20(3), pp. 1-23.a market-leader in digital communications within the competitive sector of luxury brands. Atwal and Williams (2009, p.338) explain that the luxury goods market has

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Straker, K & Wrigley, C. (2016),"Emotionally engaging customers in the digital age: the case study of ‘Burberry love’", Journal of Fashion Marketing and Management: An International Journal, Vol. 20 Iss 3

EMOTIONALLY ENGAGING CUSTOMERS IN THE DIGITAL AGE:

The Case Study of ‘Burberry Love’ Karla Straker and Cara Wrigley School of Design, Queensland University of Technology, Brisbane, Australia

Introduction

Disruption through digital innovation has in many cases seen the emergence of an entirely

new class of competition in businesses. The challenge faced by companies is keeping up with

these changes and in turn developing new theories, models and methods in order to learn,

respond and adapt their position in such competitive environments. The mobile internet and

social media have created new digital communication channels between a company and its

customers labelled as ‘digital channels’ (Edelman 2010). Digital channels have played a

major role in the digital revolution through the provision of communication abilities and

online connectivity. Brandt and Henning (2002) explain that digital trends in society have

allowed individuals to communicate without the boundaries of time or place, accessing

multitudes of information worldwide and making multiple transactions in real time. This

advancement means that customers are no longer just downloading or searching for static

data, but are able to engage, upload and share their own content to a wider online network.

For this reason practitioners as well as scholars are now seeking to understand the extent to

which customer interactions through digital channels can and should influence business

strategy (Schultz & Peltier 2013; Parent et al. 2011). The main challenge faced by

organisations is understanding their customer’s needs through these channels, as traditional

customer segmentation is no longer possible in a digital world (Numes & Cespedes 2003).

Schultz and Peltier (2013) believe for most companies the difficulty has not been in

developing and launching their digital channels, but making them truly engaging and valuable

to the customer. A lack of literature exists regarding customer emotions evoked through

digital experiences and how companies can design digital channels to induce desired

experiences. Established channel theories and existing customer engagement models have

helped to improve channel networks in terms of the efficiency and effectiveness of its

operation, however, are unable to explain how digital channel experiences can be designed.

Marketing and design research has proven that emotions affect attitudes and behaviours

towards companies and the economic value of long-term customer relationships (Hill 2010;

Mattila 2001).


Atwal and Williams (2009) explain that luxury brand managers in particular should focus on

experimental marketing by taking the essence of a product and translating it into a set of

experiences that amplify the brand. Many luxury brands currently exist in the market, such as

Louis Vuitton, Chanel, Gucci and Prada. This study specifically investigates Burberry,

ranking ninety-fourth (94th) on the 2015 Forbes list of Wold most valuable brands and eighth

(8th) on the 2015 Luxury Institute of New York list. Known worldwide for their distinctive

check pattern, Burberry distributes clothing, fashion accessories, beauty products and until

early 2015 it had licensed fragrances from Inter Parfums (who also developed and distributed

perfume for other brands such as Jimmy Choo) (Burberry.com 2015). It has been selected for

this study due to its digital channel strategy of building the ‘Burberry Love’ theme, becoming

a market-leader in digital communications within the competitive sector of luxury brands.

Atwal and Williams (2009, p.338) explain that the luxury goods market has become

increasingly complex, as it requires successfully conveying “an image of quality, performance

and authenticity, but also with attempting to sell an experience by relating it to the lifestyle

constructs of consumers”. To understand Burberry’s strategy, an analysis of the company’s

mission statement, digital channels and customer responses was conducted. These results have

extended upon prior research in this field by the authors. This previous research has

developed, a theoretical framework, intersecting the areas of emotions, business

communications and digital channel to provide insights into the digital customer experience

(Straker et al. 2015a). The findings from this study make significant contributions to

developing customer engagement theories and provide a method for de-coding mission

statements and customer online responses. As companies continue to invest in new

technology to build connections with customer, the impact and success of these interactions

are yet to be analysed from an emotional aspect. This study assists those seeking to create and

implement digital channel engagements by exploring the customer experience of five

Burberry digital campaigns.

The Digital Challenge in Luxury Fashion

The emergence of new technologies has revolutionised the way companies interact and

engage with customers. As of 2015 there were approximately 3 billion internet users, a

number that is continually rising (Internet World Stats 2015). This has subsequently increased

the number of digital channels and routes for communication, leading to customers to become


“detached from the channels that used to claim them” (Numes & Cespedes 2003, p.98). In a

society that offers an abundance of choices of products and services from a number of

companies, the ability to form relationships with customers is critical for customer retention

(Chiu et al. 2011; Payne & Frow 2014; Wallace et al. 2004). The challenges of integrating

luxury branding on the internet and digital environments is outlined by Okonkwo (2009,

p.302), who states “luxury is neither a product, an object, a service or is it a concept or a

lifestyle. It is an identity, a philosophy and a culture”. More recently Kapferer (2015) suggests

the digital domain could assist luxury brands by managing omni-channel connections with

customers, by diffusing brand content and providing higher levels of service. This diffusion of

brand into a digital environment could be associated with what constructs a brand as luxury.

