques

encourage audience to relate to characters, to think about stories, and to discuss content. Plot

complexity, crises, and an emphasis on conversation are mostly created by specific social

norms in real TV program, which will be able to lead to audience’s thinking about and

discussing stories and trying to predict future outcomes. Indeed, TV program both reflect and

create social norms to affect audience: They emulate and modify current social values,

lifestyles and behaviors. Beyond fostering individual attachment to the characters (Russell

and Stern 2006), TV series is a prominent source of interpersonal interaction. Audience

members enjoy discussing the latest episode of a given soap opera and speculating about how

the story might evolve (May, 1999). As a consumption practice, TV series promotes

discussion and exchange and the influence of its content often flows from a collaborative

process of meaning-making (Kozinets 2001; Schau et al. 2009). This social embeddedness of

TV series suggests that the norms surrounding the programs, in particular their perceived

social acceptance, would likely moderate the effects of product placement on consumers.

Recently, Noguti & Russell (2015) discuss that social norms reflected and created by TV

series are able to educate audience in order to lead to their attitude toward the placed product

or brand. Especially on fashion product or brand placement, for example, the TV series’

dialogue will often happen between two characters who is telling the other how to wear on

specific occasion, which will subtly educate audience to get involved in the created social

norms and even lead to their imitated behavior. Interestingly, fashion contents on social media

are often generated from popular TV series’ created social norms to tell audience to follow the

characters’ tastes, which is widely focused by social media users and TV series’ followers.

Therefore, rich information sharing and convenient shopping guidance on social media seems

have ability to develop and extend fashion product placement effects

Summary

In sum up, branded marketers prefer to place their product and brand on screen is because of

the product placement effects. To be specific, the plot connection, on-screen prominence, and


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character effect with placed product and brand are confirmed able to effectively lead to

positive product/brand recall and brand attitude from audience. Beside, by reviewing

scholarly literatures with TV audience involvement, it is found that the influenced audience

have their specific social needs such as para-social relationship with characters, and social

norm effect from plot, which widely affect audience’s thinking and discussing behavior in a

social perception. Therefore, in fashion area, same style fashion product with character and

TV related fashion information guidance are popular among TV audience. In other words, the

highly involved TV audiences have specific social needs, which are proposed that social

media platform has enough space to satisfy the target TV audience interactively, even lead to

their buying intention.

Second screen- social media marketing

From a marketing perspective, social media has a better capability to reach target customers

than traditional media (Keller, 2009), which offers the new chance in fashion marketing by

using richer platforms. Unlike traditional marketing, social media marketing diverts attention

from “trying to sell” to “building a relationship” with target customers (Bush, 2010). As

Kaplan and Haenlein (2010, p61) define, social media is “a group of Internet-based

applications that build on the ideological and technological foundations of Web 2.0 and that

allow the creation and exchange of User Generated Content.” Social media involves

interactions and participation among individuals in which they share and discuss experiences

or opinions through the Internet. Bush (2010) argues that its potential has still been

underestimated at the moment, although social media is widely considered valuable for

improving customer relationships. Undeniably, the development of social media has varied

customer engagement behavior in the virtual environment. Increased customer engagement

helps to enhance brand reputation and improve customer service. Social media marketing

strategy generally focuses on efforts to generate content which draw attention and encourages

customers to share information via social platforms (Tuten and Solomon, 2013). In the

fashion industry social media marketing supports fashion brands engage better with their

target customers to form interactive relationship compared with traditional media (Bernie and


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Schafe, 2010).

Goals of Social media marketing

Branding effects

Fashion brands’ presence on major social media sites such as Facebook, Twitter, Instagram,

YouTube, and Pinterest has clearly fulfilled these demands. Social media give brands an

opportunity to get a more personal relationship with consumers through immediate response

to posted questions, instant updates about new products and campaigns, as well as comments

and discussion in a public forum.

Rubinstein and Griffiths (2001) define successful online branding in four basic aspects:

· Delivering a consistent brand experience

· Integrating all the expressions of the brand

· Establishing brand awareness

· Measuring every new initiative against the brand

In order to profit from the Internet and connected consumers, “fashion brands need to balance

exclusivity with accessibility” (Kemp, 2009). By marketing their presence through social

media, fashion brands can offer consumers a sense of mutual dependence through the process

of establishing brand equity. Additionally, Kemp (2009) argues the best way of understanding

consumers’ needs is to have a direct line of conversation with them through the platforms

created by social media. Social media also function as referral sites that divert traffic onto

fashion brands' official website and increase the chances for consumers to look into brands’

context (Corcoran, 2009).

