LUISS UNIVERSITY PRESS

Future marketing leaders/5

a cura di

Marco Francesco Mazzù, Michele Costabile

e con il supporto di Virginia Eleuteri ,Gaia Marinelli,

Eva Pariota, Gloria Raciti, Ludovica Serafini

Future marketing leaders/5

© Luiss University Press

Luiss University Press – LuissX srl

Viale Romania 32

00197 Roma

Tel. 06 85225486

E-mail universitypress@luiss.it

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Impaginazione Livia Pierini

ISBN: 978-88-6105-742-5

Indice

Indice

Autori

Premessa ai contributi della quinta edizione

Ringraziamenti

Introduzione: Sincronizziamo gli orologi sul tempo del #Cambiamento

Marketing Edge

Buying Italian Identity

The Influencer Marketing Power: Chiara Ferragni Case

Fendi X Rummo: When Carbs Meet The Catwalk

When high fashion meets technology.

Burberry & Tencent: a conjunction between past and future

Augmented Reality unleashed potential:

how technology takes our shopping experiences to the next level

The new Starting Finance app

Hyper-personalization:

when brands know you better than anyone else

Marketing and political ideologies:

the role of brands in 2020 American elections

Need to Market to Gen Z? Ask Burger King

Il Ritorno del coccodrillo

The Comeback of Birkenstocks:

Your New Favourite Comfy Shoes

“It’s not a bag it’s a Baguette!”:

How Fendi is bringing back the 90’s iconic it-bag

Scrunchies: A Big Comeback!

Superveloce 800: It’s Back!

Challenging the “giants”:

the second youth of Lotto Sport

The New Reality From An Old One: The Push Scooters!

Once Upon a Time… The Camperos!

Champion revival: collaborations and ’90s nostalgia

as key factors for the new brand strategy

Pepsi Generation: Nostalgia Commercial

InterVIEWs

“This change is called Innovation”

Valerio Marra: The Evolution of Innovative Services

in The Energy Market

LINKiesta

Elon Musk “Cybertruck” Epic Fail

Orange Fiber – Making Fashion Sustainable,

One Peel of Orange at a Time

Nikola: Will Heavy Vehicles Take Off?

Luxury shopping while sitting on your couch?

The dream came true!

Brand Hunters

Positive Body Message or Marketing Strategy?

Durex: When Creativity Meets Success

L’Oréal: the importance of staying

on the right side of history

Brands, Germs, New Trends

Mercedes as a Marketing Attacker

The Power of Chipotle Storytelling:

The King of Meaningful and Captivating Short Movies

Spotify Viral Marketing:

How Big Data Generates Engagement

Coke or Pepsi? That’s The Eternal Dilemma!

The Colenso BBDO Campaign for Express Couriers

Gamification in the luxury fashion industry:

Gucci partners with Tennis Clash

Horror Movies and Guerrilla Campaigns:

Are You Scared of Marketing?

Vote the Asshole Out:

Patagonia Stands Up Against Climate Change Deniers

Red Bull: Much More Than Just a Soft Drinks Company

How Guerrilla Marketing has changed advertising: McDonald’s and Nike cases

Fendi X Rummo: much more than a partnership

Guerrilla Express – Departure:

the ’80s, Destination: 2020

Future Makers for Good

A letter to my inner warrior

Marketing Cases

Prendi un cliente, trattalo male

Food and music: il caso di Barilla e Spotify

Protect Paradise:

Corona Extra oltre il concetto di azienda

Coca-Cola: perché berla quando puoi ascoltarla?

Cadillac at Super Bowl: a nostalgic advertising

Brands taking a stand:

Flowe, between Sustainability and Gen Z

La psicologia inversa come driver

per la creazione di valore: il caso Zalone

La collaborazione è la chiave del successo

IKEA sbarca sull’isola di Animal Crossing:

un catalogo innovativo al passo con i tempi

“Basta Netflix”: il ruolo del buzz marketing

nella psicologia del consumatore

Unieuro rivoluziona le campagne

social media marketing

Amanda Gorman: 3 milioni di emozioni

Distinzione come forma di valore:

quando una scatola di scarpe diventa un flagship store

Google Street View becomes the new catwalk

of Zalando Spain

Il caso Eco Bio Boutique:

l’e-commerce durante la pandemia Covid-19

By Rotation e fashion renting: la moda del cambiamento

Crisi, Covid e cambi di mercato,

così Ramazzotti si reinventa per un futuro meno amaro!

Il co-branding nel luxury market

come strategia di successo: Off-White per IKEA

The chopstick scandal:

how D&G turned a fashion show into an epic-fail

Gucci X The North Face

No Super Bowl No Party? Come il Covid

ha influenzato le strategie pubblicitarie di Budweiser

Supreme – Less Is More? Yes, But Supreme!

Diesel – “When Together”.

L’amore, tra separazione e ricongiungimento,

fa emozionare lo spettatore!

Autori*

Accroglianò Lorenzo Maria; Albanese Alessia; Albanese Chiara; Alemanno Antonio; Allera Graziano; Altamura Allegra; Ambrosio Concetta; Andreucci Virginia; Armini Andrea; Avogadro Federica; Babilotte Yelena; Badolati Matilda; Baldoin Elisabetta; Balint Daiana Denisa; Balzani Francesco; Barbaro Elena; Barbaro Pierluigi; Barbaro Simona; Basso Beatrice; Bellini Benedetta; Bellocchio Giorgia; Benelli Valentina; Bianco Camilla; Biggio Silvia; Biondi Valeria; Binda Matteo; Bonabello Eleonora; Bordoni Francesca; Bottone Lucrezia; Branno Alessandra; Brugnolo Matteo; Bruni Fiammetta; Bruno Carlo; Bucci Greta; Buini Claudia; Buonincontro Luigi; Caccamo Federica; Cafaro Rosa; Cafolla Marianna; Calamia Pacini Guglielmo; Calcavento Matteo; Cammarone Ludovica; Cancellieri Beatrice; Canedo Aldave Natasha; Capenti Alessandro; Capolino Gabriele; Capone Sara; Cappelletti Chiara; Cappuccio Gian Luigi; Caranci Simone Maria; Carbone Chiara; Carbone Edoardo; Cardello Edoardo; Cardinali Pietracci Diletta; Carlino Ennio; Carone Alessandra; Caruso Christian Enrico; Casalucci Andrea; Casella Adriana; Castaldi Luca; Caudullo Carole; Cecchetti Vieri; Ciliberti Francesca; Ciolfi Ludovica; Cirillo Chiara; Citino Vincenzo; Colace Domenico; Coppotelli Annamaria; Corradini Alessia; Corti Nicolò; Cosanni Elisabetta; Costa Valentina; Costanzo Chiara; Crescenzi Filippo; Crivellaro Edoardo; Cundari Veronica; D’Alu Luigi; D’Aniello Carmelina; D’Apolito Francesca; D’Ignazio Simone; D’Urso Renato; D’Urzo Maria Rosaria; De Angelis Andrea; De Bari Caterina; De Bernardis Luca; De Felice Valeria; De Marco Giulio; De Michele Adele; De Nardo Enrica; De Pasquale Matteo; De Sabato Chiara; De Seta Enrico; De Seta Rosy Pia; Del Monte Francesco; Della Bina Elisei Margherita; della Seta David; Delmonte Giacomo; Depangher Giorgia; Di Costanzo Gabriele; Di Filippo Luca; Di Gaetano Paolo; Di Giacomo Doriano; Di Giulio Giana Marie; Di Marcantonio Vittoria; di Mario Matteo; Di Marzo Giuseppe Emanuele; Di Matteo Giammarco; di Mezza Paolo Bernardo; Di Pietro Giacomo; Di Salvo Ginevra; Di Santo Edoardo; Diotallevi Giacomo; Dipino Gaia; Distasi Letizia Pia; Durante Lucia; Eleuteri Virginia; Esposito Luigi; Falconi Paolo; Fanelli Andrea; Fattori Carlotta; Febbe Tommaso; Feliziani Monica; Ferraris Carlo; Ferraro Manuela; Ficchi Luca; Filosa Nicola; Fiorentino Irene; Fischetti Francesca; Flati Caterina; Fornari Niccolò; Forte Benedetta; Forti Davide; Fracassi Elio; Fusco Giovanni; Fusco Maria Chiara; Gabriele Laura; Gabriele Pietro; Gallo Curcio Micol; Gambacorta Silvia; Gargiulo Gianluca; Garramone Antonino; Genovese Giorgia; Gentile Claudia; Germano Marta; Giacobbe Ludovica; Giannini Chiara; Gioia Teresa; Gioncada Lorenzo; Giordani Alessandra; Girlando Kristina Paolovna; Gottin Giulia; Granata Antonia; Graziano Sara; Greselin Alice; Gridelli Lorena; Guarino Felice; Guarioni Giorgio; Gurrieri Alessandro; Iacomelli Luca; Iadicicco Lorenzo; Iemma Francesco; Ingletti Antonio; Ingrassia Alessandra, Iollo Raffaella; Iovino Maria; Lauritano Tiziana; Lebet Carlotta; Lento Ludovica; Liuzzo Vladimiro; Macchia Beatrice; Macelloni Federica; Maggi Carlotta; Manghi Alessandro; Manojlovic Vojin; Manzi Leonardo; Maraia Filippo; Marati Laura; Marchione Giada; Marini Francesco; Martino Andrea; Martis Federico; Mastropaolo Ludovica; Marzano Paolo; Mastantuono Francesca; Mattucci Michele; Mazza Nicole; Mazzei Edoardo; Mazzeo Caputo Andrea; Mecca Pietro; Mele Lorena; Mennella Francesca; Micangeli Chiara; Michielan Giorgio; Minella Benedetta; Miozzi Benedetta; Mistretta Antonino; Molinaro Iacopo; Monaco Francesco; Monticelli Greenwood Filippo; Morace Olga; Morante Luca; Morelli Maria Grazia; Moricca Livio; Moriconi Andrea; Mosca Ludovica; Napoli Marcello; Natale Erika; Natella Federica; Nemni Orly; Neri Elena; Neri Federico; Neri Irene; Nusiner Chiara; Nuzzo Gabriella; Oliva Francesco; Olivieri Ilenia; Ortolani Maria Chiara; Orza Martina; Ouwehand Ruben Huig Pieter; Pacelli Maria Teresa; Pagone Arcangelo; Palaia Francesca; Palladini Simone; Palomba Ludovica; Palumbo Cornelia; Panetta Edoardo; Pantano Margherita; Paolini Ludovica; Paparella Federica; Paparella Federico; Parente Annachiara; Parise Cesare; Pasqualin Marco; Passamonti Alessandro; Pastore Federica; Pastore Ludovica; Patimo Angelo; Pellegrino Giuseppe Lorenzo; Perretta Francesca Maria; Petronio Maria Sole; Piccarreta Martina; Pichini Carlotta; Pietroni Isabella; Pietropaolo Lara; Pilardi Diego; Pinto Nicole; Pirrello Valentina; Pitrone Valeria; Pizziconi Federica; Polidoro Roberto; Porcu Riccardo; Portaluri Federico; Prili Valerio; Profili Flavia; Proto Fabio; Racano Giorgia; Raffaele Federica; Randazzo Giuseppe; Raponi Rebecca; Raux Julie, Estrelie, Carla; Reas Cristiana; Recchia Giulia; Renzulli Leonardo Maria; Ricci Carlo Maria; Ricco Lorenzo; Ronga Lorenzo; Roscini Luca; Rubino Sara; Ruggeri Flavia; Russo Alberto; Ryhanen Ginevra; Saare Karl; Saggiorato Giulia; Sandrelli Enrica; Sarubbi Lorenzo; Savini Giorgia; Scelsa Federica; Scrimo Claudio; Seri Riccardo; Sgambati Sveva; Signati Alessandra Maria; Siragusa Gianmarco; Sorrentino Lorenzo; Spadafranca Enrica; Spista Veronica; Sposito Augusto; Squeglia Gaetano; Stante Sara; Steen Alexandra Lopez; Strafaci Giorgia; Sun Yumeng; Tabares Urrea Natalia; Talotti Alessandro; Tamberi Nicola; Tamiro Caterina; Tawakol Marcello; Tedone Giulia; Teti Martina; Tocci Beatrice; Tomaciello Roberto Maria; Tomassoni Elettra; Tombolillo Michela; Tonanzi Camilla; Toni Giovanni; Torrillo Arianna; Trojer Valentina; Tsimese Emmanuel; Tuccelli Giorgia; Ulini Annamaria; Vaccari Lorenzo; Valentino Anastasia; Valeri Laura; Vesperini Alessandra; Vicinanza Filippo; Wang Qihao; Zagaria Virginia.

* La presente pubblicazione raccoglie interventi, commenti e articoli di diversi autori. Le opinioni espresse da ciascun autore nel proprio intervento, commento e articolo sono strettamente personali e non riflettono necessariamente le posizioni dei curatori della presente pubblicazione. I curatori della presente pubblicazione declinano qualsiasi responsabilità per l’accuratezza delle informazioni fornite dagli autori degli interventi, commenti e articoli.

Premessa ai contributi della quinta edizione

Nel 2020 essere un Marketing Leader di successo significa avere interiorizzato la capacità di osservare con occhio critico un mondo in costante evoluzione, individuando i trend emergenti prima dei suoi competitor e dei consumatori stessi.

Oggi tutto ciò non basta più. Essere un Marketing Leader nel 2021, a distanza di un solo anno, richiede un ulteriore sforzo e skills totalmente differenti. L’abilità di un leader non sta nel prevedere il possibile e oltre, ma nell’adattarsi all’imprevedibile. La pandemia Covid-19 ha segnato un punto di svolta nella percezione della realtà circostante e del ruolo dell’informazione “autentica, rilevante, affidabile, veritiera”: è solo grazie a questi attributi che si può comprendere l’oggi e dipingere il domani.

Gli studenti dei corsi di laurea magistrale di Marketing e Management dell’Università Luiss Guido Carli hanno accolto questa sfida: fermarsi, osservare, interpretare ciò che li circonda, e proporre un pensiero critico che possa fare avanzare il dibattito e la conoscenza su temi di marketing. Le loro riflessioni si sono concretizzate in una serie di articoli pubblicati sul Blog “Luiss Future Makers” e raccolti in questo libro.

Il libro rispecchia la struttura del blog, nato alcuni anni fa dal desiderio di raccontare molteplici sfaccettature, esempi, casi di successo e di insuccesso, nel mondo del Marketing, ed è organizzato nelle seguenti sei sezioni principali:

• Marketing Edge: di quali strumenti dispongono i Marketing Leaders? Quali mode seguono i consumatori, come vengono influenzati nel loro percorso decisionale? Brand, tools, trends di marketing e di consumo ed oggetto delle principali strategie all’avanguardia a supporto di una campagna marketing.

• Il Ritorno del coccodrillo: una specialità del marketing è quella di riportare in voga brand, temi e concetti del passato che sembravano superati, ma che vengono riscoperti, rivitalizzati ed attualizzati con successo. Renewal, retro-branding, vintage effect: per molti brand e per molti consumatori, la nascita in una seconda golden age che stavano aspettando.

• InterVIEWs: chi sono gli attuali Marketing Leaders? Questa sezione racchiude le interviste su esperienze, punti di vista, riflessioni e consigli di marketing rilevanti da parte di brand manager, influencer e opinion leader di differenti settori.

• LINKiesta: il mondo del marketing è circondato da fatti, scandali, notizie che spesso meritano una spiegazione. Gli articoli in questa sezione hanno quindi l’obiettivo di indagare e ricercare quelli che sono i principi che legano specifiche azioni, sia dal lato dell’azienda/brand quanto dal lato dei consumatori. Come cambia il loro rapporto, cosa accade alla loyalty, come muta la percezione dei brand in seguito ad avvenimenti specifici e quali conseguenze comportano: queste sono le tematiche affrontate in questa sezione.

• Brand Hunters: reinventarsi e reinventare il proprio modo di comunicare un brand, spesso con metodi semplici, stravaganti, low cost e soprattutto di impatto. Memorabili tecniche di “marketing on the edge” che dimostrano la semplice genialità applicata alla comunicazione, e l’impatto che questa provoca nell’audience del brand.

• Future Makers for Good: è una sezione che pone l’attenzione su temi etici e sociali, nella quale si adotterà, anno dopo anno, una causa rilevante e se ne esalteranno i contributi. L’anno accademico 2020-2021 ha visto protagonista l’associazione Susan G. Komen Italia, che dai primi anni duemila si occupa di informazione e prevenzione contro il cancro al seno.

• Marketing Cases: leggere gli eventi con gli occhi della ricerca è il focus di questa sezione che contiene brevi casi studio del mondo del marketing, analizzati attraverso le lenti dello studioso, identificando i legami con la base scientifica esistente e proponendo spunti di riflessione per ricerche future.

In ognuna di queste categorie, si ritrovano dunque articoli frutto delle osservazioni e riflessioni degli studenti. Nello specifico, si descrivono notizie, fatti, interviste riguardanti le strategie marketing, di comunicazione e di brand management di piccole e grandi aziende che, in positivo o in negativo, sono state capaci di lasciare un segno nell’ecosistema imprenditoriale.

Per ogni categoria sono presenti gli articoli in lingua italiana degli studenti del corso Gestione della Marca e del Prodotto (2020-2021) e quelli in lingua inglese degli studenti di Advanced Marketing Management (2020-2021).

Ringraziamenti

Ai nostri studenti e alle loro famiglie

che li seguono e li supportano

nell’inseguire ciascuno il proprio sogno

Introduzione: Sincronizziamo gli orologi sul tempo del #Cambiamento

Spesso i cambiamenti più profondi risultano da contingenze fuori dall’ordinario, che costringono le persone alla radicale riesamina del proprio modello di vita sino al momento di una vera e propria trasformazione, una discontinuità il cui ruolo sociale è rompere gli schemi preordinati, farci rimettere in discussione la nostra progettualità.

Se però siamo proattivi e resilienti, una trasformazione dirompente ci consentirà di trarre beneficio da essa, per darci poi la spinta per elaborare soluzioni rivoluzionarie a beneficio della collettività.

Dal 2020, che passerà alla storia come l’anno della pandemia da Covid-19, abbiamo sicuramente tratto una lezione fondamentale: il futuro è prevedibile fino a quando non accade l’imprevedibile.

Stiamo vivendo la Storia come se essa stessa avesse messo il fast forward degli ormai vintage videoregistratori, e come se avessimo fatto un balzo in avanti di dieci anni in soli dodici mesi, e la necessità di adattamento è arrivata prima che potessimo coglierla, soprattutto prima che potessimo comprenderla. D’altronde, era una questione di tempo.

Ma cosa rappresenta, a livello socioculturale, la misura del tempo? I popoli, prima degli individui in quanto tali, hanno sempre tentato di sincronizzare il proprio tempo per sentirsi uniti sin dagli albori della civiltà. Abbiamo tuttavia dovuto attendere l’intervento “sincronizzatore” dei mass media del primo Novecento per godere di un vero e proprio scadenzato ritmo nelle ore del giorno: l’ora di punta per andare a lavoro, nel traffico frenetico della città; il prime-time serale, per avere l’occasione di condividere un programma di culto con una moltitudine di persone.

È stato poi il turno dei social media, che ci hanno aiutato a sincronizzarci in tempo reale, fornendoci risposte da dare entro pochi secondi con like e emoticon: ci siamo sentiti cittadini del mondo, poiché avevamo trovato il modo di diventare una comunità che riusciva a confrontarsi, ad includere le minoranze e a renderle simboli, a creare opportunità di valore per tutti nello stesso momento.

Nel 2020, di colpo, il nostro mondo è diventato asincrono: l’orario di punta non esiste più, soppiantato dallo smart working e da ritmi dilatati e sonnolenti; l’orario di ingresso a scuola ha perso la sua centralità, perché gli studenti non vanno più a lezione tutti insieme e la didattica a distanza consente di rintracciare durante le giornate il momento migliore per imparare; l’orario della buonanotte ha meno senso, perché anche il sonno è ormai sincronizzato sul proprio tempo. Un tempo che, come è ovvio, si dilata e si restringe tenendo conto dei ritmi della pandemia.

Al centro della discussione non c’è più un palinsesto, ma le idee, gli interessi: sono le idee che vincono sul tempo che non regola più la società intera. Sono le idee che ci aiutano a diventare ogni giorno parte del cambiamento.

La centralità delle idee e la loro cruciale importanza nel dare un senso al nostro tempo “perduto” rientra tra gli scopi primari del blog “Luiss Future Makers” e dell’e-book che avete tra le mani. In quest’anno dilatato nel tempo si è voluto pertanto espandere anche i nostri orizzonti, abbracciando il più vasto mondo delle scienze sociali e virando verso una visione globale, abilmente mirata a cogliere i più sottili colori e sfumature emersi nei nuovi spazi lasciati tra le lancette dei nostri orologi.

Gli studenti hanno esaminato, con il consueto rigore e la professionalità che il confronto intellettuale richiede, casi di marketing da loro selezionati allo scopo di mettersi alla prova e, al contempo, di raccontare – tramite il loro punto di vista così fresco – la nuova realtà nella quale siamo immersi, ma non solo. Il focus della ricerca, rispetto alle precedenti edizioni, si è allargato, arricchendosi di altri due cluster tematici: quello delle politiche per la salvaguardia del patrimonio storico-artistico e culturale e la gestione dei tesori del Made in Italy e quello dell’innovazione e dello sviluppo sostenibile, curati grazie a un lavoro congiunto con gli studenti dei professori Mark Thatcher e Christian Fernando Iaione e con il team di LabGov.

Questa rassegna è uno strumento per aprire gli occhi su aspetti del nostro tempo che gli studenti hanno analizzato con cura e precisione, e la loro attenzione e accuratezza sono caratteristiche che ci auguriamo saranno sempre essere presenti nella loro futura vita professionale.

Tramite questo impagabile momento di apprendimento per loro, a voi lettori vogliamo lasciare un messaggio di speranza: nel futuro che ci aspetta dopo la pandemia, il tempo ha un nuovo inizio.

Il nostro spazio mentale non dovrà dunque essere occupato da una mera scansione di esso, ma dall’accoglimento di quell’onda trasformativa talora tanto benefica. Un’onda di idee che solo una civiltà matura e resiliente può riuscire a comprendere.

E assunto che ogni tempo ha inizio dall’ultima idea non ancora trasformata in obiettivo, vi auguriamo di diventare, giorno dopo giorno, il #cambiamento che state cercando nel mondo. Da padroni del vostro tempo, beninteso!

MARKETING EDGE

Buying Italian Identity

We Italians are very patriotic people. As quality holds importance in the eyes of Italians, so do the brand image and the emotional value that brands are able to transmit.

It is not uncommon to find shoppers from the Bel Paese opening their wallets in front of a “made in Italy” product, but how exactly do they choose among the millions of products that tick all of their boxes?

Competition drives companies to continuously look for new marketing tools to attract consumers. Right when they think that marketers may have run out of options, companies appeal to Italians’ identity, linking emotions with value. Italians’ national pride is mirrored in the products that can evoke emotion, especially at the peak of national distress.

This is the case of Barilla’s advertisement, celebrating Italians’ resilience during the lockdown. Only by reading the campaign #Italiacheresiste, our Italian identity feels empowered. This excellent strategy of emotional advertising gives the buyer a sense of hope, and the wallet opens up again in front of a blue packaging of farfalle. To increase brand awareness, the Sardinian-made beer Ichnusa released its well-known advertisement that compares the non-Italian with the local Sardinian soul (identity).

In addition, what if an enterprise could combine what makes Italians most proud of their identity? Food and landscapes. On that trajectory, Nutella created its places collection (TiamoItalia) to celebrate Italian beauty. These brands make us live the Italian dream and realise that life is better in Italy, but also that “life is better in Italian lingerie” as Intimissimi suggests from its shop windows. Once again, we fall into the trap of purchasing an item because it speaks to our heart.

So next time you find yourself dialing your credit card details, give credit to the market strategists who threw the tricolour banana peel you slipped on.

Carone Alessandra

Cardinali Pietracci Diletta

Sources:

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Cappelli, L., D’Ascenzo, F., Natale, L., Rossetti, F., Ruggieri, R., Vistocco, D. (2017). “Are Consumers Willing to Pay More for a ‘Made in’ Product? An Empirical Investigation on ‘Made in Italy’”. Sustainability 9, 556.

Douglas Holt, B., (2003). “Brands and Branding’”, Harvard Business School, 9, 503-045, 1-12.

Eckler, P., Bolls, P. (2011). “Spreading the virus: Emotional tone of viral advertising and its effect on forwarding intentions and attitudes”. Journal of Interactive Advertising, 11 (2), 1-11.

Forster, R. (2013). “Things to do with brands: Creating and calculating value”. HAU: Journal of Ethnographic Theory, 3 (1), 44-63.

Guarda Ceccoli, M., (2020). “Ti amo Italia: la special edition di Nutella per celebrare il nostro paese”, Vanityfair.it. Available at:https://www.vanityfair.it/vanityfood/food-news/2020/10/11/ti-amo-italia-la-special-edition-di-nutella-per-celebrare-il-nostro-paese?refresh_ce= [Accessed on 5/10/2020].

Leali, G., Braun, E., Wanat, Z., Moens, B., (2020). “Economic patriotism is back amid the coronavirus crisis”. Politico.eu. Available at: https://www.politico.eu/article/economic-patriotism-is-back-amid-the-coronavirus-crisis/ [Accessed on 19/10/2020].

Mosciatti, L. (2017). “L’orgoglio di Ichnusa nel nuovo spot di Leo Brunett”, Engage.it. Available at: https://www.engage.it/campagne/lorgoglio-di-ichnusa-nel-nuovo-spot-di-leo-burnett.aspx [Accessed on 19/10/2020].

Papapicco, C. (2020). “La pubblicità basata sulle emozioni: il marketing ai tempi del Covid-19”. The State of Mind. Available at: https://www.stateofmind.it/2020/04/comunicazione-emotiva-marketing-covid19/ [Accessed on 16/10/2020].

Temperini, V., Gregori, G.L., Palanga, P. (2016). “The Brand Made in Italy: A Critical Analysis”. Management Studies, 4 (3), 93-103.

The Influencer Marketing Power: Chiara Ferragni Case

Recent studies have demonstrated that social media has changed how people think and their perception of the world. Companies are changing their strategies in order to focus more on social media and influencers. Without scientific foundations, many still believe that Influencer Marketing is a fleeting phenomenon, a bubble destined to burst.

Influencer marketing has been around for a long time, it was just called differently: in the 1880s, the first phenomenon evidence was documented, in the 1990s it was viral marketing and, some years ago, it was known as word of mouth marketing.

Since then, social sciences and psychology have studied how groups influence human behavior; today, thanks to the pervasiveness of social networks, this has become a monitored and measurable phenomenon, with the same dignity and value of the other Marketing disciplines.

Chiara Ferragni is not only the most famous influencer in Italy, but also all over the world. She has started opening a blog called “The Blonde Salad” and she has designed a shoes collection (2014).

Last July, Chiara was in the eye of criticism due to some photos posted on Instagram (the most used social media in Italy among 20/25 y.o. people) in the “Galleria degli Uffizi” museum for Vogue Hong Kong. While this could be a cultural message to involve more people to visit museums and appreciate more Italian beauties, a lot of them disapproved of the influencer behavior.

