Considering social media’s widespread marketing possibilities this study aims at investigating consumer engagement across YouTube, Facebook and Twitter and how luxury fashion brands can produce such activities on their corporate social media pages. Through applying a mixed method combining both social media data collection together with conducting a content analysis, both quantitative and qualitative measurements were attained. This to provide a deeper understanding when analyzing actual consumer engagement efforts and what role brands’ content strategies play in encouraging these activities. The results confirmed some expectations of the heterogeneous nature of social media as the level of consumer engagement showed to vary notably between both platforms and brands. More so, the results in the current study were not able to confirm any great effects of firm engagement having a direct effect on consumer engagement, instead response and interaction seems to be strictly related to content and product factors. In turn, these factors in relation to aspects such as the psychological state of mind, social, emotional and behavioral aspects showed to be encouraging added consumer engagement.

The purpose of this study is to create a deeper understanding on how brands today arepart of culture, creating meaning and effects, persuading customers through hidden messages and cultural communication codes. The starting point for my studies has been a European approach, with a German brand as empirical material. As a visual communicator it is especially important to critically understand how each element in an advertising campaigncreates meaning and therewith influences consumers unconsciously. My study has the ambition to research how luxury products are portrayed by examining visual markers for taste and exclusivity that indicate that the Jil Sander advertising campaign (2018) is directed towards members of a higher social strata. This has been done by using a qualitative visual image analysis based on social semiotics. Representation, taste, status and social milieus are the theoretical key terms in this study which are linked to my image analysis which shows that the characters are members of the same scene belonging tothe same social milieu, were they share social norms, dress codes, linguistic codes such assigns and symbols. All of them are visual markers of a higher social class, taste and capital.

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Abstract Background: The luxury fashion brands need to rebrand themselves towards the younger consumers. In 2025 Millennials and Generation Z will represent approximately 55% of the market for luxury products. The exclusive brands need to adapt to this target group. Rebranding requires considerable investments with different rebranding methods and new marketing channels and there is no guarantee of a successful outcome. It is important to understand what the new desired target group appreciates. According to previous research, the right type of marketing is important for the companies rebranding to reach their desired target group. However, there is a gap in the scientific research between which marketing strategies are most efficient for the luxury companies to reach the younger consumers. Purpose: The purpose with this research is to investigate from a marketer’s perspective how younger consumers perceive rebranding and marketing of luxury fashion brands by looking at the communication of the rebranding towards the consumers. Which rebranding methods and marketing channels are efficient towards the younger consumers? Methodology: A qualitative case study has been made with four case companies. To find out what companies have done in their rebranding, data have been collected from the chosen companies’ websites and from other fashion industry related websites. Semi-structured interviews with younger consumers have also been made in order to find out how they experience the luxury brands rebranding and marketing? Findings: The findings suggest that it is efficient for the luxury fashion brands to hire a new creative director and create a new style in the assortment. They should keep their old, famous, iconic logo and monogram. If it somehow must be changed, they need to create a new unique one and avoiding an already existing font. It is also efficient to created new collections with entry-level products for the brand, such as accessories and ready-to-wear collections. When it comes to marketing of the rebranding, social media, celebrity endorsement, collaborations, traditional stores, TV and TV-series, are efficient communication channels to use. The best way is to show the luxury clothes and accessories on influencers via Instagram. Marketing through fashion magazines is still good but the luxury fashion brands do not need to put as much emphasis on that as they did before. Conclusion: If the luxury brands work with these efficient rebranding methods and marketing channels they will most likely succeed in reaching their new younger target groups. The rebranding methods are: A new creative director and a new style, accessories and ready-to-wear collections, new logo and new monogram. The marketing channels are: social media, celebrity endorsement, collaborations, movies and TV-series, editorial placements and traditional stores.