Public Relations

With the evolution of social media tools in recent years, public relations practitioners have

had to embrace the changes in how designers and consumers interact, and how the public

responds to traditional public relations materials. According to Noricks (2010), it is the

responsibility of the public relations professionals to monitor online and social media


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conversations. “PR shops have played major roles in developing, creating and executing

digital and social efforts for key clients” (Bush, 2010). Part of the public relations campaign

now includes social media promotions and presence, and analyzing and participating in the

discussion and comments by consumers. Bush (2010) explains that marketers are “looking for

both social-media and digital guidance, public relations has seen increased and broader

assignments from current clients, closer relationships with marketers and a much bigger

pipeline of new-business pitches” .

Social media sites disseminate traditional public relations tools quickly, to large audiences,

and with minimal cost. Summed up by Lee (2009), “the fashion industry has adopted social

media as a marketing platform to reach their customers online and reignite brand passion and

customer loyalty,” and public relations practitioners are now more involved in this process.

According to Khang (2012), “scholars have endeavored to explore social media by offering

definitions, determining uses and impacts, and applying theoretical and methodological

approaches regarding the topic”. This information is relevant to public relations practitioners

in how they represent their clients online, encourage users to ask questions or host open

forums, and in regards to the consumer-designer relationship. “As information on products

and companies becomes more transparent through the use of social media, the concept of

“information is power” is neutralized, as information is more readily available and shared

(Sinclaire, 2011). Facebook, Twitter and other social networking sites are “tools that can be

used to build relationships through open dialogue internally and externally, providing both

opportunities and challenges” (DiStaso, 2012). According to Roach (2012), the “opportunity”

presented by social media does not change the practice of public relations. “One still has to

start with a newsworthy story, turn it into a news story, and send it out or post it… Social

media just makes the process more efficient by alerting more people to the message” (Roach,

2012). Social media channels have enabled the public relations practice to better

communicate with the public, and to more efficiently disseminate information on their client’s

behalves.


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Social media marketing techniques

Content marketing

The social media landscape has experienced a colossal revolution in the past decade. From a

business standpoint, the importance of virtual brand communities has soared (Mangold and

Faulds, 2009, Tuten and Solomon, 2013). In this context, content marketing has increased the

importance to be successful online, including free and paid content. It is a core component of

social media strategy. For fashion brands, it is necessary to distinguish what content is created

by themselves and their competitors.

As Pulizzi (2012) defines that content marketing is the marketing technique to construct and

distribute appropriate and valued content to “attract, acquire, and engage a clearly defined and

understood target audience”. Chaffey and Ellis-Chadwick (2012, p653) further argue content

marketing refers to “the management of text, rich media , audio and video content aimed at

engaging customers and prospects to meet business goals published through print and

syndicated to different forms of web presence such as publisher sites, blogs, social media and

comparison sites”. A content marketing strategy can be carried out through various channels

such as print, mobile and social media channels. Additionally, it is employed at a customer

engagement process, from attention-oriented strategies to retention and loyalty strategies and

includes multiple buying groups.

Different social media platforms used to create online content by fashion brands as part of

customer engagement strategies. Social media is a cost-effective platform to build

customer-to-customer and brand-to-customer conversation that may drive business benefits

for fashion brands. In addition, Goh et al. (2012) point out that content marketing on social

media generally brings about a positive impact on customers’ participation, commitment,

brand loyalty and purchase expenditures.

Social media has driven a business focus toward content marketing, since engaging content

marketing support the online marketing efforts containing SEO, social media marketing and

email marketing (Bosomworth and Chaffey, 2013). In other words, content marketing is


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valuable for online customer engagement. Today, there is a requirement for cohesive with

diverse communication tools, and it requires more content types. Content formats dependent

on the brand culture and determine how target customers find the content easiest in the real

world. Moreover, different content support to answer questions about ta certain topic in new

means. Chaffey and Smith (2013) list the main content formats including video, E-book,

podcast or audio, webinars and Q&As.

Content management has developed to support fashion brands to add, modify or remove

marketing information easily. On one hand, social media marketing activities are associated

with Web 2.0, such as editing and sharing photo, video and music. In this context there is

more and more user-generated content, and some challenges regarding quality management,

content classification and organization (Prindle, 2011). At present, most fashion brands have

used social media platform to test which formats of content is most shareable and improve

their method grounded on what is shared repeatedly. Actually, a picture or a video may

generate around more engagement than texts on a post.

