SwagLDN Proposal

IRONIC. http://www.myldncampaign.moonfruit.
com

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DIGITAL
COMMUNICATION
STRATEGIES.

George Bartlett, Kristen Burns-Temison,
Amber Davey, Fiona Meynell, Abigail Ridgwell

BA (Hons) Advertising
Seminar Group: D
Tutor: Anna Feigenbaum

Word count: 5367

IRONIC. http://www.myldncampaign.moonfruit.com

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IRONIC.
Please take the time to view our report in its
digital format and follow the link to our
campaign micro-site.

http://www.myldncampaign.moonfruit.com


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EXECUTIVE
SUMMARY.
This report details the planning, strategy and execution Ironic took to create an online
campaign for SwagLDN. SwagLDN is a small-scale fashion brand based in London, selling
logo clothing and accessories such as T-shirts and Hats. The campaign ran from 27th
November 2013 7th January 2014, with content produced on the SwagLDN website,
Twitter, Facebook and Instagram. The report highlights the key analytics to show the
success of the campaign as well as areas of improvement for future communication. The
campaign was carried out with the aims of establishing SwagLDN as a unisex brand as
well as Cementing Swag LDNs brand equity online.

OUTPUT.
From analysing situational factors online, and establishing a niche target audience, Ironic
could create a media plan that would interest the chosen audience. By using the
specified online platforms, Ironic redesigned the website, created visuals and increased
the communications on social media to meets the goals. Content was posted daily with
the aims of increasing engagement and followers, to widen the brand awareness.

RESULTS.
Ironic then collated the data at the end of the campaign and analysed it using metrics
sites such as Google Analytics and Sumall. From these results, we found that through our
campaign we achieved a higher level of interaction with women through our social media
sites, a higher level of engagement with the target audience across all digital platforms
and significantly increased unique visitors and Instagram followers for the brand to
communicate with in the future.

RECOMMENDATIONS.
Optimize the brands Instagram as it showed most interaction.
To create more visuals and videos showing the development of the brand, to gain
interest and engagement with the online platforms.
Establish SwagLDN as a unisex fashion brand through suggesting ways to wear the
accessories to fit with current and future trends.

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CONTENTS.
1.0 The Concept... 5
Why Digital?............................................................................................... 5
Primary Research... 10
Target Audience...................................... 11
SWOT..................................................................... 13
Competitor Analysis. 14
2.0 Communications Plan... 16
Positioning.. 18
Key Theme.. 19
Brand Substance... 19
The Big Idea.. 20
Campaign Timeline...... 21
3.0 Implementation. 22
Website 22
Privacy Policy.. 22
SEO. 23
Promotional Videos.. 24
LookBook.. 25
Social Media 25
4.0 Evaluation.. 29
Google Analytics.. 29
SEO...................... 31
Facebook Insights.. 32
Sumall & Hootsuite................................... 35
Infographics of Evaluation... 39
Challenges in the campaign... 41
Recommendations. 41
References.... 42
Appendix.... 45
Reflective Statements.. 55

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1.0
THE CONCEPT.
Founded by Elliott Richards and Nathaniel Prince in 2009, SwagLDN is an independent
street wear brand based in London. SwagLDN is active on Twitter, Facebook and
Instagram and also operates an e-commerce website. The brand expressed a desire to
expand and begin retailing in stores, thus needing a strong digital presence to raise
awareness and increase brand equity. In order to do this we needed to develop
SwagLDN's brand identity. We developed the idea that SwagLDN represents talented,
passionate people who want a 'cool' effortless brand that allows them to express
themselves. We wanted to create an opportunity to start a conversation with the target
audience, thus the hash tag #MyLDN was created. To further develop our understanding
of the current male target market we used Kotlers segmentation strategies (ca. 2008
cited by Larson 2010). Alongside this we carried out primary research to identify a female
market for the brand and recognised an opportunity for expansion.

WHY DIGITAL?
Typically digital communications would support various below and above the line tactics,
however as 87% of the UK population are online (Warc 2014a) digital is an appropriate
channel in itself to establish a relevant and credible voice within the market. What is
more, the 16-24 year old market is the most active online (Mintel 2011) and as our
communications are targeted towards 18-24 year olds, digital is an appropriate tool for
SwagLDN. As one of our campaign goals was to take SwagLDN from a solely male focused
brand into a unisex market, a digital campaign can allow for Ironic to use competitor
strengths to create favoured images to appeal to a female audience. Mintel (2013)

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illustrates that women buy more online, and as SwagLDN's major route of retailing is
through their website it is also integral to increase sales. The digital sphere allows for
unexpected campaign alterations where necessary, in a cost effective manner.
WHY A WEBSITE?
The website has been chosen as the central channel for our digital communications
campaign as SwagLDN does not have a physical store and retails mainly online, they need
to drive traffic to the site. The website is a vital tool as e-commerce is forecast to reach 14
to 15 per cent of total sales in the UK by 2020 (Burdett and Mader 2014). This suggests
that SwagLDN needs to improve their online offering to benefit from this.

The website enables SwagLDN to express their brand identity in one place, and is also the
central platform to link SwagLDN to partner social media sites, through the use of
hyperlink images positioned in the top right hand corner of the website.

WHY TWITTER?

We decided that Twitter would be the main social media channel to engage with and
retain the established male audience. Twitters users are male dominated at 17 %, in
comparison to 15% women (Duggan and Brenner 2013). However, the main aim of the
channel was not to specifically target males, but rather to use it as a vehicle to ignite
conversation with the audience in a concise 140 characters. Twitter was chosen as when
it is used accurately (it) can bring brands closer to their audience (and) generate
traffic to (a) site (Grimes 2013), which is reflective of an outlined objective for SwagLDN.
As established in our goals, we aimed to add value to the brand thus needing to create
an emotional connection with the audience. Twitter humanises a company by allowing
the brand to project a human voice, which can establish relationships that are stronger
than any other platform (Ochman 2012).


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WHY FACEBOOK?

Facebook has been selected as a digital channel as SwagLDN had established a small but
strong following on the social media site. 79% of the overall social media usage in the UK
is on Facebook (Warc 2014a), see below. The 18-29 demographic is the most active on
Facebook, therefore a suitable channel to reach our target audience of 18-24 year olds
(Duggan and Brenner 2013). Furthermore, research highlights that females are more
active on Facebook, with 58% using the channel to post pictures, tell stories, share
opinions and establish relationships through two-way conversations. Providing content to
generate these conversations can encourage greater interest from females. (Plant 1997)
argues that the digital environment allows for the deconstruction of masculine
stereotypes, it breaks down this barrier and allows women to control the information
they engage in.


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WHY INSTAGRAM?

We decided that Instagram would be the channel to specifically target females, as
females are more likely to use Instagram than men (Duggan and Brenner 2013).
Furthermore, women like to post pictures and tell stories (Mintel 2013) which is made
simpler by Instagram. With regards to SwagLDN as a clothing and accessories brand,
Instagram is increasingly becoming a strong channel for fashion brands to communicate
with their audience. The fashion industry is one... where visuals must be prevalent and
consumers are much more inclined to follow a brand story if it is presented visually, thus
making it a suitable channel for fashion brands. Although not solely responsible,
Instagram is integral in terms of building a community within the digital sphere. This is
because a brand's followers are able to check out and befriend each other taking this
following from an isolated group of individuals to a intertwined group of people with
similar interests (Fashion Start Up 2014). These are all tactics SwagLDN can utilise
through a digital campaign.


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PRIMARY RESEARCH.

To further understand our target audience we conducted primary research in the form of
a questionnaire. We asked participants, aged 18-24, a series of questions relating to their
lifestyle and brand choices (Appendix 1). Our aims were to establish the preferred genre
of music, the brands they wear and what London meant to them.

Hmmmm


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TARGET AUDIENCE.

After conducting research into our target audience we created a profile for both male
and female consumers using Kotlers segmentation strategy (ca.2008 cited by Larson
2010).