Modeindustrins lyxvarumärken har, trots sina avantgardistiska och flamboyanta förknippningar, ett varaktigt rykte om att vara konservativt inställda till förändringar av sina väletablerade affärsmodeller. Den digitala disruptionen som internets framfart innebar för modedetaljhandeln omfamnades likaså inte av lyxsegmentet förrän långt efter att resten av modeindustrin redan insett näthandelns enorma affärsmöjligheter. Det är dock inte utan giltiga argument som lyxvarumärkena ställt sig skeptiska till att anamma den här "nymodigheten". Att förvalta den sociokulturella signifikansen av varumärkets identitet är instrumentellt för lyxvarumärkens fortsatta framgång, och att överföra ett flera decennier gammalt brick-and-mortar-koncept till världen online är inte riskfritt. Förändringen står dock inte längre för dörren, utan har oblygt gjort sig hemmastadd. Således syftar den här studien till att undersöka hur modeföretag inom lyxsegmentet använder marknadsföringsmedel (exempelvis bildspråk, narrativ, layout) i sin cultural branding online för att upprätthålla sin brand identity. För att kvalitativt studera fenomenet har en netnografiskt inspirerad metod tillämpats bestående av att observera ett urval hemsidor från lyxvarumärken av akademiker klassade som accessible core. Analytiskt intressant ansågs på förhand hemsidornas visuella identitet, bildspråk, narrativa stilgrepp och layout vara, med grund i tidigare forskning. Det här informerade således fokuset för insamlingen av materialet som sedan analyserades tematiskt. Resultatet visade att narrativa marknadsföringsstrategier är olika avsett vilken typ av varumärke och i vilken utsträckning narrativen kommuniceras. En introduktion av komponenterna i webbdesign presenteras som viktiga för att skapa en estetik som upprätthåller ett varumärkes identitet online. Resultaten indikerar vidare att narrativ och webbdesign görs kongruenta genom konsekvent användning av antingen en minimalistisk eller maximalistisk designfilosofi. Avslutningsvis diskuteras resultatets funna teman i kontrast mot tidigare forskning såväl som teoretiska och praktiska följder, samt rekommendationer för framtida forskning. / Despite over-the-top aesthetics and an outward image dressed in glitz and glamour the luxury fashion industry is deeply rooted in a culture of careful conservatism. For the individual au fait with this internal culture, the industry-wide resistance to the digitalisation of a centuries old business model was not unexpected. Yet, survival is to adapt. Today e-luxury within fashion is mainstream. However, becoming mainstream does not presuppose that the risks sceptics forewarned of regarding luxury fashion going online were invalid. The fear of once prestigious and culturally significant brands being watered down when translated into a more populist forum like the internet is not without warrant. In this netnographically inspired study, the authors employed the theory of cultural branding by Douglas Holt when analysing the websites of three luxury brands within the fashion industry to determine what marketing strategies are used by the industry to sustain one’s brand identity. Results indicate that narrative strategies are diverse concerning what kind of material and to what extent stories are communicated. Also, the components of web design most important in creating an aesthetic that enforces a brand’s identity online are presented. Results further indicate that narrative and web design are made congruent through the consistent use of either a minimalist or maximalist approach. To conclude, the authors of the study theorise on the academic as well as practical implications of our results, as well as providing recommendations for future research. This thesis is written in Swedish.

Background: Social media platforms changed completely the manner in which companiesinteract, communicate, promote their products, and create brand awareness. Such platforms areused as a means of communication among users for acquiring information, discussing products,and reflecting on brands. Even though social media is advantageous to both firms andaudiences, it can be an ineffective marketing strategy due to problems of transparency andincompetence. Luxury fashion brands including Balenciaga as well as Dolce & Gabbanaembrace social media when going for promotion and engagement but have recently had massivecriticisms due to controversial advertisements.Purpose: This research seeks to explain how the brand images of luxury fashion brandsBalenciaga and Dolce & Gabbana are affected by the backlash on social media marketing,particularly looking at how negative reactions can have an impact on brand reputation andconsumer-brand relationships.Method: A qualitative method with an inductive approach conducted through semi-structuredfocus groups with customers and protentional customers of the examined brands.Conclusion: Social media backlash negatively affects luxury brands Balenciaga’s and Dolce& Gabbana’s brand images

