Upload
house-of-pr
View
231
Download
4
Tags:
Embed Size (px)
DESCRIPTION
How Brand Journalism is challenging the traditional PR model of third-party endorsement. Dissertation published in August 2013 for a master's degree in PR by University of Westminster.
Citation preview
Brand Journalism in Fashion: How Brand Journalism is Challenging
the Traditional PR Model of Third-party Endorsement
Laura Roig Vericat
Dissertation submitted for the M.A. in Public Relartions, University of Westminster
Copyright (2013) University of Westminster and Laura Roig Vericat
Abstract
Third-party endorsement has always been in the core essence of Public Relations, however,
background research shows a rise of brand publications within the fashion media landscape,
which is challenging the traditional PR model of third-party endorsement regarding the use of
traditional media. Because of that, the disclosure of the authorship within those publications
raise concerns regarding the transparency and the credibility of the source. Therefore, the
understanding of these implications is essential for PR’s to make the most of the opportunity.
Through a content analysis and interviews with relevant practitioners and journalists, this
dissertation looks at the different approaches to Brand Journalism that brands are developing
at present, analysing the transparency of the authorship within the content as well as looking
at different insights regarding the link between the authorship and the credibility of the
source.
Findings show that as consumers are more educated and have tools to uncover deception,
transparency is key to engage with readers. Also, as consumers look for content and not a
channel, brands that are able to develop relevant content can build a media. Therefore,
transprarency and content appear to be more valued than the independency of the source
when conferring credibility to the media.
Readers of traditional fashion magazines seek advice on fashion trends and lifestyle in order
to be on trend each season; whether traditional media exercises power over them depends
on the reputation of the specific media and the value of expertise that the reader confers to
that media. A brand could potentially be as good as traditional media in building this
reputation, however, the consistant delivery of transparency and relevant content over time
are key to build a credible source.
2
Statement of Originality
I certify that I am the unique author of this dissertation and that it doesn’t have any
materials previously published by another author, expect where references are made within
the content in conformity with the standard referencing system. The content of this
dissertation is product of my own work and it doesn’t violate anyone’s copyright.
I declare this is a true copy of my dissertation and that it has not been previously submitted
for a higher degree to any other University or academic institution.
Laura Roig Vericat
3
Acknowledgements
Firstly, I would like to thank to all the interviewees for their collaboration, without them this
dissertation would not have been possible. Also, I would like to thank my course tutors
Michaela O’Brien and Pam William for their support during the course, specially for their
advice on this paper.
Secondly, I would like to express my gratitude to my work colleagues who have been
supporting and understanding throughout the process of this dissertation.
Finally, a big thanks to my family for their support, for believing in me and for always
comforting me with their warm words, which always make the distance closer. Also, thanks
to my close friends, who always keep me going.
4
Table of Contents
Abstract.......................................................................................................2
Statement of Originality..................................................................................3
Acknowledgements........................................................................................4
Chapter One: Introduction
1.1 PR as Endorsement...............................................................................................................8
1.2 The Rise of Brand Journalism..................................................................................................9
1.3 The Status of the Media.......................................................................................................12
1.4 Implications on PR..............................................................................................................14
1.5 Research Focus..................................................................................................................15
1.6 Relevance..........................................................................................................................16
1.7 Overall Research Aim...........................................................................................................16
1.9 Structure of the Dissertation.................................................................................................16
Chapter Two: Literature Review
2.1 Introduction.......................................................................................................................18
2.2 The Role of Third-party Endorsement in Building Credibility.......................................................18
2.3 Implications of the Role of PR as Producer of Information.........................................................19
2.4 PR as a Separate Media: The Credibility Challenge...................................................................20
2.5 PR in the Digital Arena: an Opportunity with Risks...................................................................21
2.6 The Impact of Transparency in Building Credibility...................................................................23
2.7 Other Factors that Build a Credible Source..............................................................................26
Chapter Three : Methodology
3.1 Introduction.......................................................................................................................30
3.2 Hypothesis and Research Questions.......................................................................................30
3.3 Research Methods...............................................................................................................31
3.4 Respondents......................................................................................................................32
3.5 Limitations.........................................................................................................................33
5
Chapter 4: Findings and Discussions
4.1 Introduction.......................................................................................................................34
4.2 Fashion Brand Journalism Landscape: The Three Approaches that Rule The Media........................34
4.3 Authorship of the Content Linked to the brand: Three Degrees of Transparency...........................36
4.4 Editorial Format Helps to Deliver Branded Content...................................................................38
4.5 Without the Filter of Journalists, Consumers Become the Gatekeepers........................................40
4.6 Independency in Building Credibility.......................................................................................41
4.7 Transparency as a Trust Builder.............................................................................................43
4.8 Content versus Authorship in Transmitting Credibility...............................................................44
4.9 Convenience versus Authorship of the Source.........................................................................46
4.10 Influencers Help to Build a Credible Source for Messages........................................................47
4.11 PR’s Think Brand Personality Gives Credibility but It is also a Filter...........................................49
4.12 Brands and Traditional Media Complement Each Other............................................................51
Chapter 5: Conclusions and Recommendations
5.1 Conclusions........................................................................................................................53
5.2 Recommendations for Future Research...................................................................................58
Bibliography......................................................................................................................59
Appendixes
1. Examples of The Three Approaches.........................................................................................63
1.1 One Brand: MANGO Magazine.................................................................................. 63
1.2 Multi Brand: The Edit...............................................................................................64
1.3 Off Brand: NOWNESS............................................................................................. 65
2. Examples of the Authorship Linked to the Brand.......................................................................66
2.1 MANGO Magazine....................................................................................................66
2.2 The Edit.................................................................................................................67
2.3 NOWNESS..............................................................................................................68
2.3.1 Product Placement...................................................................................69
2.3.2 Advertorial..............................................................................................71
6
2.3.3 Key Words in Text....................................................................................73
2.3.4 Use of Complementary Brands...................................................................73
3. Editorial Format Helps to Deliver a Branded Message.................................................................74
3.1 Format examples....................................................................................................74
4. Examples of The Use of Influencers.........................................................................................76
4.1 MANGO Magazine: Use of Fashion Bloggers................................................................76
4.2 MANGO Magazine: Use of Consumers........................................................................77
4.3 The Edit: Use of Celebrities......................................................................................78
4.4 The Edit: Use of Celebrity Fashion Photographers........................................................79
4.5 NOWNESS: Use of Readers, Editors and Contributors...................................................79
4.6 NOWNESS: Use of Celebrities...................................................................................80
5. Brands and Traditional Media Complement Each Other: Examples...............................................81
5.1 MANGO Magazine in VOGUE Portugal.........................................................................81
5.2 The Edit in Pop Sugar and GRAZIA............................................................................81
5.3 NOWNESS on The Guardian.....................................................................................83
5.3 MANGO Magazine: Coverage on Fashion Blogs............................................................84
6. Interviews...........................................................................................................................86
6.1 Interview with Eric Wilson....................................................................................................86
6.2 Interview with Andy Bull......................................................................................................88
6.3 Interview with Tom Martin....................................................................................................91
6.4 Interview with Maria Rodriguez.............................................................................................94
6.5 Interview with Sharon N. Hughes..........................................................................................96
6.6 Interview with Juan Mora.....................................................................................................98
6.7 Interview with Ruth Atherley...............................................................................................101
6.8 Interview with Mireia Tomas...............................................................................................104
6.9 Interview with Sophie Maguire............................................................................................105
6.10 Interview with Kate Reardon.............................................................................................107
7
Chapter One: Introduction
1.1 PR as Endorsement
There are many definitions of Public Relations but the use of third party endorsement is
included in most of them. For example, Time Bell describes Public Relations as “the use of
third party endorsement to inform and persuade”1. In fact, the use of third party
endorsement is what has always differentiated Public Relations from Advertising. The PRSA
(Public Relations Society of America) explains that Public Relations does not pay for media
coverage and “It’s this third-party endorsement that gives PR its power and credibility”2.
However, nowadays, with the rise of social media and Brand Journalism, brands have the
possibility of talking directly to the audience, and the definition of Public Relations as
endorsement might not be as accurate for the digital age.