DEMOGRAPHICS.
Age: 18-24
Gender: Male
Location: London and
Urban Areas
Occupation:
Student/Recent
Graduate/Entry Level
Minimal disposable income
BEHAVIOURAL.
Brands most often
engaged with:
Nike
Adidas
Apple
TGI Fridays
Bose
Topman
Heinz
Smirnoff
Carhart

PSYCHOGRAPHICS.
Lifestyle and interests:
Watching and playing football
Music concerts
The Gym
Cinema
Clubbing
Kicking back with friends

PERSONALITY.
Laid back
Funny
Ambitious


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DEMOGRAPHICS.
Age: 18-24
Gender: Female
Location: London and
Urban Areas
Occupation:
Student/Recent
Graduate/Entry Level
Minimal Disposable
Income
BEHAVIOURAL.
Topshop
Nike
Asos
iPhone
Tresemme hair
products
Sony laptop
Charity shops
Nandos

PHSYCHGRAHICS.
Lifestyle and interests:
Plays sport
Reads fashion
magazines
clubbing
Eating out
Shopping

PERSONALITY.
Fun-Loving
Bubbly
Confident


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NEW TARGET AUDIENCE.

SwagLDNs current core target marketing are 18-24 year old males, however the brand
expressed the desire to engage with a new female consumer base. When researching
further into the target audience, we found that 16-24 year olds were the most active
online (Appendix 2), with females being the most active on social media platforms. This
confirmed there was an appropriate audience for SwagLDN to target online
communications to (Mintel 2011). SwagLDNs competitors are predominantly unisex
brands therefore this highlights an opportunity SwagLDN has missed in terms of unisex
branding.

With regards to SwagLDN's e-commerce site, research shows that 16-24 year old
consumers are increasingly buying more clothes online than in store (Mintel 2013),
creating a chance to benefit from a captive audience. Brands such as Asos (an online
retailer) have proven that by constantly improving (their) offer to fashion conscious
twentysomethings rewards can be found in increased sales (Butler and Farrell 2014).

Lastly in terms of fashion, targeting the female market makes sense at present, due to
male inspired fashion increasingly making an appearance in womens fashion. Many
fashion magazines are offering opportunities to show women how to wear male inspired
clothing (Harpers Bazaar 2011). Thus making it more accessible for consumers and
creating an opportunity for originally menswear brands like SwagLDN to capitalise on this
trend.


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S.W.O.T.
(Pickton and Broderick 2005).

S.
Receptive target audience has been
established.
Twitter following is impressive
considering the small amount of
content posted.
Appropriate tone of voice for target
audience.

W.
Difficulty finding the Facebook page,
Swag is a competitive brand name.
Website has no privacy policy, reducing
trustworthiness of the brand.
Logo does not fit into Facebook page
icon.
Website does not contain information
on delivery and returns.
The website does not contain images
of people wearing the products.
Social media channels not updated
daily.
Facebook page does not link to the
website.
Website does not contain a clear
about us reducing transparency and
trust.
There are spelling mistakes and poor
formatting on the website.
Stock is not available for customers to
buy from the website.
Poor SEO difficulty finding webpage
from search engines.

O.
Widening their target audience.
Increase pricing to open own high-
street store.
Use promotional tools online to
engage users.
Use social media as a means for
competitions and give away incentives.

T.
Competitors post daily, crafting user-
generated-content.
Competitor brands are well optimised
easier to locate via search engines.
Larger brands can benefit from
economies of scale (faster and cheaper
delivery services etc.).

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COMPETITOR ANALYSIS.

The purpose of digital and social media within the competitor set is to engage and
interact with users.

A brand engager (Hall & Partners 2014) has been created to measure engagement (Costa
2010) and to aid our future recommendations by highlighting the strengths and
weaknesses of direct/indirect competitors of SwagLDN. The selected competitors and
axes have been justified through primary and secondary research.

The brand engager reflects SwagLDNs limitations in relation to its competitors, which is in
turn impacting its digital presence. Adidas have recently driven traffic to their Facebook
and Twitter by utilizing a hashtag campaign titled #unitealloriginals. By using both
channels simultaneously this targets multiple users as well as benefiting from likes and
re-tweets to extend their voice beyond its direct followers.

Participation identifies how willing the consumer is to participate with the brand beyond
purchasing. SwagLDN should be adopting the positioning of New Era, as their stylish

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reputation for snapback hats has created a brand identity that is trusted on/offline. Their
social media allows for an extension of their brand and is used as a platform to generate
conversation, which at times is not central to the retailers purpose.

Each competitor reflects strength in knowledge, which refers to the integration of
consistent ideas. Hype is currently using Facebook, Twitter and Instagram to inform and
engage users of the opening of their flagship store (Hype 2014) in which each platform
reinforces the same use of colour, logo, tone of voice and language. Digital media is used
to remind and cement the brand in the mind of the consumer in a timely and targeted
manner.

SwagLDN reflects their greatest strength for connection, which corresponds with how
relevant a brand is. It is more than a brand, they are a lifestyle and their communications
focus on key aspects of their target audiences lives therefore reflecting the consumer.


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2.0
COMMS PLAN.
GOALS.

Establish SwagLDN as a unisex brand.
Cement SwagLDNs brand equity online.
OBJECTIVES & TACTICS.

Increase female interaction with the brand by 20% by the 7
th
January 2014.
! Tactics:
! Female specific pages on the website
! Collaboration with female figures
! Female targeted images across all digital media
! K.P.I.S
From females:
Retweets
Likes
Favourites
Comments

Increase total online engagement by 40% by the 7
th
January 2014.
! Tactics:
! Create more content on the website
! Make website more user friendly
! Promote activities on site through social media
! Frequent conversation on Twitter
! Relative imagery posted on Instagram
! Promotions

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! K.P.IS
Average time on site
Average page views per visit
Return visitors
Bounce rate
Comments
Likes
Establish a larger online audience by 30% by the end of the campaign.
! Tactics
! Affiliate and partner marketing
! SEO
! Increased SwagLDN shares and follows of user generated content
! Promotions
! K.P.I.S
Followers/Fans/Unique visitors
Reach


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POSITIONING.

From this perceptual map we can see a positive correlation between the amount of
content published on social media, and the online engagement received. It is clear that
currently SwagLDN publishes a slightly below average amount of content in comparison
to its competitors. However, online engagement with the brand is significantly lower. This
can be explained by Ko et al.s framework of Social Interaction. Whiting and Williams
(2013, p.364) argue that for this Social Interaction framework of commenting and sharing
to be utilised effectively, the content being published, must be of interest to consumers.
It must not only be a promotional message, selling the product or brand (Whiting and
Williams 2013). Therefore, we strive to reposition SwagLDN from SwagLDN 1 to
SwagLDN 2. The aim of this repositioning is to develop a differential competitive
advantage. Although SwagLDN would be positioned in a saturated part of the market, we
High Online Engagement
Low Online Engagement
Low Content High Content
New Era
Vrai Ou Faux
Hype
Adidas
Swag LDN 2
Swag LDN 1

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would create content that would not only be pushing product sales, but also would be
creating positive brand associations, and posting content that would reinforce these
associations, which SwagLDNs target audience would be interested in.

KEY THEME.

The overall theme for the campaign was to give SwagLDN a story to relate to the target
audience. Ironic needed to craft a theme that would get people connecting with the
brand and thus the formation of our big idea, the #MyLDN campaign was generated.

BRAND SUBSTANCE.

Values: Respecting young talent and entrepreneurs, expressing your roots, originality,
representing the future generation.

Personality: Fun, conversational, creative, informal, urban.

Story: A clothing brand built up from two young male businessmen wanting to create a
brand that represented their London life.


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The Big Idea
#MYLDN

This hashtag is aimed to get people talking about their
love for London and what it means to the individual. This
resonates with the brand based on its humble beginnings.
Not only could this be common ground for a larger
audience, it reflects SwagLDN!s brand identity of local
London fashion. In order to enhance this identity, and the
associations made with the brand Ironic crafted creative
collaborations with local talent.