Not only people were disappointed with her conduct, but more with the museum’s decision to publish on its official Instagram account a Chiara’s photo making a comparison with “Simonetta Vespucci” also known as “La Venere” by Botticelli.

Despite critics, the following weekend there was an increase of young visitors of 27% due to “The Chiara Ferragni phenomenon”. Moreover, this event was the proof of how powerful influencer marketing can be and how social media presence is the core aspect of our online life, particularly during/after the pandemic.

Lento Ludovica

Macchia Beatrice

Manzi Leonardo

Molinaro Iacopo

Paolini Ludovica

Sources:

“Firenze, “effetto Chiara Ferragni” agli Uffizi: boom di visitatori, +27 per cento di giovani”. La Stampa, 20 luglio 2020. https://www.lastampa.it/cultura/2020/07/20/news/firenze-effetto-chiara-ferragni-agli-uffizi-boom-di-visitatori-27-per-cento-di-giovani-1.39104516.

Ronchi, G., “La Ferragni visita gli Uffizi: un gesto inaccettabile per i follower del museo fiorentino.” Artribune Journal, 17 luglio 2020.

Montanaro, M., “Chiara Ferragni ha sfondato: la storia di una fashion blogger milionaria”. ilGiornale.it, 24 novembre 2019.

https://www.instagram.com/chiaraferragni/.

Fendi X Rummo: When Carbs Meet The Catwalk

Who said that communication should be only verbal? A gesture is worth more than a thousand words… and a package of pasta branded Fendi leaves everyone speechless! Pasta and fashion: two of the most iconic symbols of Italian culture gathered for Milano Fashion Week. An impressive invitation was conceived by the Fendi Maison in collaboration with the pasta producer Rummo, for the fashion show to introduce its spring-summer 2021 collection.

Guests received a special box containing 2 packages of pasta, family pictures from Fendi’s archive and Silvia Venturini Fendi’s grandmother’s recipe of lemon pesto. A lot of care has been dedicated to the pasta design that replicates the logo of the Brand and the packaging, recalling the Fendi’s pattern and the colors used for its last collection.

It is a strategy perfectly aligned to the delicate period we are living, which has brought consumers closer to a much more intimate reality. Fendi effectively represents it with a collection even more inspired by the values of Italian culture and elegance, which explores a homely and artisanal dimension. At the same time, the Maison “renews itself through tradition” abandoning the formal communication style usually adopted in the digital channels, in favor of a more informal, familiar and sentimental message creation. In fact, this invitation has a more emotional than functional value, aimed to have a long-lasting impact on the consumer. The highly personalized pasta pack communicates the brand’s new identity, reflected in the collection and fabrics, with a more immediate and engaging message: a more “within the consumer’s reach” instead of a “cold” invitation card symbolizing the expertise of a luxury brand.

Once again, Fendi’s creative elegance distinguishes itself from its competitors for originality, contemporaneity and closeness to the emotions experienced by the consumer.

Profili Flavia

Ricci Carlo Maria

Saare Karl

Scelsa Federica

Sposito Augusto

Sources:

Leitch, L. (2020). “Family, Values, History, and Hope: Silvia Venturini Fendi Spins a Rich Story”, Vogue Runway. https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/fendi.

Sanchez, R. (2020). “Fendi’s Invitation to Its Latest Fashion Show Includes A Box of Fancy Pasta”, Dieline. https://thedieline.com/blog/2020/9/25/fendis-invitation-to-its-latest-fashion-show-includes-a-box-of-fancy-pasta?

“Gli inviti Fendi alla sfilata sotto forma di pasta Rummo. Moda e packaging accoppiata vincente?”, Marketing Journal.

Photo Source: Izvor PRESS

When high fashion meets technology.

Burberry & Tencent: a conjunction between past and future

The British luxury fashion brand Burberry and China’s biggest social media company, Tencent, collaborated to create a shop that outlines Shenzhen’s growing reputation for technology: visitors to Shenzhen’s Burberry flagship store can use Tencent’s WeChat app to interact with the window display and play their own music in fitting rooms.

Tencent’s WeChat plays a pivotal role in this new customer experience as the app boasts more than a billion users across China! Thus, Tencent and Burberry have created a customized program accessible via WeChat: users create a profile and receive a digital avatar in the form of a cartoon fawn that comes out of an egg.

Thanks to the app, buyers can reserve one of the three themed dressing rooms, choose clothes and play their own music while they are trying the different outfits, all provided with QR codes, which can be scanned to display more information. Shoppers can also book a table at the store bar, Thomas Café, and arrange consultations with stylists.

Burberry and Tencent are thus forerunners of a philosophy that combines social media and retail in order to develop spaces, both digital and physical, where customers can buy, interact and explore: today’s shop is designed for the future to give the customer a unique experience.

The store is seen as a “space of discovering”, designed to involve luxury customers. It is made up of ten spaces: each has its own concept and identity that celebrate Burberry’s codes as reinterpreted by Riccardo Tisci, Burberry creative director, including the Trench Coat, the Thomas Burberry Monogram, Nature and the Burberry Animal Kingdom.

A new way of understanding the concept of stores, inspired by the past and projected towards future. The new social retail store reflects Thomas Burberry’s thinking of continuing to blur the boundaries with dreams, creativity and spirit of innovation, powered by Tencent.

Ambrosio Concetta

Babilotte Yelena

Capolino Gabriele

Cirillo Chiara

Colace Domenico

Sources:

“Burberry and Tencent team up for concept stores”, BBC: https://www.bbc.com/news/business-53577074.

“Burberry and Tencent collaborate on interactive WeChat shop in Shenzhen”, https://www.dezeen.com/2020/08/02/burberry-tencent-wechat-shop-shenzhen.

“Burberry and Tencent to open first social retail store in Shenzhen, China”, https://retailinasia.com/in-shops/burberry-and-tencent-to-open-first-social-retail-store-in-shenzhen-china/.

Augmented Reality unleashed potential:

how technology takes our shopping experiences to the next level

Pablo Picasso said: “Everything you can imagine, is real”.

And with Augmented Reality it truly is.

AR is one of the most innovative technologies, in 2019 it saw its growth record and it is expected to reach 1 billion users by the end of 2020.

But, why is it so attractive?

The widespread adoption of AR applications by brands lays on the fact that their consumers are able to visualize in real time what it might feel like to own the product or experience the service directly from their homes or workplaces, bridging the gap between real and virtual world and helping consumers make more comprehensive purchasing decisions.

That’s not all, if you still can’t grasp the value added of this technology imagine being willing to buy that stunning lipstick you saw on a magazine and to know how it would fit on you before buying it.

Chanel allows you to use your device camera to try on your favorite lipstick shade and have a personal preview of the final makeup, thanks to the “virtual try on” AR solution available on its e-commerce.

Now imagine you wondering how that sofa with a peculiar design in the end would work in your living room, wouldn’t it be great to know it in advance?

If the answer is yes, there is good news for you: IKEA with its Place App allows you to scan your room and place any IKEA furniture and object you like in the digital representation of your room.

Car lovers, the last surprise is for you!

Automobili Lamborghini has introduced Augmented Reality for the (virtual) launch of the new Huracán EVO RWD Spyder, which allows you to experience the majesty of the model directly from your own home.

Have I convinced you to try this technology? Take in mind that these are just a few examples, AR technology outstanding potential is still at the beginning!

Ouwehand Ruben Huig Pieter

Pilardi Diego

Pinto Nicole

Raux Julie, Estrelie, Carla

Sources:

Allure.com

Omniaweb.it

Autofutures.com

The new Starting Finance app

Starting Finance is an innovative startup whose purpose is introducing its users to the financial world. In only a few years, it has become the largest financial community for under 30s in Italy, but it shows no intention to stop here.

In fact, Starting Finance is preparing to launch its new app. With the latest round of € 600,000 from a private equity fund, they will try to structure the business even more and open up to a wider audience.

Like the entire Starting Finance business, the app will be based on 3 pillars: information, education and gamification. The community will be constantly informed about what is happening in the economic-financial world, and both paid and free contents will be offered. Finally, users will have the possibility to test the skills acquired through a brand new (or unprecedented) function, a stock market simulator which emulates a real-time share trade.

Hand in hand with the development of the platform, Starting Finance immediately understood the importance of the community, focusing from the beginning on building direct communication with the customer through social media.

This strategy allowed for the creation of several strengths necessary for the development and launch of the app. The direct channel with the user was the key to Starting Finance’s success: thanks to social networks, they managed to stay up to date on the latest trends, interests and, above all, the needs of the Under 30 consumer.

According to Edoardo di Lella, CEO & Co-Founder of SF, “The reversal of the process was fundamental. First the marketing was done and then the product was built according to the needs of the community”.

The app will have many additional features that we will be able to see only after the app’s launch, scheduled for February 2021 in the Apple Store and Google Play Store. We just have to wait and download the app as soon as it is available.

Savini Giorgia

Steen Alexandra Lopez

Strafaci Giorgia

Tamberi Nicola

Tombolillo Michela

Source:

https://www.startingfinance.com/

Edoardo Di Lella, CEO e co-founder di Starting Finance

Hyper-personalization:

when brands know you better than anyone else

Have you ever seen ads related to something you were talking about just one minute before scrolling your Facebook feed or searching on Google? Well, that’s the very beginning of next-gen marketing personalization!

Hyper-personalization is the AI-based leverage of consumer data: the aim isn’t just offering extremely accurate marketing contents (e.g. ads, discounts, coupons), but is creating stronger, more authentic customer relationships by predicting their future needs and preferences.

Progresses in marketing personalization are pivotal in shaping unique, ever-improving customer experiences: these can become reality thanks to new hidden insights that a context-aware algorithm is able to unveil. Eventually, enhanced customer experiences lead to increased customer loyalty, making thus customer retention higher.

Until now, this disruptive tool has been extensively used by few companies only as most of the firms are joining the path to common marketing personalization in order to make their products and contents more relevant and attractive; however, in the foreseeable future, hyper-personalization will be a common feature for the majority of the companies.

What does hyper-personalization look like in our daily life? It can be a simple Netflix push notification on a new TV series! For instance, Netflix uses a collaborative filtering-based recommender system that takes into account structured and unstructured data such as viewing history, viewing duration, preferred devices and similar subscribers’ tastes, habits, ratings, preferences.

This overwhelming amount of personal data is the heart of predictive analytics and machine learning algorithms: the ultimate output of this baroque algorithmic construction is nothing but a simple notification on your phone, which will probably be about your future favourite TV series. You don’t know it yet, but Netflix does!

And this is valid indeed for a Starbucks’ real time, in-app offer based on the user’s position or an Amazon recommendation based on the average number of minutes spent on searches.

Is this future worrying? Yes, it can be worrying, however, the value we’ll receive back will be way greater than our legitimate concerns.

Falconi Paolo

Filosa Nicola

Fornari Niccolò

Fracassi Elio

Guarino Felice

Sources:

https://www.forbes.com/sites/nathanpettijohn/2019/09/03/of-course-your-phone-is-listening-to-you/.

https://medium.com/meta-design-ideas/hyper-personalization-strategies-e376a62f4756.

https://research.netflix.com/.

Picture: taken from SAP’s video: https://www.youtube.com/embed/EH0gxl_Oqog?feature=oembed.

Marketing and political ideologies:

the role of brands in 2020 American elections

In an “Election year” out of the schemes, due to the Covid pandemic, the subsequential economic crisis and the anti-racial fights, American citizens are called to vote on November 3rd. Two are the candidates: Joe Biden, from the Democratic party, and the current president Donald Trump, from the Republican party. Past election’s statistics have shown how many American Citizens do not use their vote at all. In the election of 2016, more than a half of the 18-29 years old population did not vote.

Well aware of the influence that they can exert on both purchasing and voting decisions, several brands have personally taken the field to sensitize citizens to the importance of voting.

Different strategies have been implemented to encourage the electorate to make their voices heard, including innovative merchandising, giving the election day off to the employees to allow them to vote, or captivating marketing campaigns. One of the best ones is the last campaign of Patagonia, that added a label with a pale message on its latest collection of shorts: “Vote the assholes out”. “Assholes” are all politicians who still ignore or deny objectively important issues such as climate change.

Another great marketing campaign is the one of Absolut Vodka #VoteResponsibly with the slogan: “Vote First, Drink Second”. Absolut is a brand that has always championed participation and inclusion.

As they are asking people to make voting their top priority, and to save Absolute for after casting their vote to the ballot, on the company’s website there are many election themed cocktail recipes.

Recalling the citizens conscience to get their vote out through captivating and innovative marketing campaigns witness how these have the power to influence the human mind.

Iadicicco Lorenzo

Maggi Carlotta

Martino Andrea

Morelli Maria Grazia

Natale Erika

Palumbo Cornelia

Sources:

https://eu.patagonia.com/

https://www.absolut.com

Need to Market to Gen Z? Ask Burger King

Looking for a good laugh, and a good brand social media strategy? Head over to Burger King’s Twitter account. The US fast food giant has hit the nail on the head when it comes to every marketer’s dream – connecting with Gen Z. Namely, on Burger King’s official U.S. Twitter, they’ve mastered the art of internet humor, taking trends from memes, TikTok and connecting with key pop culture moments for the younger set. Plus – the sass. We can’t forget about the sass – they frequently call out McDonald’s, gently mocking them and their current campaigns (McDonald’s rarely responds). Below, you see a Tweet in response to a limited McDonald’s deal.

They lamented American pop star Nick Minaj’s retirement, only to celebrate her return to the music scene a few months later – garnering 18.2k likes and 3.1k retweets – all while never even mentioning their brand.

But they don’t stop with just pop culture jokes and memes, they poke fun at themselves, too – and even the current state of the world. All in all, it looks like Burger King is just having fun, but actually, they’re employing a strategy that is difficult, not only in its execution, but in its success rate.

Burger King’s Twitter team has to have their eye on the trends, the internet, and pop culture 24/7. The timing has to be impeccable, and the delivery has to be subtle enough to not ruffle too many feathers. It’s a tough balance to strike, all while promoting their various campaigns and keeping up their humorous brand voice. That’s what Burger King does best, they are always ahead of the game.

Their strategy is working, as even though McDonalds is a much larger and more profitable company, it struggles with innovation, and in 2015 the CEO called for an examination of Burger King’s recent success.

Carlino Ennio

Corti Nicolo

De Seta Enrico

Di Giacomo Doriano

Di Giulio Giana Marie

Sources:

Pettijohn, N. (2019). “Of Course Your Phone Is Listening To You” https://www.adweek.com/agencies/when-mcdonalds-didnt-respond-to-customers-on-facebook-burger-king-decided-to-jump-in/.

Photo Source: https://world-es.openfoodfacts.org/producto/52276712/patatas-fritas-medianas-burger-king.

IL RITORNO DEL COCCODRILLO

The Comeback of Birkenstocks:

Your New Favourite Comfy Shoes

We have seen them in colder months as well as in summertime, paired with sweatpants and socks or worn at Fashion Weeks. Birkenstocks have always been go-to shoes suited for any occasion. From a day at the beach or a stroll around the neighbourhood, to a day at the office or a fancy night out, these German-made shoes have come a long way in the last centuries.

Initially launched into the fashion world in the 1990s by Kate Moss, Birkenstocks have become a must-have for youngsters such as students, before becoming a trend among A-listers and, ten years later, being incorporated into the collections of top designers.

Now, family-owned Birkenstocks are back on track. Following a resurgence in 2018, when the ugly shoe fashion trend was gaining success, these shoes were reintroduced to the market with new textures and a palette comprising any colour you could possibly think of. And Birkenstocks were here to stay.

In my opinion, a key factor of the re-emergence of these ugly, but perfectly designed shoes, has been the pandemic affecting the whole world in 2020. In this period of time, people were forced to stay home, and this situation brought consumers to look for products that were considered comfy. And what shoes could be considered more comfortable than Birkenstocks? According to shopping search engine Lyst, from April to June Birkenstocks’ Arizona sandals have been the most searched fashion item on the website. The reason is people were concerned only about what to wear at home or for an occasional ride to the market.

However, these functional shoes also caught the attention of fashion figures such as Alexandra Gurvitch, market editor at Vogue, as well as supermodels like Gigi Hadid and Kendall Jenner, both photographed out and about wearing their favourite pair of Birkenstocks.

Pasqualin Marco

Patimo Angelo

Pellegrino Giuseppe Lorenzo

Petronio Maria Sole

Porcu Riccardo

Sources:

https://theface.com/archive/kate-moss-summer-of-love.

https://www.teenvogue.com/story/kendall-jenner-birkenstocks.

“It’s not a bag it’s a Baguette!”:

How Fendi is bringing back the 90’s iconic it-bag

n 1997 Silvia Venturini Fendi suggested the creation of a small shoulder bag inspired by the French bakery good, the “baguette”. The bag was launched in the late 90s clashing with the minimalist trends of the time, it came in multiple colors and patterns with a lavish, over-the-top design that screamed, “Look at me!”.

The bag was an instant success and became one of the most popular accessories of the decade. A turning point for the “baguette” arrived when it was featured in the popular TV Show “Sex & the City” as protagonist Carrie Bradshaw’s favorite accessory. The bag even became a central theme in the show’s narrative.

With the arrival of the new millennium, consumer preferences changed to more practical bags, therefore, the “Baguette” lost its popularity. Until recently, consumers often preferred Fendi’s larger bags and totes.

The Comeback of the Baguette: as Millennial consumers became one of the largest buyers in the fashion market today, the industry started responding to their needs. Even though looking for practicality, Millennials also created the trend of enjoying vintage pieces. This is the reason why many trends from the 90s like “grunge” are having a comeback. Brands like Dior, Prada, and of course, Fendi, are looking through their 90s archives to modernize their beloved classics.

In an attempt to speak to its younger audience, in 2019 Fendi re-launched the baguette with a new campaign using the hashtag #BaguetteFriendsForever which stars Sarah Jessica Parker, reminding us of the iconic TV Show and 90s era. To attract more clients, Fendi introduced larger versions of the bag and showcased it through fashion influencers all over the world. Mixing some nostalgia and current trends with the use of social media is the secret to Fendi’s success in keeping the Baguette relevant.

This it-bag is here to stay!

Barbaro Elena

Bianco Camilla

Canedo Aldave Natasha

Cappuccio Gian Luigi

Caranci Simone Maria

Sources:

Samaha, B., “How Fendi Is Updating The Image Of Its Iconic Baguette Bag”. Forbes Magazine, 18 February 2019, www.forbes.com/sites/barrysamaha/2019/02/14/how-fendi-is-updating-the-image-of-its-iconic-baguette-bag/.

“Millennials.” The Business of Fashion, www.businessoffashion.com/articles/tags/topics/millennials.

Scrunchies: A Big Comeback!

Between 1980 and 1990 the major icons of the fashion world, such as Demi Moore and Sarah Jessica Parker rode the wave of the new trend: the scrunchie!

Scrunchies are elasticated fabric bands used to bind the hair. Their peculiarities are that they can vary in size and that their fabric can be of any type: from silk to velvet, from cotton to jersey. This allows to create a perfect scrunchie to match every outfit, making it a real accessory!

Invented by Romy Revson in an attempt to find a valid alternative to plastic and metal hair bands and first patented in 1987, the scrunchie also owes its success to its appearances in iconic TV series.

However, it was a TV series in the early 2000s that determined the end of its era: in Sex and the City Carrie Bradshaw talks about scrunchies stressing that they should only be used by women in the bathroom while washing their faces.

This officially and blatantly marked the end of the era of the scrunchies.

Three years ago, during New York Fashion Week, the scrunchie made his comeback in style during the Mansur Gavriel fall season fashion show.

From that moment on, the scrunchie had officially been readmitted into the fashion world and nowadays they can be bought in fast-fashion chains targeting young people, such as Zara, Urban Outfitters, H&M. But also, in shops of more expensive brands such as Alexander Wang, Jil Sander, Balenciaga.

Even in Italy the scrunchie has found a way to return to the limelight in style, in particular with the Italian brand Bagni Luisa, founded by Luisa Bertoldo; that makes a plunge into the past through fashion, but with an eye to current affairs, modernity and ethics.

Following a vintage sense, the Italian brand Bagni Luisa, in collaboration with Marzoline, launched a 100% Italian scrunchie at the beginning of June 2020. It is made only with organic materials and with the purpose of evoking familiar and comfortable feelings.

Badolati Matilda

Buonincontro Luigi

Cardello Edoardo

Caudullo Carole

Trojer Valentina

Sources:

Aschenbrand-Robinson, R. (2018). “The Secret History of the Scrunchie Will Surprise You”. Brit + Co, https://www.brit.co/scrunchie-hair-real-history/.

https://www.satctranscripts.com/2008/08/sex-and-city-season-6-episode-4.html#.X5xPky9aat9.

Mull, A. (209). “Scrunchies Are Little Rainbow Reminders That Millennials Are Old”, The Atlantic, https://www.theatlantic.com/health/archive/2019/09/time-is-a-neon-scrunchie/597454/.

Turner, E. (2020). “Hair scrunchies are HUGE for 2020 and these are the styles that are major”, Glamour, https://www.glamourmagazine.co.uk/gallery/hair-scrunchies-how-to-wear-the-style.

https://choice.npr.org/index.html?origin=https://www.npr.org/2019/12/16/787160693/scrunchies-are-cool-again-hairs-how-they-staged-a-comeback.

Photo Source:

https://www.facebook.com/BAGNI-LUISA-2441432496089061/photos/a.2442254089340235/2729548417277466.

Superveloce 800: It’s Back!

Sense of freedom, wind in the face, chills down the spine, that’s what the idea of a motorcycle ride immediately brings to people’s mind. Once upon a time, bikes were raw machines able to convey the rider’s feeling down to the street. Today, thanks to the ever-evolving technologies, motorbikes are sophisticated machines winking eyes also to a new type of customer. There was the rebel, attached to the first idea of a bike, and there is the modern consumer, who values safety and aesthetics most. So why don’t merge these two concepts in one single piece of art?

MV Agusta, an historic Italian motorcycle brand, has launched Superveloce 800, “the neo-classic racer”. The bike combines state of the art technologies into a vintage suit, retro design with avant-garde technical solutions, meaning that Superveloce 800 turns out to be a piece of art able to define the limits of time.

Is it just a vintage branding marketing operation? It may be, what we know for sure though is that this offer is widely attractive in this market. The motorcycle’s one has a fair share of elder people, and the median age is getting older over time.

Given that customers buy on “hot” states of mind, relying on nostalgia or just the will to feel young again is crowding older people in, while the advanced technologies and the brand’s strength itself is enough for the younger population. Furthermore, the bike applies to hipsters’ tastes, who notoriously enjoy modern solutions dressed up in vintage clothing.

Nevertheless, the bike still remains a top competitor in the market just by its usage value. Superveloce 800 presents all the traits a high-end bike should present: abs, traction controls, 148 horsepower, delivered at a weight of 173 kilograms.

Someone’s called this masterpiece a “time paradox”.

MV Agusta’s strength comes from its good doing from far away in time. No matter if it is vintage, modern, or both, when something is well-done it will always be acknowledged.

Ferraris Carlo

Fiorentino Irene

Flati Caterina

Mecca Pietro

Sgueglia Gaetano

Sources:

“MV Agusta, Superveloce 800”: https://www.mvagusta.com/product/superveloce/800.

“MV Agusta e il bello della Fase 2: via alla produzione della Superveloce”: https://www.inmoto.it/news/news/attualita/2020/05/05-2963918/mv_agusta_con_la_fase_2_parte_la_produzione_della_superveloce/

“Vintage Marketing: cos’è e come funziona il marketing dei brand storici”: https://www.retailcaregroup.com/vintage-marketing/.

Nordgren, L.F., van der Pligt, J., van Harreveld, F. (2007). “Evaluating Eve: Visceral states influence the evaluation of impulsive behavior”. Journal of Personality and Social Psychology, 93(1), 75-84.

Kessous, A. (2015). “Nostalgia and brands: a sweet rather than a bitter cultural evocation of the past”. Journal of Marketing Management, 31, 1899-1923.

Superveloce 800 spot, Youtube: https://www.youtube.com/watch?v=7sWOrdPxo00.

Challenging the “giants”:

the second youth of Lotto Sport

There was a time in which Lotto Sport was the benchmark of the sport fashion industry: it is necessary to do a big step back to the 80s, when the Italian goalkeeper Dino Zoff won the World Cup, or when worldwide athletes like Ruud Gullit and Carlo Ancelotti sowed panic in the football field with their infinite class.

At that time, all the top athletes wore Lotto.

However, the success of the brand declined with time due to the marketing hurricane created by the establishment of the top sport brands that we all know: Nike, Adidas and Puma. For Lotto it was suddenly impossible to compete against these giants… until an important shift happened in the brand.

During the 21st century, Lotto Sport totally reinvented itself in order to survive against these enormous competitors. Thanks to the foresight of its manager Andrea Tomat, the brand has completely reinvented their collections aiming at reinstating the quality of the made in Italy that recalls to the past periods of success but offering a very modern product which is more suitable for our current period.

The new line called “Lotto Leggenda” perfectly embodies this new concept: this line proudly brings to light all the shoe models that made Lotto famous during the past, but reinventing their design in a modern and fashion way. Lotto Leggenda provides shoes for running, football and tennis addicted, covering an incredible number of high-quality consumers who buy Lotto Sport for its history and relevance in the sport world.

As mentioned before, Lotto Sport cannot directly compete with the sport leader firms (Lotto’s turnover is 48 times lower than Nike). For this reason, the brand decided to adopt a “multi-niche” strategy aimed at directly targeting customers who are looking for high quality and performance rather than covering the whole market. Lotto Leggenda perfectly fits in this strategy.

Bonabello Eleonora

Forti Davide

Pantano Margherita

Sun Yumeng

Toni Giovanni

Sources:

Collesei, U. (2009). Competere con i giganti: il caso Lotto Sport Italia. Intervista ad Andrea Tomat, Micro & Macro Marketing, il Mulino, issue 2, pp. 287-292.

Paolini, R. (2017). “Con Lotto e Superga il made in Italy sfida in pista i 3 big”. la Repubblica, 20 novembre 2017, https://www.repubblica.it/economia/affari-e-finanza/2017/11/20/news/con_lotto_e_superga_il_made_in_italy_sfida_in_pista_i_tre_big-181590267/?ref=search.

https://www.lotto.it/it/lotto-leggenda/.

The New Reality From An Old One: The Push Scooters!

It’s not uncommon now to walk through the center of a big city and see yourself overcome by silent and futuristic scooters. The simple but functional idea of fitting an electric battery to a vehicle that had disappeared from the radar of the average citizen seems to have ridden to perfection the needs of the new society: flexibility, independence and sustainability.

Helbiz, Lime, Bird, Dott, Hive are just a few examples of the leader companies of the scooter-sharing market. To have made this product successful, in fact, it has contributed to the extreme spread of the phenomenon of sharing economy: the ease and comfort of use, the playful nature and practical accessibility, make the electric scooter a real mass asset – although the term mass does not fit perfectly with the concept of sharing economy.

If until not so long ago this reality seemed far away from our national territory, following the health emergency of Covid-19 and thanks to the combination of state incentives and people’s mistrust towards the public transport, the electric scooter has actually entered the life of Italians. According to a survey conducted by the mUp Research Institute in collaboration with Norstat and commissioned by Facile.it, there are already 1.4 million users of the vehicle in question, 800,000 of which are proper owners.