Nevertheless, as third-party endorsement is what validates the information and gives
credibility to the message, when Public Relations creates its own media, the trustworthiness
of the source might be questionned. On the other hand, journalists have always acted as the
gatekeepers of information; fact-checking the information and adding value to stories by
investigating more than one source and that is why eliminating them can also generate risks
in terms of transparency.
House publications, mainly aimed at internal publics, were once the predecessor of brand
journalism and the truth is that they were the least consumed form of communication3.
However, nowadays, brands, specially those specialised in fashion, lifestyle and luxury are
exponentially becoming media companies, appealing to external publics too. In fact, The
New York Times reported that, fashion brands such as Net-a-Porter have already built a
8
1 Young, P., Mediations online, Why the PR as endorsement model fails, 31st October 2012, retrieved 15th August 2013, <http://publicsphere.typepad.com>
2 PRSA, PRSA online, What is PR, retrieved 17th August 2013, www.prca.org.uk
3 Bivins, T., Public Relations writing: the essentials of style and format, Contemporary Publishing Group, 1999
strong readership, with 4.000 milion visits per month, far more than Style.com or Harper’s
Bazaar UK4.
In addition to the use of mass media, Public Relations also relies on other forms of
endorsement such as celebrity, expert or consumer’s recommendations. In fact, in the digital
age, consumer’s point of view has increased in value; a study performed by Nielsen with
25.000 Internet users from 50 countries, showed that recommendations from personal
acquantances or opinions posted by consumers online were the most trusted form of
communications 5.
Grunig and Hunt define Public Relations as “the management of communication between an
organization and its public”6 and perhaps this is a more accurate definition of Public Relations
in a changing media environment where it looks like the value of third party endorsement is
moving towards individuals.
1.2 The Rise of Brand Journalism
Fashion PR practitioners have always managed media relations in order to get positive
coverage in fashion titles, however, now brands have the opportunity to publish directly,
eliminating the filter of journalists. In fact, brands such as Net-a-Porter, MANGO, Louis
Vuitton Moet Hennessy (LVMH), Acne, H&M, Barneys New York or Ralph Lauren have already
started building their own media by using brand journalism7.
Ralph Lauren launched its own media division in partnership with NBC Universal in 2007,
when the brand published Ralph Lauren Magazine, the first e-commerce site to include
editorial content, and Ralph Lauren Magazine, covering fashion, design, sports as well as
9
4 Carr, D., New York Times, New York Times online, Publishing Without Publishers, January2011, retrieved 15th August 2013, <www.nytimes.com>
5 Joyn, Top 20 influencers in UK / US, Joyn London online, 20th August 2011, retrieved 6th August 2013 <www.joynlondon.com>
6 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
7 Pfeiffer, A, Editing as a Brand Investment, The New York Times, 21st February 2012, retrieved 18th August 2013, <www.nytimes.com>
featuring interviews with celebrities8. Rather than only covering their products, the intention
of launching a media division was to promote the idea of a Ralph Lauren lifestyle. In fact, the
American brand invented the concept of lifestyle back in 19909; while most fashion houses
were struggling to survive, Ralph Lauren earned millions by selling a personality with clothes,
and it wasn’t long before they sought to develop the same idea further with editorial.
After Ralph’s Lauren initiative, other brands, especially within the luxury sector, started
developing editorial projects to promote their own lifestyle. For example, LVMH launched
NOWNESS10, a cultural platform providing insights on fashion, beauty, art, and design,
among other topics. Regarding it success, the executive vice president explained to The New
York Times “It is perceived as an independent media, and addresses the word of luxury in a
nonpromotional way” also explaining that it had more than 300.000 registered users, while
videos reached one million hits at that time11.
In 1990 marketing took over fashion and the fashion consumed today is about inclusion,
fulfilling consumer’s desire of belonging to a lifestyle that makes them feel and look good12.
Fashion magazines where already covering lifestyle features within their content and
mentioning products that would compliment. For example, VOGUE would talk about the
perfect hats for enjoying the sun in Cannes or the best dresses for a night out in the city with
girlfriends. For brand journalism, lifestyle became a way of talking about brand positioning
while having the possibility of mentioning their products within an editorial context.
However, different brands have different strategies, so while MANGO, Net-a-Porter and
Barneys New York would include links to e-commerce, NOWNESS or Ralph Lauren, would
10
8 Schomer, S., Fast Company online, Ralph Lauren’s $13 Billion Bet, 10th August 2011, retrieved 16th August 2013, <www. fastcompany.com>
9 Agins, T., The End of Fashion, Harper, New York, 2000
10 Bunz. M., The Guardian website, LVMH launched luxury online magazine Nowness, 26th February 2010, retrieved 16th August 2013, <www.theguardian.com>
11Pfeiffer, A, Editing as a Brand Investment, The New York Times, 21st February 2012, retrieved 18th August 2013, <www.nytimes.com>
12 Agins, T., The End of Fashion, Harper, New York, 2000
avoid mentioning products in a direct way and only tap into lifestyle stories that go with their
brand.
The truth is that for some brands such as Net-a-Porter, their editorial project has not only
generated brand awareness but also increased traffic online while having a positive impact
on sales. In 2011, The New York Times reported that Net-a-Porter had already made more
than half a billion dollars with the help of their magazine; The Edit had 900 people working
for them and had four million visitors a month13. In a recent interview for The Business of
Fashion, Lucy Yeomans, former editor of Harper’s Bazaar UK and editor in chief of Net-a-
Porter, explained that the magazine now has 5 millions visits a month and that also the
company are about to launch a print title too14.
Taking into consideration this data, is the endorsement of the media essential to engage with
readers? By putting the consumer at the centre, those brands having links to e-commerce
within the content, offer a whole purchasing experience, from inspiration to validation and
payment; simplifying the decision making process. Lucy Yeomans explains “All I want to do is
make her life as easy as possible”15, talking about their customer and showing that the
convenience factor might be a reason why readers consume this type of media.
With the raise of brand journalism, it looks like editorial credibility, traditionally owned by
heritage fashion magazines, is now bought by brands themselves. However, even if it looks
like a great opportunity for brands, Brand Journalism might also pose risks in terms of
transparency and credibility. For example, Net-a-Porter and MANGO only feature the
products they sell, and since there isn´t any body regulating Brand Journalism, it has
become a difficult industry to observe.
11
13 Carr, D., New York Times, New York Times online, Publishing Without Publishers, January2011, retrieved 15th August 2013, <www.nytimes.com>
14 Vikram, K., The Business of Fashion website, The Long View: Lucy Yeomans Says It’s Time to Change Rules of Fashion Media, 17th February 2013, retrieved 17th August 2013, <www.businessoffashion.com>
15 Vikram, K., The Business of Fashion website, The Long View: Lucy Yeomans Says It’s Time to Change Rules of Fashion Media, 17th February 2013, retrieved 17th August 2013, <www.businessoffashion.com>
Patrick Barret, founder of Simpatico PR, defines Brand Journalism as “a brand or corporate
entity adopting the skills and mind-set that any journalist is taught at college and hones
during their career: objectivity, clarity, speed, thrift of language…”16. However, how objective
can a brand be about its own products? Are brands ready to take the challenge?
1.3 The Status of the Media
Traditional fashion magazines such as VOGUE or ELLE, failed to adapt rapidly to the digital
age, in fact, they are still struggling to find their place within the digital panorama17. First,
the raise of blogs started diminishing their readership and now they find themselves
competing with brands such as Net-a-Porter for readers18.
In fact, in his talk ‘The Walls are failing’, Tom Martin, digital strategist, provides an
interesting insight when saying that traditional magazines are failing to provide interesting
content; in a digital age, printed news is already old news and there are too many
publications with the same content. Martin talks about an interesting shift from publishers to
technological companies, who provide anyone the opportunity to create and publish content:
“individuals with a good focus can build a media”19. In fact, he affirms that nowadays readers
look for content, not for a channel. While people used to go to a specific channel to consume
news, the reader of today looks primarily for the information, not the source.