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TIMELINE. (Appendix 3 for full details)

Launch Bundle
Giveaway
Launch first
#MyLDN
talent
November
December
January
Website &
Campaign
Launch
Take control of
communications
Launch the next
#MyLDN talent
Promote Bundle
Giveaway
Launch the next
#MyLDN talent
Announce
Giveaway
Winner
Launch 2
nd

Bundle Giveaway
Launch the next
#MyLDN Talent
Announce
Final
Giveaway
Winner
Close the
campaign

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3.0
IMPLEMENTATION.
The following executions were implemented in line with strategy, tactics, goals and
objectives (Appendix 4).
WEBSITE.

The SwagLDN website was the central channel for the campaign. Pre-launch, the
formatting, content and layout of the website needed to be readjusted in order to get the
best out of the content produced. One of the first changes made was the way in which
the products were displayed. Primary research found that, mainly females use online
platforms to gain inspiration for their fashion choices (McMahan et al 2009). Therefore,
instead of displaying the products on a plain background, we held a photo shoot, with
both male and female models. Not only did this clearly define SwagLDN as a unisex
brand, but also inspired the target audience on how best to wear the products.

In addition to this, we created a promotional video which would automatically play upon
entering the SwagLDN website. This film was crafted with the aim of capturing the new
identity. In turn, this gave viewers an immediate indication of what the brand represents
and were able to get an idea of the brands story, values and beliefs. Once the website
had been redesigned, Ironic were able to develop the social media channels, and
integrate them with the #MyLDN page and lead followers to the new website.
PRIVACY POLICY.

Before the redevelopment of the website there was no privacy policy in place. Therefore,
we used a template that was comprehensive to fit with the data protection act as well as

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the Privacy and Electronic regulations (2003), to express to users that data they provided
for SwagLDN was kept safe and private. The Privacy and Electronic Regulation (2003) is
effective whenever personal data is processed. For example SwagLDN needs to retain
customers details in order to send the products. Furthermore, SwagLDN states data is
tracked via Google and that cookies are being used. Therefore, having a privacy policy in
place assures customers that their details are safe and not sold on to third-parties.

SEO.

To improve our websites SEO we implemented the following, to become more visible
online (Chaffey and Smith 2013):
Linked social media to the website.
Used Meta Tags such as # MyLDN , Swag and 'LDN' to inform users of what the
website is about.
Placed keywords in titles.
Made sure all content on the website was relevant.
Abided by Google SEO rules.
Created original copy.
Built brand perception and trust to help differentiate the brand from its online
competitors.
(Moz, 2013; Fishkin 2013; Anderson 2013)


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PROMOTIONAL VIDEOS.

To enhance SwagLDNs brand identity, we collaborated with local talent, and expressed
their passion in video form. By creating these partnerships, the brand gained positive
associations and a story that went beyond the clothing line. These collaborations
included disciplines such as dance, parkour, and music production adding to the brand
identity. According to Ricouers (1992) narrative identity theory, we create our identity
through the stories we tell and past experiences we have had (Terry 1999). Therefore,
brands that tell a story create a persona that consumers want to connect with, enhancing
SwagLDNs brand equity.

Along with the video, we interviewed each person, asking them about their talent, and
why they are passionate about it, which we then adapted to create personal pages for
each artist on the site. Many of these targeted men and women differently in order to
increase engagement.

We then used social media to create a build up to the release of the videos, and
encouraged viewers to engage with the campaign post-release. The social platforms also
directed the target audience to the #MyLDN page on the website, to inform consumers
about the theme of the campaign. By creating a #MyLDN page, people could find this
activity easily.

LOOKBOOK.


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LOOKBOOK.
Adding a Lookbook to the website was another tool used to engage with consumers. By
creating a catalogue of images of male and female models wearing the brand in different
ways, the viewers are able to gain inspiration as to how the brand should be worn. This
Lookbook was inspired by the small-scale clothing brand Vrai Ou Faux. The selection of
images used in different environments turns SwagLDN products into a lifestyle.

SOCIAL MEDIA.
TWITTER.

The SwagLDN Twitter account was used to engage in a conversational tone with its target
audience. The Twitter accounts focus is on the male segment of SwagLDNs target
audience, resulted from primary research. McMahan (2009) found that males engaged
online for entertainment reasons such as an information feed, product searches and
participating in games/competitions. Therefore the simplistic style and short tweets of
information is more appealing to the male target audience. Our research also found that
twitter feeds should be 60% conversational and 20% marketing intended. Therefore, each
day, the SwagLDN account engaged with topical conversation relevant to current affairs,

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days of the week, or even the weather. This was intended to create a more personal feel
to the brand.

In addition to this, Tweets encouraging viewers to watch SwagLDNs promotional videos,
Like the Facebook page, and get involved in give-aways were also executed. The #MyLDN
hashtag was created to get people talking about their love for London. All who
subsequently tweeted were then entered into a prize draw to win a selection of SwagLDN
products. Not only did this create engagement, but the giveaway also raised awareness of
the brand logo and products amongst new audiences. During the campaign, many
people re-tweeted, favourited, and engaged in conversation with the account, all using
the hashtag #MyLDN. As the hashtag was increasingly used, followers began to use it in
their own tweets when talking about London, showing a strong association with the
campaign.


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FACEBOOK & INSTAGRAM.

Much like Twitter, Facebook and Instagram were used as a conversational platform to
drive visits to the main site. However, these channels were more focused towards
females. This was as a result of the secondary research (McMahan 2009), which
highlighted that women use social media in a more emotional way, using it to converse
with others and seek approval. Therefore, Facebook and Instagram utilised to reach the
female target audience. Photograph uploads allowed people to discuss thoughts on the
style, and share it on their own pages. Uploads of the photos and posts throughout the
campaign encouraged interaction with the brand. We found that sneak previews were a
great way of getting followers excited about new promotional videos.

Therefore, the focus of these platforms was mainly to offer ideas and new ways of
wearing the SwagLDN clothing. Photos were uploaded suggesting different accessories
and outfits.


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Instagram was the most female orientated platform of all social media sites. Supported
by Korgaonkar and Wolin (1999), women prefer engagement based on graphic elements,
rather than information-driven approaches, preferred by men. With Instagram being
image based, female engagement is likely to be higher. Therefore, the majority of
Instagram posts were determined by current fashion trends, the appropriateness for the
time of year, and posting opportunities that arose throughout the #MyLDN campaign,
e.g. Christmas, Black Friday and New Years Eve. Similarly, Instagram was used as a sharing
platform to drive visits to the main site. Throughout the campaign, we searched for users
that were posting images of themselves, wearing the SwagLDN clothing and interacted
them into the campaign through liking, commenting and following them.

Within each platform, although we focused on various segments of SwagLDNs target
audiences, it was vital to ensure that the same tone of voice was used throughout. All
platforms needed to stick to the campaign plan, and post the same news and updates
weekly to ensure continuity. Consistency is essential to make sure that all audiences
perceived the brand in the way SwagLDN intended (Stride and Lee 2007). Furthermore,
the social media sites needed to encourage viewers to click through to the sibling
platforms to increase engagement on all channels.


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4.0
EVALUATION.
GOOGLE ANALYTICS.

To measure whether the rebranded website was a successful channel in meeting our
objectives Google Analytics (GA) has been applied to measure the significant activity
throughout the 6 weeks because it is free, well established, and can produce a high level
of data.

Full Traffic (2012), explains how by using GA you can assess the success of your marketing
campaign through the different functionalities of the tool. It also suggests that through
GA you can evaluate deficiencies in the website to improve the engagement level.
SwagLDNs original website contained this metric which was useful for us to see exactly
where it needed improvement. For example, a high bounce rate and a low average visit
duration suggested that the website was insufficient in producing interesting content to
keep viewers on the website.

The different functionalities of Google Analytics are suitable for different types of
measurements, allowing for custom reporting. Average page views are said to measure
engagement and how deep in to the site the user goes, where as time on site is
suggested to show a level of trust that is being built between the brand and its audience
along with how curious they are of your brand (Marc Porier 2012).