Yet, different are the issues on which the topic is discussed: from the need for a balance between the obsolete road regulations and the new reality of vehicle sharing, to the visual impact of the numerous “hives” of scooters on the sidewalks, up to the diatribe regarding the need to take out insurance policies for a vehicle equated to bicycles, but which objectively has little to share with the latter.

Surely, however, we will continue to hear about electric scooters: a perfect example of how from a simple idea, combined with the contingencies of the market, it is possible to create a millionaire business.

Passamonti Alessandro

Pastore Federica

Proto Fabio

Raffaele Federica

Randazzo Giuseppe

Sources:

Salzano, I., “Monopattini, un mercato di 2,5 milioni di persone”, la Repubblica, 20 agosto 2020, https://www.repubblica.it/motori/sezioni/attualita/2020/08/20/news/monopattini-265056210/.

Photo Source: “Electric scooter just like hoverboard just for sale, but prohibited on the street”, Teller Report, https://www.tellerreport.com/tech/2019-09-02---electric-scooter-just-like-hoverboard-just-for-sale--but-prohibited-on-the-street-.rJxJgtqSB.html.

Once Upon a Time… The Camperos!

It was 1966 when Nancy Sinatra used to sing: “These boots are made for walking”, like a tribute to the boots which were beginning to get famous all over the world.

Camperos, Texano, Western boots, Cowboy boots, Rodeo, Vacheros: you can choose the name you prefer, but the image that comes to mind is just one.

Low, wide and just a bit inwards heel, rigorously upward pointed and triangular-shaped: these are the ‘‘rules’’ that Camperos boots must have, for everything else the creativity can indulge.

They were worn for the first time in 1923 by Texas Girls, to celebrate the 75th year from the foundation of Fort Worth city, but their notoriety must wait a few years.

It is the 1961 when the stunning Marylin Monroe wears these Texan boots, and the ascent of the iconic Camperos begin. They have been in fashion throughout the 1970s and confirmed their fame when John Travolta wore them in 1980, remaining a must have for the decade to come.

Then they took off.

After they have been missing completely from the fashion world for over 20 years, Camperos are now back in vogue.

Nowadays these boots are widely preferred by women, and they are strongly reaffirmed and widespread.

The “new’’ Texan boots show many and interesting features: leather or suede, knee high or ankle high, smooth or with embroidery, studs and buckles.

Camperos have returned a must have for all the fashion addicts: you can find them in the millions of girls’ shoe racks and in the most important catwalks.

These western boots have been proposed by every type of brand: from the cheapest one to the most important fashion brands, for instance Miu Miu, Zadig and Voltaire, Casadei. They are the perfect match for a casual look or with a more elegant style.

A revival to buy and to use for all the winter season, and why not, maybe also for the spring-summer one!

Bucci Greta

Mazza Nicole

Reas Cristiana

Ruggeri Flavia

Sources:

Badiali, A. (2012). ”Camperos”, vogue.it, https://www.vogue.it/trends/vota-lo-stile/2012/07/camperos.

Quirino, A. (2029). “These boots are made for walking: l’ascesa del texano”, modapp.it, https://www.modapp.it/ascesa-del-texano/.

“S.O.S. – Selected On SHOPenauer: ‘C’era una volta il West’, i 15 stivali texani più cool della stagione”, waitfashion.com, https://www.waitfashion.com/cera-una-volta-il-west-i-15-stivali-texani-piu-cool-della-stagione/.

Tenace, M. (2018). “Dal selvaggio West alle passerelle: la storia (affascinante) degli stivali texani, i cowboy boots per eccellenza, vi conquisterà”, elle.it, https://www.elle.com/it/moda/g19859666/stivali-texani-storia/.

Ambrogio, F. (2018). “Il ritorno degli stivali texani: come indossare i camperos di tendenza quest’inverno”, fanpage.it, https://donna.fanpage.it/il-ritorno-degli-stivali-texani-come-indossare-i-camperos-di-tendenza-questinverno/.

Photo Source: https://www.waitfashion.com/cera-una-volta-il-west-i-15-stivali-texani-piu-cool-della-stagione/.

Champion revival: collaborations and ’90s nostalgia

as key factors for the new brand strategy

In 2019 sportswear brand Champion celebrated 100 years of history. The century-year old brand could have not marked its milestone in a better way. Since 2017 the company experienced an extremely successful revival and is expecting to reach $2 billion in sales by 2022. Two key elements must be accounted for this achievement: collaborations and ‘90s nostalgia.

Champion was founded in 1919 by the Feinbloom family and became famous in the ‘30s for providing sweatshirts and tees to universities. Major innovations introduced by the brand were the hooded sweatshirt and the Reverse Weave sweatshirt to prevent shrinkage. The products’ growing success made Champion official outfitter of all the 27 teams of the NBA from 1989 to 2001. Since then the parent company SaraLee Corporation lost interest and Champion had to resort to selling at Walmart and Target.

In 2006 HanesBrands Inc. became the new parent company and set Champion on a completely new path. They invested in social media channels, updated designs, new brick-and-mortar locations and…Collaborations!

The first collaboration with Supreme in 2010 proved to be a huge success and paved the way to other partnerships with streetwear labels like Vetements and Off-White, and more recently the SS20 capsule collection with Chiara Ferragni and the latest with Craig Green for FW20.

These collaborations have helped Champion highlighting the brand’s versatility and exposing the brand to a new segment of shoppers, exploiting the “hype” surrounding those upmarket streetwear brands.

When Champion was coming back with all its collaborations, logo apparel was having a revival along with ‘90s fashion and streetwear, leading to the rediscovery of nostalgic, iconic designs.

Champion has been able to successfully take advantage of the new trends, refining the brand strategy with a focus on classic, iconic styles renewing them for today’s consumers.

If Champion will continue to keep an eye on the new trends while reconnecting to its century-old heritage and bet on smart collaborations, its success will definitely last for another century at least!

Del Monte Francesco

Di Marcantonio Vittoria

Gambacorta Silvia

Michielan Giorgio

Mistretta Antonino

Sources:

Champions: Our heritage: https://www.championstore.com/en_gb/our-heritage.

“Champion’s Logo Is Suddenly Cool and Suddenly Everywhere. Can It Last?”, https://time.com/5571574/champion-logo-clothes-fashion/.

“How Champion Became One of the Coolest Brands Around-Again”: https://www.esquire.com/style/mens-fashion/news/a54070/champion-sweats-comeback/.

“How a ’90s nostalgia trend powered the comeback of two century-old sports brands”: https://www.cnbc.com/2019/06/19/how-a-90s-nostalgia-trend-powered-the-comeback-of-champion-and-fila.html.

Rahman, T. (2020). “How Champion Became Cool Again”. https://bettermarketing.pub/how-champion-became-cool-again-c4e58fa46671.

Pepsi Generation: Nostalgia Commercial

Sometimes they come back. It was in 1992 when the super top model Cindy Crawford drove up to a dusty gas station, bought a Pepsi out of the machine and drank it. It was 28 years ago, but that iconic advertisement didn’t stop us dreaming: in 2018, year of its 120° anniversary, Pepsi has recreated that moment and many others that include timeless idols, on occasion of the Super Bowl commercial.

This advertisement is based on what we call ‘nostalgia marketing’.

In the modern society, purchasing and consumption activities respond more and more to symbolic needs rather than functional ones and products have a strong emotional value. In line with this, a lot of brands started using nostalgia as lever to trigger emotions.

According to a study published in the Journal of Consumer Research, nostalgia in advertising allows brands to connect with their audience on a powerful emotional level convincing them to spend money and to continue using the product because it promises an immediate return in the form of happy memories. Actually, remembering and reliving the past has the power to create a sense of belonging to the consumer, who, keeping in contact with a nostalgic advertising campaign, will experience the feelings of security and connection with past times.

Pepsi throwback advertising is narrated by Jimmy Fallon and includes a new version of the famous 1992 Pepsi Super Bowl with Cindy Crawford and her son Presley Gerber. The spot also features iconic celebrities of Pepsi’s past and present, like Britney Spears, Michael Jackson, Jeff Gordon, “Uncle Drew,” and a cameo from the famous DeLorean Time Machine from “Back to the Future.”

The commercial ends saying “This is the Pepsi for every generation”, highlighting the connections between past, present and future: celebrating the best past moments, they create new iconic ones for today and sets the stage for an exciting future, allowing Pepsi to be the choice for decades to come.

Germano Marta

Greselin Alice

Macelloni Federica

Maraia Filippo

Monaco Francesco

Sources:

Pepsi’s commercial: https://www.youtube.com/watch?v=0gHYd67OumQ.

INTERVIEWS

“This change is called Innovation”

Carlo Alberto Pratesi is full Professor of Marketing, Innovation and Sustainability at the Roma Tre University. Rector’s Delegate for Startups. Consultant on communication and marketing issues for leading companies. President of EIIS – European Institute for Innovation & Sustainability. One of the founders of the Italian Marketing Society. Member of the Order of Journalists and columnist of the Corriere della Sera.

We had the pleasure to interview him on some very important matters, such as innovation, sustainability, Covid-19 and social media marketing.

Carlo Alberto, how do you think these topics are related?

“Products, services and company’s processes become more sustainable if they change the way they are made and the way in which they operate: this change is called innovation. For being sustainable we must innovate, and to get more advantage in the market, we must prove to be more sustainable than others. Innovation is the lever to improve sustainability and sustainability is the key to make a good marketing strategy.”

About social media, “I hope that common sense can prevail. My feeling is that those who have something to say for the good of humanity must learn to use social media as well as Chiara Ferragni and Fedez, rather than criticize them. We must try to encourage the emergence of new influencers who bring the right message.”

As to the future leading generations “The suggestion which I would give is to keep open minded and curious as much as possible. Imagine our CV as a shopping cart, which fills up with lots of contents, some are a bit imposed; like when you go to the supermarket and there are things you have to buy, that’s the university study plan, while for others you can choose from an immense shelf that is the world of the internet. The person who has done his shopping best, will have done the shopping intelligently and will then be able to present himself to companies or to the world with a more varied and complete preparation, will clearly be rewarded.”

Ronga Lorenzo

Roscini Luca

Ryhanen Ginevra

Saggiorato Giulia

Sgambati Sveva

Image source:

Rai Play

Valerio Marra: The Evolution of Innovative Services

in The Energy Market

With +25 years of experience through commercial and marketing divisions of Vodafone and WindTre, Valerio Marra is now the Chief Commercial & Trading Business Unit Acea, Executive President Acea Energia and Sole Director Acea Innovation.

By joining us to talk, he shared some insights about the shifting scenario of the energy market and the changing of consumers’ demand.

What type of market scenarios do you suppose Acea is going to face, both in the short and long term?

“New sustainable trends, together with digitalization, have substantially changed the opportunities in the energy field. In this scenario, Acea launched a startup strictly related to the energy revolution, named ‘Acea Innovation’. Its’ aim is to accelerate the responses to the continuous changes in the market with an approach of ‘net innovation’, a method that relies on creating new services through strategic partnerships with third parties, competent in developing and implementing innovative ideas.”

Has Covid-19 changed consumers’ behaviours in the energy market? How are you preparing?

“Firstly, the consumer and business side have had different reactions, strictly due to the Italian lockdown. The former achieved an increase in energy consumption, while the latter faced a tremendous decline. Secondly, both subjects have pushed towards a more digitalized relationship with the company rather than a physical one. Therefore, in response to consumers’ needs, Acea implemented new digital CRM services that enabled the company to understand clients’ readiness to a more omnichannel strategy.”

Given your past important managerial roles, which advice would you give to young students who are about to enter the world of work?

“Due to my professional experience, I would encourage students to have positive perspectives towards new changes, since they are part of our individual life and career. Then, I would suggest them to be patient, trust the process and focus on working day by day so as to become valuable and recognizable within the company. Give yourself time to mature!”

Accroglianò Lorenzo Maria

Bellocchio Giorgia

Bordoni Francesca

Caccamo Federica

Cammarone Ludovica

Image source:

https://www.gruppo.acea.it/conoscere-acea/nostri-manager/valerio-marra.

LINKIESTA

Elon Musk “Cybertruck” Epic Fail

Flop presentation for Tesla. The indestructible glass breaks the first time.

Crazy live worldwide for Elon Musk, CEO of Tesla.Inc, during the presentation of his Cybertruck.

“It is indestructible.” But it shatters!

Thousands of potential consumers totally changed their brand perception guided by two effects:

- Laugh effect: the breaking of the windows made consumers laugh enough to unleash social networks like Instagram and Twitter with memes providing advertising!!!!

- Little confidence: consumers give less trust to Tesla and this had a negative impact on its business.

As a consumer, what would be your reaction to this failure?

“Maybe you hit him a little too hard”. During the live presentation, Elon Musk reacted by saying so.

These words proved that Musk is able to manage every failure in the best possible way, exploiting his behavioral characteristics that contradistinguish himself.

In fact, he is regarded as one of the most disruptive and eccentric characters of the world.

From that moment, he has been working on different initiatives in the electric automotive sector launching new Tesla cars with a series of advanced hardware that can offer Autopilot functions and allow for fully autonomous driving in the future. Using updated software to improve functionality over time, these cars are able to perceive the road at 360 ° up to a radius of 250 mt. following the best path to avoid obstacles!!!

Fall to learn how to get back on your feet! This is the main motto of this innovative and brilliant man.

Can a single man revive a brand?

Neri Federico

Pacelli Maria Teresa

Russo Alberto

Siragusa Gianmarco

Tabares Urrea Natalia

Sources:

Barbera D., (2019). “Perché Elon Musk ha fatto una figuraccia durante la presentazione del Cybertruck”, wired.it, https://www.wired.it/gadget/motori/2019/11/22/elon-musk-fail-presentazione-tesla-cybertruck/?refresh_ce=.

Lambert F., (2020). “Elon Musk: Tesla Cybertruck glass demo fail helped electric truck get attention“, https://electrek.co/2020/04/26/tesla-cybertruck-glass-demo-fail-elon-musk-electric-truck-attention/.

Photo Source: www.theverge.com

Orange Fiber – Making Fashion Sustainable,

One Peel of Orange at a Time

In 2011, Enrica Arena and Adriana Santonocito, two girls from Sicily, Italy, launched a startup named Orange Fiber. The goal was to exploit the peel of citrus fruits in order to make clothing materials.

As bizarre as it sounds, the idea was based on valid studies and therefore won the two girls many important awards, which got the attention of well-established, fashion firms.

Indeed, the goal of Orange Fiber is just to provide an “empty canvas “which other fashion firms can print on. Orange fiber has had experience with brands like Salvatore Ferragamo and H&M, which embraced the cause for sustainable fashion by launching collections made only with recycled materials.

So, how is it possible to convert the peel of citrus fruits into fabric? Orange Fiber claims to take advantage of the otherwise wasted, 700.000 tons of citrus juice by-product that are produced every year in Italy: they use that to extract the citrus cellulose, which turns into a polymer apt to be spun and later turned into high quality fabrics.

Orange Fiber’s revenues are currently growing, but the main goal is still in the works: up until now, because of the still, relatively high production costs, the firm has only been able to supply materials to big brands which plan to make niches products. In order to disrupt this process, Orange Fiber is trying to find partners which can help to apply economies of scale, making the production process cheaper and more sustainable.

Actually, a big partner has already been found in people: in July 2019, Orange Fiber closed a crowdfunding campaign which raised €650.000 in just 3 months!

Luckily, sustainable fashion is a growing trend amongst young generations; supporting it can be as easy as recycling the peel of an orange.

Panetta Edoardo

Parise Cesare

Perretta Francesca Maria

Pirrello Valentina

Pizziconi Federica

Sources:

Orange Fiber’s site http://orangefiber.it/.

Ricifari, C., (2018). “La startup siciliana che trasforma le bucce d’arancia in tessuto”. Forbes, https://forbes.it/2018/01/23/la-startup-siciliana-che-trasforma-le-bucce-darancia-in-tessuto/.

Orange Fiber’s site on Crowdfundme https://www.crowdfundme.it/projects/orange-fiber/.

Salvatore Ferragamo’s site, Responsible Passion, https://csr.ferragamo.com/it/responsible-passion/orange-fiber.

Corda, M.R., (2019). “Orange Fiber, verso una moda più sostenibile”. La Stampa, https://www.lastampa.it/tuttogreen/2019/09/01/news/orange-fiber-verso-una-moda-piu-sostenibile-1.37393759.

Nikola: Will Heavy Vehicles Take Off?

Nikola has many ambitious projects at the base, but it is not sure what is going on in Phoenix, what will happen?

Nikola Corporation was founded in 2014 by Trevor Milton in Salt Lake City, Arizona.

The goal set by the founder is to create a line of zero emissions trucks, through the use of batteries that exploit hydrogen to generate electric traction.

The markets immediately welcomed the idea with enthusiasm.

The promises of the company to create trucks with great autonomy upset the market, causing a strong attraction from investors.

In 2020, after several public previews and a huge event, the company was listed in the stock market to overcome the need for a wide capital to support the beginning of the miraculous projects that had been proposed.

The prospects appeared strongly prosperous. The introduction of hydrogen in the American market attracted the attention of many companies, including CNH industrial (FCA) and later General Motors.

The latter, after a strong growth of Nikola’s shares value, bought two billion dollars of shares, acquiring the 11% of the company.

Despite the positive trend registered, in the autumn 2019, the company had presented numerous uncertainties about the development of batteries’ technology: “We have innovative batteries, but we will present them in the near future,” said Nikola’s CEO Milton.

To date, that promise seems to have remained so, as nothing has yet been presented to the market.

Meanwhile, news bounced off the markets until, in September 2020, Hindenburg Research published an article entitled: “How to parlay an ocean of lies into a partnership with the largest Oem car in America”.

In this article is inscribed the evidence of the ineffectiveness of the numerous statements of science regarding the innovation discovered by Nikola.

Among these, is relevant the statement of a former employee about the published videos of trucks moving at high speeds.

Nikola’s own trucks were moving at high speeds due to the result of a strong descent from the hill on which they were placed, says the employee.

Uncertainty permeates the air… will Nikola be the future of trucks?

Granata Antonia

Lauritano Tiziana

Monticelli Greenwood Filippo

Natella Federica

Paolovna Ghirlando Kristina

Sources:

Ohnsman, A. (2019). “Startup Nikola Bets Hydrogen Will Finally Break Through With Big Rigs”, Forbes, https://www.forbes.com/sites/alanohnsman/2019/04/14/can-a-15-billion-bet-on-fuel-cell-big-rigs-be-a-game-changer-for-hydrogen/#514f2c6.

”A General Motors l’11% di Nikola e la produzione del Badger’, Forbes, https://forbes.it/2020/09/10/a-general-motors-l11-di-nikola-e-la-produzione-del-badger/.

Zocchi, M. (2019), “Nikola annuncia la batteria che può rivoluzionare la mobilità del futuro, ma la mostrerà tra un anno”, dmove.it, https://www.dmove.it/news/nikola-annuncia-la-batteria-che-risolvera-tutti-i-problemi-ma-la-mostrera-tra-un-anno-a79d0f62-2307-41d4-bd8a-e73c0efe9448.

Luxury shopping while sitting on your couch?

The dream came true!

What if we told you that you could find your new favourite piece of clothing, from your favourite luxury brand, without taking off your pajamas? All of this is now a reality: it’s the latest innovation introduced by Amazon Luxury Stores.

Since forever, Amazon had the ability to distinguish its platform from competitors’, especially in terms of innovation. One of the latest developments in this sense is Amazon Luxury Stores, a brand-new shopping experience allowing Prime users to purchase high fashion products directly from the app. This is not just Amazon’s latest attempt to tackle competitors in the high-end fashion sector. It’s also a new way for brands to foster their brand awareness, improve their management of inventory, selection and prices, and exploit the massive visibility of Amazon in order to attract new customers.

A huge portion of the volume of sales of the company is already coming from the clothing sector, – Amazon is USA’s biggest seller of clothing – but it’s mostly fast fashion products. Amazon never managed to attract or retain luxury brands and high-end designers, because the purchase experience on this platform was considered too generic and the outlook was too “cheapish”. Nike, for example, cut any direct selling through Amazon in 2019, preferring a “more direct customer relationship” with respect to the one offered by Amazon.

To make up for the lack of uniqueness in the purchase processes taking place on its platform, the USA-based e-commerce giant is now ready to give high-end fashion suppliers what they want for their brand. It will give the possibility to promote new luxury clothing collections with a digital version of flashy shop windows, with creative layouts and photographs with an innovative 360°-view. This is another important step towards the optimization of the online shopping experience, which is getting more and more realistic, almost tangible. According to researchers, the average human being processes visual contents 60.000 times faster with respect to verbal contents. That’s why it’s crucial to focus on fancy layouts and 360° view photos, which create the illusion to have the product already in your hands while browsing on Amazon. It’s especially interesting to monitor this innovation during the Covid-19 pandemic. And, once again, it’s not a surprise that Amazon is leading the change.

Armini Andrea

Benelli Valentina

Biondi Valeria

Ciliberti Francesca

Manghi Alessandro

Sources:

https://www.amazon.com/s?i=merchant-items&me=A3TQQKOV89A77N.

Vincent, J. (2020), “Amazon launches Luxury Stores to separate the hoi polloi from the haute couture”, theverge.com, https://www.theverge.com/2020/9/15/21437639/amazon-luxury-stores-launch-high-end-fashion-retail-brands-oscar-de-la-renta.

BRAND HUNTERS

Positive Body Message or Marketing Strategy?

The most judged figure of the Milan Fashion Week 2020 is with no doubts Armine Harutyunyan, the 23 years old model chosen by Gucci.

Since Alessandro Michele took the role of the creative director, Gucci has taken various actions to overturn the conventional beauty standards we are used to. From its takeover, Michele has initiated to revolutionize not only the designs, but also the use of communication channels by choosing unconventional figures to represent the brand around the world.

A clear example of this new approach is certainly represented by the choice of the model Armine Harutyunyan, characterized by angular features, with thick eyebrows, long nose, thin lips and deep, dark eyes. Having purely Armenian features, the model differs greatly from the typical Western beauty canons, for this reason, right after her debut, all socials were overloaded with a mix of contrasting opinions. On the one hand there are those who supported Gucci’s choice in launching a positive body massage by defining the model as an unconventional beauty, on the other hand there are those who stated that beauty is something else.

Due to her features, Armine quickly became the victim of body shaming on social networks and in particular Instagram, where beauty standards different from hers have always been praised. Despite the criticisms, the model continued to post her photos fearless, declaring to national paper la Repubblica that “People are scared by everything that is different, there are many different ways of being beautiful.”

What is sure in this story, regardless of whether the model may like or not, is that Gucci came out as a winner from this choice, recording a notable increase in online research. Whether it was a choice to spread a positive body message or a marketing strategy, with no doubt the Italian Company Gucci won, managing to make people talk about itself worldwide through posts on social networks and newspapers.

Fischetti Francesca

Giannini Chiara

Gioia Teresa

Ingrassia Alessandra

Mosca Ludovica

Sources:

“Chi è Armine Harutyunyan, la modella armena che sfila per Gucci e divide il web”: https://www.google.it/amp/s/www.notizieaudaci.it/notizie-tendenze-moda/chi-e-armine-harutyunyan/25828.html/amp.

“Armine Harutyunyan: la modella Gucci vittima di body shaming”: https://www.vogue.it/moda/article/armine-harutyunyan-modella-gucci-vittima-body-shaming-foto/amp.

“Gucci’s New Girl Is An Artist”: https://theartgorgeous.com/guccis-newest-face-artist/.

“Who Is Armine Harutyunyan And How Did She Become A Victim of Body-Shaming In Italy?”: https://www.forbes.com/sites/rebeccahughes/2020/09/05/who-is-armine-harutyunyan-and-how-did-she-become-a-victim-of-body-shaming-in-italy/#4bfd87954ce3.

“La verità è che alla fine ha vinto Gucci”: https://mvcmagazine.com/la-verita-e-che-alla-fine-ha-vinto-gucci/.

Durex: When Creativity Meets Success

If you own a social profile, either on Instagram, or Facebook, or Twitter, you cannot have missed the Durex profile, and we are sure that with their unique and hardened marketing they managed to catch your attention.

Durex, a company which sells condoms and products related to the “sexual-well-being”, adopted in the last years a strategy aimed at removing the embarrassment that people may feel when purchasing these products. It is very important for a company like Durex to eliminate this embarrassment because it may prevent people from buying, and cause revenues to decrease, which of course is not desirable at all.

The key words for Durex marketing strategy are: friendly and engaging communication. Through a few images, and some ironic sentences, the spectator will become enthusiastic, and acquire the precious “brand awareness”. Over the years, they managed to create a relationship with their target, based on transmitting the sense of safety and wellness.

What they do in practice is understanding the trend of the moment, either a political or social one, and then they construct upon these trends a story and transmit a message communicated in a very “relaxed” way.

One of the most recent examples of this unique and brave marketing approach is the Instagram post published after all the issues that rose about the last iPhone, since it will be sold without the charger.

The suggestive post claims: “We always sell this to you with the charger” referring to their electric products. If you go on their Instagram profile and read the comments, you easily understand how they succeed in capturing the appreciation of their followers.

Well, Durex managed, another time, to ride the wave and make people talk and remember about them.

Good Job Durex!

Martis Federico

Nemni Orly

Neri Elena

Nuzzo Gabriella

Orza Martina

Source:

https://www.instagram.com/durexitalia/.

L’Oréal: the importance of staying

on the right side of history

Would you have ever thought that make up could be the protagonist of an ad for men? The unexpected campaign developed by the advertising agency McCann for L’Oréal, launched in April 2019, transformed cosmetic products of the famous beauty firm in graphs representing women’s contributions to business.

This advertising was based on a research conducted by the agency and the brand that inquired the role played by gender in the corporate industry. The main finding of this investigation emphasized how even though most positions of authority are attributed to men, it is women who are able to attain significant accomplishments when given power in companies. This is what led L’Oréal to put pen to paper to the found data with the help of make-up infographics, while reminding men the unexploited value of female power.

This was not the last time that McCann collaborated with L’Oréal to point out the potential that lies in each individual. In fact, a year later the brand partnered up with the academy award winner Viola Davis to create a video with the aim of highlighting how we “never depreciate in value”, a concept in line with the motto of the company “Because I’m worth it”. The powerful message of the video acquired even more significance at a time characterized by the revival of “Black Lives Matter” and by the Covid pandemic.

These instances are perfect examples of how it has become pivotal for companies to communicate to its customers and to society. Staying relevant in a world where moral standards are changing can only be done by creating value for “activist” consumers through the ethical reputation of companies, aside from the quality of their products. L’Oréal, therefore, is not only exhibiting a smart communication strategy, but also seems to be on the right side of history!

Gallo Curcio Micol

Gridelli Lorena

Micangeli Chiara

Oliva Francesco

Paparella Federico

Sources:

Guido, G., “This Is an Ad for Men, la campagna L’Oreal diretta a tutti gli uomini”, https://www.collater.al/this-is-an-ad-for-men-loreal-advertising/.

Glenday, J. (2019). “‘This is for Men’ - L’Oréal Paris unveils clever ads calling for more women in leadership”, https://www.thedrum.com/news/2019/04/08/l-oreal-paris-turns-the-tables-men-with-female-empowerment-campaign.