Also, Lucy Yeomans explains that traditional fashion magazines are losing positions: “the
generation that’s coming up, it’s more and more, “We want service, we expect service.” If
you want a book, you want to download it onto your Kindle or iPad, immediately, we are
12
16 Barrett, P., Brand Republic, Brand Republic online, Think BR: Why is brand journalism important?, 16th November 2012, retrieved 15th August 2013, <www.brandrepublic.com>
17 Martin, T., The Walls are Falling: Will Brand Journalism Replace Public Relations?, retrieved 16th August 2013 <tommartin.typepad.com>
18 Carr, D., New York Times, New York Times online, Publishing Without Publishers, January2011, retrieved 15th August 2013, <www.nytimes.com>
19 Martin, T., The Walls are Falling: Will Brand Journalism Replace Public Relations?, retrieved 16th August 2013 <tommartin.typepad.com>
impatient now”20. In fact, in 2011 publications such as ELLE started commercial ventures,
trying to imitate Net-a-Porter’s model21. Eric Wilson, in his article ‘Magazines Begin to Sell
the Fashion They Review’22 for The New York Times, explained that Vogue started working
with retailer Moda Operandi, so readers could pre-order looks directly from the runaway.
From his point of view, readers could be more interested in buying an item based on a style
editor’s recommendation. The truth is that other ventures such as “Shop Bazaar”23 from
Harper’s Bazaar USA, are an interesting example to watch for 2013. The publishing house
launched the project in September 2012 and since then they have seen a steady increase in
traffic and media sales, opening the door for other magazines to join what could be the new
media model: content-to-commerce24.
However, when commercial interests are mixed with editorial, lots of questions regarding
transparency and credibility arise: would revenue affect editorial integrity? Will readers trust
media as they used to? Readers expect traditional fashion magazines to be independent,
however, are they independent anyway? Lucy Yeomans adds an interesting insight when
talking about both Brand Journalism and traditional journalism: “I totally believe in having
editorial integrity. And, as with editorial in relation to advertising, I don´t think it’s any
different in relation to retail. From Net-a-Porter standpoint, I am shooting stock for the
magazine, so I’m absolutely shooting what we have bought…Yes, you are working with a
piece of the buy, but I can honestly say that I feel like I’ve had more freedom to shoot what
ever I want since I’ve been here”25. On the other hand, Ksurry explains for Parallel
13
20 Vikram, K., The Business of Fashion website, The Long View: Lucy Yeomans Says It’s Time to Change Rules of Fashion Media, 17th February 2013, retrieved 17th August 2013, <www.businessoffashion.com>
21 Mariotti, A., Third Wave Fashion online, Content and Commerce, 16th August 2012, retrieved 16th August 2013, <www.thirdwavefashion.com>
22 Wilson, E., The New York Times online, Magazines Begin to Sell the Fashion They Review, 25th September 2011, retrieved 16th August 2013, <www.nytimes.com>
23 Harper’s Bazaar, Harper’s Bazaar website, Internet Retailer, Shopping Inspiration, Press, 1st May 2013, retrieved 16th August 2013, <www.shop.harpersbazaar.com>
24 Smith, C., Magento online, Harper’s Bazaar Customer Success Story, retrieved 16th August 2013, <www.magentocommerce.com>
25 Vikram, K., The Business of Fashion website, The Long View: Lucy Yeomans Says It’s Time to Change Rules of Fashion Media, 17th February 2013, retrieved 17th August 2013, <www.businessoffashion.com>
Interactive that “Ads don’t guarantee coverage, but truth is, there is a very thin veneer
separating advertising and editorial in traditional media”26.
In her interview for ‘The Business of Fashion’, Lucy Yeomans also talks about the lack of
resources that traditional fashion magazines are facing, how that is also impacting on the
quality of their content, so brands have more tools for market research and therefore have
more information about reader’s interests.
With the raise of Brand Journalism and the intent for fashion magazines to sell, it seems that
the media sphere is moving towards a business model never seen before. In fact, it is
interesting to see how renowned fashion editors are starting to join brands to develop brand
journalism projects: Lucy Yeomans, former editor of Harper’s Bazaar Uk moved to Net-a-
Porter, Jeremy Langmead, former editor of Esquire joined Mr. Porter, Dennis Freedman, went
from W to Barneys and Fiona McIntosh, former editor of Grazia is now at My Wardrobe27.
1.4 Implications on PR
After analysing the status of the media, there are three factors that PR practitioners need to
consider. Firstly, traditional media is failing to provide relevant content. Secondly, consumers
are looking for content, not a channel. And finally, readers have become more impatient and
the new media model content-to-commerce is proving to be a big opportunity for brands to
fill the gap. Therefore brands that are providing original content would possibly be heard.
Patrick Barret explains that brand journalism can help a brand to tell its story effectively but
he also point out that the mind set of journalists need to be adopted “credibility will naturally
flow from independent thinking and questioning”28. Lucy Yeomans explains that if the content
demands it, they will start featuring other brands that they don’t necessarily sell “I don’t
14
26 Ksurry,, Parallel Interactive Communications online, Is Brand Journalism More Honest than Traditional Journalism?, retrieved 16th August 2013, < www.parallelic.com>
27 Guest Contributor, The Business of Fashion online, How Commercial Content is Changing Editorial, 28th June 2011, retrieved 17th August 2013, <www.businessoffashion.com>
28 Barrett, P., Brand Republic, Brand Republic online, Think BR: Why is brand journalism important?, 16th November 2012, retrieved 15th August 2013, <www.brandrepublic.com>
think you have editorial integrity otherwise”29. About mentioning competitors, Patrick Barret
says “well it depends on how brave you are, how secure you feel and how credible you want
to be”30, highlighting the importance of being objective.
Public Relations has always told one side of the story in order to benefit the organisation in
question but it looks like brands are starting to realise that they actually need to tell all sides
of a story to engage with their public.
Also, it is important to highlight that developing editorial content, implies a big responsibility,
especially because the media sphere is evolving in an unexpected way and the lines between
“church and state” are becoming blurred. With brands publishing editorial content and
magazines starting to sell, if the authorship of the content is not clear, readers might not be
able to tell what type of media they are consuming, which would raise public concern as
Public Relation’s goal is mainly based on persuasion.
1.5 Research Focus
Brand journalism is a rather new aspect of the Public Relations and even though PR
practitioners have already talked about how it should be implemented, little research has
been done on how fashion brands are currently developing it. This study will look at Brand
Journalism within the fashion industry as well as the different strategies that brands are
practising. As Brand Journalism challenges the traditional PR model of third-party
endorsement, it will also analyse the challenges and implications on transparency and
credibility, and whether practitioners think this is impacting the relationship between the
brand and the audience.
15
29 Vikram, K., The Business of Fashion website, The Long View: Lucy Yeomans Says It’s Time to Change Rules of Fashion Media, 17th February 2013, retrieved 17th August 2013, <www.businessoffashion.com>
30 Barrett, P., Brand Republic, Brand Republic online, Think BR: Why is brand journalism important?, 16th November 2012, retrieved 15th August 2013, <www.brandrepublic.com>
1.6 Relevance
The rapid expansion of Brand Journalism within the fashion industry at a time where
traditional media is struggling to find its place is drafting a media sphere never seen before;
now brands and traditional fashion magazines are instead competing for readers. This
context offers a great opportunity for brands to develop relevant content, however the
disclosure of the authorship within the content, might pose risks in terms of transparency
and credibility. Because of that, the understanding of those implications is essential for PR
practitioners in order to make the most of the opportunity that the new media landscape is
presenting.
1.7 Overall Research Aim
This study aims to provide an insight into how fashion brands are developing Brand
Journalism and how the different strategies implemented have an impact on the credibility
and transparency of the source. Through a content analysis of the brand journalism
landscape within the fashion industry, as well as interviews with Public Relations
practitioners, Fashion Editors and Digital Strategists the intent is to unveil precisely how
Brand Journalism is used in a rapidly changing media sphere.
1.8 Structure of the Dissertation
This thesis looks at how fashion brands are currently implementing brand journalism as well
as the impact that the different models have on the credibility and transparency of the
source. In this study, Public Relations will be referred to as PR, Public Relations practitioners
as PRs and the fashion company Louis Vuitton Moët Hennesy as LVMH.