The fashion-related content ought to be transmitted to a large number of target customers. In

the fashion industry, designers, brands and retailers play a vital role in telling customers about

new style and fashion trends. Recently, fashion customers are expecting highly creative

content. Hence, social media content creation can be considered brand-related storytelling

where pictures, music, videos and texts are arranged to arouse customer engagement and

customer involvement. Hennig-Thurau et al. (2004) argue that fashion tips and advice like

great deals or how to match a specific fashion item are popular among fashion customers.

eWOM Marketing

Word-of-mouth marketing, namely viral marketing is one form of contemporary marketing

methods that utilize electronic communications (e.g. email) send brand information to

customers (Li et al., 2010). There is a close relation between social media and word-of-mouth.

More specifically, Gillin (2007) explains that traditional marketing tools may allow customers

tell ten people; while in digital marketing age, customers can use social media platforms to


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tell ten million. Indeed, social media has acted as a common platform to facilitate electronic

word-of-mouth in the online environment. For example, recommendations about

fashion-related items are very popular among social media users. Additionally, higher

efficiency and lower cost are also advantages for electronic word-of-mouth marketing

compared to traditional marketing techniques. In general, customers share a pleasant shopping

experience on social media platforms may drive their contacts’ intention to purchase the

related product.

From a marketing standpoint, social media are expected to achieve various marketing

objectives, ranging from word-of-mouth marketing and enhancing customer loyalty, to new

product development. Trust is one of the most important factors to determine the customer’s

loyalty and intention to buy specific fashion products on the website. eWOM elements in

social media marketing context include personal style, brands news, fashion advice and tips

and purchases that improves trust from customers and reduce the perceived risks (Flavian and

Guinalieu, 2006; Omar et al. 2011). Nevertheless, Chaffey and Ellis-Chadwick (2012) argue

that the risk of the eWOM marketing is higher because it is hard to forecast the success of a

certain viral agent.

Social media gives individuals the opportunity to interact with their brands in person. The

advantage of social media and word-of-mouth marketing is regarding an efficient viral agent

can reach larger audience than traditional marketing tools. Individuals are highly influential

by their peers, friends and family. As discussed by Shih (2009), the potential business value

can be produced via customer referrals and recommendations on different social media

platforms. Some social influencers contribute to spread the information more broadly with

social media platforms.

Hennig-Thurau et al. (2004, p.39) define eWOM as “any positive or negative statement made

by potential, actual, or former customers about a product or company, which is made

available to a multitude of people and institutions via Internet.”, which is a kind of socializing

activities. Lee and Youn (2009) affirm that, the importance of WOM will be increased

significantly with the Internet in the future. Particularly, WOM ground in social networks has


18

found to grow rapidly because members’ creating and sharing on social networks concerning

products and shopping experiences have a great influence on their contacts. By understanding

this, eWOM is a must for fashion brands that need to be invested in the coming year, which

means listening carefully and not simply making things “occur” without managing negative

comments and reputation risks.

However, the main disadvantage of word-of-mouth marketing is often leading to a high risk.

When fashion customers lack of experience, they are more likely to look for and believe

others’ opinions, particularly negative opinions (Brodie et al., 2011). In general, some

negative assessments have a more harmful influence on business transactions and brand

reputation than positive assessments. In other words, negative opinions regarding a fashion

brand can be spread quickly that may bring about a public relationship crisis. Besides, another

problem is no guarantee that the specific advertising will go viral, which may waste the

investment.

The main challenges of word-of-mouth marketing within social media context is that fashion

brands attempt to interact with their target audiences but thess audiences may not want to

engage with these brands, on the other hand, it cause plenty waste of investment. Moreover,

posting the attractive and interesting content and stimulating audiences to share with their

contacts is complicated for most fashion brands. Seeding can help to distribute content

(Chaffey and Ellis-Chadwick, 2012); besides it is time-consuming.

How and who to reach have been paid much attention in terms of word-of-mouth marketing is

a widely argument among scholarly literatures. Gladwell (2000) indicates the influential are

very important and Godin (2001) outlines the implication of “the idea virus”, as two examples.

In terms of spread, idea virus is quicker than word-of-mouth. Moreover, it has a tendency to

reach larger audiences, and thirdly, it has a lasting impact on a particular product or service.