Phau and Prendergast (2000) explain the four constructs of brand luxury as 1) evoking

exclusivity, 2) have a well-known brand identity, 3) enjoy high brand awareness and

perceived quality, and 4) retain sales levels and customer loyalty. The luxury fashion sector is

unique in that its customers acquire goods for what they symbolise and represent (Dubois &

Duquesne 1993; Belk 2014; Belk 1988). Atwal and Williams (2009, p.339) explain that

contemporary customers use these good to “make statements about themselves, to create

identities and develop a sense of belonging”. These customers have formed a new

individualistic consumption model, driven by new needs and desires for experiences (Atwal &

Williams 2009). The importance of understanding customer needs and desires is apparent in

design and marketing literature due to customer purchase decisions being based on more

subjective terms (Miao & Mattila 2011; Tumbat 2011; Mugge et al. 2010). Consequently, this

demand requires companies to possess knowledge and processes that allow them to

understand their customers and develop deeper connections to form emotional relationships

with them.

Understanding Customer Emotions and Experiences

The process of creating an emotional connection is complex and involves many differing

factors, however, it is affect (emotions, feelings and mood) that has the greatest influence on

it (Plutchik 1962; Ekkekakis 2008). In Damasio's (1994) theory, a typical case begins with

thoughts and evaluations about the stimulus; this mental activity triggers a bodily response

(emotion). According to Damasio, these emotions are crucial in the decision making process

and the chose of action (behaviour). The as-if-loop in the somatic feedback theory (Figure 1)

is the process of directly signalling the brain (the amygdala and the prefrontal cortices)


without the bodily activity actually occurring. Damasio (1994, p.155) explains “this will

generate a feeling more quickly and efficiently, although it may not feel the same as a genuine

bodily response”. Sections A and B in the somatic feedback theory relate to Damasio’s

definition of emotion, which trigger a bodily reaction (C) to create a certain activity in the

body (D).

Figure 1. Somatic Feedback Theory (Damasio 1994)

The main concept that lies at the core of design and emotion is ‘experience’. Experience is

based on two prominent disciplines: psychology and philosophy (Demir 2008). Designing for

an experience goes beyond usability and requires treating the user holistically as a feeling,

thinking, active person (Jordan 2000). Forlizzi and Ford (2000) explain that an experience is

a process of doing, inherent in all interaction, fluctuating between levels of subconscious,

conscious and meaningful stories. Hoffman and Bateson (1997, p.6) suggest “when a

consumer purchases a service, he or she purchases an experience”. Experiences are presented

as a new economic offering, which emerges as the next step after commodities, goods and

services in what Pine and Gilmore (1998) label the “progression of economic value”. This

creates a new lever to generate value for both the company and the customer (Forlizzi et al.

2000; Forlizzi et al. 2003; Prahalad & Ramaswamy 2004; Prahalad & Ramaswamy 2003).

Designing an Approach

A new attitude to business strategy has only recently incorporated the customer as a driver to

create and deliver value. This would allow a company the ability to sense, learn, respond and

adapt their strategic position in an evolving environment. One such approach is a customer-

centric approach, specifically via the research field of design and emotion, which may be able

to overcome technological threats through a deeper understanding of customer needs

(Dell’Era et al. 2010). The position of design is explained further by Guenther (2012, p.56),


who states “Design can be employed to go beyond what exists today, extending the

boundaries of thought, and creating new options for strategy and future development”. Two

key authorities in this area are Verganti (2006) and Brown (2008) who both build upon and

collate theories such as creative culture, thinking styles and design skills to provide new

approaches for business management. Both are pushed by a design approach to gain a deeper

understanding of customer meaning and value, rather than being informed only on user

requirements (Verganti 2006). A prominent distinction of this approach is explained through

Brown’s (2008) Venn diagram of design thinking, which intersects the fields of business,

technology and people. This framework has been used as the foundation of this study to

include the perspectives of emotion, business strategy and digital channels, to explore the

customer’s experience of digital channels.

Research Context and Design

Even though the internet and digital channels “play a significant role in fuelling the universal

appeal of luxury brands to a global consumer group” (Okonkwo 2007, p.178) there is a

perception that digital channels have a negative impact on the innate attributes of luxury

brands such as “prestige” and “exclusivity”. The issues pertaining to luxury brands and their

presence in the digital environment is the concern of misrepresentation in the digital

translation, such as a loss of aura in the brand. These issues have yet to be addressed in

literature. However, the implementation and management of successful digital channels is a

necessity to maintain and sustain a competitive advantage in this particular industry sector. As

Okonkwo (2007, p.186), explains “consumers of luxury goods are among the global consumer

population that craves continuous internet access”. The luxury-purchase decision process

utilises a high dose of emotions and irrationality which are boosted by a high-impact

experience (Okonkwo 2007, p.186).