However, with GA you have to ensure that the code is implemented on each page of the
website, otherwise the data collected will be unreliable (Distilled 2011). Therefore, Google

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Analytics has to be applied in the right way for maximum results, unlike other metrics
such as Hootsuite (2014). Unfortunately, our demographic data was not collected in the
way we had hoped due to not configuring GA correctly on the website resulting in
unmeasured demographic data. This meant that we were unable to measure objective 1
via the website.

Furthermore, due to the vast amount of data collected, it can be complex to analyse thus
filters should be applied to help to specify the data necessary to evaluate and goals set at
the beginning of the campaign. For example, for the SwagLDN evaluation we applied
specific filters in order to evaluate the success of the campaign against each objective
and applied goals to the GA.

#MYLDN CAMPAIGN EVALUATION.
WEBSITE.

In order to evaluate an increase in engagement and online audience the results from GA
were compared to a 6-week period prior to campaign (August 28
th
October 9
th
2013).

OBJECTIVE 2: Increase total online engagement by 40%
Average time on site: 163% Increase
Average page views per visit: 2.6% Increase
Return visitors: 7.6% Increase
Bounce rate: 19.25% Decrease

Therefore, this suggests that the SwagLDN website generated enough engaging content
for the audience to explore more pages on the website, learning more about the brand
and remained on the site longer suggesting an engagement with the video, photo and
copy content.


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OBJECTIVE 3: Establish a larger online audience by 30%
Unique visitors to website: 125% increase (166 vs. 375)

How people found the website:
Therefore, by a 125% increase of unique visitors to the website the campaign has
managed to build a much bigger audience compared to previously. Furthermore, with
more visitors coming from Twitter and Facebook it suggests that promoting website
activity across social media channels increased visits to the website.
(See Appendix 5 & 6)
SEO.
Keywords that were typed in to organic searches included: Swag London; LDN
Snapback; Swag in London and Swag LDN (Appendix 6). Therefore, SwagLDN should
focus on optimizing these further in future campaigns. Additionally, a description was not
added to the website for Google to recognize, thus a Google generated description was
created. SwagLDN should look at creating a description for the website as part of SEO in
future online campaigns to entice new users.
(See Appendix 7)

Aug - Oct:
130 Organic
54 Direct
13 Twitter
4 Facebook
2 Instagram
Campaign:
241 Organic
152 Direct
59 Twitter
73 Facebook
1 Instagram


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FACEBOOK INSIGHTS.
Google Analytics is only sufficient in analysing websites and for hosted social media sites
such as Facebook, Twitter and Instagram other metric tools must be applied. For our
Facebook channel we chose to use Facebook Insights to assess whether the channel had
help to meet our objectives.

Facebook Insights is the official metric from Facebook making it the most accurate tool
for this channel. It can specifically measure the demographics of your audience, useful
when targeting a niche market, (Social Media Today 2013). Furthermore, this metric can
provide data to compare the amount of reach between fans and not fans, the optimal
posting time and engagement rate - likes, talking about, clicks (Inside Facebook 2013).

However, because the channels most useful data is qualitative the metric doesnt analyse
trends in the posts but focuses on the quantitative data such as how many comments
rather than there content. This suggests that for the #MyLDN campaign, Facebook
activity has been simplified to measurable data through this metric and the posts should
also be analysed separately based on content. Furthermore, this metric doesnt allow you
to assess the demographics per time frame, so to evaluate an increase in female
interaction the original statistics of the fan base were recorded.


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FACEBOOK.

OBJECTIVE 1: Increase female interaction with the brand by 20%
Aug - Oct: Female fans: 41% Male fans: 59%
Campaign End: Female fans: 52% Male fans: 48% = 11% increase of female fans.
Total likes on Facebook posts are from 54% female.

Therefore, because of an increase in female fans and predominantly female likes on our
posts on the Facebook page this suggests an increase in female interest on Facebook.


On Facebook the most amount of engagement recorded was through likes on specific
posts. The amount of likes per post did not exceed 9; suggesting that the content was
either not engaging enough or the channel is not optimized for brand engagement. This

34
is supported by Creamer (2012) who suggests that only 1% of a brands fan base is
engaged with their activity on Facebook. SwagLDN only has 4 fans talking about the page
compared to 1.5k fans suggesting a lack of engagement with the brand on this channel.
SwagLDN had not posted in 2013 until the month of our campaign and therefore we
couldnt measure the level of engagement against previous data within the same year.

Most engaged post:

The most engaged post gained 13 likes, 2 shares and 142 video views. This post engaged
the audience through a sneak preview of the new SwagLDN photo shoot.

Likes increase 67 likes = 4.5%
Posts with the most reach:
Of this 1.3K
people, 1,017
were not fans.
Of this 356, 11
were not fans.
Of this 328,
95 were not
fans.

35
Therefore, the amount of reach to non-fans was increased during the campaign due to
people sharing the post on Facebook (and also on Twitter). This suggests that its not
about how many people SwagLDN reach but how much people give back to the
company.
SUMALL AND HOOTSUITE.
Sumall states that data should not be looked at singularly but should be analysed across
media channels. They believe that this metric is the most digestible data to analyse whilst
still providing depth (Sumall 2014a). However, this metric is a pay to use tool in which if
SwagLDN had opted to subscribe more in-depth data could have been generated.
Hootsuite was used to compliment the statistical data of Sumall with qualitative data from
Twitter.


36
TWITTER & INSTAGRAM.

OBJECTIVE 1: Increase female interaction with the
brand by 20%
From Hootsuite retweets were analysed. Of these retweets
11 were female compared to 6 male and affiliate brands
continued to retweet SwagLDN as part of a co-marketing
partnership created on Twitter from the brands beginning.
54% of retweets were female compared to 46% male.
When compared to 6 weeks prior to campaign (Aug-Oct 2013) 100% of retweets were
male or a brand, showing a significant rise in female interaction with the brand on Twitter.

On Instagram, at the start of the campaign most of the likes were predominantly male,
whereas throughout the campaign female likes on images increased. For example
SwagLDNs first post on 27/11, 18 likes were male compared to 9 female, whereas on the
05/12, 21 likes were female and 11 male.

The total number of female likes to male was 71 to 68, suggesting a more prominent
female audience to engage with by the end of the campaign. Furthermore, the female
outfits that were created solely gained female likes on Instagram highlighting successfully
gendered content created.

37

On Instagram every image posted gained a like or a comment. The most engagement on
a post was on our give-away competition. This received 62 likes and 3 comments.
However, it could be criticized that SwagLDN should have replied to these comments on
Instagram to keep the conversation going. The give away promotion also received 3
retweets on Twitter and 1 favourite, along with 13 entries, showing engagement with the
give away.


38

01 December saw the most Twitter mention reach at 7,598.
This is the number of people who potentially saw SwagLDN
mentioned in a tweet thanks to retweets from fans.

Followers on Twitter increased by 46 people (11%) and
SwagLDN followed 120 more people, which helped to boost
the current audience and to build their follower base.

On Instagram, followers increased by 71 over the campaign time equating to 31%
increase. This shows that Instagram attracted the largest audience across all social
media.
AUG - OCT. POST-CAMPAIGN.

BEFORE
AFTER

39


40


41
CHALLENGES IN THE CAMPAIGN.

Within the campaign, although we have achieved great examples of high engagement and
an increased interest in to the brand not many people engaged with the # MyLDN
besides the give away. Furthermore, it is hard to measure this # engagement because of
the multiple interpretations of the # possible.

We faced issues with regards to timing. We initially planned to collaborate with 6 selective
talents, one for each week of the campaign. However, when it came to execution of the
campaign we found that we were limited on time and were only able to create 3 talent
profiles. Therefore, in future we should be more realistic about how much content we can
produce in the time allowance and ideally produce all the content before the campaign.
Furthermore, we came across problems with the client in terms of dealing with product
demand on the website due to products being out of stock.