The first chapter looks at the traditional PR model of third-party endorsement and the way it
is evolving in the digital age, providing an insight of the challenges that the emerging model
can potentially have. It also reviews the rise of Brand Journalism within the fashion industry,
giving examples of fashion brands that are currently implementing it. Finally, it looks at the
16
current media landscape, setting the scene for potential opportunities for PR, as well as
explaining the research focus and relevance of the study.
The second chapter includes the literature review, which focuses on relevant models and
different theories extracted from books and journals, providing a discussion on the topic and
highlighting the relevance of this research.
Chapter three explains the methodology as well as presenting the hypothesis and research
questions for this dissertation. It also explains the limitations of the research as well as
providing an overview of the interviewees that have collaborated with this study.
Chapter four presents an in-depth analysis combining the feedback from interviews with the
findings from the content analysis, linking back to the theoretical models presented in the
literature review.
Finally, chapter five highlights the key points of this study in a form of conclusion as well as
providing suggestions for future research.
Appendixes include visual examples from the content analysis, which support findings in
chapter four, and also the interviews conducted for this study.
17
Chapter two: Literature Review
2.1 Introduction
Background research shows that the fashion media landscape is experiencing a rise of brand
publications, which is challenging the traditional PR model of third-party endorsement
regarding the use of traditional media. This literature review looks at the role of third-party
endorsement in building credibility as well as analysing the concept of independency. It also
provides an insight on the different views regarding the credibility challenge that brands
acting as publishers might face. It also defines the concept of transparency, its impact on
credibility as well as looking at other factors that build a credible source.
2.2 The Role of Third-party Endorsement in Building Credibility
Third-party endorsement has been in the core essence of Public Relations since Edward
Barneys, considered the father for the discipline, started pitching traditional media to publish
newsworthy stories from brand sources. In fact, there are many definitions of PR and the use
of the media as third-party endorsement to pursue its activity is common in most of them.
For example, Tim Bell describes PR as “the use of third party endorsement to inform and
persuade”31 and Morris and Goldsworthy say that PR “works primarily though the use of
media relations and other forms of third party endorsement”32.
As Morris and Goldsworthy explain, the concept of third-party endorsement “refers to getting
the support of independent voices”33. Also, The Business Dictionary defines third-party
endorsement as “solicited or unsolicited recommendation or testimonial from an entity other
than the manufacturer and seller of a product or service”34. It is precisely this concept of
18
31 Young, P., Mediations online, Why the PR as endorsement model fails, 31st October 2012, retrieved 15th August 2013, <http://publicsphere.typepad.com>
32 Goldsworthy, S., Morris, T., PR today: the authoritative guide to public relations,Palgrave Macmillan, New York, 2012
33 Goldsworthy, S., Morris, T., PR today: the authoritative guide to public relations,Palgrave Macmillan, New York, 2012
34 Business Dictionary, What is third-party endorsement, retrieved 18th August 2013 <http://www.businessdictionary.com>
independency what transmits credibility, so being independent means providing a non-biased
opinion about an issue, and this is one of the reasons why traditional media is perceived as a
trusted source of information.
In addition to this, the pillars that sustain the profession of journalism – objectivity,
impartiality, truthfulness, accuracy, fairness and public accountability – make journalists a
reliable filter for news, becoming the gatekeepers of information. In fact, the implementation
of these professional standards also built a reputation for media as a reliable source and that
is why obtaining positive media coverage became the main way in which PR achieved its
objectives 35.
In fact, the use of third party endorsement is what has always differentiated PR from
advertising; so people tend to give more credibility to other people talking about a company,
instead of the same company talking about itself. However, commercial and political interests
can easily contaminate the concept of independency and it is necessary to point out that
being independent and being perceived as independent are two different things 36.
2.3 Implications of The Role of PR as Producer of Information
Maloney explains that when the media becomes a business, the values it stands for become
blurred: a different media would have different political views; the use of advertising as a
financial source would affect editorial integrity and the need of selling papers and being
profitable would affect the quality of the news. On the other hand, the role of PR as a
producer of content and source for information subsidy would also have an impact on the
independency of the media. In fact, his theory about the PR-isation of the media explains
that its commercial needs, in addition to a lack of resources, produces a growing dependency
of journalists on PR. The author explains that that leads to the disablement of their critical
skills, specially in celebrity and fashion news, which are mainly PR based. Because of that, in
some cases PR material is published without checking37.
19
35 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
36 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
37 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
In addition to this, Maloney defines PR as a “selective communication of the telling kind”38
and explains that PR goals differ completely from journalism purposes: while independent
journalism informs, opens a debate and, the most important, filters and validates PR
content, PR “wants the listener to accept”39. If journalism fails on its scrutiny skills, it
appears what the author denominates a “false identity: a form of journalism but a substance
of PR”40. If PR material appears in the media without declaration, this lack of transparency
opens a big window for manipulation, so readers trust the source because its perception of
independency.
However, in a digital world, the public is much more educated; has different tools to double
check information and the most important, wants to know how the information system
works. Eventually they would identify the deception and because of that, Maloney thinks that
this form of practising journalism is affecting their own credibility. PR’s focus on achieving
media coverage because the media has a strong reputation for having an independent voice
but if they credibility decrease, it would also affect PR’s objectives in a negative way.
2.4 PR as a Separate Media: the Credibility Challenge
In order to avoid the lack of transparency and its consequences regarding credibility, the
author says that PR elements should be declared within the content. Moreover, Maloney
introduces the concept of PR as a media system in its own right, like advertising and
marketing. This way, the public would understand that the intention of the information is to
persuade.
However, Maloney’s theory about PR as a media system in its own right opens a debate
regarding whether the third party endorsement of the media is essential for PR to transmit a
20
38 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
39 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
40 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
credible message: Could a PR source be perceived as an authoritative source?
The Internet has changed the communications paradigm and while a few years ago the
ownership of the media was still restricted, nowadays everyone can be their own publisher,
which enables Maloney’s theory to a practical level. However, Morris and Goldsworthy in their
book “PR Today” explain “when it creates its own media, digital PR loses PR’s unique selling
proposition: third-party endorsement, usually and hopefully from an authoritative media
source”41. Also, Kotler explains that consumers are five times more likely to be influenced by
editorial copy than by advertising, referring to the power of third-party endorsement in
transmitting credibility.
On the contrary, Phillip Young appoints that “PR as endorsement fails”42 so the use of the
media is not a way of legitimating information but the only effective way of transmitting the
message. Before the Internet, traditional media was the cheapest way of reaching larger
audiences: while PR worked on the message, the owner of the newspaper worked on the
distribution, which was the most expensive bit. Nowadays, thanks to the new media, the cost
of distribution is almost inexistent and therefore there is a big opportunity for brands to talk
directly to their public. While brand journalism is appointing to be the medium, the challenge
relies on appealing the same audience directly.
2.5 PR in the Digital Arena: an Opportunity with Risks
In addition to democratising the media landscape, with the emerging of blogs and the use of
social media, the Internet also introduced a two-way communication paradigm, which
enabled the possibility of, not only talking directly to the public, but also engaging in
conversation with them43.
Looking back in time, the emerging of blogs, especially within the fashion industry, changed
21
41 Goldsworthy, S., Morris, T., PR today: the authoritative guide to public relations,Palgrave Macmillan, New York, 2012
42 Young, P., Mediations online, Why the PR as endorsement model fails, 31st October 2012, retrieved 15th August 2013, <http://publicsphere.typepad.com>
43 CIPR, Share This, John Wiley & Sons, Ltd, London, 2012
the way of practising journalism, introducing a new writing style focused on the individual44.
The same audience had the possibility of creating content and this focus generated trust for
readers, who understood bloggers as a friend from whom they could received an advice.
Also, the interactivity that the platform permits enabled an open discussion with blog
readers, who then felt their opinion was heard. Their proximity and their use of colloquial
language and their ability of producing interesting content make them engage with the
audience. In fact, in 2011, JOYN, a consultancy for lifestyle brands, published a report
regarding the Top 20 Influencers in UK and USA and the surprise was that 7 of the 20
influencers were independent bloggers 45.