Stych, A. (2019). “L’Oréal ads send a message to men: Hire more women”, https://www.bizjournals.com/bizwomen/news/latest-news/2019/04/lor-al-ads-send-a-message-to-men-hire-more-women.html?page=all.

“Viola Davis Has Some Lessons in Self Worth from L’Oréal Paris”, https://www.lbbonline.com/news/viola-davis-has-some-lessons-in-self-worth-from-loreal-paris.

“McCann and L’Oréal Launch ‘Lessons of Worth’”, https://www.interpublic.com/case-study/mccann-and-loreal-launch-lessons-of-worth/.

Official social media accounts of McCann and L’Oréal (both Instagram and Facebook)

Brands, Germs, New Trends

How can you market and distribute a product when people are not allowed out of their homes? How can you catch customers’ attention with a bright, colorful advertisement if the streets are empty?

The pandemic of Covid-19 has profoundly modified habits, attitudes and everyday life, with sizeable repercussions on companies and businesses. A particularly hard-hit industry is the fashion and luxury market: from disruptions in the supply chain to closings of retail shops, the sector has suffered important losses in the first half of 2020. Despite the grim economic outlook brands are trying to bounce back on track, aided by new, innovative strategies and digital marketing techniques. For the first time in 2019 the digital advertisement market has surpassed in terms of revenues the traditional one, [capturing more than half of the total spent on ad campaigns]. This trend, accelerated by the pandemic, has pushed brands to embrace new guerrilla-marketing initiatives, to be realized and carried out in a completely digital space.

A good example of this new approach is represented by the Gucci Beauty launch campaign: in order to promote its first mascara, the company has created a virtual party, to be joined interactively through its social media channels, as well as a special Instagram filter to simulate the application of the product. Instagram stories, with more than 500 million daily users, are a formidable instrument to develop and improve brand awareness.

This type of campaign (employed by other firms in the same market segment, such as Burberry and Prada) combines the traditional advantages of guerrilla marketing, such as low cost and high visibility, with the dynamism and the fast growth associated with social media platforms. Elements of community building (with a special attention to inclusivity), structured partnerships with social media influencers and viral, fast-growing hashtags create customer engagement, shaping a positive brand image with a direct impact on revenues.

Is this what the future of advertising looks like? It is still hard to tell. But in any case, digital guerrilla-marketing is here to stay.

Arianna Torrillo

Sara Stante

Rosa Cafaro

Laura Valeri

Sources:

Vogue Business:

Chitrakorn, K. (2020). “The new rules of guerrilla marketing in fashion”, https://www.voguebusiness.com/companies/the-new-rules-of-guerrilla-marketing-in-fashion.

Biondi, A. (2020). “Amid Covid-19, marketing changes shape”, https://www.voguebusiness.com/companies/communicating-under-covid-19-coronavirus-china-e-commerce-advertising-livestream.

McKinsey Quarterly

“What consumer-goods sales leaders must do to emerge stronger from the pandemic”, https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/what-consumer-goods-sales-leaders-must-do-to-emerge-stronger-from-the-pandemic.

Statista

“Luxury Fashion Report 2020”, https://www.statista.com/study/56842/luxury-report---luxury-fashion/.

Mercedes as a Marketing Attacker

Have you ever seen an advertisement that made you speechless? Have you ever wondered who imagined such a mad billboard? If you did, then you were probably facing an example of guerrilla marketing advertisement.

Just like in guerrilla fighting, the key objective is to surprise enemies (sorry, consumers). Being a low budget technique, it aims to create a strong emotional reaction in the few people who see the real life “guerrilla” advertising. Word of mouth would do the rest: spreading the news to a much wider community compared to the one initially targeted.

Recently, different guerrilla marketing’s approaches have been applied by the automotive industry.

Indeed, an example has been Mercedes’s innovative campaign to promote its new hydrogen fuel cell technology. To present it, they decided to simulate an invisible car. How? Simply by putting a screen on one side of the car, cameras on the other, and projecting on the screen the view that would have normally been blocked by the car! The result was fascinating: a fully transparent car.

Another Mercedes’s ad campaign was launched against competitors just before the market entry of the new Class A in 2012. The tactic was brilliant: Mercedes attached its own emblem on the other cars above their badges! This strategy ended with many car owners totally convinced about a better look of their car with the presence of the new emblem: the Mercedes one!

To conclude, even if these campaigns were successful, Mercedes should pay attention to the competitors’ responses. For example, ask BMW about the spot made when the famous Mercedes CEO has retired, but this is another story.

Bruno Carlo

Fanelli Andrea

Ingletti Antonio

Teti Martina

Vaccari Lorenzo

Sources:

Levinson, J.C., (2003). “Guerrilla Marketing in a Tough Economy. To succeed during an economic rough patch, you have to think – and act – like a successful guerrilla marketer”, https://www.entrepreneur.com/article/65486.

Lum, R. (2012).“Mercedes Car Turns ‘Invisible’ In Guerrilla Campaign”. http://www.creativeguerrillamarketing.com/guerrilla-marketing/mercedes-car-turns-invisible-guerrilla-campaign/.

“Provocazione Mercedes. Golf e Bmw e Audi coperte con la stella”, Corriere della Sera, 21 settembre 2012, https://motori.corriere.it/attualita/12_settembre_21/mercedes-guerrilla-marketing_e33ca40a-03c2-11e2-a116-9748af084362.shtml.

Photo Source:

http://www.creativeguerrillamarketing.com/guerrilla-marketing/mercedes-car-turns-invisible-guerrilla-campaign/.

The Power of Chipotle Storytelling:

The King of Meaningful and Captivating Short Movies

As customers are getting tired of traditional advertising, companies are exploring the incredible potential of brand storytelling. Instead of promoting their products, enterprises are developing original fictional stories that capture the attention of the audience through a simple emotional narrative.

A branded tale does not only entertain with amusing videos, but also creates a strong connection with consumers who may identify with the brand’s values.

Among great storytellers the first place goes to an American restaurant chain which is trying to bring sustainability into the fast-food industry: Chipotle Mexican Grill. Chipotle is a master of non-traditional advertising and its touching stories reflect its commitment to transparency and integrity of food. Instead of just promoting its products, Chipotle promotes the brand’s purpose by creating stories that invite customers to embrace more responsible eating habits. And the results speak for themselves: increased awareness, loyalty, word-of-mouth and revenues.

Back to 2011 the company won the Cannes Grand Prix and the Grandy Award for its short animated movie “Back To The Start”, where a farmer transforms his farm into an animal factory but realizes his mistake and goes back to sustainable farming. Another hit released in 2013 is the short “The scarecrow”, where the protagonist witnesses animal mistreatment at the food factory he works for. Back home he starts cooking with vegetables from his garden and in the final scene where he serves fresh tacos we see Chipotle’s slogan “Cultivate a better world.”

Worth the mention is the 2016 short “Love Story”, where the owner of a lemonade stand has a crush on his rival and starts a challenge to gain her attention; this competition gives rise to two fast-foods and after realizing their self-destructive actions, the protagonists go back to fresh food and finally fall in love.

Together with the comedy series “Farmed and Dangerous” and the 2019 documentary “Behind the Foil”, Chipotle is proving that visual content based on authenticity and creativity is key for a meaningful and memorable communication.

Balint Daiana Denisa

Biggio Silvia

Liuzzo Vladimiro

Manojlovic Vojin

Mazzei Edoardo

Sources:

For “The scarecrow”: https://vimeo.com/89516929 by ADC awards.

For “Love story”: https://vimeo.com/174544485 by Passion animation studios.

Spotify Viral Marketing:

How Big Data Generates Engagement

Viral marketing is a Guerrilla Marketing technique that leverages users’ feelings and attitudes to push them to share characters of the campaign. One of the best examples of viral marketing is Spotify’s end of the year campaign.

The Swedish streaming platform collects ‘the year in music’ for every user and presents to the subscribers an interactive interface, natively made to let them share their world of music on social media. Thanks to the enormous amount of data collected day by day, Spotify ‘nudges’ users to share with the community their listening habits.

In 2016 Spotify put advertising boards around the streets of 14 different countries across the world for the “Thanks 2016. It’s been weird!” campaign. Through big data elaboration, the company was able to run an ironic and involving campaign to expose the weirdest habits of their users. Thus, for the first time Spotify was sending each user this ‘end of the year report’ in an easy-to-share format. The campaign soon showed its great potential and the users started acting as a real community, sharing in mass their reports, hogging social media for days.

The campaign was confirmed year by year. At the end of 2019 had a striking impact on social media and generated hundreds of millions of engagements. Spotify kept the ironic cut and the detailed report but also implemented an overview on the users’ best music of the last decade through playlists, revivals, rankings, statistics. It had a stunning success.

The appointment has become not only an occasion for viral marketing, but also a strength showdown by Spotify because of the high-fidelity demonstrated by their subscribers. Thanks to feelings leveraging, big data and share-native contents, Spotify managed to achieve the goal to associate an entire life experience and a sense of community with the fruition of their service.

Curious to know how it will evolve? We just have to wait for the 2020 campaign!

Pagone Arcangelo

Renzulli Leonardo Maria

Tawakol Marcello

Tsimese Emmanuel

Wang Qihao

Sources:

Comin, G. (a cura di), Comunicazione integrata e reputation management. Luiss University Press, 2019, pp. 417-418.

“Spotify trasforma i big data in una campagna divertente”, Mistral, 2017, http://www.mistralpubblicita.it/blog/avvistamenti-e-tendenze/spotify-trasforma-big-data-in-campagna-divertente/.

Fabio, “Spotify salute un ‘anno strano’ con una geniale campagna di marketing”, Stampapritn, 30 novembre 2016, https://www.stampaprint.net/it/blog/comunicazione/spotify-saluta-anno-geniale-campagna-marketing.

Casciabianca, F., “Spotify lo ha rifatto: anche quest’anno la pubblicità data driven”, Ninja, 7 docembre 2017, https://www.ninjamarketing.it/2017/12/07/spotify-pubblicita-data-driven/.

“2018 Wrapped: I dati di spotify diventano dei contenuti esilaranti”, Mistral, 2018, http://www.mistralpubblicita.it/blog/avvistamenti-e-tendenze/2018-wrapped-dati-spotify-contenuti/.

Vestito, C., “Spotify celebra i successi dell’ultimo anno con la nuova campagna multimediale”, Engage, 12 dicembre 2019, https://www.engage.it/campagne/spotify-successi-2019.aspx.

Coke or Pepsi? That’s The Eternal Dilemma!

More than a mere commercial rivalry, it is a real “war” played across a lot of different battlefields and made by advertising campaigns more and more striking to acquire the supremacy of the carbonated soft drink (CSD) market.

The so-called Cola Wars are some of the most famous and long-lived commercial feuds in history. It all started in 1975 when Pepsi launched the “Pepsi Challenge”, a side by side blind taste test between the two brands, in which the outcome was that consumers preferred Pepsi to Coke. This was a splendid move that still stands out in the history of marketing as one of the great fights between these two companies due to the great success achieved.

The comparative advertising became a strategic tool often used by Pepsi to point out the ways its brand was stronger than the market’s leader Coca-Cola paying particular attention to the weaknesses of the latter.

The most impressive spot that still lives in people’s mind is surely the one with the child that wants to get a Pepsi from the vending machine but is not tall enough to reach the Pepsi’s button. It is brilliant how he gets around the difficulty: he inserts coins and buys two Coke cans to stand up on them and finally is able to press the Pepsi’s button.

This particular advertising practice continues to be used by Pepsi to this day: in 2013, for Halloween, a funny advertising campaign was launched in which the can of Pepsi was dressed up as a frightening Coca-Cola!

Of course, without this endless competition, we would not have some of the most iconic advertising campaigns that have revolutionized the industry and shaped pop culture as we know it today. All that remains is to wait for the next battle of the Cola Wars!

De Nardo Enrica

Di Matteo Giammarco

D’Urzo Maria Rosaria

Esposito Luigi

Feliziani Monica

Sources:

Yoffie, D.B., Slind, M. (2006). “Cola Wars Continue: Coke and Pepsi in 2006”, Harvard Business School, https://www.hbs.edu/faculty/Pages/item.aspx?num=33282.

https://www.vanityfair.com/video/watch/coke-vs-pepsi-experts-analyze-50-years-of-commercials.

https://www.adsoftheworld.com/media/outdoor/pepsi_halloween.

https://www.youtube.com/watch?v=GyY15Jkkg2A.

https://www.adsoftheworld.com/node/91/play

The Colenso BBDO Campaign for Express Couriers

Today’s consumer is no longer a passive actor who spends his time zapping on the couch, but an active subject who chooses the content he finds most interesting, through online channels, such as social media, and offline, such as television or radio.

This is why businesses, whether small or large, need unconventional methods of communication to attract consumer attention.

The best answer to this need is guerrilla marketing!

The concept was born in 1982 with the book of the same name by Jay Conrad Levinson, according to which armies in situations of inferiority resort to the technique of the guerrilla to take the opponent on the back foot through unexpected and rapid actions.

As Umberto Eco says, “in an era in which information has become the main asset and only those who control the media have the power, the winning move is given by guerrilla, understood as a form of communication parallel to traditional media”.

How can we not talk about the campaign of the agency Colenso BBDO for Express Couriers!

This is one of the most iconic examples of ambient marketing strategy: posters that become interactive and play with another dimension of the surrounding environment, the time!

The advertising sign created for the Express Couriers shipping company presented the headline “This message will self-destruct in exactly:” under which a monitor that counted down and next to it the ticket “when we give you a time, we mean it”.

At the end of the countdown the advertising poster exploded, and the Express Couriers achieved a truly remarkable media explosion, despite the cheapness of the campaign – the Colenso agency said it spent about $20,000 for its realization.

The campaign has also received several awards, including a Gold at the Spike Awards, Best in Show titles at New Zealand’s Axis awards and the Clio Award 2008.

Allera Graziano

Barbaro Pierluigi

Calcavento Matteo

Carbone Chiara

Ciolfi Ludovica

Sources:

Comin, G. (a cura di), Comunicazione integrata e reputation management. Luiss University Press, 2019.

“Colenso BBDO B&T interactive agency of the year”: https://adamgood.net/2010/12/08/colenso-bbdo-bt-interactive-agency-of-the-year/.

“Grand Prize and Gold Winner”: https://2008.liaentries.com/winners/?id_medium=7&id_category=0&view=details&range=f&page=2&keyword=colenso&medium=&category=&award=&country=&title_brand=&credits=&company_name=&city=.

Photo Source: Colenso BBDO for Express Couriers, https://www.oneclub.org/awards/theoneshow/-award/7217/self-destruct.

Gamification in the luxury fashion industry:

Gucci partners with Tennis Clash

Nowadays the luxury fashion industry brands have the opportunity to exploit digital tools of all kinds to communicate their exclusive value proposition. It is against this background that the famous Italian brand Gucci took advantage of the growing Gamification advertising experience trend to promote a new capsule collection within the successful video game Tennis Clash.

A common ground for the fashion and videogames industries is represented by the great engaging experience videogames are able to create. As Kai Hountari and Juho Hamari recall, the concept of gamification is built right on this perspective and defined as a process that makes use of game experiences to support an ongoing value creation for users. This innovative marketing tool can be therefore adopted by a company to increase community engagement, bringing customers closer to the brand, its products, and its services.

Louis Vuitton, Kenzo and Raf Simons are among the most famous brands that started to test the water on digital channels, but this year Gucci really raised the bar. In June 2020, the Florence-based Maison announced a partnership with the app Tennis Clash, designed by Wildlife Studios, that today boasts more than 10 million downloads just on Google Play Store. Following the success of Gucci Arcade, 70s and 80s inspired video games accessible directly from the Gucci brand’s app, the House has introduced a variety of content within the Wildlife game that simulates tennis matches. Players can participate in a virtual tournament entirely sponsored by the fashion house (Gucci Open) and, above all, they can customize their avatars with exclusive Gucci branded suits, which are also directly available for purchase thanks to an immediate connection to the e-commerce of the maison.

There is a blurred line between virtual dimension and reality, and marketing campaigns of this kind can provide manufacturers very high returns on brand image, getting potential customers to live a completely immersive experience.

What will be the next step of Gucci? Serial game players will for sure be first to find out!

Baldoin Elisabetta

Morante Luca

Olivieri Ilenia

Pastore Ludovica

Pichini Carlotta

Sources:

D’Antonio, V., (2015). “Gucci, tra tradizione e innovazione digitale”, https://www.thismarketerslife.it/stories/gucci-tra-tradizione-e-innovazione-digitale/.

Pantano, I., (2020). “Gucci scende in campo con tennis Clash”, Vogue Italia, https://www.vogue.it/moda/article/gucci-tennis-clash.

Pirrè, E., (2020). “Il fenomeno gamification e la moda”, adlmag.it, http://www.adlmag.it/2020/01/14/il-fenomeno-gamification-e-la-moda/.

Huotari, K., Hamari, J. (2012). “Defining Gamification - A Service Marketing Perspective”, 16th International Academic Mindtrek Conference, https://www.researchgate.net/publication/259841647_Defining_Gamification_-_A_Service_Marketing_Perspective.

https://www.gucci.com/it/it/st/stories/article/gucciTennisClash.

Viola, F. (2015). “Gamification nel Lusso e Luxury”, https://www.gameifications.com/gamification-nel-luxury/.

Horror Movies and Guerrilla Campaigns:

Are You Scared of Marketing?

In a world in which consumers receive multiple marketing messages every day, non-conventional communication tools are necessary to win their attention. Two cases in which Guerrilla Marketing has been used in a successful way are the ones related to the promotion of the horror movies The Blair Witch Project (1999) in the US and It (2017) in Australia, countries in which this industry is constantly evolving and so it requires groundbreaking advertisements.

The promotion of The Blair Witch Project started two years before the release of the movie, and it began with the broadcasting of a mock documentary shot in the forests of Maryland by three students, who apparently disappeared during the filming. The mysterious vanishing was associated with the frightening legend of the witch by the directors of the movie and the campaign also included the creation of a website containing fake evidence, such as police documents and the missing person posters of the students to add more realism to the event.

The use of these tools increased the interest of the public and the website was visited 100.000 times after one week; in this way, a low-budget movie shot by emerging directors became one of the biggest marketing cases in the movie industry.

Guerrilla Marketing has also been used to promote the last adaptation of It, when the famous red balloon that everybody associates with the movie captured the attention of the inhabitants of Sydney. On the city streets, in fact, many red balloons were attached to manholes and the claim “It is closer than you think” was written with chalk next to the sewer grates.

Just like the one conceived for The Blair Witch Project this campaign was successful and many people published photos of the initiative on their personal social media, demonstrating that Guerrilla Marketing campaigns can always amaze and involve the audience.

Polidoro Roberto

Prili Valerio

Racano Giorgia

Seri Riccardo

Sorrentino Lorenzo

Sources:

Meriano, P. (2017). “La campagna pubblicitaria del film It negli Stati Uniti e gli effetti sull’Italia” https://www.insidemarketing.it/campagna-pubblicitaria-del-film-it-effetti-in-italia/

Nufer, G., (2013), “Guerrilla marketing – structuring the manifestations and critical evaluation”, Innovative Marketing , 9(2).

For pictures, Pinterest.

Vote the Asshole Out:

Patagonia Stands Up Against Climate Change Deniers

In September 2020, two months from the presidential elections in the U.S., Patagonia launched a harsh but brilliant campaign that urges people to ‘vote the assholes out’.

The phrase was printed on the backside of the tag of the brand’s men shorts: a tiny detail – an easter egg, one would say – that could have easily gone unnoticed and that instead went viral on the web, gathering support and approval from all around the world.

The “assholes” to whom the etiquette is addressed are all the politicians who deny climate change and ignore science evidence, putting at risk the future of our planet. And as we all know, the Trump administration turned out to be exactly so. Just to mention a few, in the last years of office it decided to withdraw from the Paris Climate Agreement, allowed oil drilling in a wildlife refuge in Alaska and approved the downsizing of many natural parks and protected areas in the U.S.

“The 2020 U.S. Senate races will have a significant, long-lasting impact on the strength of our nation’s climate policies” states Patagonia, and thus, if we want to preserve the existence of our wild places, this year “we need to elect climate leaders”.

The company’s commitment is so strong that they even decided to publicly endorse candidates for the upcoming election. On their official website there is a section called “make a plan to vote” in which Patagonia recommends politicians who really stood out for supporting green initiatives and being sustainability leaders.

We are looking forward to seeing the results of the elections.

What is sure is that Patagonia’s activism will continue to make the news for a long time and, in case you were wondering – yes, all the shorts have gone sold-out.

Bruni Fiammetta

Caruso Christian Enrico

Fattori Carlotta

Fusco Giovanni

Giordani Alessandra

Moriconi Andrea

Source:

https://www.patagonia.com/elections/.

Red Bull: Much More Than Just a Soft Drinks Company

In an era when customers’ attention span is getting shorter and shorter and competition on traditional advertising channels and social media is increasingly fierce, Red Bull differentiates its communication strategy and the way it reaches customers thanks to its unique combination of product placement and sponsorships of a huge variety of events.

Over the years, Red Bull has sponsored hundreds of racing and charity events, music and arts festivals, building up a strong brand identity associated with a cool and adventurous lifestyle.

The company has gone beyond this by directly entering the sport business and securing greater control over strategic decisions. Indeed, Red Bull is heavily present in the football markets, owning several teams in different professional leagues. The most well-known team is RB Leipzig which has already established a record, reaching the Champions’ League semi-final in 2019 despite only being founded only in 2009.

Red Bull also owns several teams in professional ice hockey leagues and car racing competitions. The most famous is the Red Bull Racing team in Formula 1, which has won 4 World Drivers’ Championships and 4 World Constructors’ Championships.

This unique communication strategy gives Red Bull an edge compared to its competitors. Red Bull is not just a can on the shelves of a store, but it conjures up an image of fun-loving parties and adventures, outdoor activities and professional athletes, such as Dovizioso, Iapichino and Berrettini.

Lastly, Red Bull has also consolidated its product placement in Hollywood movies, linking its products to adventures which reach a wide audience.

The unconventional marketing strategy of Red Bull and the peculiarity of the channels chosen by the company give it a huge competitive advantage which enhances its brand equity and ensures the company superior performances.

Balzani Francesco

Signati Alessandra Maria

Spadafranca Enrica

Tocci Beatrice

Tomaciello Roberto Maria

Sources:

https://www.redbull.com/it-it/.

Chionne, R., Scozzese, G., (2014) “Some Evidence on Unconventional Marketing: Focus on Guerrilla Marketing”, International Business Research, 7(12), Published by Canadian Center of Science and Education.

How Guerrilla Marketing has changed advertising: McDonald’s and Nike cases

What is the famous Guerrilla marketing that everybody is mentioning?

Well, Guerrilla marketing is a non-conventional form of marketing characterized by low-budget actions aiming at surprising and stimulating the curiosity of people.

In order to fully understand what this concept represents, we have to keep in mind what marketing is, and according to Jay Conrad Levinson, father of Guerrilla Marketing:

“Marketing is every bit of contact your company has with anyone in the outside world”.

The difference between the old-fashioned marketing and Guerrilla marketing is that the latter relies on different concepts: rather than focusing merely on profits, views or sales, Guerrilla Marketing is based on cooperation and customer consolidation as fundamental aspects.

Guerrilla marketing can be thought for small-businesses owners due to its take-no-prisoners approach to find clients: you either have a strong positive impact on clients or you get completely rejected by them. Moreover, it is focused on the so-called “you” marketing, in which every idea and word is addressed to the customer.

The reason for its popularity and success reside in the ability of surprising the targeted audience by creating at the same time deep and simple associations with a brand, inducing reflections.

McDonald’s is one of the most famous international companies to have used this unconventional form of marketing.

An amazing example was realized in California: the idea was to transform a streetlamp into a carafe of coffee that is poured into the classic hot drink glass.

But think also about that time when the company modified simple pedestrian crossings in Zurich by designing fries in the classic McDonald’s branded bag.

And how about the funny bench with Nike’s logo but without a seat? The message is: “think about health, don’t sit down, run”, maybe in Nike clothes… Undoubtedly brilliant!

Born for small-businesses, it is now also used by large-business who have understood how effective it is, by stimulating certain psychological aspects that change purchasing decisions.

Coppotelli Annamaria

De Bernardis Luca

Delmonte Giacomo

Dipino Gaia

Ferraro Manuela

Sources:

https://www.insidemarketing.it/.

https://www.signorelli-partners.it.

https://inspiremenow.io/.

Fendi X Rummo: much more than a partnership

A personalized pack of Rummo pasta and some family photos comprehending multiple Fendi generations. This was the invitation Fendi designed for the SS21 collection’s presentation at Milan Fashion Week.

The box, which contained two pack of pasta designed as the iconic Double F logo, the Nonna’s lemon pesto recipe and the Fendi family photos had the goal of recalling a homely and Made-in-Italy atmosphere, thanks to the collaboration with the Italian pasta brand, renowned for its artisanal aesthetics and bronze drawing technique. An artisanal choice that went perfectly with the clothes shown during the Fashion show, in which cotton and lined were the masters, and an affectionate irony related to the domestic dimension that the World had to rediscover during recent months. The collection is intimate and discreet, while the straight lines of the dresses tell the stories of Italian craftsmanship.

American entrepreneur Claire Olshan, who owns a boutique and café in New York, explained the relationship between fashion and food during an interview with CR Fashion Book:

“In this day and age, consumers want value from their purchases. They are not just buying the product, they are buying the experience and the inspirational world that the product holds”.

A pack of pasta that celebrates the never explicit union between fashion and carbohydrates is, with no doubt, a bizarre concept. Nevertheless, it is not the first time that the culinary world dialogues with that of fashion shows.

During the 2020 Fashion Week, GCDS presented its collection in collaboration with Barilla, with the same goal of paying homage to its roots, while Gucci sent out baskets of fresh vegetables as an invitation for the Epilogue presentation.

Every family passes on stories and tales: the Fendi family has always praised the value of beautiful and simple things, such as handing down the trousseau and the sheets.

Fendi with Rummo wanted to enhance the luxury of tradition, patience and hard work: this invitation is destined to remain in the history of fashion.

Cecchetti Vieri

Corradini Alessia

De Pasquale Matteo

Di Filippo Luca

Eleuteri Virginia

Photo Source:

https://www.instagram.com/p/CGRdJl2hCQA/?igshid=2680gf0yyrb7.

Guerrilla Express – Departure:

the ’80s, Destination: 2020

Companies use Guerrilla Marketing to catch the public’s attention with extraordinary actions and unusual forms of communication. This article is a journey through different eras in which Guerrilla Marketing techniques have been used.

The journey starts at the end of the ’80s. In a club, a pretty lady asks a young man to buy her a drink. But not any drink, only a specific Brand X drink will do. He buys the drink, and she continues talking about why that specific brand is her favourite. This technique was largely used back then in the ‘80s and is still used today because of its simplicity and effectiveness.

The second stop in our tour into Guerrilla Marketing is 2007. In Germany, a passer-by is walking on the pavement directed to work and suddenly she stepped on something sticky that she was not able to see. No, it is not a chewing-gum, but instead a special sticker designed by UNICEF to raise awareness to the dangers of landmines. The stickers were invisible until they stuck on people’s feet. When the passers-by removed the sticker, they were surprised to see a landmine picture on the bottom side and reflected on the fact that they were very lucky not to risk stepping on a real one.