Finally, at the beginning of the campaign multiple voices were apparent within the brand
with the client and the agency using social media. This was soon brought to our attention
and we solved the situation by ensuring that the client did not use the online applications
of the brand for the time of the campaign to ensure consistency of voice.

RECCOMENDATIONS.

Optimize the brands Instagram as it showed most interaction.
To create more visuals and videos showing the development of the brand, to gain
interest and engagement with the online platforms.
Establish SwagLDN as a unisex fashion brand through suggesting ways to wear the
accessories to fit with current and future trends.

Word Count 5,367


42
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Chaffey, D. and Smith, P., 2013. Emarketing Excellence, planning and optimizing your digital
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Costa, M., 2010. Customer engagement improves brand profit. UK: Marketing Week. Available
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profits/3013318.article [Accessed 10 January 2014].

Creamer, M., 2012. Study: Online 1% of Facebook 'Fans' Engage With Brands. New York, Ad Age.
Available from: http://adage.com/article/digital/study-1-facebook-fans-engage-brands/232351/

Fishkin, R., 2013. A Visual Guide to Keyword Targeting and On-Page Optimization [online].
Washington: Moz. Available from: http://moz.com/blog/visual-guide-to-keyword-targeting-onpage-
optimization [Accessed on: 03 January 2014].

Grimes, T., 2013. How Are Brands Using Twitter? Facts, Stats, Recommendations. Social Media
Today. Available from: http://socialmediatoday.com/timgrimes/1676946/how-are-brands-using-
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Duggan, M and Brenner, J., 2013. The Demographics of Social Media Users - 2012. Washington:
Pew Research Centre. Available from:

43
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January 2014].

Hall and Partner, 2013. Brand engager. London, Hall and Partner. Available from:
http://www.hallandpartners.com/engaging-thinking/engager_framework [Accessed 8 January
2014].

Harper's Bazaar., 2011. HOW TO WEAR MENSWEAR (AND STILL LOOK LIKE A LADY). New York,
Harper's Bazaar. Available from: http://www.harpersbazaar.com/fashion/fashion-articles/how-to-
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44
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45
APPENDIX.
Appendix 1 Primary research Questionnaire Template

1) Bow olu aie you.

.................................................
.

2) Wheie aie you fiom.

.................................................
.................................................
..

S) What genie of music uo you listen to. (list any geniemusic aitistspiouuceis)

.................................................
.................................................
.................................................
.................................................
....

4) What uo you like to uo in youi spaie time. (list any hobbies anu inteiests)

.................................................
.................................................
.................................................
.................................................
....

S) What is youi favouiite shopbianu to buy clothes fiom.

.................................................
.................................................
.................................................
.................................................
....

6) What attiacts you to weai these paiticulai shopsbianus (i.e is it because of what the
bianu means to youiecognisable logoto keep up with the latest tienus)

.................................................

46
.................................................
.................................................
.................................................
....
7) Woulu you consiuei weaiing clothes meant foi the opposite sex.

.................................................
.................................................
.................................................
.................................................
....

8) What aie youi fiist thoughts when you heai 'Lonuon' please list the woius that
immeuiately come to minu

.................................................
.................................................
.................................................
.................................................
....

9) What uoes Lonuon mean ANB iepiesent to you.

.................................................
.................................................
.................................................
.................................................
....


47
Appendix 2 Social media usage.

Appe
ndix
3


48
Appendix 3 - Initial Timeline

27/11- WEBSITE LAUNCH/ Weekly Feature: This includes the photos of Chloe on
social media, promoting the look book on the website, Chloes video, her bio
28/11 " BUNDLE GIVE AWAY!! : To celebrate our relaunch we are giving you the
chance to win this give away!! #MyLDN.
! Write on social media how to win this bundle: Tweet us what you love about
London to be in with the chance of winning this give away
! (Twitter/ Instagram) we love London at night (photo of Kristen) what do you love?
! Create hype for the hashtag
2/12 " check out the backstage footage of our weakly #MyLDN feature of Chloe
Downes
# Promote the photos in the gallery etc.
4/12 " Time for our weekly #MyLDN feature : This week is Elliot.
! Post on social media the link to the website & video etc.
6/12 " Friday give away day !!
! Announce winner of the #MyLDN first give away talk about the winner, get
photos etc.
11/12 " Weakly #MyLDN feature: ED HACK!!!
! Social media: post link of home page of Eds video and bio etc.
13/12 " Friday the 13
th
, Unlucky for some, if you are feeling lucky enter our
SwagLDN give away! Tell us what you love about Christmas #MyLDN (post photo of
bundle)
18/12 " WEEKLY FEATURE: Peta and Matt,
! Like the music to our #MyLDN video meet the people behind the music
! Free download opportunity?
23/12 " WEEKLY FEATURE: Charlie/ graphic designer
27/12 " Announce the winner of the SwagLDN bundle give away
! Good Christmas? Has just won one more present from us at @SwagLDN!
30/12 " FINAL WEEKLY FEATURE! Body popper?
31/12 " END OF CAMPAIGN!! Wish all a happy new year and keep tuned for the
launch of our black noir collection in 2014!!


49

Appendix 4 Before and after
rs

50


51
Appendix 5
Objectives 1 & 2 Google analytics
GA Aug- Oct Campaign Difference
Time on site
(average)
52s 2m 17s 1m 25s
increase =
163%
Page views per
visit

3.16 5.8 2.6 increase =
81%
Return visitors

25.5% 33.1% 7.6% increase
Bounce rate

29.06% 10.08% 19.25%
decrease

Appendix 6 - Keywords

GA Aug- Oct Campaign Difference
New visitors to
the website

166 375 209 increase =
125%
How people
found the
website

130 organic
54 direct
13 Twitter
4 Facebook
2 Instagram

241 organic
152 direct
59 Twitter
73 Facebook
1 Instagram


52
Appendix 7 Analytics Before and After


53
Appendix 8 Client Contract
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54
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55
Appendix 9: Reflective Statement Fiona Meynell
800 Words

Conducting online competitor audits.

Producing an online competitor audit on Topshop enabled me to learn about the importance of producing a
strong brand identity online to increase brand equity. Through Kapferers brand identity prism (1992) I learnt
the importance of unifying the six key features of brand identity; physique, personality, culture, self-image,
relationship and reflection. This was brought forward in to our group project to ensure that our brand identity
was consistent across all characteristics of identity to ensure a coherent campaign identity. Through
Topshops collaboration with young designers I was able to understand the positive collaborations, extending
the audience of Topshop to new markets. The importance of relevant content online was crucial to resonate
with the target audience and increase engagement (McStay 2010), a technique we relied heavily on in our
campaign to produce successful results. Furthermore, I learnt that this content could be adapted to a gender
specific audience for example women were more likely to desire interaction online (Slyke et al 2010) and
thus we wanted to exploit this knowledge in our SwagLDN project. Finally, I learnt the importance of privacy
policies, something that would have most probably been overlooked had we not undertaken the audit. I have
now learnt that this vital in order for a brand and its website to become trusted on an online environment.

Creating digital strategies and the formulating goals, SMART objectives and tactics.

For crafting the digital strategy, the goals, objectives and tactics I took inspiration from the Smart Insights
(2014a) website to feed back to the group on which aspects could help us define these aspects of the report.
This included implementing specific reach, act/convert and engage tactics, which we focused on in the report
(Bosomworth and Chaffey 2013).

When producing the objectives for the campaign in line with the campaign goals it was hard not to be too
complex in what we wanted to achieve and make them specific and measurable. To overcome this we tried
to be specific and concise in order to set objectives that would be effective in producing a campaign that
meets the set goals from the client. The most challenging part of this process was creating strong and
impacting tactics that would lead to the success or failure of our campaign. I have learnt that these tactics
have to be well planned, should be specific to the objective and be measured by the KPIs set in order to
evaluate. Therefore, in future campaign planning I would dedicate more time to assessing the benefits and
negatives of each tactic to apply skilfully.

Using metrics, monitoring and evaluating social media.