Because of their power of influence, bloggers were seen as a powerful PR tool to generate
brand awareness but their relationship sooner started having a detriment effect on their
credibility. Brands would give them free products to then see a great review about them. As
bloggers were struggling to find a sustainable business model46, they would agree on
sponsoring brands without disclosure. When all this information went public their editorial
integrity was questioned47, in fact as there isn’t an official professional body controlling the
industry, their behaviour became difficutl to observe.
In 2012 they started to see a steady detriment on their trust48. The lack of transparency had
an impact on their credibility and as they relied on brands for content, the original content
that engaged with readers at the begining was gone49.
In fact, this opens another debate: are brands able to tell engaging stories? Philip Young
22
44 Phillips, D., Young, P., Online Public Relations: a practical guide to developing an online strategy in the world of social media, 2nd edition, Kogan, London, 2009
45 Joyn, Top 20 influencers in UK / US, Joyn London online, 20th August 2011, retrieved 6th August 2013 <www.joynlondon.com>
46 Tracy McVeigh, Fashion bloggers seek profit in battle of the gimmicks, The Observer online, 11th September 2011, retrieved 8th August 2013, <www.guardian.co.uk >
47 Fashionista, Can You Trust the Editorial Integrity of Personal Style Blogs? A Closer Look at How Bloggers Make Money, fashionista online,November 14th 2011, retrieved 7th August 2013, <www.fashionista.com
48 Trend Watching, The consumer trends that will shape our world, Trend watching online, January 6th 2012, retrieved 8th August 2013, <www.trendwatching.com>
49 @JESSICAKIA, Have Bloggers Become Fashion’s Sycophants?, Digitalista blog, September 6th 2011, retrieved 8th August 2013, <www.digitalista.tumbrl.com>
says that traditional media platforms are still relevant because “traditional media stories are
much more interesting”50. The author explains that journalists put together different sources
within the content and that is why their stories are more interesting than PR based ones,
which only come from one source. From his point of view, PR can be perceived as an
authoritative source but the secret relies on story telling skills: “There is a strong argument
for believing that organisations should have the confidence to speak directly with
stakeholders, and this is an opportunity for PR, no a drawback”51. Also, William Daddi, senior
vice president at Magnet Communications in New York, affirms “If a consumer chooses to
access editorial, it is by definition relevant to them”52, which highlights the need to producing
engaging content to establish a relationship with readers.
Background research shows that by using Brand Journalism some brands are starting to
become strong publishers, reinforcing Young’s theory that PR as endorsement fails, however,
are they adding other point of view within the content? In order to make the most the
opportunity that the Internet has allowed it looks like brands have to be ready to develop a
transparent approach while being able to deliver relevant content.
2.6 The Impact of Transparency in Building Credibility
The blogger’s example also reflects on Maloney´s theory about the PR-isation of the media.
It looks like what really damages the credibility of the source is a lack of transparency, so the
miss use of third-party endorsement is understood as what Maloney denominates black
propaganda, content credited to a false source, that provides misinformation and “passes on
lies and deceptions”53.
The trust that a source is able to transmit relies on different factors and transparency is key.
23
50 Young, P., Mediations online, Why the PR as endorsement model fails, 31st October 2012, retrieved 15th August 2013, <http://publicsphere.typepad.com>
51 Young, P., Mediations online, Why the PR as endorsement model fails, 31st October 2012, retrieved 15th August 2013, <http://publicsphere.typepad.com>
52 Karolefski, J., Brand Channel online, PR Stirs it Up, 14th July 2003, retrieved 16th August 2013, < www.brandchannel.com/>
53 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
As cited by Julia Jahansoozi in “Public Relations: Critical Debates and Contemporary Practice:
“Dialogue is considered essential for a relationship to exist and transparency is identified as a
key relational condition that is connected to other relational characteristics such as trust,
accountability, cooperation, and collaboration”54. This way, transparency not only allows the
atmosphere to generate trust but it also sets the conditions for this trust not to be abused:
“Trust is only likely to be abused where there is little chance of detection and therefore
transparency may solve this issue”55.
It is important to point out that transparency is a concept that needs to be defined; as it is
culturally specific and different sources would highlight different implications. The New PR
describes transparency making a parallelism with natural science: “Transparency, as used in
the humanities, implies openness, communication, and accountability. It is a metaphorical
extension of the meaning used in the physical science: a “transparent object is one that can
be seen thought”56. In addition to this, it also quantifies the concept by talking about
different degrees of transparency: “All organisations are to a greater or less degree
transparent”57.
Regarding the degrees of transparency, The New PR introduces the concept of Convert
transparency: “Convert transparency is where organizations ‘push’ or manipulate
information”58. The term ‘push’ refers to marketing promotion tools online, like SEO (Search
Engine Optimisation). Also within the same category it is described the concept of
Astroturfing, which is considered opposite to transparency: “the practise of falsely creating
the impression of independent, popular support by means of an orchestrated and disguised
24
54 L’Etang, J., Pieczka, M., Public Relations: critical debates and contemporary practise, Laurence Erlbaum Associates, 2006
55 L’Etang, J., Pieczka, M., Public Relations: critical debates and contemporary practise, Laurence Erlbaum Associates, 2006
56 The New PR Wiki, The New PR Wiki online, Nature of Transparency, retrieved 16th August 2013, < www.thenewpr.com>
57 The New PR Wiki, The New PR Wiki online, Nature of Transparency, retrieved 16th August 2013, < www.thenewpr.com>
58 The New PR Wiki, The New PR Wiki online, Nature of Transparency, retrieved 16th August 2013, < www.thenewpr.com>
marketing exercise”59.
By definition, a greater degree of transparency would mean fewer chances for companies to
abuse the communications in their own interest. Maloney’s theory about the PR-isation of the
media implies that if PR material appears on the press without declaration, mixed within
journalistic content, the lack of transparency opens a big window for manipulation, so
readers trust the media because they perceive it is an independent voice. For the same
reason, brands acting as publishers and producing journalistic content without declaring the
authorship or the intentions of the content would in fact abuse the communications in their
own interest. However, as Maloney say, nowadays readers are much more literate and a lack
of transparency can actually affect their credibility60.
Regarding the media, the New PR says “the media is transparent such as when there are
many, often competing, sources of information, when much is known about the method of
information delivery and the finding of media production is publicly available”61. Taking this
definition into account, it would mean that brands acting as publishers would have to add the
competitor’s point of view in order to be transparent. However, Julia Jahansoozi also explains
that transparency can have a detriment effect so “Radical transparency”62 can negatively
impact on the decision-making process 63. An overload of information can generate confusion,
therefore brands adding products from competitors might confuse the audience. In addition
to this, an extreme degree of transparency also imply risks in terms of privacy, competition
and control, therefore, brands featuring competitors might damage their own interests.
The author poses PR as the filter of information which “enables to construct meanings,
25
59 The New PR Wiki, The New PR Wiki online, Nature of Transparency, retrieved 16th August 2013, < www.thenewpr.com>
60 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
61 The New PR Wiki, The New PR Wiki online, Nature of Transparency, retrieved 16th August 2013, < www.thenewpr.com>
62 The New PR Wiki, The New PR Wiki online, Nature of Transparency, retrieved 16th August 2013, < www.thenewpr.com>
63 L’Etang, J., Pieczka, M., Public Relations: critical debates and contemporary practise, Laurence Erlbaum Associates, 2006
emphasizing social engagement”64. Therefore, PR has an important social role and a position
of power to discriminate content, select and present the information.
As in Brand Journalism there isn’t a gatekeeper, the rules of disclosure rely on the ethical
values of the content creator. This position of power implies a big responsibility of PR towards
the society and therefore transparency should be key when producing brand journalism.
Fustenberg, cited in “Public Relations: Critical Debates and Contemporary Practice, says
“transparency only reveals the behaviour and not the intent behind it”65. If it is true that
brands can use transparency as a way of generating trust, it also should be used as a way of
balancing relationships out and therefore avoiding any abuse of power. As transparency is a
concept that have multiple implications, positive and negative, Fustenberg thinks that it
should be used carefully considering “who gives transparency, who benefits from it and up to
what point the benefits to one side exceed the costs to the other”66.