The retail environment is becoming more competitive than ever, with e-commerce growing

significantly, at a rate that outpaces traditional retail channels (Blázquez 2014). The fashion

industry is slower than other sectors to adopt technology, one main reasons for this is the

difficulty in translating the in-store experience to the online environment (Blázquez 2014).

Clothing is considered to be a high-involvement product category, related to personal identity

and products that need to be seen, touched, and tried on (Workman, 2010). However, the

development of technology has enabled the experience of shopping online to become


interactive and exciting, which has led this research to explore how the understanding of

emotions can build digital channel relationships with customers. Luxury retailer Burberry and

five of its digital campaigns have been selected for investigation, due to Burberry becoming a

leader in digital strategy.

Business Case: Burberry

Burberry has a rich history, at over 150 years old its fashion has seen the trenches of World

War I, has been an official supplier to the royal family and worn by a range of celebrities

(Ahrents 2013; Phan et al. 2011; Moore & Birtwistle 2004). Upon this historical backdrop

Burberry has been known as British fashion royalty, however, over time this has deteriorated

(Phan et al. 2011). In 2006, Burberry changed their vision to be “the first company who is

fully digital” and “to build a social enterprise” (Ahrents 2013). This vision was formed after a

loss of net profits, expansion of fashion and beauty lines, and an incoherent marketing

strategy globally. The aim of this new vision was to provide customers with total access to

“Burberry across all device, anywhere, anytime and they would get exactly the same feelings

of the brand, feelings of the culture regardless of where, when and how they were accessing

the brand” (Ahrents 2013). The driving business model of Burberry is “a distinctive global

luxury brand” (Burberry.com 2015), with their main strategy outlined as;

“Burberry has focused on consistently delivering against its strategies, which have

underpinned its growth. During the year, Burberry evolved its core strategies to more

accurately reflect the current shape of the business and the scope of its future ambitions”

(Burberry.com 2015).

Six core strategies are also outlined in Table 1, with ‘Build our Culture’ being added in 2015

to recognise “the importance of Burberry’s culture and values, and how these are critical to

its overall success” (Burberry.com 2015). The aims of this strategy were to “speak to

customers with one equally authentic and inspiring brand voice, whenever they encounter the

brand” (Burberry.com 2015). To engage consumers with the brand, Burberry developed

increasingly personalised and connected experiences across all digital touchpoints.

Table 1. Burberry’s Mission and Six Core Strategies (Burberry.com 2015).

Mission Statement To be “the first company who is fully digital” and “to build a social enterprise”


Inspire with the Brand To express more clearly the company’s focus on ensuring Burberry speaks to consumers with one equally inspiring and authentic brand voice, whenever they encounter the brand.

Realise Product Potential

To reflect more balanced product mix and growth opportunities across Burberry product categories.

Optimise Channels

To recognise the successful evolution of the company’s operating model towards the retail channel and enhanced focus on optimising all routes to market whether directly operated or third party, both online and offline.

Unlock Market Opportunity

To encompass opportunities to evolve and elevate the company’s footprint in both developed and younger markets.

Pursue Operational Excellence

To expand the historical focus on operations to encompass efforts to drive enhanced efficiency and productivity across all business areas.

Build our Culture A new strategy to reflect Burberry’s continues commitment to build its unique culture ensuring its values are reflected in everything it does.

With this new vision the target audience was aimed at millennials (born between 1980 and

2000). This was decided as “most of us are very digital in our daily lives now” and to shift

their marketing efforts “from targeting everyone, everywhere, to focusing on the luxury

customers of the future millennial” (Ahrents 2013). With this new target audience, who were

overlooked by other luxury brands, Burberry had to rethink their entire marketing approach

for these customers. Their response was to make it digital. Starting with their website, which

was redesigned to have “everything in one place” to showcase every facet of the brand,

becoming the hub of all marketing and branding to highlight the Burberry trench coat. The

website was also designed to speak to the millennial customer through “emotive brand

content: music, movies, heritage, storytelling” (Ahrents 2013). Their digital strategy makes

the brand accessible to a wider audience, from ‘brand browsers’ to ‘brand advocates’. The

‘Burberry Love’ theme has been successful in motivating and engaging its target audience of

millennials, which has resulted in the desired behaviour of sharing the experience to others in

their digital network. This behaviour is evident through the growth, impact (brand and

revenue) and high level of customer engagement with each channel.

Burberry’s digital channel presence includes over 16 million followers on Facebook, 3 million

on Twitter and over 2 million on Instagram (Burberry.com 2015). This increase in online

customer engagement has resulted in an increase in gross revenue. Figure 2 illustrates this

growth over a ten-year period (2004 to 2014) and its relationship to the launch of five digital

campaigns. From this data it can be inferred that the new vision in 2006 and development of

digital channels since 2009 has had a substantial impact on the growth in revenue.