Our third and final stop is 2020. To advertise the series Dracula the BBC creatives had a brilliant idea. A white billboard with the title of the show written on the right-side and on the left-side wooden stakes and oozing blood apparently randomly placed. Just apparently, because with the dark as the light is switched on, the stakes cast a shadow of the famous vampire himself.

During this historical journey we have witnessed very creative Guerrilla Marketing execution. In the future we can expect new remarkable ideas, but history teaches us that some elements of the execution will remain the same: low budgets, combination of different technologies and memorable moments.

Crivellaro Edoardo

De Angelis Andrea

De Bari Caterina

Di Marzo Giuseppe Emanuele

D’Urso Renato

Sources:

Tseng, D. (2020). “This Billboard For BBC/Netflix’s Dracula Is Ingenious”, https://www.todayonline.com/8days/seeanddo/billboard-bbcnetflixs-dracula-ingenious.

Moriconi, F. (2016). “Social guerrilla marketing: alcune evidenze empiriche da progetti di applicazione in campo etico”, https://tesi.luiss.it/18076/1/184991_MORICONI_FILIPPO.pdf.

https://www.adsoftheworld.com/media/ambient/unicef_landmine_stickers.

“A Brief History Of Guerilla Marketing” (2020), https://coffeenewskcmetro.com/blog/a-brief-history-of-guerilla-marketing/.

Comin, G. (a cura di), Comunicazione integrata e reputation management. Luiss University Press, 2019.

https://www.youtube.com/watch?v=tIEr1Pcu03Y.

FUTURE MAKERS FOR GOOD

A letter to my inner warrior

“Life isn’t about waiting for the storm to pass.

It’s about learning to dance in the rain”

Vivian Green

What would I tell myself the day that I learnt that I had breast cancer? Hey you! Here you are, on the day you hear the doctors say: it is cancer. I did not visit the doctor until that day. What in God’s name was I thinking about? If I knew that there was an organization called Susan G. Komen which is committed to investing in breakthrough research to prevent and cure breast cancer, saving my life would have certainly been easier. But when something unexpected happens in your life, you just react and I remember myself thinking: “I have to be strong, fight on, I will kick this cancer out of my body”.

But Susan G. Komen revealed the real secret, when they told me: “You need to be vulnerable, stop trying to feel that you could save the world when first you must save yourself”. No one ever tells you that the hair on your nose comes out too – it is just hair, it does grow back. I was worried it could change my marriage, it could change me as a mom, and it did not. Therefore, be patient with your family and friends because they love you. Accept help, ask for help, ask for a lot of it, by all the volunteers who work on a daily basis to make you feel loved, cared for and understood. Use your gifts from your journey and help who walks the same path. Don’t be hard on yourself and laugh at yourself. Start dancing in the rain. Hence, it is critical that staff examinations along with mammograms become a part of our routine medical care.

We must find a cure, and we must keep fighting. In some days, I will be celebrating 10 years of being cancer-free and this makes me a lucky one.

In the end, what I would tell myself on the day I was diagnosed would be to close my eyes and see the inner warrior that Susan G. Komen made me find.

Casella Adriana

Carbone Edoardo

Crescenzi Filippo

Cundari Veronica

Febbe Tommaso

MARKETING CASES

Prendi un cliente, trattalo male

L’aumento dei players nel mercato accresce la necessità per le aziende di creare un quid che sia non solo distintivo rispetto ai competitors, ma anche memorabile per i consumatori. Le principali teorie di marketing collimano con l’idea di puntare alle emozioni dei clienti, ma non è sufficiente sorprenderli, poiché bisogna farlo quando loro non se lo aspettano. Le azioni in questione non sono di facile applicazione, poiché un’iniziativa sbagliata può causare un effetto boomerang a causa del quale i consumatori silenziosamente si allontanerebbero dal brand.

Burgez è un’azienda italiana e il quid distintivo e memorabile è presente in ogni parte di essa: dall’idea vincente al punto vendita fisico e, in modo particolare, alla strategia comunicativa. L’idea di Burgez è partita dagli Stati Uniti, ha attraversato l’Oceano e ha trovato le sue radici nella città di Milano. Tra le caratteristiche principali che contraddistinguono la strategia comunicativa troviamo la sorprendente capacità dell’azienda di stupire i consumatori tanto attraverso il canale fisico quanto attraverso il canale online.

Al fine di rendere unica la propria strategia, la celebre catena di hamburger fa largo uso di diverse strategie di comunicazione: l’utilizzo sinergico di guerrilla marketing, metacomunicazione e un forte focus sull’omnichannel ha dato a Burgez la possibilità di portare il concetto di customer engagement a un livello superiore.

In diverse occasioni Burgez ha dato piena dimostrazione del proprio potenziale creativo. Per concretizzarlo, ha realizzato campagne che, per chi apprezza le sue modalità comunicative, ne hanno aumentato la fidelizzazione; per chi, invece, era estraneo a questo tipo di messaggi, hanno portato in alcuni casi a reazioni di forte dissenso. Nel bene o nel male l’obiettivo di Burgez viene sempre raggiunto: far parlare di sé.

Di Salvo Ginevra

Di Santo Edoardo

Distasi Letizia Pia

Durante Lucia

Garramone Antonino

Fonti:

Akbiyuk, F., Andaç, A., Karkar, A. (2016). “Customer Satisfaction Factor in Digital Content Marketing: Isparta Province as an Example”. International Journal of Social Science Studies 4(5).

Ciaruffoli, S. (2020). Il Vangelo secondo Burgez. Tutto quello che non vi hanno mai detto sul fast food più scorretto e amato del mondo. Mondadori Electa.

Craig, R.T. (2016). “Metacommunication”. The International Encyclopedia Of Communication Theory And Philosophy, 1-8.

Cruz, A.G.B., Seo, Y., Rex, M. (2018). “Trolling in online communities: A practice-based theoretical perspective”. The Information Society, 34(1), 15-26.

Daiute, C., Duncan, R.O., Marchenko, F. (2018). “Meta-communication Between Designers and Players of Interactive Digital Narratives”. Interactive Storytelling, 11th International Conference on Interactive Digital Storytelling, pp. 134-142.

Du Plessis, C. (2017). “The role of content marketing in social media content communities”. SA Journal of Information Management, 19(1), 7.

Galipog˘lu, E., Kotzab, H., Teller, C., Yumurtaci, I.O., Poeppelbuss, J. (2018). “Omni-Channel Retailing Research – State of the art and intellectual foundation”. International Journal of Physical Distribution & Logistics Management 48(5).

Gendron, M. (2017). “From Public Relations to Brand Activation: Integrating Today’s Communications Tools to Move Business Forward”. Global Business and Organizational Excellence, 36(3), 6-13.

Golf-Papez, M., Veer, E. (2017). “Don’t feed the trolling: rethinking how online trolling is being defined and combated”. Journal of Marketing Management, 33(15-16), 1336-1354.

Harmeling, C.M., Moffett, J., Arnold, M.J., Carlson, B.D. (2017). “Toward a theory of customer engagement marketing”. Journal of the Academy of Marketing Science, 45(3), 312-335.

Jensen, K.B. (2020). “Been There, Done That: Communication, Meta-Communication and Presence”. Nordicom Review, 37(s1), 7-22.

Kunz, W., Aksoy, L., Bart, Y., Heinonen, K., Kabadayi, S., Ordenes, F.V., Sigala, M., Diaz D., Theodoulidis, B. (2017). “Customer engagement in a Big Data world”. Journal of Services Marketing.

Lei, S.S.I., Pratt, S., Wang, D. (2017). “Factors influencing customer engagement with branded content in the social network sites of integrated resorts”. Asia Pacific Journal of Tourism Research, 22(3), 316-328.

Mateus, S. (2017). “Metacommunication as Second Order Communication”. KOME: An International Journal of Pure Communication Inquiry, 5, 80-90.

Meire, M., Hewett, K., Ballings, M., Kumar, V., Van den Poel, D. (2019). “The Role of Marketer-Generated Content in Customer Engagement Marketing”. Journal of Marketing, 83(6), 21-42.

Diaa, N.M. (2017). “Shedding the Light on Guerrilla Marketing and Purchase Intention”. Global Journal of Management and Business Research 7(14) https://journalofbusiness.org/index.php/GJMBR/article/view/2350/2251.

Patrutiu-Baltes, L. (2016). “Inbound Marketing –the most important digital marketing strategy”. Bulletin of the Transilvania University of Brasov. Economic Sciences. Series V, 9(2), 61.

Proust, J. (2016). “The Evolution of Primate Communication and Metacommunication”. Mind & language, 31(2), 177-203.

Rasche, A., Seidl, D. (2017). “A Luhmannian perspective on strategy: Strategy as paradox and metacommunication”. Critical Perspectives on Accounting, 101984.

Yildiz, S. (2017). “Effects Of Guerrilla Marketing On Brand Awareness And Consumers’ Purchase Intention”. Global Journal of Economics and Business Studies, 6(12), 177185.

Shuv-Ami, A., Vrontis, D., Thrassou, A. (2018). “Brand Lovemarks Scale of Sport Fans”. Journal of Promotion Management, 24(2), 215-232.

Song, H., Wang, J., Han, H. (2019). “Effect of image, satisfaction, trust, love, and respect on loyalty formation for name-brand coffee shops”. International Journal of Hospitality Management, 79, 50-59.

Weerasinghe, K. (2019). “Impact Of Content Marketing Towards The Customer Online Engagement”. International Journal of Business, Economics and Management, 2(3), 217-2018.

In copertina: La campagna Burgez ft. Coez, credits: medium.com

Food and music: il caso di Barilla e Spotify

Accompagnare il cibo con della buona musica: questa è la nuova ricetta proposta da Barilla.

Partendo dall’idea base che per cucinare una buona pasta sia fondamentale affidarsi ai tempi di cottura, l’azienda ha deciso di sperimentare in collaborazione con Spotify le “Playlist Timer Barilla”. Si tratta di raccolte di brani musicali, sia classici, sia di tendenza tra i giovani d’oggi, che hanno la stessa durata del tempo di cottura di alcuni dei formati di pasta più apprezzati e prodotti dall’azienda. Attraverso questa iniziativa, Barilla ha generato customer engagement dando valore a momenti di vita quotidiana solitamente poco considerati. La scelta di Spotify, che consente l’accesso gratuito ai suoi ascoltatori, ha permesso a Barilla di raggiungere un target più ampio. Il consumatore non è più destinatario passivo della comunicazione da parte del brand, come succede con i classici spot pubblicitari, ma diventa un soggetto attivo, coinvolto in una nuova esperienza. Dall’analisi del caso è emerso come al giorno d’oggi i consumatori non desiderano più soltanto prodotti che soddisfino un bisogno transitorio, ma tendono a ricercare e preferire un’esperienza da vivere, un momento significativo da ricordare, che sia il più possibile personalizzato. Per tali motivi per le aziende è importante, soprattutto in questo momento storico, riuscire a coinvolgere l’intera sfera sensoriale, al fine di stimolare la propensione all’acquisto e una maggiore fedeltà nei clienti.

Il presente studio si apre con un’introduzione all’azienda, seguita da un’analisi approfondita del caso, indagando i principali aspetti della strategia adottata da Barilla. A seguire, alcuni studi teorici sono stati riportati come supporto alla nostra analisi sui concetti di customer engagement e sensory marketing. Infine, vengono messi in evidenza potenziali suggerimenti pratici rivolti non solo all’azienda esaminata ma anche a tutte le altre, che hanno lo scopo di coinvolgere i consumatori in modo innovativo e originale.

Guarioni Giorgio

Iollo Raffaella

Lebet Carlotta

Marchione Giada

Marzano Paolo

Fonti:

Bujor, A., Rusu, G., Avasilcai, S. (2016). “Engaging customers in co-creation of value in consumer goods industry: a comparative analysis”. In Conference paper presented in management, Knowledge and Learning Conference, Romania.

Fleischer, R., (2020). “Universal spotification? The shifting meanings of ‘Spotify’ as a model for the media industries”. Popular Communication, The International Journal of Media and Culture 19(1), https://doi.org/10.1080/15405702.2020.1744607.

Fleischer, R., Snickars, P. (2017). “Discovering Spotify – A Thematic Introduction”. Culture Unbound, 9(2), 130-145. https://doi.org/10.3384/cu.2000.1525.1792130.

Hussain, S. (2019). “Sensory Marketing Strategies and Consumer Behavior: Sensible Selling Using All Five Senses”. International Journal of Business Strategy, 16(3), 34-44.

Kasap, O., Yalcintas, A. (2020). “Commodification 2.0: How Does Spotify Provide Its Services for Free?”. Review of Radical Political Economics (RRPE), https://doi.org/10.1177/0486613420924163.

Mas, L. (2019). “Sonic logos: An Experimental Design on Sound Features and Brand Personality”. Anuario electrónico de estudios en Comunicación Social Disertaciones, 12(2), 125-141. https://doi.org/10.12804/revistas.urosario.edu.co/disertaciones/a.6373.

Nadanyiova, M., Majerova, J., Kolencˇík’s, J. (2018). “Sensory Marketing from the Perspective of a Support Tool for Building Brand Value”. Economics and Culture, 15(1), 96-104.

Ng, S.C., Sweeney, J.C., Plewa, C. (2020). “Customer Engagement: A Systematic Review and Future Research Priorities”. AMJ: Australasian Marketing Journal, 28(4), 235-252.

Pace, S., Balboni, B., Gistri, G. (2017). “The effects of social media on brand attitude and WOM during a brand crisis: Evidences from the Barilla case”. Journal of Marketing Communications, 23(2), 135-148. https://doi.org/10.1080/13527266.2014.966478.

Prey, R. (2020). “Locating Power in Platformization: Music Streaming Playlists and Curatorial Power”. Social Media + Society, 6(2). https://doi.org/10.1177/2056305120933291.

Mulligan, M., (2019). “Spotify Q4 2018: Solid Growth With a Hint of Profitability But Longer Term Questions”. MIDiA Research.

Riza, A.F., Wijayanti, D.M. (2018). “The Triangle of Sensory Marketing Model: Does it Stimulate Brand Experience and Loyalty?” Esensi Jurnal Bisnis dan Manajemen, 8(1), https://doi.org/10.15408/ess.v8i1.6058.

In copertina: “Barilla & Spotify”, fonte: mark-up.it.

Protect Paradise:

Corona Extra oltre il concetto di azienda

Natura incontaminata e spiagge paradisiache: e se tornarci fosse davvero solo un sogno? E se rilassarsi in riva al mare con una buona birra fosse ormai un desiderio lontano? Affinché questi sogni non rimangano irrealizzati, Corona Extra non si dà per vinta e sceglie l’ambiente, tuffandosi in una nuova mission: preservare e tutelare i mari e chi li abita dall’azione dell’uomo è ormai la nuova priorità e il brand ne ha fatto la propria ragion d’essere.

Considerata la crescente attenzione nei riguardi della sostenibilità e dell’ambiente, la campagna “Protect Paradise” lanciata nel 2017 da Corona Extra è un esempio lampante di un’iniziativa di successo che è riuscita a coniugare il business dell’azienda con problematiche di rilevanza sociale e globale. Analizzando le implicazioni teoriche che sono alla base delle scelte strategiche dell’azienda, emerge che quest’ultima, facendo leva sulla propria forte immagine associata all’idea di evasione dalla frenetica quotidianità per rilassarsi in angoli di paradiso, si è schierata in difesa del pianeta, facendo della tutela dell’ambiente il proprio brand purpose. D’altra parte, la campagna si prefigge lo scopo, attraverso l’utilizzo di strumenti propri delle scienze comportamentali, di introdurre dei behavioral standards che spingano a adottare comportamenti sostenibili, riducendo così l’impatto ambientale. A tal proposito, l’azienda fa leva su molteplici tools relativi a alcuni bias cognitivi, come il social proof, la strategia di nudging e il feedback.

“Protect Paradise” rappresenta un elemento di novità in quanto scardina i numerosi pregiudizi attribuiti al marketing, dimostrando che, se ben fatta, un’iniziativa può apportare cambiamenti radicali importanti non solo a livello economico per l’azienda, ma anche a livello sociale per l’intera comunità. In questo modo, il brand è andato oltre il concetto di azienda, dando voce a un problema reale e ponendosi alla pari dei consumatori invitandoli a agire per una realtà più sostenibile.

Casalucci Andrea

De Felice Valeria

Della Bina Elisei Margherita

Depangher Giorgia

Di Pietro Giacomo

Fonti:

Borah, A., Kops, C. (2018). Choice via Social Influence. Under Submission.

Correia, V. (2018). “Contextual Debiasing and Critical Thinking: Reasons for Optimism”. Topoi, 37(1), 103-111.

Soman, D. (2015). The Last Mile: Creating Social and Economic Value from Behavioral Insights. Rotman-Utp Publishing.

Eagle, L., Hamann, M., Low, D.R. (2016). “The role of social marketing, marine turtles and sustainable tourism in reducing plastic pollution”. Marine pollution bulletin, 107(1), 324-332.

https://corona-extra.it/.

https://protectparadise.com/.

Jones, P., Clarke-Hill, C., Comfort, D., Hillier, D. (2008), “Marketing and sustainability”, Marketing Intelligence & Planning, 26(2), pp. 123-130.

Kasser, T.E., Kanner, A.D. (2004), “Psychology and Consumer Culture: The Struggle for a Good Life in a Materialistic World”, American Psychological Association.

Kaul, D. (2017). “A Critical Analysis of Contemporary Marketing”. ANVESHAK-International Journal of Management, 6(2), 148-153.

Pollay, R.W. (2000), “The Distorted Mirror: Reflections on the Unintended Consequences of Advertising”, Journal of Marketing 50(2), 18-36.

Thaler, R.H., Sunstein, C.R., Nudge: Improving Decisions about Health, Wealth, and Happiness. Yale University Press, 2008.

Schmidt, A.T. (2017). “The Power to Nudge”. American Political Science Review, 111(2), 404-417.

Song, H., Tucker, A.L., Murrell, K.L., Vinson, D.R. (2018). “Closing the Productivity Gap: Improving Worker Productivity Through Public Relative Performance Feedback and Validation of Best Practices”. Management Science, 64(6), 2628-2649.

In copertina: “Corona Protect Paradise”, fonte: http://www.foodaffairs.it

Coca-Cola: perché berla quando puoi ascoltarla?

Come può un marchio anche dopo tanti anni rimanere sempre la prima scelta nella mente di ogni persona? Una possibile risposta è il corretto utilizzo delle strategie di marketing affinché un brand rimanga top of mind per i consumatori. Un esempio è l’azienda Coca-Cola, con la sua campagna pubblicitaria con slogan “Try not to hear this”, diffusa in tutta Europa. Il brand ha sfidato il pubblico a riprodurre, nella propria testa, il suono legato all’immagine che visualizza. Ma come è possibile sentire un suono che effettivamente non viene emesso? La risposta è la sinestesia, una condizione neurologica che fa sì che il cervello combini le esperienze sensoriali in modo inconsueto. Una persona sinestetica riesce a provare sensazioni diverse allo stesso tempo, mentre solo un senso viene stimolato. I vibranti primi piani mostrano immagini macro di momenti classici legati al brand, il frizzante delle bolle, lo stappare una bottiglia o l’aprire una lattina. Lo slogan agisce come un trucco di psicologia inversa, cercando di far ricordare agli spettatori un suono che è stato detto loro di evitare. Mostra al pubblico, tramite un’illusione uditiva, come sia necessario un semplice ricordo, legato alla memoria sensoriale, per sentire il bisogno di un qualcosa, come una Coca-Cola rinfrescante. Al giorno d’oggi i consumatori spesso credono di essere immuni agli effetti della pubblicità, innumerevoli sono le statistiche che mostrano come molte persone ignorano attivamente gli annunci. Così Coca-Cola ha creato uno spot che ha costretto le persone a fermarsi, guardare e ascoltare.

Albanese Alessia

Basso Beatrice

Branno Alessandra

Brugnolo Matteo

Cafolla Marianna

Fonti:

Beghelli, C. (2016), “Il futuro dello shopping è esperienziale tra on e offline”. Il Sole 24 Ore, https://st.ilsole24ore.com/art/moda/2016-07-01/il-futuro-shopping-e-esperienziale-on-e-offline-132855.shtml?uuid=ADJVpEl.

Bertorello, L., Caruso, A., Monti, A., Vercillo, G., Verrillo, G. (2015), Il marketing esperienziale. https://www.freeyourtalent.eu/blog/wp-content/uploads/2016/02/01_tesina_marketing-esperienziale.pdf.

Dornetti, L. (2018). Marketing Sensoriale nel Fashion Store. Youcanprint.

Grossenbacher, P.G., Lovelace, C.T. (2001). “Mechanisms of synesthesia: cognitive and physiological constraints.” Trends in Cognitive Sciences, 5(1), 36-41.

Helmefalk, M. (2019). “Browsing behaviour as a mediator: the impact of multi-sensory cues on purchasing”. Journal of Consumer Marketing 36(1).

Hoyer, W.D., MacInnis, D.J., Pieters, R. (2018). Consumer Behavior 7e – Cangage Learning.

Krishna, A., Cian, L., Sokolova, T. (2016). “The Power of Sensory Marketing in Advertising”. Current Opinion in Psychology, 10, 142-147.

Nurchahyo, B., (2016). “The Role of Customer Satisfaction in a Relation of Experiential Marketing and Customer Loyalty”. Advances in Social Sciences Research Journal, vol. 3, n. 1.

Savelli, E., Moriconi. S. (2010). “Le dimensioni esperienziali del valore. Il marketing sensoriale in Perugina”, E&M.

Rajain, P., Rathee, R.,(2017). “Sensory Marketing-Investigating the Use of Five Senses”. International Journal of Research in Finance and Marketing, 7(5), 124-133.

In copertina: “Try not to hear this”, fonte: Coca-Cola Company.

Cadillac at Super Bowl: a nostalgic advertising

On the 7th of February, for the championship final of the National Football League, the 55th Super Bowl edition, Cadillac presented an original and melancholic advertising. The company, which is part of the holding General Motors, chose to present to the public its latest product “LYRIQ SUV – Coupé – its first electric car, with a hands-free driving system.

The product was introduced to consumers through a storytelling that narrates the everyday life of Edgar Scissorhands, played by the young and popular Timothée Chalamet. The character is Edward’s son, specifically created by Cadillac for the commercial.

Reviving the iconic Tim Burton film “Edward Scissorhands”, the advertising shows to consumers how Cadillac’s car technological innovations allow Edgar to overcome his problems, making him able to drive a car.

The company’s objective is to bring back viewers to old memories, with a recall to frames of the original movie and thanks to the presence of Wynona Rider, Edgar’s mother in the advertising and

Edward’s girlfriend in the Tim Burton cinematographic work. Through the combination of an iconic movie, of its original actress and of a best-loved actor, this advertising combines elements of nostalgia marketing and current trends. Indeed, the advertising makes consumers experience positive feelings, activated through mnemonic associations that attract older generations and at the same time uses nowadays tendencies to attract younger people – Millennials and Gen Z.

With this content, the company aims to reinforce brand image and to generate product awareness, indeed the car is not currently on the market, so the main objective is not to increase sales. Cadillac was able to convey in an original and emotional way the technological innovations of its product, generating hype for the new SUV. We only need to wait to see the social and economic results of this nostalgic advertising!

Gentile Claudia

Iemma Francesco

Gioncada Lorenzo

Fusco Maria Chiara

Gabriele Pietro

Sources:

Belanche, D., Flavian, C., Pérez-Rueda, A. (2020). “Brand recall of skippable vs non-skippable ads in YouTube: Readapting information and arousal to active audiences”. Online Information Review.

Binangkitsari, L., Sulistiono, S. (2018). The Influence of Brand Equity Elements on Purchase Decision and Its Imlication on Customer Loyalty, International Conference on Accounting and Management Science.

Cheung, M.-L., Pires, G., Rosenberger III, P.J. (2019). “Developing a conceptual model for examining social media marketing effects on brand awareness and brand image”. International Journal of Economics and Business Research, 17(3), 243-261.

Degaris, L., Kwak, D.H., McDaniel, S.R. (2017). “Modeling the Effects of Sponsorship-Linked Marketing: When Does Memory Matter?”. Journal of Promotion Management, 23(2), 320-339.

Grebosz-Krawczyk, M. (2019). “Attitudes of young consumers towards international nostalgic brands-the comparative study”. Economics & Sociology, 12(3), 181-191.

Hamdani, N.A., Permana, I., Nugraha, S., Maulani, G.A.F. (2020). “Nostalgic Marketing: A Study on Baby Boomers Generation”. International Conference on Management, Accounting, and Economy (ICMAE 2020) pp. 381-384. Atlantis Press.

Hartmann, B., & Brunk, K.H. (2019). “Nostalgia marketing and (re-)enchantment”. International Journal of Research in Marketing, 36(4), 669-686.

Iglesias, O., Markovic, S., Singh, J.J., Sierra, V. (2019). “Do Customer Perceptions of Corporate Services Brand Ethicality Improve Brand Equity? Considering the Roles of Brand Heritage, Brand Image, and Recognition Benefits”. Journal of Business Ethics, 154(2), 441-459.

Ju, I., Kim, J., Chang, M.J., Bluck, S. (2016). “Nostalgic marketing, perceived self-continuity, and consumer decisions”. Management Decision 54(8), 2063-2083.

Kang, J.-A., Hong, S., Hubbard, G.T. (2020). “The role of storytelling in advertising: Consumer emotion, narrative engagement level, and word-of-mouth intention”. Journal of Consumer Behaviour, 19(1), 47-56.

Kao, D.T. (2019). “The impact of envy on brand preference: brand storytelling and psychological distance as moderators”. Journal of Product & Brand Management.

Langaro, D., Loureiro, S.M.C., Contreiras, M.L. (2020). “The Impact of Nostalgia and Probability Markers on the Effectiveness of Advertising Creative Strategies”. Journal of Promotion Management, 26(2), 1-21.

McAllister, M.P., Galindo-Ramirez, E. (2017). “Fifty Years of Super Bowl Commercials, Thirty-Two Years of Spectacular Consumption”. The International Journal of the History of Sport, 34(1-2), 46-64.

McDougal, E.R., Syrdal, H., Gravois, R., Kemp, A. (2020). “The Power of Story: Using Storytelling To Increase Students’confidence and Competence in Applying Marketing Concepts”. Marketing Education Review, 1-6.

Parengkuan, V.J.J., Tulung, J.E., Arie, F.V. (2020). “Influence of Product Placement in Movies And Television Programs Towards Brand Recall of Millennials”. Juornal EMBA, 8(1).

Rana, S., Raut, S.K., Prashar, S., Quttainah, M.A. (2020). “The transversal of nostalgia from psychology to marketing: what does it portend for future research?”. International Journal of Organizational Analysis (ahead-of-print).

Sweetser, E. (2017). “Metaphor and metonymy in advertising: Building viewpoint in multimodal multi-space blends”. Journal of Pragmatics, 122, 65-76.

Tsai, M.-C. (2020). “Storytelling Advertising Investment Profits in Marketing: From the Perspective of Consumers’ Purchase Intention”. Mathematics, 8(10), 1704.

Wen, T., Qin, T., Liu, R.R. (2019). “The impact of nostalgic emotion on brand trust and brand attachment: An empirical study from Chin”. Asia Pacific Journal of Marketing and Logistics.