2.7 Other Factors that Build a Credible Source
PR is a discipline of the persuasive kind. In fact, Maloney explains that PR wants the listener
to accept, however, in order to pursue its goal, it is essential for PR to establish a credible
source for messages. Therefore, it is crucial to analyse what conforms credibility and what
are the main factors that build a credible source. McCroskey says “credibility is that attitude
towards a speaker held by the listener”67, explaining that it is the audience who give
credibility to the source and not viceversa. However, there are different factors retained by
the speaker that transmit credibility. For example, Aristotle said that the character of the
speaker is the most powerful factor68.
26
64 64 64 L’Etang, J., Pieczka, M., Public Relations: critical debates and contemporary practise, Laurence Erlbaum Associates, 2006
65 L’Etang, J., Pieczka, M., Public Relations: critical debates and contemporary practise, Laurence Erlbaum Associates, 2006
66 L’Etang, J., Pieczka, M., Public Relations: critical debates and contemporary practise, Laurence Erlbaum Associates, 2006
67 Tench, R., Yeomans, L., Exploring Public Relations, Prentice Hall, England, 2006
68 Tench, R., Yeomans, L., Exploring Public Relations, Prentice Hall, England, 2006
Harold Lasswell established a transmission model of communications based on “Who says
What in Which channel to Whom to What effect”69, summarising all the different elements,
which within the communication process, have the power to influence credibility. As seen
above, Aristotle gave the maximum power to the personality of the speaker and Perloff
explains that there are four elements retained by the speaker that help the audience to give
credibility to the message: expertise, trustworthiness, similarity, and physical
attractiveness 70. In fact, PR uses these elements as third-party endorsement to back up their
messages, for example, experts would validate a message, consumers would transmit
proximity and celebrities would endorse a product or a cause.
In most of the cases, PR uses traditional media to publish messages using these forms of
third-party endorsement, but it would be interesting to anlayse the power of these
endorsements, taking traditional media out of the equation: is PR able to build a credible
source using these forms of third-party endorsement? The atribution theory, cited in
“Exploring Public Relations”, explains that the audience wants to know the reason why the
speaker valiedates a message: “do they really think what they are saying?”71. Money, status
and profession affect the motivations of the speaker and therefore have an impact on the
credibility of their words. In some cases, bands establish a commercial relationship with
third-parties such as celebrities and perhaps that can have a detriment effect on their
credibility. In fact, the use of celebrity is a tool of double effect, so their personal attitude can
either help or hinder a brand.
Another interesting factor that affects credibility is the power that the speaker has over the
audience. Raven explains that there are different types of power based on the access to
information, pertinance of a social group, expertise, legitimation and rewards.
27
69 Tench, R., Yeomans, L., Exploring Public Relations, Prentice Hall, England, 2006
70 Tench, R., Yeomans, L., Exploring Public Relations, Prentice Hall, England, 2006
71 Tench, R., Yeomans, L., Exploring Public Relations, Prentice Hall, England, 2006
Regarding the power of pertinance, William Daddy says “consumers are looking to reaffirm
their personal identity thought the content they choose to access”72. In fact, readers choose
to consume a title because they feel identified with it. For example, the readership from
VOGUE is different from the readership of TATLER magazine, so each group of readers feels
identified with the values they transmit. It is interesting to point out that people also
consume a brand because they feel they belong to a certain community73. The marketing
battle, especially in fashion, is no longer focused on the product but on the lifestyle values
that the brand transmits. Because of that, it is interesting to analyse whether the power of
the brand would transfer a referent value to the publication.
Also, research shows that some people are easier to influence than others and the key factor
in between is related to self-esteem. For example, readers with lower self-esteem would be
easier to persuade, while readers with a higher self-esteem would question the message
before forming an opinion. However, those easier to persuade, would engage with superficial
elements such as colour or emotion and therefore would be also easy to convince by another
sender using the same elements 74. On the other hand, those with a higher self-esteem would
also refuse challenging messages in order to maintain their believes. In fact, this shows a
parallelism with the theory affirming that readers consume a certain type of media to
reinforce their personality.
On the other hand, the content itself also has an effect on the credibility of the message. PR
usually build a message using different arguments that tend to support only one point of
view. Research shows that more educated people are more interested in receiving two points
of view, even if the message finalises with the brand’s point of view75. Maloney agrees that
nowadays, the public is better educated and therefore the PR messages are subject to
question. The author introduces an interesting theory “it is possible to find people who
28
72 Karolefski, J., Brand Channel online, PR Stirs it Up, 14th July 2003, retrieved 16th August 2013, < www.brandchannel.com/>
73 Lea-Greenwood, G., Fashion Marketing Communications, John Wiley & Sons, Ltd, London 2012
74 Tench, R., Yeomans, L., Exploring Public Relations, Prentice Hall, England, 2006
75 Tench, R., Yeomans, L., Exploring Public Relations, Prentice Hall, England, 2006
appear to want to consume PR propaganda”76, especially referring to brand fans, who are
more likely to be influenced by messages reinforcing only one point of view. However,
Maloney explains that even if the reader is willing to consume PR messages, that doesn’t
necessarily mean that they will agree with the message, giving the audience the power to
decide.
The use of such endorsements like celebrity helps to create newsworthy content, especially
within the fashion industry, where celebrities are key in setting trends. A study from Yale
University regarding the power of the source showed that after a few weeks of exposure, the
audience remembered the message but no the source77. This highlights Young’s theory about
the need of providing interesting content to engage with readers, and perhaps the use of this
endorsements can help brands not only to validate the message, but also to provide
interesting content.
29
76 Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
77 Tench, R., Yeomans, L., Exploring Public Relations, Prentice Hall, England, 2006
Chapter three: Methodology
3.1 Introduction
The background information presented in the introduction of this dissertation, as well as the
theoretical models analysed in the literature review, show the most relevant, up to date
research around the topics of third-party endorsement, credibility and transparency in
relation to brand journalism within the fashion industry; introducing a gap for further
analysis. This dissertation aims to develop the topic further by conducting qualitative
research based on a content analysis of brand publications and interviews with experienced
practitioners and journalists. It looks at the performance of the new phenomenon, analysing
its implications for the Public Relations industry, correlating expert’s opinions with the
theoretical models but it does not attempt to present, prove or deny any theories. It aims to
provide new insights into the topic, which can also inspire future research.
3.2 Hypothesis and Research Questions
Brand Journalism is an opportunity for fashion brands to build a relationship with its publics.
However, as it changes the traditional PR model of third-party endorsement, it poses risks in
terms of transparency and credibility.
In order to develop this hypothesis, the following research questions are taken into
consideration:
RQ1: What are the approaches to brand journalism that brands are using at the moment and
why?
The media landscape is experiencing an increase of brand publications and as different
brands have different approaches to Brand Journalism, their implications in terms of
transparency and credibility may apply differently. Therefore, this question is aimed at
providing an understanding of how fashion brands are currently developing brand journalism
in order to set the scene for this research.
30
RQ2: How transparent is the brand authorship within the content?
As seen in the literature review, PR has commonly used the endorsement of the media
because their perception of independency gives more credibility to the message. As brands
are becoming publishers, it is interesting to analyse whether they are attributing the
authorship of the content to themselves or pretending to be independent by not linking the
content with the brand.
RQ3: Do PR practitioners think that the transparency of the brand authorship within the
content has an impact on its credibility?
As brand journalism challenges the traditional PR model of third-party endorsement, if
brands are transparent with their approach, does it have an impact on the credibility of their
words? As seen in the literature review, transparency and credibility go together and it is
interesting to analyse the impact of those two concepts to the different approaches in the
current media landscape.
3.3 Research Methods
The qualitative research used for this dissertation includes a content analysis of three brand
publications and interviews with relevant practitioners and journalists.