Conversely, some believe that the role of influencers in word-of-mouth marketing can be

exaggerated. Firstly, Balter and Butman (2005) argue that individuals will not talk about

favorite products and service to their friends all time. Subsequently, Castells and Cardoso

(2005) coincide, the “influential hypothesis” is grounded on unproved assumptions, highlight


19

that word-of-mouth is concerned with everyone, rather than only influential. In fact, it does

not match how transmission controls in many cases. Further interpretation is given that most

social changes are occurred not by influential, but by easily affected individuals influencing

others who are also affected easily. Chaffey and Ellis-Chadwick (2012) state, marketers

replace “viral agent” with “shareable social objects” and replace “seeding” with “influencer

outreach” in the current academic field.

In sum up, eWOM is different from traditional WOM in many ways, which may be numerous

senders and receivers and the conversations last longer. Kulmala et al. (2013) state that

eWOM will exert the most powerful effect on customer purchase behavior. With the

appearance of social media, information regarding comments, news, feelings and messages

spread faster than ever before. In this context, eWOM generates a vital influence on fashion

brand choices and purchase behaviours among members living within social media (Park and

Cho, 2012).

Social media user engagement

Customer engagement has been a key topic in different academic fields over time. Marketing

researchers have defined this term in many ways; however, it is limited to examine how it

differs from similar relational terms, “participation” and “involvement” as two examples. For

this reason, the Marketing Science Institute (Bolton, 2011) highlights the need for further

research regarding the customer engagement concept. Taking customers’ perspective,

customer engagement requires the individual’s perceived value, as well as functional value

gained from specific brand engagements.

Relationship Marketing and Customer Engagement

Mollenn and Wilson (2010, p5) describe brand engagement in the virtual environment as “the

cognitive and effective commitment to an active relationship with the brand as personified by

the web site or other computer-mediated entities designed to communicate brand value.”

Further, Vivek et al. (2012) assert, customer engagement has theoretical roots within

relationship marketing because relationship marketing highlights customer experience and


20

interactivity. Brand engagement encapsulates an interactive relationship with the brand, and

requires the perception of experiential value in addition to instrumental value to be obtained

from interactions with the fashion brand-customer relationships. Lacking trust is improbable

to build enduring intimate relationships. On the contrary, customers can be expected to

convert into advocates for a certain fashion brand if they trust a specific brand.

With respect to commitment, it has been outlined “as an exchange partner believing that an

ongoing relationship with another is so important as to warrant maximum efforts at

maintaining it; that is, the committed party believes the relationship is worth working on to

ensure that it endures indefinitely (Morgan and Hunt, 1994, p.23),” which result in long-term

relationships but may not certainly intimacy. Bowden (2009) divides commitment into two

types: calculative and affective. Calculative commitment derives from the shortage of

suppliers causing customers to “stick” with a specific fashion brand. Nevertheless, affective

commitment, leads to the emotional bond between a fashion brand and its customers as well

as enhances the trust in a relationship (Gustafsson et al., 2005). Consequently, trust and

commitment will likely bring about initiating customer engagement. Indeed, virtual

environment extremely improves the brand’s ability to engage customers in collaborative

innovation in several ways. It allows fashion brands to transform passive and one-way

customer engagement into a persistent and active relationship with customers.

Customer engagement in the online and offline brand environments

Innovation perspective In offline environments

Brand-centric

In online environments

Customer-centric

Role of the customer Passive – Customer voice as an input to create

and test products

Active – Customer as a partner in the

innovation process

Direction of interaction One-way Two-way

Intensity of interaction On contingent basis Continuous dialogue

Frequency of interaction Low High

Richness of interaction Focus on individual knowledge Focus on knowledge as social and

sense making

Size and scope of audiences Current customers Current and potential customers

Source: Sawhney et al. (2005, p.4) and Rossi (2011, p.48)

As Sawhney et al. (2005, p.4) and Rossi (2011, p.48) mention, customers’ engagement in the

offline brand environments highlights the brand-centric, one-way nature of customer

engagement, while online community engagement emphasizes customer-centric, two way


21

interactions with both the current and potential customers (see figure above). More

importantly, in the online environment, fashion brands have a higher engagement frequency

than offline environment. Furthermore, fashion customer participation and engagement in

B2C online communities are driven mainly by such interactive activities.

The Customer Engagement Cycle

The customer engagement process establishes a customer engagement cycle. In order to

create customer loyalty, commitment and connection, customer engagement aims to satisfy

customers through offering better value than competitors (Sashi, 2012). Engaged customers

convert into partners who work together with fashion brands in the customer engagement

cycle to superior meet their needs in long-term relationships. The interactivity of social

networking sites significantly supports the process of building enduring intimate relationship

and emotional bonds between fashion brands and customers. Sashi (2012) also proposes that

the seven steps of the customer engagement cycle: connection, interaction, satisfaction,

retention, commitment, advocacy and engagement.