White, G.R.T., Samuel, A. (2019). “Programmatic Advertising: Forewarning and avoiding hype-cycle failure”. Technological Forecasting and Social Change, 144, 157-168.

Yu, S. (2020). “Analysis on the Relationship between ‘Super Bowl Ads’ and Related Companies”. In E3S Web of Conferences (vol. 214, p. 02029). EDP Sciences.

Zlateva, D. (2020). “Some Aspects Of Storytelling As A Part Of Content Marketing”. Economics and Management, vol. 17(2), pp. 117-123.

In Copertina: A frame of Cadillac’s Spot from YouTube.

Brands taking a stand:

Flowe, between Sustainability and Gen Z

The influence of Gen Z, the first generation of true digital natives, is now expanding and topics like social issues and believing in certain values affect their behavior and reflect in their consumption patterns. The incomparable level of connectivity, given by new technologies, makes generational shifts more important and speeds up digital and social trends as well. In this general scenario, Flowe is a fintech initiative launched in 2020 by the Mediolanum bank group. Flowe is an innovative, fully digital banking service and is dedicated to all those who are sensitive to the demands of sustainability and social evolution. The link between innovation and sustainability can be seen from the choice of brand’s colors to the multiple initiatives supported. Flowe values sustainability as an integral part of its vision and mission and this makes this company particularly interesting from the point of view of Brand Activism. Brand Activism consists in the business efforts to promote social, political, economic, and/or environmental reform with the desire to promote improvements in society.

The desire of Gen Z is to take charge of their own lives and to pass the uncertainty about the future given by the multiple crises in which they live. Businesses are now expected to be agents of this change, it may be an opportunity for them to occupy a new role in the society. It is not a coincidence that among the ten mega trends of Reputation Institute for 2020, five of them are, directly or indirectly, connected to brand activism: Higher purpose, Responsible investing, Mistrust of big institutions, CEO activism and Sustainability and responsible sourcing. For brands, it is no longer a question of deciding whether or not to take a stand. Abstention is no longer an option.

Morace Olga

Pietropaolo Lara

Raponi Rebecca

Piccarreta Martina

Sources:

Dauvergne, P., (2017), “Is the Power of Brand-Focused Activism Rising? The Case of Tropical Deforestation”. The Journal of Environment & Development, vol. 26, 135-155.

Edelman (2019), Trust Barometer special Report: In Brands We Trust?, https://www.edelman.com/sites/g/files/aatuss191/files/2019-06/2019_edelman_trust_barometer_special_report_in_brands_we_trust.pdf.

Edelman (2020) Earned Brand, Global Report.

https://www.flowe.com/sostenibilita/.

Francis, T., Hoefel, F., (2018), “True Gen”: Generation Z and its implications for companies, McKinsey & Company, https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/true-gen-generation-z-and-its-implications-for-companies.

Aleksandar, G., Milovanov, O., (2017), “Brand Strategies in the Era of Sustainability”. Interdisciplinary Description of Complex Systems 15(1), 78-88.

Kapitan, S., Kempe, J.A., Spry, A., Vredenburg, J. (2020), “Brands Taking a Stand: Authentic Brand Activism or Woke Washing?”. Journal of Public Policy & Marketing, vol. 39(4), 444-460.

Kotler, P., Sarkar, C., (2018), Brand Activism: From Purpose to Action, Idea Bite Press.

Landor Associates (2012), Landor Associates, Newsweek, and Penn Schoen Berland unite to uncover greenest brands.

Moorman ,C. (2020), “Commentary: Brand Activism in a Political World”. Journal of Public Policy & Marketing, vol. 39(4), 388-392.

Reputation Institute (2020), Global Trends in Reputation.

Spout Data Report (2018), Championing Change in the Age of Social Media.

We Are Social (2020), Global Digital Report.

In copertina: La debit card Flowe, http://www.flowe.com.

La psicologia inversa come driver

per la creazione di valore: il caso Zalone

Mettere al centro le persone, studiandone con attenzione comportamenti, aspettative e reazioni. È questo l’obiettivo del marketing sociale non convenzionale che si rivolge ad un pubblico sempre più stanco dei classici spot pubblicitari e, sfruttando l’effetto domino del “passaparola”, mira a sorprendere il destinatario per mezzo di una narrazione imprevedibile, originale e carica di ironia.

Con lo scopo di spingere il pubblico a donare per la ricerca sull’atrofia spinale muscolare, l’associazione Famiglie SMA ha realizzato un inusuale spot di beneficienza con Checco Zalone e l’indimenticabile Mirko Toller, puntando a attrarre maggiormente l’ascoltatore non solo attraverso la riflessione su una tematica molto delicata, ma anche attraverso uno storytelling carico di umorismo e autoironia.

Fondamentale per la buona riuscita della campagna promozionale è stata la tecnica dello “shockvertising”, cioè una forma pubblicitaria che, rispetto a una comunicazione più tradizionale, genera un forte impatto emotivo nel pubblico, catturandone l’attenzione nei modi più stravaganti e originali. Riuscire a sorridere e a sdrammatizzare di fronte alla malattia non è per niente facile, ma Famiglie SMA ha raggiunto il suo intento, riuscendo a rendere gli spettatori maggiormente consapevoli dell’importanza dell’iniziativa benefica.

Tutto questo è stato possibile per mezzo di una perfetta raffigurazione dei personaggi, in grado di aggiungere valore al messaggio e di amplificarne la sua efficacia. La comunicazione non convenzionale di Famiglie SMA ha quindi sfruttato la forza del neuromarketing, attraverso il quale il pubblico ha avuto la possibilità di entrare in empatia con i protagonisti dello spot, comprendendone le diverse emozioni.

Mezza Paolo Bernardo

De Seta Rosy Pia

D’Alu Luigi

di Mario Matteo

della Seta David

Fonti:

Borden, D.S., Suggs, L.S. (2019). “Strategically Leveraging Humor in Social Marketing Campaigns”. Social Marketing Quarterly, 25(3), 193-208.

Dahl, D.W. (2018). “Shock charity campaigns: Building our understanding on their effectiveness: Comments on ‘Emotions and Prosocial Behaviors: A Study of the Effectiveness of Shocking Charity Campaigns’ by Jeanne Albouy”. Recherche et Applications en Marketing (English Edition), 33(1), 88-91.

Demjén, Z. (2016). “Laughing at cancer: Humour, empowerment, solidarity and coping online”. Journal of Pragmatics, 101, 18-30.

Kang, J.-A., Hong, S., Hubbard, G.T. (2020). “The role of storytelling in advertising: Consumer emotion, narrative engagement level, and word-of-mouth intention”. Journal of Consumer Behaviour, 19(1), 47-56.

Lee, M.S.W., Septianto, F., Bentham, C., Gao, E. (2020). “Condoms and bananas: Shock advertising explained through congruence theory”. Journal of Retailing and Consumer Services, 57, 102228.

Stanton, S.J., Sinnott-Armstrong, W., Huettel, S. (2017). “Neuromarketing: Ethical Implications of its Use and Potential Misuse”. Journal of Business Ethics, 144 (4), 799-811.

Stwora, A. (2020). “Funny or distasteful? A cross-cultural perspective on surprise and humour in multimodal advertising”. European Journal of Humour Research 8(2), https://europeanjournalofhumour.org/ejhr/article/view/440.

Warren, C., McGraw, A.P. (2016). “When Does Humorous Marketing Hurt Brands?”. Journal of Marketing Behavior, 2(1), 39-67.

In copertina: Frame dello spot Zalone, Famiglie SMA.

La collaborazione è la chiave del successo

Cosa succede quando uno dei brand più famosi del mondo si unisce con il rapper più in voga del momento? Per scoprirlo abbiamo analizzato il caso della collaborazione tra McDonald’s e Travis Scott che ha suscitato una enorme attenzione mediatica a livello internazionale o come si dice in gergo: un grande “Hype”.

L’idea di questa collaborazione nasce dall’esigenza del fast food americano di cooperare con qualcuno che fosse in grado di catturare l’attenzione del più vasto pubblico possibile, senza discriminazioni. E che potesse essere inoltre anche da propulsore per superare un periodo caratterizzato da inattività e perdite a seguito delle chiusure causate dal Covid-19. Per queste motivazioni la decisione è ricaduta su Travis Scott. Considerato dai più come il “rapper di tutti”, la scelta del brand dagli archi dorati è risultata vincente su tutti i fronti, dalla campagna pubblicitaria, alla realizzazione fino alla risposta del pubblico.

Dal canto del rapper di Houston, il McDonald’s ha invece rappresentato un’ulteriore sfida per incrementare ulteriormente le sue attività che lo hanno portato a espandersi in nuovi settori apparentemente lontani dalla musica e a allargare ancora di più i suoi orizzonti aggiungendo un ulteriore lustro alle già numerose e stravaganti partnership portate avanti finora. Su tutte la linea di calzature ideata con il colosso americano Nike e l’idea rivoluzionaria del concerto live all’interno del videogioco Fortnite.

Parlando di questa collaborazione possiamo, pertanto, renderci conto di come il marketing sia praticamente e realmente all’interno delle nostre vite e che interagisce con noi con mille sfaccettature e sfumature diverse, a volte più evidenti e altre più nascoste. La collaborazione si è quindi concretizzata in due fasi: la creazione del “Travis Scott’s Meal”, menù ideato dallo stesso Travis in onore di ciò che preferiva nell’infanzia e venduto a 6$ da McDondald’s e la realizzazione di una “ special capsule collection” firmata Cactus Jack.

Mennella Francesca

Mazzeo Caputo Andrea

Mattucci Michele

Mele Lorena

Miozzi Benedetta

Fonti:

Brown, A. (2020). “How Hip-Hop Superstar Travis Scott Has Become Corporate America’s Brand Whisperer”. Forbes, https://www.forbes.com/sites/abrambrown/2020/11/30/how-hip-hop-superstar-travis-scott-has-become-corporate-americas-brand-whisperer/?sh=1bfae08074e7.

Cherry, K. (2016). “What Is the Halo Effect?”. http://www.dcookacademic.com/uploads/1/0/8/8/10887248/what_is_the_halo_effect.pdf.

Childs, M., Jin, B.E. (2019). “Brand and retailer co-branding: Examining factors to favourably change consumers’ brand evaluations”. Journal of Fashion Marketing and Management, 24(1), 49-65.

Mitomi, Y. (2018). “Consideration of time pressure in the limited time edition products”. Annals of Business Administrative Science, 17(6), 251-261.

Rutherford, K. (2020). Burger Bounce. Billboard.

Soman, D. (2015). The Last Mile: Creating Social and Economic Value from Behavioral Insights, University of Toronto.

Yazdanpanah, J. (2021). Change management in McDonald’s.

In copertina: Jerritt Clark Photography.

IKEA sbarca sull’isola di Animal Crossing:

un catalogo innovativo al passo con i tempi

Il mondo sta cambiando, all’improvviso la pandemia ha stravolto la routine dei consumatori e con essa anche i loro bisogni, priorità e interessi. Rinchiudersi in un mondo virtuale sembra l’unica via di fuga che rincuora gli animi, per fuggire da una realtà fuori dall’ordinario. Nella consapevolezza del ruolo che il digitale sta avendo nelle vite dei consumatori, anche le aziende si sono dovute adattare sviluppando un diverso modo di comunicare e relazionarsi con i propri clienti. Non basta realizzare prodotti altamente competitivi per differenziarsi in un mercato sempre più saturo e influenzato dalla realtà virtuale, dai social network e dalla tecnologia. Diventa fondamentale capire i bisogni espressi e latenti dei consumatori, facendo leva non solo sulle necessità materiali ma anche su quelle emozionali. Nel 2020 IKEA Taiwan ha realizzato un catalogo interamente ispirato al nuovo videogioco Nintendo, Animal Crossing: New Horizon, anticipando una nuova strategia di marketing per raggiungere un’audience ben distante da quella a cui è abituata. L’idea innovativa è stata quella di associare il proprio brand a un altro apparentemente lontano dal proprio, raggiungendo gli obiettivi di business prefissati in un periodo di crisi economica mondiale. Lo studio è volto a analizzare in che modo real time marketing, scarcity marketing, isolation effect e value co-creation hanno contribuito al successo di IKEA per dimostrare come l’utilizzo di tali strategie giovi alle aziende in termini di awareness e reputazione, facendone risaltare originalità e innovazione. Al fine di verificare tale ipotesi, è stata scelta l’azienda IKEA, tra le prime capace di conseguire questo obiettivo comunicazionale con successo.

Ficchi Luca

Gabriele Laura

Gargiulo Gianluca

Genovese Giorgia

Gottin Giulia

Fonti:

Barcelos, R.H., Dantas, D.C., Senecal, S. (2018). “Watch Your Tone: How a Brand’s Tone of Voice on Social Media Influences Consumer Responses”. Journal of Interactive Marketing, 41, 60-80.

“Come definire il tone of voice in 5 step”, (2020): https://www.italiaonline.it/risorse/come-definire-il-tone-of-voice-in-5-step-345.

Esposito, R. (2020). “Tone of voice del tuo brand: come definirlo e perché”, https://www.studiosamo.it/tone-of-voice-del-brand/.

Gretry, A., Horvath, C., Belei, N., Riel, A.C.R. v. (2017). “‘Don’t pretend to be my friend!’ When an informal brand communication style backfires on social media”. Journal of Business Research, 74, 77-89.

Oh, J., Ki, E.-J. (2019). “Factors affecting social presence and word-of-mouth in corporate social responsibility communication: Tone of voice, message framing, and online medium type” Public Relations Review, 45, 319-331.

“Perché tutti parlano del post sulla lavatrice del social media manager di Unieuro”, https://quifinanza.it/lifestyle/unieuro-post-facebook-lavatrice/450647/.

Sreejesh, S., Paul, J., Strong, C., Pius, J. (2020). “Consumer response towards social media advertising: Effect of media interactivity, its conditions and the underlying mechanism”. International Journal of Information Management, 54.

“Basta Netflix”: il ruolo del buzz marketing

nella psicologia del consumatore

Cosa evoca il significato della parola “basta”? Quali sensazioni e percezioni vengono alla mente dopo averla letta o ascoltata? È probabile che una larga fetta di persone associ questa parola a un feeling negativo, alla cessazione di un fenomeno presumibilmente spiacevole. Ebbene, Netflix Italia ha lasciato i suoi utenti in balìa di questa domanda per circa due giorni. Ma andiamo per gradi.

Nel settembre 2018, l’azienda statunitense ha lanciato una campagna pubblicitaria geniale sfruttando due strategie chiave di marketing communication: il buzz e l’influencer marketing. Con sopra affisso un claim volutamente ambiguo ossia “Basta Netflix”, l’azienda ha tappezzato di cartelloni pubblicitari le città di Roma e Milano.

La chiave di lettura dominante, di coloro che si sono cimentati nell’interpretazione di un messaggio apparentemente criptico, è stata una critica al sempre più diffuso binge-watching, ossia l’abitudine di fare vere e proprie maratone di film o serie tv, pur rimanendo incollati al divano. Abitudine, quest’ultima, di cui ognuno di noi detiene un suo personale record. Ciò che ha maggiormente preoccupato i fan della piattaforma è stato poi il silenzio da parte di Netflix che in quei giorni non rivendicò alcunché, anzi inscenò un vero e proprio hacking della pagina instagram, cancellando i post e cambiando l’immagine del profilo, sostituendola con una foto nera contenente lo slogan “Basta Netflix”.

Pochi giorni dopo, alcuni influencer e personalità note al pubblico italiano, come Tommaso Paradiso e Jake La Furia, hanno postato foto e video sui loro profili social indossando quello che poi si è rivelato essere il merchandising ufficiale di una campagna pubblicitaria firmata Netflix. A loro, infatti, l’azienda ha affidato il compito di decriptare il claim dell’iniziativa, spiegando attraverso i loro volti che quel “basta” in realtà era da leggere in un’accezione tutt’altro che negativa. Basta Netflix, per essere felici e per stare bene. D’altronde, come dar loro torto?

D’Aniello Carmelina

D’Ignazio Simone

De Marco Giulio

De Michele Adele

De Sabato Chiara

Fonti:

Alwana, H .J. (2020). “Buzz Marketing and its Role in Achieving Market Share”, International Journal of Innovation, Creativity and Change, 12(7).

Audrezet, A., Charry, K. (2019), “Do influencers need to tell audiences they’re getting paid”. Harvard Business Review, https://hbr.org/2019/08/do-influencers-need-to-tell-audiences-theyre-getting-paid.

Daume, J., Hüttl-Maack, V. (2020). “Curiosity-inducing advertising: how positive emotions and expectations drive the effect of curiosity on consumer evaluations of products.” International Journal of Advertising, 39(2), 307-328.

Digital Marketing Institute. (2019). 20 Influencer marketing statistics that will surprise you.

Floegel, D. (2020). “Labor, classification and productions of culture on Netflix”. Journal of Documentation (ahead-of-print).

De Veirman, M., Cauberghe. V., Hudders, L. (2017) ”Marketing through Instagram influencer: the impact of number of followers and product divergence on brand attitude”, International Journal of Advertising, 36(5), 798-828.

Corvi, E., (2019). “Netflix, gli abbonati in Italia sono 1,5 milioni’. Milano Finanza, https://www.milanofinanza.it/news/netflix-gli-abbonati-in-italia-sono-1-5-milioni-201901281858089392.

Mohr, I. (2017). “Managing Buzz Marketing in the Digital Age”. Journal of Marketing Development and Competitiveness, 11(2).

Njlitics, https://www.njlitics.com.

Rossi S., (2021) “Case study Netflix: dall’innovazione del modello di business alle strategie di comunicazione”, https://www.insidemarketing.it/case-study-netflix-la-strategia-del-successo/.

Woods, S. (2016). “# Sponsored: The emergence of influencer marketing”. University of Tennessee.

In copertina: La campagna “Basta Netflix”, credits: adcgroup.it.

Unieuro rivoluziona le campagne

social media marketing

Unieuro, con la nuova strategia di marketing divenuta recentemente virale sul social network Facebook, fornisce un chiaro esempio della spiegazione del concetto marketing tone of voice. Esso è divenuto un elemento chiave nel mondo delle campagne social media marketing, poiché è il mezzo principale tramite il quale avviene la comunicazione tra brand e consumatore.

Grazie al tone of voice, a seconda di come si decide di utilizzarlo, è possibile entrare empaticamente in relazione con il consumatore, instaurando così un legame profondo di fiducia con quest’ultimo. In questo modo, si ha la personificazione del brand, poiché il consumatore conferisce a quest’ultimo una personalità nella quale può rivedere anche i suoi valori.

Unieuro ha stravolto l’ordinario utilizzo del tone of voice finora applicato dalla società, decidendo di adottare un linguaggio prettamente informale, costituito prevalentemente da termini che richiamano sia lo slang giovanile sia parole che appartengono alla generazione dei boomer. Così facendo, l’azienda è riuscita a attirare l’attenzione anche dei più giovani sui social, rendendo virale un semplicissimo post che ha per oggetto prima un televisore e poi una lavatrice. L’innovazione di Unieuro però non è dovuta semplicemente all’inserimento di parole informali nella caption del post, ma è data dal fatto che i loro contenuti sono caratterizzati da conversazioni nei commenti sottostanti a essi su orari relativi a scadenze e pause pranzo fra i membri del team Unieuro e da flussi di pensiero del social media manager che richiamano lo stile del flusso di coscienza di Joyce, nei quali si parla di tutto tranne che delle caratteristiche tecniche dell’oggetto presente nella foto. Concludendo, l’abilità di Unieuro che le ha conferito tale successo, riguarda il fatto che la società ha saputo pubblicare questi post su Facebook con i relativi commenti al momento giusto, con le parole giuste.

Altamura Allegra

Bellini Benedetta

Calamia Pacini Guglielmo

Costa Valentina

Costanzo Chiara

Fonti:

Barcelos, R.H., Dantas, D.C., Senecal, S. (2018). “Watch Your Tone: How a Brand’s Tone of Voice on Social Media Influences Consumer Responses”. Journal of Interactive Marketing, 41, 60-80.

“Come definire il Tone of Voice in 5 step”. ItaliaOnline. (2020). https://www.italiaonline.it/risorse/come-definire-il-tone-of-voice-in-5-step-345#:~:text=Nel%20mondo%20della%20comunicazione%20online,vuole%20dare%20alla%20propria %20comunicazione.

Esposito, R. (2020). “Tone of voice del tuo brand: come definirlo e perché”. Studiosamo.it. https://www.studiosamo.it/tone-of-voice-del-brand/.

Grétry, A., Horváth, C., Belei, N., van Riel, A. (2017). Don’t Pretend to Be My Friend! When an Informal Brand Communication Style Backfires on Social Media”. Journal of Business Research, 74, 77-89.

Oh, J., Ki, E.-J. (2019). “Factors affecting social presence and word-of-mouth in corporate social responsibility communication: Tone of voice, message framing, and online medium type”. Public Relations Review, 45, pp. 319-331.

“Perché tutti parlano del post sulla lavatrice del social media manager di Unieuro”, https://quifinanza.it/lifestyle/unieuro-post-facebook-lavatrice/450647/.

Sreejesh, S., Paul, J., Strong, C., Pius, J. (2020). “Consumer response towards social media advertising: Effect of media interactivity, its conditions and the underlying mechanism”. International Journal of Information Management, 54.

In copertina: UniEuro Facebook Page.

Amanda Gorman: 3 milioni di emozioni

Nel tempo ha assunto un ruolo sempre più importante il concetto di emozione, non visto più come semplice impulso e componente irrazionale nei processi decisionali, ma come aspetto fondamentale nel complesso meccanismo quotidiano di predilezione.

Raramente ci troviamo a scegliere e approvare alternative senza l’impulso irrefrenabile delle emozioni, le quali sono componenti imprescindibili degli esseri umani.

Il marketing tradizionale si è da sempre occupato delle emozioni come fonte di ispirazione per tutte le politiche attuabili nei complessi aziendali ma, col tempo, trova ampio spazio il marketing emozionale che tende a mettere in pratica ciò che negli anni è stato apprezzato solo in teoria.

In tale contesto, trova importanza di studio il fenomeno Gorman: la giovane studentessa americana laureata a Harvard che, chiamata nel giorno dell’insediamento dall’attuale presidente degli Usa Joe Biden, ha incantato tutti col fascino delle sue parole, coinvolgendo il pubblico con la forza delle emozioni.

Amanda Gorman, veicolo in un complesso strategico più ampio, spiega come i cambiamenti a cui stiamo assistendo nelle politiche di marketing siano innumerevoli, che oggi più che allora, non necessitano di un prodotto da commercializzare o un servizio da erogare per essere attuate.

Le stesse strategie politiche che, dagli albori della storia contenevano un sottotesto di consenso e potere, possono difatti essere oggetto di strategie di marketing che trovano nelle emozioni un forte mezzo per creare approvazione e sostegno elettorale.

È possibile, infatti, asserire con certezza che il cambiamento a cui stiamo assistendo, porta l’uomo a essere non solo il soggetto della contesa, ma anche uno strumento nelle mani di chi, per raggiungere i suoi scopi, sceglie la persuasione.

Proprio come la fenice, animale mitologico che rinasce dalle sue ceneri, la rinascita a cui stiamo assistendo coinvolge tutti, rendendoci emblema, ma a volte preda, dell’irrefrenabile impulso degli uomini verso l’affermazione dei propri interessi.

Talotti Alessandro

Tegliafilo Matteo

Tonanzi Camilla

Ulini Annamaria

Fonti:

Alfea, J. (2021). “All about Amanda Gorman’s powerful fashion, poem at Joe Biden’s inauguration”. The Hindustan Times, https://www.hindustantimes.com/lifestyle/fashion/all-about-amanda-gorman-s-powerful-fashion-poem-at-joe-biden-s-inauguration-101611253054646.html.

Alton, L. (2017). The undeniable power of human emotions in marketing. Cio, https://fastlyssl.cio.com/article/3186466/the-undeniable-power-of-human-emotions-in-marketing.html.

Borders, A.L., Kemp, E. (2018). “Editorial on the role of emotions in B2B marketing”. The Journal of Business & Industrial Marketing, 33(1), 1-2.

Caccavelli, M. (2020). L’era del marketing emozionale: la teoria di Schmitt. Rome Business School, https://romebusinessschool.com/it/blog/marketing-emozionale-teoria-schmitt/.

Ortigueira-Sánchez, L.C., Cárdenas Egúsquiza, A.L. (2019). “Rhetorical strategies and emotions in political marketing management”. Academia Revista Latinoamerica de Administracion 32(4), 487-501.

Casiraghi, C. (2021). “Amanda Gorman, testo e traduzione di una poesia diventata culto”. Vanity Fair, https://www.vanityfair.it/show/agenda/2021/01/21/amanda-gorman-testo-e-traduzione-di-una-poesia-the-hill-we-climb-biden.

Cuminetti, A. (2021). “Che cos’è un’emozione? Teorie spiegate sulle emozioni e definizione”. https://www.psicosocial.it/cosa-sono-le-emozioni/

Hoyer, W.D., Macinnis, D.J., Pieters, R. (2016). Consumer Behavior. South-Western Pub, 7th edition.

Latzoo, C. (2021). “Communicative Resilience as Interpretive Response: An Existential-Phenomenology of Reintegration”. Southern Communication Journal 86(3), 1-12.

Le, D., Pratt, M., Wang, Y., Scott, N., & Lohmann, G. (2020). “How to win the consumer’s heart? Exploring appraisal determinants of consumer pre-consumption emotions”. International Journal of Hospitality Management, 88, 102542.

Liesl, S. (2021). “How Amanda Gorman became the voice of a new American era”. The Guardian, https://www.theguardian.com/books/2021/jan/22/how-amanda-gorman-became-the-voice-of-a-new-american-era.

Margaglio, V. (2021). “Chi è Amanda Gorman? Una nuova icona tra poesia e politica”. Intersezionale.

Pellegrini, G. (2020). Esempi di marketing avanzato dalla campagna elettorale USA. Kaiti Expansion.

Satrio, D., Priyanto, S.H., Nugraha, A.K.N.A. (2020). “Viral Marketing for Cultural Product: The Role of Emotion and Cultural Awareness to Influence Purchasing Intention”. Montenegrin Journal of Economics, 16(2), 77-91.

Serazio, M. (2017). “Branding politics: Emotion, authenticity, and the marketing culture of American political communication”. Journal of Consumer Culture, 17(2), 225-241.

In copertina: Patrick Semansky / POOL / AFP.

Distinzione come forma di valore:

quando una scatola di scarpe diventa un flagship store

Questo articolo parte dall’assunto per il quale il crescente sovraffollamento pubblicitario è causa della riduzione della soglia di attenzione da parte dei consumatori: basti pensare alla tendenza crescente delle applicazioni che offrono una versione a pagamento, che esonera gli utenti dalla visualizzazione dei banner pubblicitari. In questo contesto si inserisce il guerrilla marketing, una tecnica di marketing non convenzionale che sfrutta l’effetto sorpresa per catturare l’attenzione dei consumatori.

Questa strategia ha dei risvolti importanti in termini di visual identity, intesa come l’insieme di forme comunicative del brand verso l’esterno, incrementando perciò la brand awareness.

Nello specifico, si fa riferimento al caso dei boxshop esposti da Adidas al festival di Lollapalooza e a Londra, con l’intento di ricreare il celebre packaging della scatola di sneakers blu del marchio tedesco.