La creación de un nuevo segmento dentro de la moda de lujo en la que convive con el Streetwear o moda callejera, ha propiciado el nacimiento del fenómeno Hypebeast, una dinámica de consumo popular entre el público millennial que consume lujo. Esta dinámica consiste en valorar la reputación de la marca, la exclusividad y la estética de las prendas para generar un alto nivel de expectación o entusiasmo alrededor de éstas. Esto exige a las marcas de moda que reinventen sus estrategias de comunicación al entorno digital para adaptarse a un nuevo consumidor global de lujo más empoderado en su proceso de decisión de compra. Al ser un acontecimiento particular en la comunicación digital de moda, hay pocos trabajos académicos que lo contemplan. La presente investigación tiene como objetivo analizar la influencia del fenómeno Hypebeast en el proceso de decisión de compra online de millennials, tomando como caso de estudio a Future Visions, la primera boutique de Streetwear en el Perú. Para ello, se optó por la metodología de análisis de caso con enfoque cualitativo y la técnica de entrevista a profundidad, lo cual nos permitirá entender el fenómeno desde el punto de vista de cada participante. / The creation of a new segment within luxury fashion in which coexists with the culture of Streetwear, has led to the birth of the phenomenon Hypebeast, a popular consumer dynamic among its millennial audience that consumes luxury. This dynamic consists in valuing the reputation of the brands, the exclusivity and aesthetics of the clothes to generate a high level of hype around them. This requires them to reinvent their communication strategies to the digital environment to suit a new luxury global consumer more empowered in their purchasing decision process. Being a particular event in fashion digital communication, few academic papers contemplate it. This research aims to analyze the influence of the Hypebeast phenomenon on the online purchasing process of millennials, taking as a case study Future Visions, the first boutique of Streetwear in Peru. For the development of this research will be used the methodology of case analysis with qualitative focus and the technique of in-depth interview, which will allow us to understand the phenomenon from the point of view of each participant. / Trabajo de investigación

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Studien har med en kvalitativ ansats analyserat och diskuterat återförsäljarens beslutsfattande vid exponering och marknadsföring av lyxvarumärken, inom ramen för mixed branding strategier. Studiens syfte har grundat sig på att utforska tillvägagångssättet, hur återförsäljare tillämpar marknadsföringsstrategier och riktlinjer, samt återförsäljarens ansvar vid exponering och marknadsföring i fysisk butik. För att besvara syftet har två frågeställningar utformats: Hur arbetar återförsäljare med mixed branding strategier vid marknadsföring av lyxvarumärken? Vilket ansvar tar återförsäljare i samband med beslutsfattande i marknadsföring av lyxvarumärken? Den teoretiska referensramen baseras på tidigare forskning om återförsäljare, marknadsföring, exponering och beslutsfattande vid marknadsföring. Materialinsamlingen har grundat sig på kvalitativa metoder som har baserats på observationer och intervjuer med butiksanställda, ansvariga inom visual merchandising och en verkställande direktör. Vidare fokuserar studien på att expandera tidigare forskning genom parallella kopplingar mellan insamlat material och teoretisk referensram. Resultatet identifierade fyra grundläggande teman: mixed branding, inköp, relationer och exponering som alla kan knytas an med visual merchandising. I diskussionsdelen diskuteras temana som byggstenar för exponeringen och att det är avsevärt för återförsäljare att följa upp alla berörda områden för att maximera potentialen för en lönsam exponering och marknadsföring. Diskussionen tar vidare upp återförsäljarens förhållningssätt och återförsäljarens ansvar vid beslut där det överläggs hur återförsäljare av lyxvarumärken använder sig av den information och vägledning som temana bidrar med. Sammantaget har studien identifierat hur ansvar och externa riktlinjer korrelerar med relationer, samt hur det visuella slutligen exponeras och framställs i fysisk butik. / Based on a qualitative approach, the study has analyzed and discussed the retailer's decision making in the exposure and marketing of luxury brands, within the framework of mixed branding strategies. The purpose of the study has been based on exploring the approach, and how retailers apply marketing strategies and guidelines, as well as the retailer's responsibilities in physical store exposure and marketing. In order to answer the study’s purpose, two questions have been formulated: How do retailers work with mixed branding strategies while marketing luxury brands? What responsibilities do retailers take in relation to decision making in the marketing of luxury brands? The theoretical frame of reference is based on previous research on retailers, marketing, exposure and marketing decision making. The gathering of material has been based on qualitative methods such as observations and interviews with store employees, visual merchandising managers and a managing director. Furthermore, the study focuses on expanding previous research through parallel connections between collected material and theoretical frame of reference. The result identified four fundamental themes: mixed branding, purchasing, relationships and exposure linked with visual merchandising. The discussion section refers to the themes as components for exposure and the significance for retailers to follow up and maximize the potential for profitable exposure and marketing. The discussion further addresses the retailer's approach and responsibilities in decisions where it considers how retailers of luxury brands use the information and guidance based on the themes. Overall, the study has identified how responsibility and external guidelines correlate with relationships, as well as how the visual is ultimately exposed and produced in physical stores.