When it came to evaluating the campaign I put myself forward as the person who would be most interested
and confident in this section as I have completed the Google Analytics course. I have learnt that Google
Analytics is integral to a website in order to monitor success of the activity you produce. However, I would
really have liked to learn more about event management so that we could assess how many people
watched the video content we produced online (Martin 2013). Furthermore, I found it quite difficult to run
SEO health checks to improve our SEO on the website as I found the checks quite extensive online and
didnt understand some of the jargon so I need to improve on this in the future. Finally, the most important
aspect from evaluating a campaign that I will take forward with me in the future is to ensure that all statistics
from each metric are measured and recorded before the campaign starts. We recorded Google Analytics
prior to the campaign start but the Twitter, Facebook and Instagram metrics for prior campaign were collated
after the campaign end, which became time consuming and difficult to find. Without these it is hard to show
improvement.

Contributing to positive group work and collaboration.

Within our group we soon became aware that our individual skills complimented each other so we were able
to define roles for ourselves within the task. Amber became the project manager organising meetings,
collecting work, writing minutes and creating actions to be produced for set dates. During the campaign

56
Amber was in charge of the tone of voice on Twitter and produced engaging tweets and conversations with
our target audience. George became the creative producing the print visuals, all the video content for the
website and co-designed the website with myself. Kristen was in charge of account management. All
questions that we had about the brand and any queries of what we were/werent allowed to do online went to
Kristen to liaise with the client. Abbie became head of Facebook during the campaign and also kept up to
date with DCS blogs to ensure our campaign was up to date and progressing. I was responsible for a lot of
the website, analysing the campaign as it progressed through metrics and liaising with specific collaborating
artists making sure they were happy with their content on the website and the campaign.

Word count: 800

References

Bosomworth, D. and Chaffey, D., 2013. Planning Template [Online]. Accessed from:
http://www.smartinsights.com/guides/digital-marketing-plan-template/ [Accessed on: 10 December 2013].
Leeds: Smart Insights.

Smart Insights., 2014a. [Online] Available from: http://www.smartinsights.com [Accessed on: 10 December
2013]. Leeds: Smart Insights.

Martin, A., 2013. Tracking Google Analytics Events with Google Tag Manager
Available from: http://moz.com/ugc/tracking-google-analytics-events-with-google-tag-manager [Accessed on:
3 January 2013]

Kapferer, J, N., 1992. Strategic Brand Management: New Approaches to Creating and Evaluating Brand
Equity. London, Kogan Page.

McStay, A., 2010, Digital Advertising. Basingstoke, Palgrave Macmillan.

Slyke, C,V., Belanger, F., Johnson, R, D. and Hightower, R., 2010. Gender-based differences in consumer
e-commerce adoption. Communications of the Association for Information Systems [online], 26, 17-34.


57
Appendix 10: Reflective Statement - Kiisten Buins-Temison

When constiucting the competitoi auuit foi New Eia caps, I uiscoveieu how impoitant online
competitoi auuits as bianus become moie effective online. The auuit also gave me fuithei
insight into how a bianu's uigital stiategy hau to be tailoieu to each specific channel, whilst
still keeping a consistent bianu iuentity. Leaining about Baviu Aakei's (1996) Bianu equity
mouel infoimeu the campaign immensely. It helpeu me unueistanu how incieasing awaieness
anu "positive bianu associations" online coulu stiengthen the equity of a bianu, anu these
weie consiueiations we maue when ueveloping a uigital stiategy.

Bue to SWAuLBN wanting to be stockeu in physical stoies, theie is a neeu foi them to auopt a
piemium piicing stiategy. Bowevei the bianu lacks in awaieness anu only has an emotional
connection with a small numbei of its taiget auuience, theiefoie cannot justify incieasing
piices foi the clothing. This meant they neeueu to auu value to theii bianu in the minu of the
consumei, thus enabling me to suggest Aakei's (1996) Bianu Equity theoiy anu pioviue
guiuance on how to uo that.

Baviu Aakei's Bianu Equity Nouel (Figuie 1)
Cieating uigital stiategies was the aiea of the unit I enjoyeu the most anu is one I am keen to
exploie though woik placements. I was in chaige of the Instagiam page anu oiiginally cieateu
a mini stiategy foi that channel, this incluueu cieating outfits anu liking, commenting anu
following useis that weie actively engaging with the bianu. With iegaius to the foimulation of
goals objectives anu tactics, I stiuggleu with the uistinguishing between each one. At the
beginning of the unit, I woulu cieate goals iathei than objectives anu confusing stiategy with
tactics. Now I unueistanu goals to be long teim anu objectives to be SNART (The Times 1uu,

58
2u14). I'm now cleai that if an objective is not specific, measuiable, achievable, iealistic anu
timely it is of no use to the implementation of a uigital campaign.

0sing metiics was piobably the most uifficult aspect of the unit foi me. As a concept I hau not
been intiouuceu to piioi to the unit, I founu unueistanuing uoogle Analytics challenging. To
combat this I utiliseu the skills anu knowleuge of the othei team membeis, as well as my own
inuepenuent leaining. In teims of the campaign I was not iesponsible foi analysing the
metiics, iathei implementing the campaign. I founu monitoiing the social meuia channel I
was iesponsible foi suipiisingly inteiesting. As a iesult of constant monitoiing anu
evaluating, I was able to uevelop an unueistanuing of what type of content followeis weie
moie ieceptive to, anu staiteu posting moie tailoieu content. This is a skill I believe will piove
useful when woiking in inuustiy.

An aspect I enjoyeu within this unit was woiking within a gioup foi the uuiation of the
campaign. This unit was the fiist wheie I was tiuly able to see, how a vaiiety of skill sets when
appiopiiately useu can cieate a high quality piece iesult. Aftei being biiefeu we uelegateu
ioles most suiteu to oui skillsets, anu mostly caiiieu out the uuties of those ioles. Although
opeiating within oui sepaiate ioles, we collaboiateu on many occasions, ueveloping anu
changing stiategies thiough out the campaign anu utilisng oui collective contacts to oiganise
a photo shoot on no buuget. The oveiall campaign iuea was in fact a culmination of the whole
gioup's input. Collaboiating on uiffeient aspects of the pioject alloweu foi bettei quality
woik. Foi example ueoige anu Fiona put theii cieative anu uigital abilities to uevelop the
website. Wheieas Abigail anu myself collateu oui knowleuge of Facebook, Instagiam anu
fashion tienus to post consistent appiopiiate content.

Alongsiue leaining fiom the lectuies anu seminais theie was a laige amount of peei leaining
as people uiew fiom expeiiences with uiffeient softwaie, anu skills they hau acquiieu piioi to
the unit. This meant theie was a constant oppoitunity to leain thioughout the unit.

I feel I have gaineu a numbei of new skills thioughout this pioject, these incluue a basic
unueistanuing of uoogle Analytics, unueistanuing of social meuia monitoiing anu evaluation.
As well as this I now unueistanu how uiffeient channels can be useu to achieve specific
objectives, anu how challenging client agency ielationships can be. Lastly a pie conception I
hau about uigital campaigns was entiiely iemoveu. This was that social meuia maiketing is
not fiee - in teims of iesouices, in fact to cieate high quality anu effective content, theie is a
uefinite neeu foi a buuget anu a laige amount of time. "Though (technically) fiee, (social
meuia) ieally uoesn't uo much unless you put a lot into it (Thomas, 2u12). I believe this unit
has piepaieu me foi woiking in inuustiy anu unueistanuing the funuamentals of a successful
uigital campaign.

Woiu Count: 789

"#$#%#&'#(

Aakei, B A., 1996. Builuing Stiong Bianus. New Yoik New Yoik: The Fiee Piess.

The Times 1uu., 2u14. !"#$% '()*+,-.*/. Lonuon, The Times 1uu. Available fiom:
http:businesscasestuuies.co.ukanglo-ameiicansocial-iesponsibility-using-iesouices-
moie-efficientlysmait-objectives.html#axzz2qtxFlTbI |Accesseu 17 }anuaiy 2u14j.