Con tale strategia, Adidas mira a rafforzare la propria visual identity, comprensiva di logo, immagini, colori e design creativi che contraddistinguono il brand rispetto ai propri competitor nei settori dell’abbigliamento sportivo e del lifestyle. In un contesto come quello precedentemente descritto, diventa fondamentale in ottica manageriale puntare su strategie unconventional in grado di coinvolgere emotivamente i propri clienti.

I contributi di marketing che questo caso offre fanno riferimento all’influenza positiva che le campagne di guerrilla marketing, sorprendenti e creative, hanno nell’intenzione di acquisto del consumatore. Esse, puntando su un approccio emozionale, provocano una attitudine positiva nei confronti del marchio, e generano al tempo stesso un WOM positivo.

Infine, la forte immagine del marchio Adidas aiuta l’azienda a trasmettere affidabilità, fiducia e competenza ai clienti, facendo rimanere i propri prodotti impressi nelle loro menti.

Capenti Alessandro

Cappelletti Chiara

Citino Vincenzo

Diotallevi Giacomo

Forte Benedetta

Fonti:

Balážiová, I., Spálová, L. (2020). “Terminological and Historical Background of Guerilla Marketing as a Marketing Communication Strategy”. Social Communication, 6(1), 81-92.

Barbosa, B., Silva, D., Santos, C.A., Filipe, S. (2018). “On using guerrilla in business-to-business communication: the managers’views”. CBU International Conference Proceedings 6(10), pp. 10-15.

Black, I., Veloutsou, C. (2017). “Working consumers: Co-creation of brand identity, consumer identity and brand community identity”. Journal of Business Research, 70, 416-429.

Bravo, R., Buil, I., de Chernatony, L., Martínez, E. (2017). “Managing brand identity: effects on the employees”. International Journal of Bank Marketing 35(1).

Chen, C.-T. (2019). “The mediating effect of brand identity on brand knowledge and the operational development of universities”. South African Journal of Business Management, 50(1), 11.

Continental Outdoor (2019). Opportunities presented by Africa.

Diaa, N.M. (2017). “Shedding the light on guerrilla marketing and purchase intention”. Global Journal of Management and Business Research 17(4).

Gökerik, M., Gürbüz, A., Erkan, I., Mogaji, E., Sap, S. (2018). “Surprise me with your ads! The impacts of guerrilla marketing in social media on brand image”. Asia Pacific Journal of Marketing and Logistics 30(2).

Iglesias, O., Ind, N., Schultz, M. (2020). “History matters: The role of history in corporate brand strategy”. Business Horizons, 63(1), 51-60.

Jin, C., Yoon, M. e Lee, J. (2019). “L’influenza dell’identità del colore del marchio sull’associazione e la fedeltà al marchio.” Journal of Product & Brand Management 28(1).

Khare, A.K. (2017). “Guerrilla Marketing – Innovative and Futuristic Approach towards Marketing”. International Journal of Advanced Engineering, Management and Science, 3(5), 239832.

Nguyen, V.T.P. (2020). The potential for small enterprise to consider guerrilla marketing from brand equity perspective, http://urn.fi/URN:NBN:fi:amk-2020091820552.

Roux, T. (2020). “Does the guerrilla win, if he does not lose? Advertising media practitioners’ views on guerrilla marketing challenges and potential negative consequences”. Journal of Public Affairs, 20(1), 2007.

Walia, P., Singla, L. (2017). “An analytical study on impact of guerrilla marketing among middle aged smart-phone users”. International Journal of Advanced Scientific Research and Management, 2(4).

Wilson, R.T., Suh, T. (2018). “Advertising to the masses: the effects of crowding on the attention to place-based advertising”. International Journal of Advertising, 37(3), 402-420.

Yildiz, S. (2017). “Effects of Guerrilla Marketing on Brand Awareness and Consumers’ Purchase Intention”. Global Journal of Economics and Business Studies, 6(12), 177-185.

In copertina: ninjamarketing.it.

Google Street View becomes the new catwalk

of Zalando Spain

“Street it All” is the new ground-breaking campaign by Zalando Spain in collaboration with Google Street View that has been rocking the country. Europe’s leading online fashion platform has discovered an original way to advertise its new Spring 2021 streetwear collection.

In a time when the world closes in, Zalando has decided to step out on the street, bringing streetwear back to its place of origin.

The street turns into the runway and through the first 360° geo-localized virtual look-book, users can discover the new collection in the same way they search for any address in a city on their smartphone or computer. The campaign photos were geo-located and linked directly to the company’s website, so customers have the possibility to purchase the collection’s items through the website.

This strategy employs an alternative communication channel, Google Street View that became an ambient medium. In recent years the focus of marketing has shifted to the experience, the brand is called to create increasingly engaging messages that grab the attention of an audience constantly exposed to advertising messages; the discussed strategy of Ambient marketing goes in this direction. In this strategy, where the environment becomes the protagonist, the purpose of environmental advertisement is to surprise consumers with its positioning and at the same time succeed in delivering the message to consumers. By doing so, Zalando enhances the likelihood of achieving a top of mind recall within target audiences. In order to achieve this purpose at the best while providing authentic and truthful communication, Spanish influencers very close to the local streetwear community were selected for starring the campaign.

Zalando Spain’s strategy has succeeded in drawing the attention of marketers around the world, exploiting the marketing trends of the time by setting up a new way of communicating through the virtual and real environment.

Giacobbe Ludovica

Graziano Sara

Gurrieri Alessandro

Iacomelli Luca

Moricca Livio

Sources:

Barnes, S. (2016). “Understanding Virtual Reality in Marketing: Nature, Implications and Potential”. SSRN Electronic Journal.

Boyd, D.E., Koles, B. (2019). “An Introduction to the Special Issue ‘Virtual Reality in Marketing’: Definition, Theory and Practice”, Journal of Business Research 100, pp. 441-444.

Lou, C., Yuan, S. (2019). “Influencer Marketing: How Message Value and Credibility Affect Consumer Trust of Branded Content on Social Media”. Journal of Interactive Advertising, 19(1), 58-73.

Martínez-Navarro, J., Bigné, E., Guixeres, J., Alcañiz Raya, M.L., Torrecilla Moreno, C. (2019). “The influence of virtual reality in e-commerce”. Journal of Business Research, 100, 475-482.

Othman, H. (2020). “Ambient Ads as Unconventional Media Approach”. ELSEVIER & International Design Journal, 10(2), 269-278.

Pöyry, E., Laaksonen, S.-M. Naumanen, E., Pelkonen, M., (2019). “A Call for Authenticity: Audience Responses to Social Media Influencer Endorsements in Strategic Communication”. International Journal of Strategic Communication, 13(4), 336-351.

Nestor, S., Kuzmin, O., Dvulit, Z., Onysenko, T., Sroka, W. (2020). “Digitalization of the Marketing Activities of Enterprises: Case Study”. Information, 11(2), 109.

Sula, T., Banyár, M. (2017). “Ambient Media Design as a Tool of Creation of New Communication Media”. International Conference on Strategic Innovative Marketing, pp. 101-106.

Tan, L., Chow, K.K. (2017, June). “Facilitating meaningful experience with ambient media: an embodied engagement model.” Proceedings of the Fifth International Symposium of Chinese CHI, pp. 36-46.

Zalando: https://corporate.zalando.com/en/company.

Zalando: https://www.zalando.es/streetitall#home.

In copertina: “Street it all” from highxtar.com.

Il caso Eco Bio Boutique:

l’e-commerce durante la pandemia Covid-19

La pandemia di Covid-19 ha prodotto in Italia e nel mondo cambiamenti radicali del modo di fare impresa per aziende operanti in molti settori. Si è passati dal fisico al digitale nel giro di pochi mesi, modificando non solo l’organizzazione dell’azienda ma anche la produzione, la distribuzione e la comunicazione. Il mondo digitale è così diventato un elemento essenziale per la sopravvivenza delle aziende, le quali hanno dovuto applicare energia e determinazione per fronteggiare le sfide imposte dal virus.

In questo contesto lo studio si prefigge di analizzare come il coronavirus abbia impattato sull’e-commerce. In particolare, si andrà a esaminare un’azienda di cosmetica completamente digitalizzata, la Eco Bio Boutique, evidenziando come la sua organizzazione flessibile abbia fatto fronte all’emergenza sanitaria globale Covid-19.

Eco Bio Boutique, marchio di un’azienda del Made in Italy, opera da vent’anni sul mercato skincare. Grazie alla qualità dei prodotti e alla capacità di adattamento e flessibilità nei confronti del mercato, nell’ultimo anno ha dominato il settore, emergendo rispetto ai competitors. Con l’avvento del lockdown nel marzo 2020, l’azienda ha registrato un incremento di fatturato pari al 1200% e ciò ha richiesto una ristrutturazione aziendale e non solo. Infatti l’azienda ha investito su nuove assunzioni che hanno portato alla creazione di nuove divisioni, come quella per l’email-marketing post vendita, la customer care e il settore del design.

La ricerca mostra che la flessibilità di un’organizzazione piatta (c.d. flat organization) ha consentito all’azienda di assumere decisioni operative a carattere innovativo e in un tempo relativamente breve e che il rafforzamento dei canali social ha permesso all’impresa di conquistare i nuovi clienti presenti su tali piattaforme. I dati raccolti, ai fini del caso di studio, provengono da ricerche precedenti e da un’intervista a Giacomo Imperiolini e Simone Spizzichino, CEOs di Eco Bio Boutique.

Neri Irene

Nusiner Chiara

Pietroni Isabella

Recchia Giulia

Fonti:

Aslam, B., Karjaluoto, H. (2017). “Pubblicità digitale attorno a spazi a pagamento, motore di entrate del settore della pubblicità elettronica: un’agenda di revisione e ricerca”. Telematica e informatica, 34 (8), 1650-1662.

Bhatti, A., Akram, H., Basit, H.M., Khan, A.U., Raza, S.M., Naqvi, M.B. (2020). “E-commerce trends during Covid-19 Pandemic”. International Journal of Future Generation Communication and Networking, 13(2), 1449-1452.

Bhatti, A., Akhter, S., Qurashi, A.H., Shaheen, M., “Coronavirus affects e-commerce globally”. Journal of Xi’an Shiyou University.

Craven, M., Liu, L., Mysore, M., Wilson, M. (2020). Covid-19: Implications for business. McKinsey & Company, 1-8.

Hillier, L. (2020). “Stats roundup: coronavirus impact on marketing, ecommerce & advertising”, https://econsultancy.com/stats-roundup-coronavirus-impact-on-marketing-advertising/

Jones, K. (2020). “Covid-19 – The Pandemic Economy: What are Shoppers Buying Online During Covid-19?”, https://www.visualcapitalist.com/shoppers-buying-online-ecommerce-covid-19/.

Schenkel, M.T., Brazeal, D.V. (2016). “The Effect of Pro-Entrepreneurial Architectures and Relational Influences on Innovative Behavior in a Flat Organizational Structure”. Journal of Business and Entrepreneurship, 27(2), 93.

Sito Web Ufficiale – Eco Bio Boutique: https://ecobioboutique.it.

Tran, L.T.T. (2021). “Managing the effectiveness of e-commerce platforms in a pandemic”. Journal of Retailing and Consumer Services, 58(7-8), 102287.

Valaei, N. (2017). “Struttura organizzativa, attività di creazione di senso e competitività delle PMI”. VINE Journal of Information and Knowledge Management Systems.

Zubair, A., Kamal, A. (2016). “Perceived Authentic Leadership, Work-Related Flow, and Creative Work Behavior: Moderating Role of Organizational Structures”. Abasyn Journal of Social Sciences, 9(2), 426-441.

In copertina: vivoconbenessere.it.

By Rotation e fashion renting: la moda del cambiamento

Il consumo eccessivo e la pratica del fast fashion contribuiscono al giorno d’oggi all’aumento dei rifiuti tessili, una preoccupazione ambientale in crescita e una grave minaccia per il pianeta. A partire dalla consapevolezza di tali problematiche sono emerse diverse iniziative di business innovative, tra cui assume un ruolo rilevante la pratica del fashion renting. Si tratta di un trend affermatosi negli ultimi anni che permette al consumatore di noleggiare capi di abbigliamento e accessori senza l’onere della proprietà. Il caso studio analizzato, rappresentativo di tale pratica di consumo, è By Rotation, un’app di social fashion renting fondata da una giovane ragazza inglese.

La piattaforma, il cui utilizzo è molto diffuso nel Regno Unito, coinvolge i consumatori nella pratica del noleggio, attraverso la creazione di una vera e propria community online. Il presente articolo indaga l’atteggiamento ambivalente del consumatore rispetto alla pratica di consumo del fashion renting, per poi approfondire i due modelli di green economy e consumo collaborativo (CC), rilevando infine il ruolo di questi rispetto alla tematica della sostenibilità. Il CC consiste in una pratica di consumo basata sullo scambio di beni e servizi che incoraggia il riutilizzo di prodotti ed è in grado di ridurre gli acquisti e gli sprechi; la green economy, invece, punta a risparmiare e a utilizzare in modo efficiente risorse e energia al fine di generare benessere inclusivo e tutelare il capitale naturale.

Dallo studio emerge che la tendenza del fashion renting è in crescente evoluzione e questo è da ricondurre da un lato alla maggiore attenzione che i consumatori rivolgono alle tematiche della sostenibilità, dall’altro ai numerosi benefici che tale forma di consumo è in grado di apportare all’ambiente, agli stessi individui e alle aziende che la implementano. By Rotation è la perfetta rappresentazione dell’esigenza di un necessario cambiamento culturale e ambientale.

Tuccelli Giorgia

Spista Veronica

Zagaria Virginia

Vesperini Alessandra

Fonti:

Aric, R. (2019). “Marketing in the Sharing Economy”. Journal of Marketing, 82.

Armstrong, C.M.J., Lang, C. (2017). “Collaborative consumption: The influence of fashion leadership, need for uniqueness, and materialism on female consumers’ adoption of clothing renting and swapping”. Sustainable Production and Consumption.

Becker-Leifhold, C.V. (2018). “The role of values in collaborative fashion consumption – A critical investigation through the lenses of the theory of planned behavior”. Journal of Cleaner Production 199.

Brydges, T., Retamal, M., Hanlon, M. (2020). “Will Covid-19 support the transition to a more sustainable fashion industry?”. Sustainability: Science, Practice and Policy, 16(1), 298-308.

Eckhardt, G.M., Houston, M.B., Jiang, B., Lamberton, C., Rindfleisch, A., Zervas, G. (2019). “Marketing in the Sharing Economy”, Journal of Marketing.

Lang, C. (2018). “Perceived Risks and Enjoyment of Access-based Consumption: Identifying Barriers and Motivations to Fashion Renting”. Fashion and Textiles 5(1)

Lang, C., Li, M., Zhao, L. (2019), “Understanding consumers’ online fashion renting experiences: A text-mining approach”. Sustainable Production and Consumption 21.

Lee, S.H., Huang, R. (2020). “Exploring the Motives for Online Fashion Renting: Insights from Social Retailing to Sustainability”. Sustainability, 12(18), 7610.

Lee, S.H., Chow, P.-S. (2020). “Investigating consumer attitudes and intentions toward online fashion renting retailing”. Journal of Retailing and Consumer Services, 52(2), 101892.

Lee, S.H., Huang, R. (2020). “Consumer responses to online fashion renting: exploring the role of cultural differences”. International Journal of Retail & Distribution Management 49(2).

Loiseau, E., Saikku, L., Antikainen,J.(2016). “Green economy and related concepts: An overview”. Journal of Cleaner Production, 139, 361-371.

Back, S., (2020). “Fashion in a Time of Crisis”. The Journal of Design, Creative Process & the Fashion Industry, vol. 12, 327-330.

Shrivastava, A., Jain, G., Kamble, S.S., Belhadi, A. (2019), “Sustainability through online renting clothing: Circular fashion fueled by instagram micro-celebrities”, Journal of Cleaner Production 278.

In copertina: byrotation.com.

Crisi, Covid e cambi di mercato,

così Ramazzotti si reinventa per un futuro meno amaro!

“Il cambiamento, con tutti i rischi che comporta, è la legge dell’esistenza” questa frase di Robert Kennedy, pronunciata più di sessant’anni fa, sembra riassumere alla perfezione il senso della sfida commerciale e produttiva di un marchio storico del settore Spirit come Ramazzotti.

Il suo cammino, iniziato da più di duecento anni, non si è mai fermato, trovando la forza e la capacità di superare ogni tipo di ostacolo, resistendo alle molteplici crisi e sfruttando le stesse come occasioni di crescita.

È stato così fin dall’inizio, l’amaro composto da trentatré erbe fece la sua prima comparsa nei bar e nei salotti milanesi per non lasciarli più.

Da allora è stato un continuo succedersi di trasformazioni per intercettare nuovi consumatori, adeguandosi alle continue evoluzioni del gusto e della socialità, ma anche all’affermazione delle nuove tecnologie e dei social. Dall’amaro classico, simbolo della Milano da bere degli anni Ottanta, capitale della moda della finanza e del glamour, all’amaro menta, originale alternativa al liquore dopo pasto, fino alla Sambuca. Successivamente, l’ampliamento dell’offerta legato alla crescente affermazione del momento dell’aperitivo come occasione di socialità e svago ha portato l’azienda a riposizionarsi sul mercato come un prodotto da consumarsi prima di cena, in una bella giornata primaverile e estiva.

Anche di fronte alla pandemia, Ramazzotti ha saputo reagire, diversificando la propria produzione con la nascita di un disinfettante per mani ricavato da una parte di distillato al cui interno è inserita una profumazione d’arancia, così da trasferire a chi lo utilizza una nota dolce all’olfatto in una fase così critica.

Una capacità davvero fuori dall’ordinario, quella di Ramazzotti, di reagire a eventi imprevedibili e negativi, i cosiddetti “Cigni neri”, che possono trasformarsi da problemi in opportunità: per farlo è però necessario mostrarsi resilienti e antifragili.

A tal fine, non basta solo resistere all’evento critico, ma anche sfruttarlo per migliorarsi e diversificarsi. Questo è il caso di Ramazzotti, nonché di altri notissimi brand che hanno dato vita, durante l’emergenza sanitaria, a nuovi prodotti come i ventilatori polmonari della Ferrari, i camici per i sanitari di Armani, Gucci e Prada e i gel disinfettanti di Bacardi.

Iovino Maria

Marati Laura

Marini Francesco

Mastantuono Francesca

Minella Benedetta

Fonti:

DharMag, (2020). “Amaro Ramazzotti: che cos’è, come viene prodotto e quali cocktail fare con questo liquore italiano”. Wine Dharma: https://winedharma.com/it/dharmag/aprile-2020/amaro-ramazzotti-che-cos-come-viene-prodotto-e-quali-cocktail-fare-con-questo-li.

Frigotto, L., Narduzzo, A. (2016). “Sbiancare il cigno nero? Strategie e competenze manageriali per riconoscere il nuovo”. Sinergie Italian Journal of Management 34(99), 345.

Ramezani, J., Camarinha-Matos, L.M. (2020). “Approaches for resilience and antifragility in collaborative business ecosystems”. Technological Forecasting and Social Change, 151, 119846.

Joshi, V. (2020). “A Study on Strategic Brand Repositioning”. International Journal Of Law Management & Humanities 3(4).

Mazza, L. (2020). “#SpiritoTricolore”. Fourexellences: https://www.fourexcellences.com/cucina/beverage/amaro-ramazzotti-spirito-tricolore-lotta-covid-19-2020.

Oralkan, A. (2019). Narrative Strategies for Brand Positioning. Handbook of Research on Narrative Advertisin, in Handbook of Research on Narrative Advertising, IGI Global.

Pasetti, J. (2020).“Postcovid, riscoprirsi antifragili per andare oltre le incertezze”, (2020), https://chabertonpartners.com/it/postcovid-riscoprirsi-antifragili-per-andare-oltre-le-incertezze/.

Scaglioni, A. (2020). “Coronavirus, adesso l’amaro Ramazzotti produce disinfettante per le mani”. Corriere della sera. https://www.corriere.it/economia/consumi/20_marzo_29/coronavirus-adesso-l-amaro-ramazzotti-produce-disinfettante-le-mani-6ef264a4-71ba-11ea-b6ca-dd4d8a93db33.shtml.

Sturabotti, D. (2020). “Storia di una riconversione: dall’amaro Ramazzotti al disinfettante per le mani.” Symbola. https://www.symbola.net/approfondimento/storia-di-una-riconversione-dallamaro-ramazzotti-al-disinfettante-per-le-mani.

In copertina: https://ramazzotti1815.com.

Il co-branding nel luxury market

come strategia di successo: Off-White per IKEA

Il co-branding è in grado di creare una strategia vincente per congiungere i mondi luxury e inexpensive e al contempo rendere il prodotto ancora più esclusivo. Possiamo indagare in profondità l’adozione di tale attività di marketing attraverso il caso di successo “Off-White x IKEA”, aziende che hanno lanciato la collezione MARKERAD.

Off-White è un’azienda che opera nel settore dell’abbigliamento di lusso e che ha segnato il suo sviluppo attraverso le molteplici collaborazioni stabilite negli anni. Infatti, lo stile avanguardista e innovativo si riflette nelle sue collaborazioni tra cui spicca, per la sua nota inusuale, quella con IKEA. Dunque, l’azione di marketing discussa offre la possibilità di reinventarsi. La scelta strategica dell’azienda con cui operare, che appare atipica agli occhi dei consumatori, conferisce un tocco di creatività e stravaganza che dona maggiore forza e freschezza ai brand. Attraverso un’ampia e approfondita analisi dei framework teorici e delle marketing contributions si illustra come l’edizione limitata, reperibile solo in un breve lasso di tempo, accresca la desiderabilità dei prodotti in quanto unici. In tal modo si genera un senso di appartenenza nei consumatori, i quali acquistano un’esperienza ancora prima che un prodotto, enfatizzando l’uso di un oggetto anonimo nella vita quotidiana.

La collezione aumenta il numero di potenziali acquirenti per ambedue le aziende, dato che rappresenta un’opportunità e un touchpoint per ampliare la dimensione della clientela che si interessa a nuove esperienze di consumo, anche a posteriori. In tal senso, la collaborazione genera dei benefici poiché consente di sovvertire gli standard canonici e di ottenere dei risvolti notevoli sia in termini economici che di scambio di immagine. Ciò permette di arricchire i brand di sfaccettature identitarie, dandogli valore aggiunto.

Tutto ciò rispecchia l’essenza di Off-White: promotrice di innovazione e cambiamento nel mercato.

Napoli Marcello

Palaia Francesca

Palladini Simone

Parente Annachiara

Pitrone Valeria

Fonti:

“Off-white: Storia del brand”. phantoMag 2021, https://phantomag.com/off-white-storia-del-brand/.

Burri, C. (2017). The Democratization of Luxury and its Impact on the Image of Luxury Brands”, HEG Haute école de gestion Genève .

Bergamin, M. (2021). “Il prisma di Kapferer: quando il brand indossa i panni di una persona”. https://acapoverso.it/il-prisma-di-kapferer-quando-il-brand-indossa-i-panni-di-una-persona/.

Fregne, A., Björck, L., Dimitrova, L. (2018). “The Strategic Brand Management”. Master Papers.

Bernasconi, D., “La collezione di Virgil Abloh per IKEA: finalmente online per tutti”, https://www.pianetadesign.it/aziende-design/ikea-collezione-abloh-markerad.php.

Kapferer, J., Laurent, G. (2016). “Where do consumers think luxury begins? A study of perceived minimum price for 21 luxury goods in 7 countries.” Journal of Business Research, 69(1), 332-340. doi:10.1016/j.jbusres.2015.08.005.

Lecis, N., (2018). “I beni di Veblen: quando il consumo è distintivo”. https://financecue.it/i-beni-di-veblen-quando-il-consumo-e-distintivo/12331/.

Lester, D. (2019). “The Merging of Streetwear and High Fashion”. https://dylanlester.com/blogs/fashion/the-merging-of-streetwear-and-high-fashion-2019.

Liu, S., Perry, P., Moore, C., Warnaby, G. (2016). “The standardization-localization dilemma of brand communications for luxury fashion retailers’ internationalization into China”. Journal of Business Research, 69(1), 357-364. doi:10.1016/j.jbusres.2015.08.008.

Cappelli. A. (2020). “Maniaci delle scarpe. Perché le sneakers si vendono all’asta come beni di lusso”. https://www.linkiesta.it/2020/06/scarpe-sneakers-asta-jordan-last-dance/.

https://www.ikea.com/us/en/campaigns/markerad-limited-collection-pubd8256f7e.

https://www.ikea.lv/en/inspirations/markerad-limited-collection.

Pantano, D. (n.d.). “Off-White c/o Jimmy Choo la collezione di scarpe”, https://www.vogue.it/moda/accessori/2017/09/22/off-white-jimmy-choo-collaborazione-scarpe.

Radon, A. (2012). “Luxury brand exclusivity strategies – an illustration of a cultural collaboration”. Journal of Business Administration Research, 1(1).

Rineri, M. (2020). “Le migliori Collab Off-White su StockX”. https://stockx.com/news/it-it/le-migliori-collab-off-white-su-stockx/.

Salerno, R. (2019). “Virgil Abloh e il tappeto contro i genitori autoritari”, https://www.elledecor.com/it/design/a27164837/ikea-virgil-abloh-tappeti-moderni-art-event-2019/.

Shin, H., Eastman, J.K., Mothersbaugh, D. (2017). “The effect of a limited-edition offer following brand dilution on consumer attitudes toward a luxury brand”. Journal of Retailing and Consumer Services, 38, 59-70.

Talon, K. (2019). “Off-White ha un nuovo logo?”, https://www.nssmag.com/it/fashion/19651/off-white-ha-un-nuovo-logo.

Talon, K. (2020). “Off-White™ è il brand più cercato nei primi mesi del 2020”. https://www.nssmag.com/it/fashion/22142/20-brand-piu-cercati-al-mondo-lyst-index.

“Was the IKEA x Virgil Abloh collection an exercise in hype-ocrisy?”, https://frameweb.com/article/virgil-abloh-ikea-markerad-business-of-design.

Washburn, J., Till, B., Priluck, R. (2000). Co-branding: Brand equity and trial effects. https://doi.org/10.1108/07363760010357796.

In copertina: La collezione “MARKERAD”, fonte: www.ikea.com.

The chopstick scandal:

how D&G turned a fashion show into an epic-fail

L’avvento dei social media ha rivoluzionato le modalità con cui i consumatori comunicano e interagiscono con i brand, riducendo i gap temporali, fisici e culturali. Inoltre, la rivoluzione digitale ha dato ai consumatori un elevato potere, rendendoli in grado di influenzare notevolmente la brand reputation e facendo sì che la gestione da parte dei brand manager fosse più complessa a causa della grande quantità di user generated content pubblicati online. Questi ultimi, se negativi, possono generare un negative word of mouth e innescare una social media firestorm, proprio come è successo al brand Dolce & Gabbana, che è stato protagonista di uno scandalo in Cina. Nel novembre del 2018, per sponsorizzare una sfilata, i due stilisti italiani hanno pubblicato un post su Weibo, un noto social media cinese, il cui contenuto è stato considerato fortemente discriminante nei confronti della cultura orientale. La protagonista, nel video, cercava con difficoltà di mangiare del cibo italiano con le classiche bacchette cinesi, suscitando, in questo modo, un sentimento di odio verso il brand. Il problema principale è sorto a causa dell’incapacità del luxury brand di gestire la digital crysis, perché i due stilisti italiani hanno ignorato l’accaduto, sottovalutando, quindi, la gravità delle conseguenze sulla brand reputation. La strategia adottata da Stefano Gabbana e Domenico Dolce, infatti, non ha consentito di arginare la crisi, anzi, ha solo contribuito a alimentarla, in quanto la disapprovazione degli utenti verso i comportamenti del brand è aumentata sempre più quando i due hanno pubblicato sul loro account ufficiale Weibo un video di scuse, che, però, è stato ritenuto dagli utenti poco sincero e forzato.