The content analysis considers five issues of The Edit, Net-a-Porter’s magazine, and MANGO
as well as an overall look at the archives of NOWNESS, from LVMH. It looks at visual and
written clues that link the content to the brand as well as the look and feel of the publication
and whether they use other forms of endorsement within the content, such as celebrities or
consumers. It also looks at the main approach to Brand Journalism and whether they cover
their own products, mention competitors, include links to e-commerce or just mention
lifestyle stories. The samples extracted from the analysis are used as evidence to support the
main findings and visual aids can be find in the appendixes. Ultimately, the content analysis
provides an understanding on how those fashion brands, mainstream and luxury, are
31
developing Brand Journalism and the implications that the different models have in terms of
transparency and credibility.
As Brand Journalism implies different areas of expertise, the professionals approached for
the research come from different backgrounds: digital strategy, fashion PR, brand journalism
and also journalism. The inclusion of journalists into the research, gives an external point of
view, adding value to the discussion. Interviews were conducted via e-mail, phone and face
to face.
3.4 Respondents
Mireia Tomas is a fashion account manager at Gablons Public Relations and Communications
in Barcelona; Sharon N. Hughes is a consultant and online marketing specialist for fashion
brands with an extensive experience in Public Relations and also acts a lecturer at The
London College of Fashion; Juan Mora is a fashion account manager at Bryan Morel PR and
works for MANGO in the UK; Tom Martin has an extensive background on advertising and
digital communications, he is the founder of the digital strategy agency Converse and he also
gives talks on communications and analysis of the media; Andy Bull is the author of the
recent published book ‘Brand Journalism’, he has an extensive experience as journalist
working for both brands and traditional media and he also works as editorial consultant; Ruth
Atherley is the communications strategist and brand journalist at AHA Creative Strategies, an
agency specialised in delivering PR in a digital age; Maria Rodriguez is the marketing director
at Conteam, a digital communications agency based in Madrid, and she also has an extensive
background working for fashion brands; Sophie Maguire is the editor in chief of Semple
Magazine; Kate Reardon is the Editor in chief of Tatler Magazine in the UK and has also
worked for VOGUE USA and Vanity Fair, and finally, Eric Wilson is a fashion editor for The
New York Times and writes about the evolution and challenges that the fashion industry
faces nowadays.
32
3.5 Limitations
Even though an overall research on the Brand Journalism landscape has been conducted to
discriminate the different models currently being implemented by fashion brands, this paper
focuses only on a small number of global publications, therefore the findings cannot be
generalised for the overall industry. Moreover, the brands analysed in the content analysis
were not able to share their PR strategy, therefore findings haven´t been contrasted with the
source and the views cannot be accurately analysed. Findings are mostly based on insights
provided in the interviews, which, on the other hand, should also be seen as individual
thoughts on fashion brand journalism within the industry. Furthermore, because of a lack of
resources, this research does not look at the opinion of readers and given the relevance of its
point of view, a study of the audience is suggested for further research.
33
Chapter 4: Findings and Discussions
4.1 Introduction
This chapter provides an in-depth analysis of the research findings while enabling a
discussion considering interviewees points of view and the theoretical models provided in the
literature review. In order to provide an insight into the research questions explained in
chapter three, it shows the different approaches to Brand Journalism that brands are
currently developing, analysing the transparency of the authorship within the content as well
as looking at different opinions regarding the link between the authorship and the credibility
of the source. It also provides an overlook to the current media landscape as well as
providing relevant insights about factors that have had an impact on the credibility of brand
publications.
4.2 Fashion Brand Journalism Landscape: the Three Approaches that Rule the Media
After analysing the Fashion Brand Journalism sphere, research shows three different
approaches to Brand Journalism: ‘One-Brand’, ‘Multi-Brand’ and ‘Off-Brand’. While all three
cover different kinds of stories based on the lifestyle of their target audience, only two of
them have product presence and direct links to e-commerce.
A clear example of the ‘One-Brand’ approach is MANGO magazine, a monthly title published
on the brand’s website. Each issue promotes a specific trend linked to its products, using
interviews with bloggers, photo shoots, competitions and product reviews. All the stories are
product-led and include direct links to e-commerce. As the brand sells worldwide, the
magazine is translated into several languages, offering a local approach within a global
strategy. Each issue has an average of 11 pages and the structure changes depending on the
title. Even if the brand offers the information in an editorial format, the magazine only covers
their products, offering just one brand to solve the trend challenges 78.
34
78 See appendix 1.1: One Brand: MANGO Magazine
On the other hand, The Edit is a fashion, lifestyle and beauty magazine published weekly on
Net-a-Porter’s website, that offers a ‘Multi-Brand’ approach. Each issue covers different
trends by interviewing celebrities, featuring artists, travel destinations, doing product
reviews and giving tips to the reader; lifestyle photo shoots, videos and product pictures are
the core visuals of the publication. Each issue has an average of 30 pages and this includes a
front cover, letter to the editor, contents section, advertising and a contributor’s list in the
end. All the stories always follow the same structure and the content is divided by ‘The List’,
where the reader can find tips of different kinds of topics, ‘Cover Story’, which normally
includes an intimate interview with the celebrity featured on the cover, ‘Style Rethink’, a
retrospective on trends and iconic items, ‘The Interview’, which normally includes a style
icon, ‘Beauty’, with product reviews and advice, and ‘Travel’, featuring top travel destinations.
There is another section, which varies depending on the issue and it goes from featuring tips
for exercising to make up master classes, for example. Even though all the stories are told
from a lifestyle perspective, they include product presence, exclusively from those brands
sold by Net-a-Porter, as well as including links to e-commerce. Featured celebrities wear their
clothing, style icons are also styled using Net-a-Porter products, and stories featuring travel
destinations include “what to wear there” sections. Also, stories talking about exhibitions are
linked to their brands. For example, one of the must see exhibitions they feature on “The
Pre-Fall Issue”, is about Karl Laguerfeld and Fendi, a brand that is on the brand’s portfolio79.
An example of the third approach is NOWNESS, a daily lifestyle media owned by the fashion
conglomerate LVMH, which doesn’t include a product presence, neither is linked to the brand.
As the authors describe it, it delivers high-end culture experiences online, covering luxury
lifestyle stories about art, beauty, culture, design, fashion, gastronomy, music, sports and
travel. With exclusive collaborations with artists, photographers and filmmakers, NOWNESS
offers original content, exclusively curated for the site. The content is story-led instead of
product-led and it doesn´t include links to e-commerce80.
Talking about The Edit, Eric Wilson, Fashion Editor for The New York Times, explains that
even though it looks like journalim, it cannot be considered journalism: “I think it’s a mistake
35
79See appendix 1.2: Multi Brand: The Edit
80 See appendix 1.3: Off Brand: NOWNESS
to consider Net-a-Porter magazines to be journalism...so basically their job is to make pretty
press releases. The big difference today is that they are able to send them directly to the
consumer, as opposed to the press”. In fact, the first two approaches to brand journalism
have a commercial focus. The Edit and MANGO Magazine enhance all the stages of the
decision making process, from inspiration to purchase, so readers can make the purchase
after being inspired by the editorials. However, NOWNESS strategy is about building a media
channel to generate awareness instead of pushing sales.
Nevertheless, it is important to set the scene of the different approaches that brands are
currently implementing because as they have a different focus, different risks in terms of
credibility and transparency apply.
4.3 Authorship of the Content Linked to the Brand: Three Degrees of Transparency
The content analysis shows that there are three different levels of linking the authorship of
the magazine with the brand. While MANGO Magazine uses the same branding for the
magazine and it is the brand itself that speaks to the reader, Net-a-Porter uses a different
branding and a journalistic voice. In those cases, the brand is transparent regarding the
authorship, however, as NOWNESS has a different branding, it is located in an independent
site and doesn’t state the link between content and the brand, this raises questions
regarding the transparency of the source.
In MANGO Magazine, the logo of the company always appears when the magazine is loading
and in some cases it appears on the first page. Even though the features are not signed,
within the text there are appreciations of authorship such as the use of the first person
narrative as it is the brand talking to the reader. In addition to this, the magazine is located
on the same website, so the link between the magazine and the brand is clear81.
The Edit appears on the landing page of Net-a-Porter but distinguishes itself with a different
branding, separating itself from the main brand. In addition to this, the magazine is edited
by Lucy Yeomans and all journalists, designers, stylists, photographers and production
36
81 See appendix 2.1: MANGO Magazine
managers are listed in every issue, not only in the contributor’s page but features are signed
by them. In this case, it is not the brand that speaks to readers but the journalists
themselves82.