59
Thomas, C., 2u12. 012 "3+4 51*/ !1+-67 "*8-6 91/,. 0SA, Blue Clouu Solutions. Available
fiom: http:www.blueclouusolutions.comblogsocial-meuia-cost |Accesseu 17 }anuaiy
2u14j.


60
Appendix 11: Reflective summary Amber Davey 775 words
The competitor audit of Adidas Originals allowed me to gain a deeper insight into the
benefits of digital strategies, and how certain tools such as tone of voice and integration
were key in portraying a brands values and personality. I found that learning about
Ricouers (1992) brand identity theory enabled me to understand how products and
services turn into brands, and how these brands convey these messages to create an
identity, especially online. This was the most effective model when establishing my
recommendations for SwagLDN. By observing how Adidas originals created their
personality, I was able to advise the team how we could establish brand personality of
SwagLDN and execute it. According to Ricouers (1992) narrative identity theory, we
create our identity through the stories we tell and the past experiences we have had (Terry
1999). Therefore I was able to suggest to the team that creating stories behind the people
that wear the products would create more of an identity for the brand, leading to our local
talent collaborations.

When creating the aims, objectives, tactics and strategy, the element I found most
challenging was making the objectives measurable. It is very easy to be vague when
creating objectives, and this is where I learnt from my fellow team members how to be
objective and specific to ensure we could measure and analyse the results. Learning these
steps for a campaign is a skill I feel I will be able to take forward in my future career. By
learning about the strategy before a campaign I now know how to create the foundations
of creative executions, and how without objectives that you can measure, organisations
would not be able to monitor success, and understand what campaigns work for their
brand.

Learning how to analyse metrics was the most challenging task. Undertaking the Google
analytics programme in my own time to ensure I would be able to understand SwagLDNs
progress was something I felt was highly necessary but also difficult. However now I have
learnt about the metrics, I feel that this is the most pivotal skill I have learnt in this module
for the future, but is something that I need to develop.

I really enjoyed working with this group, as throughout the team we all had strengths which
we established early on to create a strong team. For example, I was the member of the
team that organised meetings, established where we needed to be each week in terms of
progress and created the timeline for our campaign. George was our most creative
member of the team, therefore he was a natural at creating our images and promotional
videos. Kristen was our main contact point with the client; therefore her liaising skills
between the client and us became very strong. She was a very good voice for the client,
ensuring she was taking in suggestions from each party and communicating them clearly.
Ensuring that we respected the clients comments and recommendations throughout the
campaign was something that the team improved on week by week. Fee took on the roll of
understanding the metrics and analytics, and therefore focused on watching the
improvement of the campaign weekly. Abigail was also a creative member of the team and
ensured enough content for the social media platforms.

Between Abigail, Kristen and myself, as the weeks progressed we had to ensure that we
were all posting relevant comments on social media that had the same informal and
friendly tone of voice. This was very important as supported by Stride and Lee who
explained that it is one of the greatest challenges to develop a consistent brand. Each
project within a brand could be calling out to different stakeholders, meaning the

61
communications should be different. Bois (2012) supports this by explaining that unless
the communications is coherent; the brand can become unstructured, incoherent and
confusing.

The greatest challenge was creating the content for each week. After understanding the
importance of keeping promotional voice at a minimum and conversational voice at a
maximum, creating content to relate to the target audience was difficult. Weekly, it became
difficult to create promotional videos, bios and photo shoots. Although we intended to
create 6 promotional videos (one for each week of the campaign) in time, the group
realised the amount of work that needed to be put into each video was too great to keep
the campaign to schedule, unfortunately leading to the team only creating 3 videos.
However, all of these videos showed the highest level of engagement, suggesting that this
is a strong tactic to use for the brand and is something that the client should take forward
in the future.

REFERENCES:
Stiiue, B., Lee, S., 2uu7. No logo. No way. Bianuing in the non-piofit sectoi. :13;<67 1=
>6;?*,-<@ >6<6@*>*<, |onlinej, 2S (1), 1u7-122.

Terry, D et al., 1999. The theory of planned behavior: Self Identity, social identity and
group norms. British journal of social psychology. 38 (3) 225-244. Available from :
http://www.hms-
alumni.de/download/medienmanagement/forschungsprojekte/Social%20Identity%20Theor
y.pdf [Accessed 12 January 2014].


62
Appendix 12 - Reflective statement ) *+,-.,/ ",0-1#//

I woulu uesciibe myself as a 'uigital native' - boin in the age of the PC anu iaiseu in the eia of
the inteinet (Buiuett anu Nauei 2u14). Bespite this, this couise has taught me the sheei
scope anu ability of the uigital lanuscape.
At the beginning of the couise the concept of, 'the meuium is the message' was piesenteu
(NcLuhan 1964). Piioi to caiiying out the couise I believeu the message was cential to
ueliveiing a uesiieu communication. Bowevei uelving beneath the founuations of uigital
communication platfoims has highlighteu how auvanceu the inuustiy ieally is. Whilst
caiiying out an online competitoi auuit foi clothing ietailei 'Bype' my biggest challenge was
implementing an analysis of theii website piivacy anu policy. Ignoiant to the use of cookies,
Bype's piivacy policy outlineu what infoimation, to whom, anu how my infoimation coulu be
useu. This encouiageu me to ieview my own online piesence, specifically because of cuiient
placement applications anu piospective employei's incieasingly viewing inteiviewee's social
meuia activity to influence employment uecision (Boii 2u12). 0pon ieflection I am now able
to unueistanu the impoitance of 'cookies' anu how it plays an integial iole within taigeteu
auveitising to inciease usei expeiience anu engagement.

It was appaient that oui initial objectives weie not SNART anu theiefoie coulu not be
measuieu (Pickton anu Bioueiick 2uuS). We initially aimeu to achieve an 'inciease in
awaieness in the bianu' howevei 'awaieness' can be inteipieteu in many ways anu theiefoie
was not effective foi oui campaign. What is moie, as we caiiieu out a uigital campaign, it
enableu us to altei oui objectives accoiuingly in a timely anu cost effective mannei.

A peisonal achievement I am able to ieflect upon is the iesponsibility foi one of oui social
meuia channels; Facebook. I posteu content uaily in line with oui goal of incieasing female
engagement anu igniting conveisational topics. ueneiating the conveisational topics ielevant
to the taiget auuience pioveu challenging, as well as maintaining a consistent tone of voice
simultaneously with the othei channels; Twittei anu Instagiam. I was able to oveicome this
by monitoiing competitoi engagement anu tienus.

Post campaign, it was establisheu that no actual conveisations weie geneiateu thiough
'comments' on Facebook. Although uisheaitening at fiist, BCS has taught me that the
ueteiminants of usei-geneiateu content aie not always measuieu via quantity, but insteau
how beneficial anu valuable othei aspects such as 'likes' may be.

Whilst implementing 'uoogle Analytics' theie was uifficulty in unueistanuing anu
implementing 'event tiacking'. Event tiacking woulu have been a useful tool to measuie the
piomotional viueo on the homepage of the website. Bowevei this is a tool I woulu like to
fuithei my knowleuge in anu eventually be able to implement. I feel I have gaineu the most
knowleuge fiom taking pait in the 'uoogle Analytics Acauemy' as I have leaint how to
optimize a website to achieve maximum awaieness. Leaining how meta-tags aie useu alloweu
foi the implementation of these foi SwagLBN which pioviueu a bettei scope foi analysis anu
evaluation.

What is moie, taking pait in the 'uoogle Analytics Acauemy' has alieauy aiueu my leaining
whilst caiiying out inuustiy woik expeiience at Lonuon baseu meuia agency; Naxus. I was
able to coheiently unueistanu the language useu whilst being given an insight into aspects of
uisplay, affiliates anu aggiegatois anu fuithei uevelop my knowleuge by engaging in
conveisation anu leaining thiough fiist hanu inuustiy expeiience.