Questo scandalo permette di comprendere in che modo non dovrebbe essere gestita una crisi online, poiché se essa viene sottovalutata, si possono generare grandi e irreparabili danni reputazionali di lungo periodo.

Sandrelli Enrica

Sarubbi Lorenzo

Tamiro Caterina

Tomassoni Elettra

Valentino Anastasia

Sources:

Huang, Q., Janssens, A. (2019). “Come mangiare un cannolo con le bacchette: The Contested Field of Luxury Fashion in China, a Case Study of the 2018 Dolce & Gabbana Advertising Incident”. ZoneModa Journal. 9(2), https://doi.org/10.6092/issn.2611-0563/9970.

Atwal, G., Bryson, D., Kaiser, M. (2020). “The chopsticks debacle: how brand hate flattened Dolce & Gabbana in China”. Journal of Business Strategy, (ahead-of-print), 1-7. https://doi.org/10.1108/jbs-07-2020-0160.

Baptista, R. (2018). “Dolce & Gabbana in Cina tra stereotipi, polemiche e una sfilata cancellata”. Inside Marketing. https://www.insidemarketing.it/dolce-e-gabbana-in-cina-polemiche/.

Kucuk, S.U. (2016). Brand Hate: Navigating Consumer Negativity in the Digital World. Palgrave Macmillan.

D’Arco, M., Marino, V. (2018). “Managing Online Anti-branding Consumer Behaviours: A Multiple Case Study Analysis in the Italian Landscape”. Advances in National Brand and Private Label Marketing, pp. 85-94.

“Dolce & Gabbana: la storia del duo orgoglio del fashion made in Italy”. Italian’s Excellence (2019). https://www.italiansexcellence.it/dolce-gabbana-la-storia-del-duo-orgoglio-del-fashion-made-in-italy/.

“Dolce & Gabbana, polemica in Cina: ‘Ci hanno hackerati’” MFFashion.com, 2018. https://www.mffashion.com/news/livestage/dolce-gabbana-polemica-incina-ci-hanno-hackerati-201811211134504230.

APCOM, “Dolce & Gabbana: dopo gli stilisti, anche la modella cinese dello spot chiede scusa”. FashionNetwork.Com. https://it.fashionnetwork.com/news/Dolcegabbana-dopo-gli-stilisti-anche-la-modella-cinese-dello-spot-chiede-scusa,1059771.html.

Fetscherin, M. (2019). “The five types of brand hate: How they affect consumer behavior”. Journal of Business Research, 101(3), 116-127. https://doi.org/10.1016/j.jbusres.2019.04.017.

Gensler, S., Völckner, F., Liu-Thompkins, Y., Wiertz, C. (2013). “Managing Brands in the Social Media Environment”. Journal of Interactive Marketing, 27(4), 242-256. https://doi.org/10.1016/j.intmar.2013.09.004.

Hansen, N., Kupfer, A.-K., Hennig-Thurau, T. (2018). “Brand crises in the digital age: The short and long-term effects of social media firestorms on consumers and brands”. International Journal of Research in Marketing, 35(4), 557-574. https://doi.org/10.1016/j.ijresmar.2018.08.001.

Hegner, S.M., Fetscherin, M., van Delzen, M. (2017). “Determinants and outcomes of brand hate”. Journal of Product & Brand Management, 26(1), 13-25. https://doi.org/10.1108/jpbm-01-2016-1070.

“Il video di scuse di Dolce & Gabbana alla Cina”. Il Post, 2018. https://www.ilpost.it/2018/11/23/dolce-gabbana-scuse-cina/.

Kucuk, S.U. (2018). “Macro-level antecedents of consumer brand hate”. Journal of Consumer Marketing, 35(5), 555-564. https://doi.org/10.1108/jcm-10-2017-2389.

“Dolce & Gabbana: dagli esordi di Stefano Gabbana e Domenico Dolce alla creazione di uno dei più grandi imperi del made in italy”. MAMe Enciclopedia della moda https://moda.mam-e.it/dolce-gabbana-2/.

Melancon, J.P., Dalakas, V. (2018). “Consumer social voice in the age of social media: Segmentation profiles and relationship marketing strategies”. Business Horizons, 61(1), 157-167. https://doi.org/10.1016/j.bushor.2017.09.015.

Moda, R. (2018). “Cina: annullato il mega show di Dolce & Gabbana. ‘La Cina si sente offesa’. Gli stilisti: ‘Colpa degli hacker’”. Corriere della Sera. https://www.corriere.it/moda/news/18_novembre_21/cina-annullato-mega-show-dolce-gabbana-la-cina-si-sente-offesa-stilisti-colpa-hacker-82053da8-ed6a-11e8-be2f-fc429bf04a05.shtml.

Rauschnabel, P.A., Kammerlander, N., Ivens, B.S. (2016). “Collaborative Brand Attacks in Social Media: Exploring the Antecedents, Characteristics, and Consequences of a New Form of Brand Crises”. Journal of Marketing Theory and Practice, 24(4), 381-410. https://doi.org/10.1080/10696679.2016.1205452.

Zarantonello, L., Romani, S., Grappi, S., Bagozzi, R.P. (2016). “Brand hate”. Journal of Product & Brand Management, 25(1), 11-25. https://doi.org/10.1108/jpbm-01-2015-0799.

Zarantonello, L., Romani, S., Grappi, S., Fetscherin, M. (2018). “Trajectories of brand hate”. Journal of Brand Management, 25(6), 549-560. https://doi.org/10.1057/s41262-018-0105-5.

In copertina: https://www.insidemarketing.it/dolce-e-gabbana-in-cina-polemiche/.

Gucci X The North Face

Negli ultimi anni l’acquisto di capi di lusso green e ecosostenibili sta aumentando, diffondendosi sempre di più, soprattutto grazie a diversi impegni e obiettivi che le organizzazioni e le aziende si stanno prefissando. Un esempio recente che ha destato scalpore nel mondo della moda è la collaborazione tra Gucci e The North Face, un’innovativa unione di lusso e outdoor che ha riscosso risultati straordinari, nonostante le differenze stilistiche che caratterizzano i due brand.

Attraverso il co-branding, i due marchi hanno unito i loro valori e in particolare la loro attenzione verso le questioni ambientali, dando vita a una collezione interamente sostenibile con un forte richiamo alla moda anni Settanta. I due brand hanno, inoltre, implementato strategie di marketing innovative e poco diffuse nel mondo del lusso come, per esempio, l’ambient marketing e il branded entertainment. A tal proposito, hanno fatto ricorso all’art wall per pubblicizzare la collaborazione, sfruttando la visibilità di punti strategici in grandi città come Hong-Kong, Shanghai, Londra, New York e Milano.

In relazione al branded entertainment, la maison fiorentina Gucci, ha introdotto nella collaborazione un nuovo partner, ovvero Pokemòn GO. Il videogioco free-to-play, basato sulla realtà aumentata geolocalizzata, permette ai propri utenti di cercare i vari avatar con i capi della collezione limited edition, creando così entertainment, per catturare e mantenere l’attenzione del consumatore.

Gucci in passato aveva già avvicinato il mondo del lusso a quello del gaming con ottimi esiti; in particolare, è fondamentale per i marchi di lusso catturare l’attenzione di un target di persone di età compresa tra i 18 e i 34 anni poiché, secondo gli studi, sono quelle che costituiranno tra il 50% e il 60% dei compratori nel 2025.

Avogadro Federica

Barbaro Simona

Binda Matteo

Bottone Lucrezia

Buini Claudia

Fonti:

Altagamma, B.C.G. (2019). “2019 True-Luxury Global Consumer Insight. Presentation”. http://media-publications.bcg.com/france/True-Luxury%20Global%20Consumer%20Insight%202019%20-%20Plenary%20-%20vMedia.pdf.

Amatulli, C., Pino, G., Deangelis, M., Cascio, R.P. (2018). “Understanding purchase determinants of luxury vintage products”. Psychology & Marketing, 35(8), 616-624.

Atwal, G., Williams, A. (2017). “Luxury brand marketing–the experience is everything!” Journal of Brand Management 16(5), pp. 43-57.

Donatiello, L., Morotti, E., Marfia, G., Di Vaio, S. (2018). “Exploiting immersive virtual reality for fashion gamification”. 2018 IEEE 29th Annual International Symposium on Personal, Indoor and Mobile Radio Communications (PIMRC), pp. 17-21.

Foutz, N.Z. (2017). “Entertainment marketing”. Foundations and Trends® in Marketing, 10(4), 215-333.

Godey, B., Manthiou, A., Pederzoli, D., Rokka, J., Aiello, G., Donvito, R., Singh, R. (2016). “Social media marketing efforts of luxury brands: Influence on brand equity and consumer behavior”. Journal of Business Research, 69(12), 5833-5841.

Gucci official website www.gucci.com.

Jang, W.E., Ko, Y.J., Morris, J.D., Chang, Y. (2015). “Scarcity Message Effects on Consumption Behavior: Limited Edition Product Considerations”. Psychology & Marketing, 32(10), 989-1001.

Keim, C., Wagner, R. (2018). “Back in time to move forward: An empirical study on luxury fashion vintage drivers”. Journal of Global Fashion Marketing, 9(2), 87-102.

Masè, S. (2020). “Art and Communication”. Art and Business, pp. 81-98.

Papadas, K.-K., Avlonitis, G.J., Carrigan, M., Piha, L. (2019). “The interplay of strategic and internal green marketing orientation on competitive advantage”. Journal of Business Research, 104, 632-643.

Shen, B., Choi, T.-M., Chow, P.-S. (2017). “Brand loyalties in designer luxury and fast fashion co-branding alliances”. Journal of Business Research, 81, 173-180.

Siebert, L.K., Andersson, F., Paladines Martinez, C., Allard, J. (2019). “Are limited editions limited to products?”. LBMG Strategic Brand Management-Masters Paper Series.

Woodside, A.G., Fine, M.B. (2019). “Sustainable fashion themes in luxury brand storytelling: The sustainability fashion research grid”. Journal of Global Fashion Marketing, 10(2), 111-128.

Wu, L., Lee, C. (2016). “Limited Edition for Me and Best Seller for You: The Impact of Scarcity vs. Popularity Cues on Self vs. Other-Purchase Behavior”. Journal of Retailing, 92(4), 486-499.

Zuhdi, S., Rainanto, B.H., Apriyani, D. (2020). “Analysis of Co-Branding Strategy to Improve Company’s Competitive Power (Case Study on Walls Selection Oreo)”. 2nd International Seminar on Business, Economics, Social Science and Technology, Advances in Economics, Business and Management Research, 143, pp. 146-149. Atlantis Press.

In copertina: la nuova linea di prodotti “Gucci x TNF”, fonte: https://www.gucci.com/it/it.

No Super Bowl No Party? Come il Covid

ha influenzato le strategie pubblicitarie di Budweiser

Come ogni anno il mondo della pubblicità, a febbraio, si ferma per osservare gli storytelling che ogni brand ha deciso di esibire durante il Super Bowl. Negli anni il Super Bowl è diventato per la pubblicità sempre più sinonimo di genio, creatività e innovazione.

Nel Super Bowl 2021 abbiamo registrato un’inversione di tendenza con assenze illustri, come Coca-Cola, Pepsi e soprattutto Budweiser, costante e affermata presenza negli spazi pubblicitari della manifestazione. Budweiser quest’anno ha infatti deciso di devolvere il budget destinato all’advertising a una causa sociale, sostenendo la prevenzione e la cura del Covid.

Al contrario, per Budlight Selzer, dal profilo comunicativo fortemente ironico, c’è stata una strategia differente, infatti si è guadagnata un post(o) in prima fila sui social e sugli schermi, utilizzando uno spot conforme al prodotto, al target e con i topic che la marca madre ha sposato. Lo spot di un minuto, infatti, indica il 2020 come l’anno “that gives you lemons”.

Tramite un influencer assolutamente sui generis ha creato un perfetto mix tra il guerrilla marketing e l’influencer marketing. Il soggetto in questione è @dudewithsign (7,4 milioni di followers). Il “dude with sign”, ha iniziato a spopolare su Instagram grazie a immagini che lo ritraggono con un cartello in mano, nel bel mezzo delle strade di New York con messaggi – molto ironici – da lanciare World Wide (non solo Web). La formula funziona e Seth Jacob Phillip viene contattato da Budlight Selzer Lemon per far sponsorizzare la propria bevanda, in maniera non convenzionale. La strategia mira a sfruttare sia la notorietà dell’influencer, sia una campagna di guerriglia marketing, attraverso l’utilizzo dei cartelloni esibiti da quest’ultimo durante il Super Bowl.

La trovata ha scatenato una grande WOM, nonostante diversi commenti non lusinghieri. La foto immortala infatti un assembramento, ma anche una sorridentissima donna, entrata per sbaglio nell’inquadratura, con la mascherina abbassata. Sappiamo bene quanto un contenuto curato sia importante, per questo nel futuro queste iniziative a nostro avviso saranno sempre migliori e frequenti.

Albanese Chiara

Alemanno Antonio

Andreucci Virginia

Capone Sara

Cosanni Elisabetta

Fonti:

Abbruzzese, J., Ingram, D., Click, S. (2020). “The coronavirus pandemic drove life online. It may never return: What passes for normal life now happens almost entirely online”. NBC News, https://www.nbcnews.com/tech/internet/coronavirus-pandemic-drove-life-online-it-may-never-return-n1169956.

Alshaketheep, K.M.K.I., Salah, A.A., Alomari, K.M., Khaled, A.S.D., Jray, A.A.A. (2020). “Digital Marketing during Covid-19: Consumer’s Perspective”. WSEAS Transactions on Business and Economics 17, pp. 831-841.

Bettelli, A. (2020). “OIM – Il ruolo sociale degli influencer ai tempi del Covid-19”, Ipsos.

Bharadwaj, N., Ballings, M., Naik, P.A. (2020). “Cross-Media Consumption: Insights from Super Bowl Advertising”. Journal of Interactive Marketing, 50, 17-31.

Casciabanca, F. (2021). “Budweiser, Coca-Cola e Pepsi in fuga dal Super Bowl. Che succede?”, https://www.ninjamarketing.it/2021/01/27/budweiser-coca-cola-pepsi-fuori-dal-super-bowl/.

Satenberg, C. (2021). “Brand Innovators Super Bowl Ad Tracker”, https://www.brand-innovators.com/news/brand-innovators-super-bowl-ad-tracker.

Dinh, D.T., Mai, N.K. (2016). “The Effects of Guerilla Marketing on Gen Y’s Purchase Intention – A Study in Ho Chi Minh City, Vietnam”. International Journal of Trade, Economics and Finance 6(4).

Gökerik, M., Gürbüz, A., Erkan, I., Mogaji, E., Sap, S. (2018). “Surprise me with your ads! The impacts of guerrilla marketing in social media on brand image”. Asia Pacific Journal of Marketing and Logistics 30(2).

He, H., Harris, L.C. (2020). “The Impact of Covid-19 Pandemic on Corporate Social Responsibility and Marketing Philosophy”. Journal of Business Research, 116, 176-182.

“Il ruolo dell’influencer ai tempi del Covid-19. La percezione dei consumatori”. Ipsos, https://www.ipsos.com/sites/default/files/ct/news/documents/2020-06/cs_osservatorio_influencer_marketing_quarto_appuntamento-convertito.pdf.

Raithel, S., Taylor, C.R., Hock, S.J. (2016). “Are Super Bowl Ads a Super Waste of Money? Examining the Intermediary Roles of Customer-based Brand Equity and Customer Equity Effects”. Journal of Business Research, 69(9), 3788-3794.

Roux, T. (2020). “Does the guerrilla win, if he does not lose? Advertising media practitioners’ views on guerrilla marketing challenges and potential negative consequences”. Journal of Public Affairs, 20(1), e2007.

Valinsky, J. (2021). “Budweiser is skipping the Super Bowl for the first time in nearly four decades”. CNN Business, https://edition.cnn.com/2021/01/25/media/budweiser-super-bowl-2021-commercial/index.html.

Zatwarnicka-Madura, B., Nowacki, R. (2018). “Storytelling and its impact on effectiveness of advertising”. ICoM 2018 8th International Conference On Management, p. 694.

https://abc7chicago.com/super-bowl-2021-budwesier-beer-commercial-2020/9997549/.

https://www.ipsos.com/it-it/oim-il-ruolo-sociale-degli-influencer-ai-tempi-del-covid-19.

https://www.brand-innovators.com/news/brand-innovators-super-bowl-ad-tracker.

https://www.nbcnews.com/tech/internet/coronavirus-pandemic-drove-life-online-it-may-never-return-n1169956.

https://edition.cnn.com/2021/01/25/media/budweiser-super-bowl-2021-commercial/index.html.

https://www.ninjamarketing.it/2021/01/27/budweiser-coca-cola-pepsi-fuori-dal-super-bowl/.

In copertina: @dudewithsign – Instagram.

Supreme – Less Is More? Yes, But Supreme!

“We’ve never really been supply-demand anyway. It’s not like when we’re making something, we make only six of them. But if we can sell 600, I make 400”.

Il marketing considera il concetto di scarsità come il meccanismo capace di incrementare la desiderabilità dell’offerta di prodotti di lusso dell’alta moda. Questa strategia cattura in modo particolare l’attenzione di un nuovo target di clienti, ovvero quello delle Generazioni Z e dei Millenials, comunemente definiti nel settore con il termine “hypebeast”. Svariati brand di lusso che operano nel segmento della moda hanno investito particolarmente su questa nuova linea di condotta. Tra gli altri, il marchio Supreme ha sfruttato questa strategia facendone il suo cavallo di battaglia, con l’obiettivo di creare hype intorno al suo stesso nome. Settimanalmente l’azienda “droppa” o, per meglio dire, rende disponibile una nuova capsule collection limitata (in alcuni casi in collaborazione con altri brand esclusivi) senza ricorrere a un’eccessiva promozione, piuttosto al semplice passaparola. Tale scelta certamente non è casuale: la “drop strategy” alimenta il fenomeno dell’hype, il quale, facendo leva sull’eccitazione collettiva dei collezionisti, incrementa un desiderio smisurato per i prodotti stessi. Nel consumatore il bisogno di esclusività stimola una necessità di possedere questi articoli, tale che il valore economico degli stessi passa in secondo piano a favore degli attributi emozionali, garantendo un maggiore profitto per l’azienda. L’esclusività fomenta la parte irrazionale del consumatore, inducendolo a concludere il customer journey in modo impulsivo e di conseguenza più rapido: perdere l’occasione di acquistare quel determinato articolo provoca nei consumatori un forte senso di rimorso. La strategia di marketing che ha permesso a Supreme di sfruttare questa teoria di hype branding è composta da quattro fattori: scarsità, autenticità, identità e percezione.

Rubino Sara

Scrimo Claudio

Tedone Giulia

Vicinanza Filippo

Fonti:

Ballina, J.F., de la Ballina, I. (2019). “Scarcity as a Desirable Attribute of Luxury Fashion Brands in Millennial Marketing”. Market-Tržište, 31(2), 153-170.

Brüchert, A., Dirksz, L., Kaniki, N. (2020). “The Art of Scarcity”. SBM Master Papers.

“Materialismo nella cultura Hypebeast” (2020). The COMM, https://the-comm.online/it/blog/materialism-in-hypebeast-culture/.

Collins dizionario. https://www.collinsdictionary.com/it/submission/20398/hypebeast.

Fan, L., Li, X., Jiang, Y. (2019). “Room for Opportunity: Resource Scarcity Increases Attractiveness of Range Marketing Offers”. Journal of Consumer Research, 46(1), 82-98.

Hamilton, R. et al. (2019). “The effects of scarcity on consumer decision journeys”. Journal of the Academy of Marketing Science, 47(3), 532-550.

Miller, R., Lammas, N. (2010). “Social media and its implications for viral marketing”. Asia Pacific Public Relations Journal, 11(1), 1-9.

O’Brien, G. (2010). “James Jebbia is Supreme”. Interview Magazine, https://www.interviewmagazine.com/fashion/james-jebbia-is-supreme.

“Vf Corp. ha acquistato Supreme per 2,1 miliardi di dollari”. la Repubblica, 10 novembre 2020.

Shi, X., Li, F., Chumnumpan, P. (2020). “The use of product scarcity in marketing”. European Journal of Marketing (ahead-of-print).

Smith, J. (2018). “Almost 25 Years Later, Supreme Is Still a Skate Shop”, https://www.vice.com/en/article/wj389z/almost-25-years-later-supreme-is-still-a-skate-shop.

In copertina: @fedez – Instagram.

Diesel – “When Together”.

L’amore, tra separazione e ricongiungimento,

fa emozionare lo spettatore!

Diesel, azienda multinazionale italiana nata dallo stile creativo di Renzo Rosso, attualmente rappresenta uno dei leader del denim e della moda casual grazie alla sua abilità nell’anticipare le tendenze. Da sempre il brand si è distinto per essere socialmente attivo, realizzando campagne pubblicitarie irriverenti e all’avanguardia, volte a coinvolgere emotivamente l’audience.

L’ultima campagna pubblicitaria “When Together”, realizzata per la nuova collezione primavera/estate 2021, celebra il vortice di emozioni provate da otto coppie che si ricongiungono a seguito del lockdown imposto dalla pandemia da Covid-19. Nello specifico lo spot intende esaltare la connessione tra il prodotto denim offerto e i sentimenti suscitati da un amore universale che trascende razza, sesso e diversità. Una peculiarità di tali coppie è quella di essere personaggi comuni che, in qualità di fonte autentica, permettono agli spettatori, in virtù dell’esperienza vissuta, di sentirsi coinvolti in prima persona all’interno dello storytelling. L’analisi del framework teorico alla base della campagna pubblicitaria permette di comprendere come la sua promozione, attraverso differenti piattaforme digitali e social, renda la brand experience coinvolgente. I punti focali sui quali si basa lo spot sono l’emotional contagion e l’emotional appeal con la finalità di aumentare il grado di apprezzamento dell’advertising da parte del pubblico e generare una risposta emotiva che si traduca in un maggior coinvolgimento verso i values del brand. Il fine ultimo di tale strategia di marketing è quello di supportare il decision making del consumatore, quindi incrementare la purchase intention e successivamente la brand loyalty.

Attraverso la creazione di contenuti pubblicitari emozionali, Diesel riesce a differenziarsi dai competitors (stand out) e a emergere (stand up), creando una relazione empatica e culturale con il consumatore che va oltre l’acquisto dei prodotti. Indossare capi di abbigliamento Diesel rappresenta uno stile di vita e il consumatore che decide di adottarlo diventa in prima persona promotore dei valori del brand.

Mastropaolo Ludovica

Ortolani Maria Chiara

Palomba Ludovica

Paparelli Federica

Portaluri Federico

Fonti:

Kang, J.-A., Hong, S., Hubbard, G.T. (2020). “The role of storytelling in advertising: Consumer emotion, narrative engagement level, and word-of-mouth intention”, Journal of Consumer Behaviour 19(1). https://doi.org/10.1002/cb.1793.

Bapat, D. (2020). “Examining the antecedents and consequences of brand experience dimensions: implications for branding strategy”. Journal of Asia Business Studies (ahead-of-print).

Barsade, S., Coutifaris, C., Pillemer, J. (2018). “Emotional contagion in organizational life”. Research in Organizational Behavior 38, 137-151. https://doi.org/10.1016/j.riob.2018.11.005.

Bishen, R. (2018b). “A study on emotional marketing practices”. Journal of HRP Organizational Behavior Entrepreneurship Development, 1-8.

Boateng, H. et al. (2020), “Examining brand loyalty from an attachment theory perspective”, Marketing Intelligence & Planning (ahead-of-print).

Choi, M.-W. (2019). “Meaning and Future of Emotion-based Marketing Communication in New Marketing Era”. International Journal of Recent Technology and Engineering, 8(2S6), 36-41. https://doi.org/10.35940/ijrte.b1008.0782s619.

Eyada, B. (2020). “Brand Activism, the Relation and Impact on Consumer Perception: A Case Study on Nike Advertising”. International Journal of Marketing Studies, 12(4). https://pdfs.semanticscholar.org/9425/fd5b7a7769ecd2e6a035fac20b6ab72e02f6.pdf.

Hoyer, W.D., MacInnis, D.J., Pieters, R. (2017). Consumer Behavior (7th ed.). Cengage Learning.

Hung, H.-Y., Lu, H.-T. (2018). “The rosy side and the blue side of emotional brand attachment”. Journal of Consumer Behaviour, 17(3), 302-312. https://doi.org/10.1002/cb.1712.

Kim, Y.-K., Sullivan, P. (2019). “Emotional branding speaks to consumers’ heart: the case of fashion brands”. Fashion and Textiles, 6(1), 1-16. https://doi.org/10.1186/s40691-018-0164-y.

Sheth, S., Jiyeon, K. (2017). “Social Media Marketing: The Effect of Information Sharing, Entertainment, Emotional Connection and Peer Pressure on the Attitude and Purchase Intentions”. Journal on Business Review (GBR), 5, 62-70. http://dl6.globalstf.org/index.php/gbr/article/view/1839/1877

Stipp, H. (2018). “How Context Can Make Advertising More Effective”. Journal of Advertising Research, 58(2), 138-145. https://doi.org/10.2501/jar-2018-022.

Tsai, M.-C. (2020). “Storytelling Advertising Investment Profits in Marketing: From the Perspective of Consumers’ Purchase Intention”. Mathematics, 8(10), 1704. https://doi.org/10.3390/math8101704.

Vredenburg, J., Kapitan, S., Spry, A., Kemper, J.A. (2020). “Brands Taking a Stand: Authentic Brand Activism or Woke Washing?” Journal of Public Policy & Marketing, 39(4), 444-460. https://doi.org/10.1177/0743915620947359.

Wei, L., Kang, J., Schmierbach, M. (2019). “Memory at Play: Personalizing Online Advertisements Based on Consumers’ Autobiographical Memory”. Journal of Promotion Management, 26(3), 322-349. https://doi.org/10.1080/10496491.2019.1699632.

Yu, X., Yuan, C. (2019). “How consumers’ brand experience in social media can improve brand perception and customer equity”. Asia Pacific Journal of Marketing and Logistics, 31(5), 1233-1251. https://doi.org/10.1108/apjml-01-2018-0034.

Zhengje, Z., Yukun, L. (2018). “Study on Influence on Emotional Marketing on Consumers’ Purchase Intention”. Francis Academic Press, UK, 502–506. https://webofproceedings.org/proceedings_series/ECOM/BUSEM%202018/BUSEM18109.pdf.

In copertina: “Diesel Presents When Together” – YouTube.