Figure Customer Engagement Cycle

Source: (Sashi 2012 p 261)

In the customer engagement cycle, building emotional bonds require fashion brands to

connect with target customers. Both offline and online engagement may be used to create

these interactive connections. Social media significantly facilitates the connection


22

establishment with fashion customers and brands. On one hand, such customers can utilize

existing connections to satisfy their needs and expectations. On the other hand, such brands

can create direct connections with current and potential customers in order to obtain product

suggestions, and even develop new products are consistent with these needs. To a large extent,

Web 2.0 allows social interactions faster and richer between fashion brands and customers,

which lead to understanding of changes in customer needs over time, and assist brands to

better satisfy customer needs, such as modifying the existing products. If interactions between

brands and customers or among customers generate satisfaction, they will continue to engage

with one another. Nevertheless, satisfaction may not result in repurchases and a lasting

connection. With regard to customer retention, a study indicates that customer satisfaction has

a positive influence on customer retention, while affective commitments do not have an

impact on retention, but calculative commitment also has a positive influence on retention,

and recommends can be used to forecast retention (Gustafsson et al., 2005). Affect

commitment can cause the high level of trust and emotional bonds in the interactive

relationships with fashion brands. Further, calculative commitment may lead to customer

loyalty with a fashion product or brand while customer satisfaction may be viewed as the

result of affective commitment (Bouhlel et al., 2011). In the connected process, satisfied

customers are likely to keep interactions with others in the virtual communities to spread

about the positive experiences on a fashion product or brand. For fashion brands, these

customers eventually become advocates among members with whom they have

communications and connections. Furthermore, the exchange relationship between a fashion

brand and its customers or among customers will produce a new connection, building an

effective customer engagement cycle.

Summary

In sum up, with the rapid development of social media technology, fashion retailers are

focusing more on planning specific social media marketing strategy on variable social media

platforms that truly benefit their public relationship as well as enhancing consumers’ the

brand awareness. By reviewing scholarly literatures, the main contribution of social media

marketing is its social utility, information search and guidance, and entertainment (Ancu &


23

Raluca, 2009) significantly motivate fashion consumers’ social media engagement. On the

other hand, the technological development from web 2.0 – web 3.0, even the newest

conception of web 4.0, social media provide more and more innovations for creating a perfect

user-friendly, information richness, socialness perception and entertainment online interactive

environment. However, the creative and attractive content is the main driving force to lead to

social media consumers’ engagement, which means social media content marketing, is

necessary to carefully consider with before rising social media interactivity up. The study

supposes that fashion retailers’ can create popular TV program related character’s fashion

content on social media based on the strong TV audience basis.

Proposed model in this study

Proposed fashion marketing plan within TV soap opera and social media context

Product placement on TV soap opera as the first screen marketing technique that has been

confirmed is able to effectively lead to audience’s product/brand recall and positive attitudes

(Balasubramanian et al., 2006; Cowley and Barron, 2008). Gupta and Lord (1998) support

that shooting prominence and plot connection are the main driving forces affect audience

purchase awareness, which means TV product placement has its own ability to be a single

marketing strategy. Although the burgeoning popularity of product placement within the


24

academic discussion reflects the dynamic of this effective branding strategy, the critiques and

doubts on the implications of product placement for the response of the audience. What’s

more, with respect to the industry of fashion retailing, the unique manifestation of fashion

product, such as the hidden logo and the legally similar product design, might even reduce the

communication effect of product placement, which depends heavily on the details of how to

place the product without disturbing and is commented as ‘the paradox of product placement’

(Ephron 2003, p.20). Interestingly, by reviewing the product placement context, TV audience

will often emotionally involved and build up a virtual parasocial relationship with their

favorite soap opera characters (Rusell and Stern, 2004). Besides, TV audiences are often

educated by the virtual soap opera plot as well as leading to a social discussion among them

(Noguti and Russell, 2015). In this research, it is proposed that TV audience involvement will

be able to motivate specific social utilities, which can be developed as social media marketing

content to encourage TV audience’s engagement online. Keller (2009) discussed that social

media is a platform has great ability to gather a group of consumer and affect their purchase

intention and product/brand evaluation. Combining the first screen and the second screen

effects, soap opera character’s related content is worth to be designed as a social media

marketing content enable to arouse fashion consumers, which is proposed to be developed as

a new fashion marketing technique in the research .


25

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