Figure 2. Growth over 10 Years from Annual Reports 2006-2014 (Burberry.com 2014)

Analysing Burberry’s Success

To understand Burberry’s success, the mission statement, core strategies and five digital

campaigns between 2009 to 2014 were analysed via a content analysis methodology

(Krippendorff 1989) and triangulation analysis techniques (Denzin 1978; Thurmond 2001).

For the content analysis, digital campaigns were defined using Straker et al (2015) definition

of a digital channel as a technology based platforms that use the internet to:

(i) Connect with customer via digital channels,

(ii) Provide a range of different content and purposes, and

(iii) Communication can be simplex or duplex with a range of different interaction levels.

The data collection for each digital campaign began with a search of the company’s website,

and from there, documentation such as annual reports and other publically available reports

GrossR

even

uein£(m

illion)


were analysed. Five different modes of data were collected from secondary sources. Data in

Mode I focused on information directly from the corresponding company, Mode II consisted

of organisational information found in annual and financial reports, Mode III consisted of

public media releases, Mode IV included content in digital channels and Mode V was

advertisements and public comments on the campaigns not present on digital channels.

Collection of data across a diverse set of sources increases the reliability and validity of the

analysis by means of data triangulation (Thurmond 2001). Information on the digital

campaigns and channels were mapped onto a predesigned data sheet developed by the

research team. The content was analysed using the categorisation of information outlined in

Straker, et al. (2015b). The purpose of analysing the information into selected themes

indicated the purpose and aims of the digital campaign objectively. A limitation of this

approach is its descriptive nature, which is unable to reveal the complete underlying motives

for the observed patterns. To overcome this a second analysis phase took place to code this

data emotionally.

Emotional Coding Following a content analysis of ‘campaign objective’ and ‘digital channels’ (Table 3)

emergent coding was used and described in detail by Haney et al (1998). Many texts have an

affective or emotional content, which if ignored may reduce the validity of the analysis but

which if attended to may increase the researcher’s ability to interpret the text. There are a

number of difficulties in attending to the affective content of the text many of which stem

from the fact that a large number of ‘emotions’ are not semantically distinct. Researchers have

attempted to classify and measure emotions (Scherer 2005; Ekman 1994; Richins 1997;

Desmet & Hekkert 2002; Kleinginna & Kleinginna 1981). For this study Desmet’s (2005)

emotional typology was chosen for the emotional analysis (Table 2). Through the use of

emergent coding and content analysis, twenty-two emotions, along with the eliciting

conditions were used to analyse campaign objectives and emotions evoked and infer the

strategy of each. The purpose of the analysis is to understand the emotional drivers of the

business strategy and understand the connection to the emotional response of customers.

Table 2. Emotion-Code Index (Synthesised Desmet, 2005).

Emotion Eliciting Condition Example of Comments Admiration Approving of someone else’s

praiseworthy action Inspirational, amazing, epic, brilliant, captivating, unique, awesome, fabulous, impressed, incredible, only getting better


Desire An object calls for possession or usage

Purchase, wanted, favourite, obsessed, must have, One day

Stimulation A promise for understanding though exploration or a new action

Curious, So beautiful I want to cry, he warms my heart, OMG,

Satisfaction An expected goal realisation (or concern match)

I have one, great, Thanks Burberry, Timeless style, classic

Love Liking an appealing object Beautiful, aesthetically pleasing, gorgeous, cute, stunning, love it so much,

Enjoyment Liking a desirable or pleasant event I sent a Burberry kiss, sharing the experience

Results

Results of the emotional analysis of Burberry’s mission statement and six core strategies

revealed that the two emotional drivers were stimulation (a promise for understanding

through exploration or a new action) and pride (approving of one’s own praiseworthy action).

Table 3 outlines the results; first the digital channel campaign objects of each, details of the

digital touchpoints implemented for each campaign, a sample of customer responses from

these digital touchpoints, the emotional coding of these comments, how this relates to the

strategy and the overall impact of the campaign.

For each campaign, key digital touchpoints included the Burberry website and social

touchpoints Facebook, Instagram, Pinterest and YouTube to engage customers. The content

on these touchpoints are primarily for promotion (to attract customers), with the purpose of

diversion (the ability for customers to participate in recreational and social actives through

the channel) and interaction (allow for a two-way communication with the company or a

community of customers). The customer comments selected from these digital touchpoints

were coded and were categorised into six emotions (satisfaction, desire, admiration,

enjoyment, stimulation and love). These emotions were then linked to a key strategy of

Burberry’s mission statement and core strategies. The impacts of the campaigns are also

included to understand the success and reach of each. Details of these results are explored in

the next section and explained through a conceptual framework.