63
I was foitune enough to collaboiate with an extiemely haiu woiking anu motivateu gioup,
which theiefoie impacteu on the oveiall gioup uynamics. As we weie opeiating online it was
impoitant to be tianspaient in oui communications, as I have leaint that eveiything uigital is
uata anu can theiefoie not be ueleteu. It can be saiu that opeiating online takes away the
authenticity of a bianu as the bianu contact points aie intangible. Bowevei, I now unueistanu
'the meuium is the message' as at times it was not 246, we communicateu but how we
communicateu thiough the appiopiiateness of the channel.

I am now awaie that leaining thiough expeiience is ciucial to the appieciation anu
unueistanuing of a unit. Expeiiential leaining, ".stiesses piactical application of knowleuge
to ieal-woilu situations" (Bawkins anu Weiss 2uu4 citeu by Bowei 2u1S) anu BCS pioviueu
the platfoims to uevelop my leaining anu unueistanuing in piepaiation foi a caieei within
the Auveitising inuustiy, as Wolfe (2uu7 citeu by Bowei 2u1S) has saiu, "expeiience is
tianslateu into concept that can be useu to guiue the choice of new expeiiences."

Woiu count: 744

Refeiences

Bowei, u., 2u1S. 0tilizing Kolb's expeiiential leaining theoiy to implement a golf sciamble.
A<,*;<6,-1<67 )13;<67 1= /B1;, >6<6@*>*<,C ;*+;*6,-1< D ,13;-/>E 12. Available fiom:
http:ehis.ebscohost.comeusuetail.viu=4&siu=e68ufS7u-9a96-47bf-9S9S-
Sa46a88S1b2S%4usessionmgi114&hiu=1u6&buata=}nNpuu09ZWRzLWxpum0mc2Nvcu09
c2luZQ%Su%Su#ub=sSh&AN=87S27829 |Accesseu 17 }anuaiy 2u14j.
Buiuett, L. anu Nauei, S., 2u14. The new iules foi shopping. Lonuon: Waic Available fiom:
http:www.waic.comContentContentviewei.aspx.NasteiContentRef=1Su9aaab-6u24-
46e8-a1fc-uS7Su2Sf44eu |Accesseu 18 }anuaiy 2u14j.
Boii, R., 2u12. 97*6<-<@ 3B F13; /1+-67 >*8-6 B;*/*<+*E S-S. Available fiom:
http:ehis.ebscohost.comeusuetail.siu=e68ufS7u-9a96-47bf-9S9S-
Sa46a88S1b2S%4usessionmgi114&viu=S&hiu=1u6&buata=}nNpuu09ZWRzLWxpum0mc2
Nvcu09c2luZQ%Su%Su#ub=bth&AN=78S2649S |Accesseu 19 }anuaiy 2u14j.
NcLuhan, N., 2uuS. 91/>-+ "*8-6E Lonuon: Sage publications. Available fiom:
http:web.ebscohost.comehostebookvieweiebookbmxlYmtfXzI1NT0SNF9fQ041.siu=S
8uaua62-746S-4u9S-9c41-cf42ee196S2Ssessionmgi11S&viu=1&foimat=EB&iiu=1
|Accesseu 18 }anuaiy 2u14j.
Pickton, B anu Bioueiick, A., 2uuS. A<,*@;6,*8 "6;?*,-<@ 91>>3<-+6,-1</. 2nu eu. Bants:
Peaison Euucation Limiteu.


64
Appendix 13 - Individual Indicative Essay: George Bartlett

Conducting online competitor audits.

Today, consumers give more importance to the product related content
created by other consumers on SNS, than producer-generated content (Mir
and Zaheer 2012, p.11).

One of the most significant effects of this unit is the amount it has shown me in
relation to the importance of user-generated-content (UGC). Because consumer
behavior is ultimately influenced by the attitude of the consumers who experience
it, people that actively view UGC are therefore more likely to create their own
(Daugherty et al. 2008). However, I have leant that we must clarify a more
comprehensive conceptualization of the components of such attitudes (Daugherty
et al. 2008).

The framework above, proposed by Daughtery et al. (2008) in the Journal of Interactive
Advertising, shows the way in which if consumers are motivated through the possibility
of functional, personal gain UGC creation in itself, leads to the consumption and further
generation of UGC. Therefore creating a cycle of promotional content creation that
requires very few resources from the brand, other than the initial motivation. It is clear that
this is a vital finding in digital communications as it further shows the ways social media
can be used to generate high engagement, at minimal cost. I will certainly take away what
I have leant in this area of the unit and apply it to future work by encouraging the creation
of UGC.

Creating digital strategies and the formulating goals, SMART objectives
and tactics.

Digital strategies and creating the specifics of a campaign I feel have been strong points
for me in terms of idea generation, and I have thoroughly enjoyed being able to utilise this
ability. However, the effective crafting of goals, objectives and tactics has been a real

65
weakness. This being said, it is certainly something that I strived to improve throughout
the unit, due to its clear importance for implementing a campaign. This can be seen
especially in the group project, where, as a team, we were able to craft highly insightful
objectives and tactics, which avoided repetition with the implementation of the campaign.
This was hugely important and through doing so, it has made me aware of just how
important it is to develop SMART objectives in order to implement an effective strategy.
As stated by The Management Institute (2011) Specific and measurable objectives provide
a definition of the success of a project or initiative.

Using metrics, monitoring and evaluating social media.

Though in the group project I did not play a huge role in the use of metrics to evaluate the
campaign, I did recognise its importance in my individual competitor audit. By using sites
that track website activity and data such as Hootsuite and The Escape, it made me
realise that evaluation showed more than just whether or not you were able to reach your
objectives, but also shows which actions were the most successful. Therefore giving us a
platform for what would work in better in future campaigns.

Contributing to positive group work and collaboration.

We each took on different roles within the team:

Kristen Account Manager
Abigail Media Planner
Fee Data Analyst
Amber Head of Social Media Communications

I took on the role of Art Director. I worked closely with Fee in redesigning the SwagLDN
website and created all of the print and video content displayed on our campaign micro-
site www.myldncampaign.moonfruit.com This gave me the opportunity to use my
understanding of the campaign and highlighted the importance of effective research
when planning creative executions. Furthermore, as a group we quickly learnt that we
were far more productive once tasks had been delegated evenly, so that everyone was not
working on the same thing. This is certainly a tactic I will take forward into future group
works, effective delegation cannot be overlooked when attempting to implement a
campaign. Not only did it give a certain consistency to each role, but also increased
efficiency and improved the group dynamic beyond measure.

One of the key areas this unit helped me excel, was giving me the understanding of
industry, through working with a real life client, to be able to contact various leads to try to
find creative collaborators in a professional manor. Due to the project having no budget
and a very limited timescale, I was put under pressure to contact potential partners and
ask for their aid in, for example, the rights to their music to be used in our promotional

66
videos. Furthermore, the unit taught me the importance of resourcefulness and the ability
to pull every string imaginable to get the best outcomes possible. In terms of the time
constraints of the campaign, there was a huge amount more content that could have been
created and posted and the campaign could have been extended far into the future, and
is something that could have driven higher levels of engagement and traffic to the site.

In conclusion, there can be no doubt that the Digital Communications Strategy unit has
equipped me with the tools needed to plan and implement a digital, multi-platform
campaign that establishes Goals, SMART Objectives and effective tactics. Furthermore,
the unit has given me fully justified ideas of how a campaign can be made more effective
in the future by utilising strategies that motivate the creation of more UGC.

Word Count 872 words

References

Daugherty, T., Eastin, M.S. and Bright, L., 2008. Exploring Consumer Motivations For
Creating User-Generated Content. Journal of Interactive Advertising, 8 (2), 1625.

Chartered Institute of Marketing., 2011. Setting SMART Objectives Checklist 231 [online].
Chartered Institute of Marketing. Available from:
http://www.managers.org.uk/sites/default/files/u271/Checklist%20-
%20Setting%20SMART%20Objectives.pdf [Accessed 18 January 2014].

Mir, I. and Zaheer, A., 2012. Verification of Social Impact Theory Claims in Social Media
Context. Journal Of Internet Banking & Commerce [online], 17 (1), 1-15.

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