Table 3. Emotional Analysis of Digital Channel Campaigns and Customer Responses Digital Channel information Customer Response

Digital Engagement

Campaign Objectives (ASSOCIATION)

Touchpoint Content Purpose Communication Direction

Interaction Rank

Comments Emotion Coding (EVOKE)

Emotional Strategy (CREATES)

Impact

My Burberry My Fragrance Launched December 2014 The interactive digital campaign invites customer to have their initials carved on a 90ml bottle of new fragrance, My Burberry, for free (Burrberry.com, 2014). Enabling customers to personalise their own perfume bottle with up to three initials, using the brand’s monogramming service, via the interactive TV ads, billboards and social media ads, and then purchase the bottle online at burberry.com. Live mapping directions will then guide them to the nearest Burberry store where they can purchase their monogrammed My Burberry bottle. Users can also share their bespoke bottle across social media platforms. My Burberry, was synchronised with the Heritage re-launch.

Personalised TV Commercial

Promotion Diversion Interaction

Simplex Low I have one Satisfaction

High-end brand and making it more personal and personalised to people, to help invite new customers to the brand.

The campaign helped increase underlying revenue in its Wholesale Beauty division by 55%.

Great!!!

Interactive Billboard


Simplex Low This perfume smells so lush Maybe buy soon amazing smell:-)

Desire

One-of-a-kind experience and product, providing the opportunity to interact with the brand and make it their own through personalisation and customer engagement. Makes customers feel invited or involved with the brand.

I am going to buy a bottle of My Burberry perfume for my birthday. Thanks for sharing.

Twitter Facebook Pinterest Google+


Duplex Low

I love the packaging. It is very elegant. Very nice, love the bottle and such a nice touch with your initial Website

Revenue Functional Diversion

Simplex Low

Beautiful perfume and the gorgeous packaging. Have to try it next time. It's such a great idea.

Admiration

Online coverage helps to drive mentions that Burberry then uses to drive traffic to its online store.

That packaging is classy in an understated kind of way and monogram?!

Burberry Kisses Launched June 2013 Burberry collaborated with Google to re-imagine how brands can deliver beautiful, emotional experiences across devices and screens. The idea was to send messages sealed with your real kiss. Facial recognition technology detects the outline of the user's lips through their webcam. To add a further personal touch to every letter sent, used location data. For example, as the users’ see their messages travel to their destination across a 3D landscape, they can see local landmarks and Street View images reflected into puddles, further bringing the experience to life.

Website

Promotion

Functional Diversion

Simplex Low Whoever has taken on advertising for Burberry is brilliant and only getting better. Lovely.

Admiration Create an emotional connection between the Burberry brand and Millennial consumers through the lens of beauty products. Capture the romantic view of the world that threads throughout the British brand.

253k Search results for "Burberry Kisses" on Google.com 13k Cities sent a kiss within first 10 days 109 million miles traveled by kisses *as of June 25 2014 676, 916 video views 1,321 Likes 633 comments *as of July 19, 2015

BURBERRY <3 seriously is my favourite brand is so perfect :') Burberry and Google team up for a cute kiss project!!! so cool!!

YouTube


Duplex Low Nice idea. I like it for someone -.- really, lovely initiative ! I sent a Burberry kiss to someone really special to me =)

Enjoyment By creating a personal yet shareable experience that appeals to everyone.

Send someone you love a little kiss! http://youtu.be/LRiZMVEIhas

OMG I want to send mine :))

Desire Burberry Kisses explores the universal theme of love through the kiss, one of the most iconic and personal symbols of human emotion.

I wish someone would send me one......crying.......

Great campaign! Stimulation

Build a connection to the Burberry brand without feeling like a traditional ad.

Sealed with a kiss ... Wow the song so cute :3 That's so cool. C'est geniale! Amazing way of taking advantage of technology! Beautiful idea.

Burberry Acoustic Launched May 2010 Burberry Acoustic website that streamed to Burberry stores around the world. Burberry’s authentic dedication to giving young British bands an opportunity to break through, using all of its multi-media platforms. A platform for new British bands looking to get a break. -Florence and the Machine, Coco Sumner, Life in Film, The Kooks, One Nigh Only.

Website YouTube

Promotion Promotion

Functional Diversion Diversion Interaction

Simplex Duplex

Low Low

Damn Burberry, stepping up your digital content <3 <3 <3

Stimulation Reach customers that may not be fans of the brand (yet) No commercial element

177 music videos 51,225 average views per video over 90 day period 290 posts with hashtag of #burberryacoustic * as of 19 July, 2015

James has got some serious soul, his guitar strumming sounds like an angelic melody <3...even if he pimped out to Burberry..everyone’s gotta make a living somehow

Admiration Musicians become brand advocates

I love it Love

Burberry also recognised that music is so interwoven into customers’ lives

This is incredible. I love it

This man is a gift to mankind! He was able to penetrate an emotional aspect inside of me through his music. And i am inspired to pursue my Dream in music

Stimulation

Is not only on-brand but plays right into the Millennial sweet spot of getting access to music in unique and innovative ways.


Exploring the relationship between emotions, identity and digital engagements.

By starting with people, companies can uncover individual customer needs, and in turn

understand how to design for their needs (Guenther 2012). This research aims to address the

intersection of business requirements and human needs guided by technology. To do so the

results from this study have built upon Brown (2009) and Guenther’s (2012) theories to

inform the digital engagement conceptual model (Figure 3). It is the proposition of the model

that implementing customer emotions at the centre of a company’s business strategy can

strengthen relationships and provide innovative digital channel experiences. The model

illustrates the intersection of emotion (people), identity (business) and digital channels

(technology) to explore how emotional engagement can be designed with customers. These

areas are 1) Company and customer engagement, 2) Digital channel strategy and 3) Digital

customer experience. It is important to note that the framework should start with the customer

and not an existing technology or digital channel (1, 2 to 3). The conceptual process of the

model builds upon Damasio’s (1994) somatic feedback theory, to include the customer’s

emotional experience to the digital channel experience. The three aspects of association,

because of him.

This song makes my insides shudder. He warms my heart 'Let It Go' by James Bay - Burberry Acoustic: https://youtu.be/UliIfbSyhjQ

Enjoyment

Burberry Bespoke Launched November 2010 Burberry Bespoke allows customers to design their own customised coat by choosing from hundreds of different options, from the buttons on the outside to the lining in the inside and even add a personalised monogram. Customers can buy it online, request an appointment, live chat with customer service, or share their design across social media

Website

Promotion

Functional Diversion

Simplex

Low

Ohh. I can look and dream... One day I might own something from Burberry (which I would treasure) i could never afford anything. But a girl got to dream right?

Desire

Social activity Spend time designing

Burberry Bespoke went live on burberry.com offering some 12 million possible styles, and we are now introducing it in our physical stores in London and Chicago.

The new collection is So beautiful I want to cry!

Stimulation

Fall in love with design

Art of the Trench Launched October 2009 Burberry’s The Art of The Trench, described as “a living celebration of the Burberry trench coat and the people who wear it.” The latest photos featuring men and women in any colour, any style trench coats shot in all weather. Individual styling via selfies posted on Instagram or Pinterest. Users see hundreds of different people wearing the coat, whilst listening to a soundtrack of up and coming artists. There’s also an option to filter the style of trench by colour, style and gender. Burberry selects its favourites submitted images and post them onto the front site. Creating global image of the coat and brand.

Instagram Pinterest Website

Promotion Promotion Promotion

Diversion Interaction Diversion Interaction Functional Diversion

Duplex Duplex Simplex

Low Low Low

I love Burberry and their tailoring much more than my wallet can afford. Cannot wait for the show today !!

Desire

Learn and be involved in the key brand

Thousands of selfies have been posted, with comments and likes • Between November 2009 and mid 2010 site has more than 7 million visits • Brand Growth 86% • Revenues risen by 30%

Can I be your trench model for Art of the Trench in Amsterdam dear Burberry?

Desire

Creates sense of belonging and affinity to the brand. Be part of the story Position the customer as a hero.

Love it so much

Love Create brand community. Stimulate customer to interact with the brand’s culture, bringing them closer to the brand. Ability to create their own content and become a featured part of the channel.

Thanks Burberry, this one's a keepsake!!

Satisfaction

Burberry is like LV and Chanel,.. it has no expiration date, it's simply timeless!! I have a classic one and love it, London line, black


creates and evokes relate to Damasio’s (1994) theory which begins with a person’s thoughts

and evaluations about the stimulus in a situation. The first aspect association is in connection

to a customer’s existing feeling, emotion and/or mood of the company. Associations are

informed from past experiences with the company, and can be linked to branding,

advertisements or social interactions with the company (Lundahl 2011). This mental activity

evokes an emotion, which Damasio (1994) explains as crucial in the decision making process

and ultimately creates the action and behaviour required. The findings of this study have been

used to explain and develop this conceptual model in more depth.

Figure 3. Digital Engagement Conceptual Framework

(Synthesised Guenther, 2012; Brown, 2009; Damasio, 1994)

1) Company and Customer Engagement

Associated: Feelings, Emotion, Mood and Experiences

Customer needs outline the type of interaction the customer wants, highlighting certain

feelings, emotions and moods, which are evoked through this interaction with the company.

The process of creating an emotional experience is complex and involves many differing

factors. However it is affect (feelings, emotion and mood) that will have the greatest

influence. Associations could be linked to branding, advertising or social interactions with the


company. In order to provide customers with experiences, the underlining emotions must first

be understood in considerable depth.

Burberry: Aligning brand DNA (British roots) and Customers (Millennials)

The customer journey is first understanding the customers’ needs and desires, and then

designing an experience that best meets those needs. Burberry observed their target customer

and realised that millennials are more influenced by peers than by anything that a brand may

have to say. Insight into customer emotions and behaviour is imperative in the luxury sector

as the luxury customer is individualistic, knowing what they want and how they prefer to

interpret their personal style (Okonkwo 2007). They therefore want to stamp their personality

on a luxury brand, and use products and fashion as a definition of their individual personality

and identity. Doing so in their way and according to their own terms, while highlighting the

“luxury” prestige status (Ahrents 2013). Through evoking key emotions such as desire and

stimulation, Burberry’s touchpoints such as Burberry Bespoke and Art of the Trench turn this

interaction into a social activity. Customers invest time into either designing their own

Burberry trench coat or express a wanting to be photographed wearing it (Figure 4).

2) Designing Digital Channels

Evoking: Feelings, Emotion and Moods that align with the brand and customer

The emotional association with the company will evoke an affective response, starting with

feelings, which informs emotions that over time will create a mood. The design of digital

channels needs to evoke positive responses, satisfaction and pleasurable experiences over a

period of time informing the emotional experience created.

Burberry: Designing Channels to Evoke ‘Burberry Love’

All Burberry’s digital channels are driven by promotional content, to evoke the theme of

‘Burberry love’. This is created by the range of Burberry composed stories expressed across

the digital channels through products, events, social media and PR. The importance of digital

channel design is attaining enhanced customer experiences by emphasising and accentuating

the brand characteristics (Figure 4). Burberry’s digital channels are not driven by revenue, but

the main objective is to connect people through the Burberry brand. Through these channels

Burberry is able to create its own community inspired from its core product: the trench coat.

The design of the channels also allow for personalisation and customisation of products and


services, which contribute to customer emotions such as enjoyment, stimulation and

satisfaction leading to brand loyalty and enhanced relationships. This is supported by all

channels capability of creating and sharing content among Burberry communities generating

online brand circulation. All these individual components add to the overall strategy of

inviting others to be part of the Burberry story.

3) Digital Customer Experience

Creating: Attitude, Behaviour and Meaning

The emotions evoked through the digital channel create an attitude, behaviour, and/or

meaning to the brand. Over time these experiences will affect attitude, behaviour and

meaning towards the experience and will form positive emotional connections with the

experience and company. Memorable positive experiences lead to positive behaviours

towards the company and in turn forms loyal customers.

Burberry: Creating a community from ‘Burberry Love’

The digital channels evoke positive emotions usually associated to those of being in love,

which is a strong emotion for motivating certain behaviours. Love as an emotion is seemingly

irrational, and the behaviour outcomes of being in love, could lead to customers seeing that

money is no object in achieving their desired feelings (Figure 4). Through the five different

channels, customers are brought together to be part of the Burberry story. In return customers

“thank Burberry” (satisfaction and admiration) for a range of reasons including supporting

new local artists on Burberry Acoustic, or exciting customers by receiving a Burberry Kiss, to

customising their very own Burberry trench. Music, kisses and customising are free of charge

and help build ‘good will’ for a loyal customer who in the future will make purchases (Davis

2014). The resulting customer behaviours from the engagement with all digital channels, is

either by liking, commenting, personalising, purchasing or sharing the experience with others.

These customer behaviours aid in Burberry’s strategy of “a company can only make potential

customers aware of the brand, current customers and advocates help sell it” (Ahrents 2013).


Figure 4. Burberry’s Digital Engagement Model

Explaining the Success of Burberry’s Digital Engagement

Through all Burberry’s digital campaigns, their customers are motivated by a set of key

emotions, resulting in them to “be part of the Burberry story”. Each digital channel provides a

unique and consistent message, which bring together the brand, culture and customers to be

part of the same story. This story aligns with the brand DNA (British heritage) and the key

product (trench coat).

As explained by Okonkwo (2007) emotions play a large part in luxury goods purchasing. The

conventional consumer buying decision-making process starts from recognising the need for

the product. Consumers’ attitude is shaped by auxiliary series of emotions and feelings,

indicating a distinct process. Prior experience with the brand yields a higher chance of

interacting with and purchasing online. Burberry plays on this concept of the ‘emotional

affair’ by building such a relationship using diversion through the digital channels and

designing the interaction to allow customers to participate in the experience and then

communicate this with others.

The Burberry channels outlined also match the digital knowledge and daily habits of their

millennial target customer. The target audience currently uses most of the digital channels in


their daily lives, therefore engagement via these channels is easy to navigate and intuitive to

use. Easy sharing across each channel allows for quick sharing, spreading the awareness of

the brand through online word of mouth. The range of different interactions across the

Burberry digital channels allows the user to borrow the Burberry brand to reflect upon their

own identities, such as representing someone with great, high-end fashion sense. This is the

other key strategy of all of Burberry’s digital channels, ‘personalisation’ through the strategic

positioning of the ‘Burberry Love’ theme. From personalising the perfume bottle to

customisation of the classic Burberry coat, personalisation has been proven to strengthen the

connection between users and a product and has been explored in product design literature, as

the ownership of possessions can symbolically define and express who they are (Sirgy 1982).

Richins (1997) explains that by injecting meaning into products consumers own and view as

valuable, they are able to display a piece of themselves through that product. Reinforcing the

“sense of self” (Govers & Mugge 2004; Richins 1997; Belk 2014; Dubois & Duquesne 1993).

Hekkert et al. (2004) also explain that strong emotions, memories and enjoyment during use

can also contribute to the level of attachment an individual feels towards a certain object.

Creating an emotional bond between consumer and product can leave to increased levels of

attachment and loyalty (Mugge et al. 2010). Customers form attachments through

personalisation but also through the process of choosing an item that they unconsciously have

a connection to. Franke and Schreier (2007) also found that customers who value the

opportunity to personalise a product are willing to pay more. Through the social sharing of the

brand and the personalisation of Burberry products the customer is able to place themselves in

the brand, community and personalisation becomes a way into the brand and a way to form

emotion connections with it. Through sharing content such as ‘selfies’ of their customised

coats and ownership of their perfume bottle, their identity is connected to that of the Burberry

brand.

Impact and Challenges of Emotion-Driven Digital Innovation

The results from this study illustrate the impact of digital channel engagement, and act of

falling in ‘love’ with the Burberry brand is aided through the emotions evoked and

connection formed throughout the experiences via the digital channels. Failure to engage

customers emotionally may result in under-performance, loss of competitive advantage

and/or missed opportunities (Wrigley 2013). Designing, managing and continually evolving a

customer’s emotional experience is incredibly complex, due to the varying expectations,


messages and values of not only the customer but also for the company and digital channels.

Benefits such as financial and competitive advantages could result from positive experiences,

due to the higher user involvement with a digital channel (e.g. time spent, number of pages

viewed, amount of personal information revealed) translating into firm revenue (Trusov et al.

2010). The understanding of customer emotions is key to innovating through digital channels.

This research proposes that innovation requires insights into how and why customers behave

in order to deliver emotional digital engagements.

Customer perceptions of the investment made by a company in the interactivity of digital

channels can impact upon the relationship quality and their willingness to provide and share

positive company experiences with others (Song & Zinkhan 2008). The ability to create

engaging interactions via digital channels with customers can impact company growth via

revenue and the customer’s emotional investment (advocacy) to the company. This process

requires a combination of creativity, deep emotional understanding, knowledge of digital

behaviour and a strong company to customer strategy. This requires a formalised process

model that implies customer motivations and consequent behaviour guided by a strong

company to customer emotional strategy for initiating relationships.

Theoretical Development

The aim of this study was to explore how a sucessful case study communicated and

emotionally engaged with customers via digital channels, to develop new theories and models

to aid in the utalisation of digital channels. Damasio’s (1994) Somatic Feedback Theory,

Brown’s (2008) and Guenther’s (2012) design theories have been developed into a

conceptual model outlining the process of a customer’s digital channel engagement. Similar

to Damasio’s (1994) original theory this model includes the fundamental emotional response

to stimulus in a situation, however focuses on a digital engagement and resulting experience

(Figure 5). The model begins with an existing association of feelings, emotions and moods

derived from the company, an interaction with the company’s digital channel will evoke a

feeling, emotion or moods, which informs and creates an attitude, behaviour or meaning

towards the company. This process is a loop, as after progressing through steps 1, 2 and 3,

(seen on Figure 5) the experience will alter original associations made regarding the company

stimulus.


Figure 5. Digital Engagement Emotion Loop

This process requires a deeper analysis of customer emotions and their engagements with

digital channels, however by detailing and subsequently understanding this process at a

theoretical level, research in this area can advance. This study has provided a perspective on

how stimulus is processed (associations), responded to (emotions) and the effect of

(behaviours) in the context of customers’ digital channel experiences. Awareness of this

process can allow organisations to align their company strategy with their customer’s latent

needs and desires, providing digital channels with an opportunity to improve a customer’s

emotional experience.

Conclusions

In a society that offers an abundance of choices among products, services and businesses the

ability to form relationships with customers is critical for customer retention. Fulfilling an

emotional experience depends on the overall emotional consumption experience, which is

determined not only by the consumption of the product but all engagements with customers.

The Burberry business case provides academics and practitioners avenues for future research

and applied considerations. In times of digitisation, organisations are required to rethink the

traditional concept of customer relationships, as new technologies are empowering

customers. The conceptual framework presented leverages the role of design, highlighting

opportunities made possible through digital channels. This research contributes by providing

processes to better enable companies to build highly engaging customer experiences via

technology, specifically digital channels. With the ability to impact scholars and practitioners

alike, future research should focus on extending the theoretical domain of digital channels to

include customer emotional experiences and requires practitioners to publish best practice

and outline key strategies and tactics with proven results.


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Documents

20(3), pp. 1-23.a market-leader in digital communications within the competitive sector of luxury brands. Atwal and Williams (2009, p.338) explain that the luxury goods market has