According to Ruth Atherley, Communications Strategist and Brand Journalists at AHA
Creative, as long as there is brand presence, the link between the content and the brand is
clear for the reader and therefore those models don´t present risks in terms of
transparency: “The same way that I would expect the average person to understand what
the underlying editorial mandate is for any media outlet, I would expect that if you go to an
organization´s website and read an article about brand journalism and they are transparent
that they developed the piece – that there is editorial integrity there.”
However, as seen in the literature review, The New PR considers that a media is transparent
when it includes competitors, so even though the authorship of the content is transparent, as
they don´t include other products but their own, risks in terms of transparency actually
apply.
On the other hand, NOWNESS uses a different branding and it is located in a different
platform, separating itself from the fashion conglomerate and therefore giving an idea of
independency. In fact, even though it is under the LVMH fashion portfolio, next to Louise
Vuitton, Möet Chandon or Fendi on their corporate website, on the NOWNESS site, there isn
´t any reference or link to LVMH 83.
All stories are presented using short films or images with a body text that supports the
visuals. While the text is never signed, short films are credited, showing the names of the
artists, film directors and production teams. In this case, it is the media itself who talks to
the reader. Even if it pretends to be independent, the content analysis shows that most of
the stories published under art, fashion, design and beauty have indirect links to brands
owned by the group, uniting the editorial line with its brand strategy; promoting their brands
by appealing to the lifestyle of the target audience that purchase their products.
37
82 See appendix 2.2: The Edit
83 See appendix 2.3: NOWNESS
The content analysis shows that the content promotes brands in three different ways:
product placement84, advertorial without disclosure85 and key words in text86. On the other
hand, the content also presents links to other brands which are not included in their porfolio,
for example, complimentary brands like NIKE or main competitors like brands from GUCCI
Group. The fact that they mention competitors in some cases, make their approach more
transparent.
However, as it might be difficult for the reader to understand that the fashion conglomerate
owns all the brands mentioned in the content, the platform might give an idea of
independency but it has big lack of transparency. In fact, this approach to Brand Journalism,
it is close the concept of astroturfing defined in the literature review: “the practise of falsely
creating the impression of independent, popular support by means of an orchestrated and
disguised marketing exercise”.
When asking PR professionals about the transparency of NOWNESS, opinions were
completely different. Sharon N. Hughes, online marketing specialist, said that NOWNESS
showed the ability for editorial independence not tied to the brand. However, Mireia Tomas,
fashion account manager at Galbons PR and Communications, said that it is not clear for the
reader if there is a brand behind. Mireia Tomas also pointed out an interesting idea, saying
that among the three approaches, NOWNESS would be the one that readers would pay more
attention to and also, because it doesn´t look like it is linked to a brand, this would give
more credibility to the message. One of the reasons why NOWNESS doesn´t mention the link
with LVMH might be just this, that the idea of independency gives more authority to the
source, giving up on transparency in favour credibility.
4.4 Editorial Format Helps to Deliver Branded Content
The content analysis shows that two of the three approaches analysed imitate the look and
38
84 See appendix 2.3.1: Product Placement
85 See appendix 2.3.2: Advertorial
86 See appendix 2.3.3: Key words in text
feel of traditional fashion magazines, however, they only feature products from their brands.
Even if they look like independent titles, PR practitioners and journalists coincide that the
look and feel doesn’t affect their credibility, so readers are able to differentiate between them
both.
The Edit and MANGO Magazine combine a serif font from the Didone family, also used in
titles such as ELLE or VOGUE. Lifestyle photo shoots with product presence, behind the
scenes videos and product pictures give an editorial look to the content. The Edit also uses a
celebrity on the front cover, tactic used by traditional fashion magazines since the 90s. Also,
it is interesting to point out that Net-a-Porter’s website also uses the same typeface - De
Vinne Roman - for titles on their website, extending the editorial look to the whole
platform87.
Asking PR practitioners and journalists whether readers perceive those titles as independent
magazines, both agree that the design doesn’t impact on their credibility but it helps
delivering the message instead.
Eric Wilson, fashion editor for The New York Times, explains “credibility no, but it makes
them more accessible by speaking in the language of magazines”. Also, Tom Martin says that
it wasn’t until the release of tablets, when traditional magazines could reproduce the familiar
print look in a digital environment, when the adoption of their digital versions grew: “…
consumers tend to adopt the familiar over the unfamiliar”.
On the other hand, Ruth Atherly points out that the same way that readers are able to
differentiate between advertorial and news, they differentiate between branded content and
independent content, even if they look the same: “I think that consumers are very smart and
they don´t get tricked by marketing messages hidden in editorial style design…they want
editorial style content that is credible and reliable”.
39
87 See appendix 3.1 Format Examples
4.5 Without the Filter of Journalists, Consumers Become the Gatekeepers
In addition, to give credibility to the message, the role of journalists is also validating the
information and questioning PR sources, by investigating other points of view. With brand
journalism, the figure of the gatekeeper disappears and PR can publish stories without filter.
This poses risks in terms of transparency so brands might take advantage to publish only
one side of the story and curate the message to benefit the organisation. However, research
shows that, in a digital age, without the filter of journalists, consumers become the
gatekeepers.
In the literature review, Maloney appoints that nowadays consumers are more educated and
therefore have more tools to spot covered information. In fact, the author explains that
consumers are willing to consume PR propaganda but they also have the knowledge to
discriminate the messages. Both, journalists and PR practitioners interviewed for this study
also agree that consumers are savvy enough to identify the authorship of the source, value
their intentions and therefore make full-informed decisions. Kate Reardon, editor in chief of
TATLER UK, explains: “...consumers are sophisticated enough to know exactly what
messages is being told”. Also, Eric Wilson says: “...readers are very sophisticated today and
they are very likely to notice if things are not authentic”. In addition to this, Tom Martin
adds: “consumers have a highly tuned bullshit meter and brands that attempt to pass
advertorials as editorials will be discovered and shunned”.
In their opinion, consumers have tools and the ability to seek the truth so, if brands try to
hide marketing messages within the content, readers will spot it and won’t engage with
them. Also, if the content is not relevant for them, they won’t engage either. The same way
that journalists won’t publish a story that is not relevant for the audience, consumers won’t
read it.
However, Andu Bull, author of the book ‘Brand Journalism’, explains that “Brand Journalism
should be presented with transparency, just as traditional publishers put advertising feature
on sponsored content”. Maloney also pointed that out on his theory about the PR-isation of
the media, explaining that it should be disclosure of PR sources.
40
The truth is that none of the three approaches analysed for this study have a disclosure
message within the content. However, as seen before, the branding clues in MANGO
Magazine and The Edit help the reader to understand that that is branded content. The major
concern comes with NOWNESS who are pretending to be independent hiding marketing clues
within the content. For further research, it would be interesting to analyse what readers
think about this platform specifically.
4.6 Independency in Building Credibility
As seen in the literature review, third-party endorsement means getting the support of
independent views and it is this concept of independency that gives credibility to the source.
In fact, Morris and Goldsworthy explain that the use of third-party endorsement is what
defines PR and so when PR develops its own media, it loses its unique selling point. However,
considering the endorsement of the media, are traditional fashion magazines that
independent? Professionals interviewed for this dissertation agree with Maloney’s point of
view about the media; when it becomes a business, the values it stands for become blurred.
In fact, they consider traditional media to be a brand of its own.
Traditional fashion magazines such as VOGUE or TATLER are mainly product-led and that
makes them dependable of brands to provide content. Kate Reardon says “we don’t depend
on the brands to give us press releases or images but we do depend on the brands to create
products that our readers are going to buy and read about it”. However, considering that PR
is the link between the brand and the press, journalists do rely on PR as a source of
information subsidy. As Maloney says in the literature review, if journalists fail on their
scrutiny, the role of PR as producer of information can affect their editorial line.
Advertising can also affect their view. Sophie Maguire explains “I believe once a magazine, or
any publication, set about making a profit from advertising they lose their voice,
independence and in turn respect...print magazines will inevitably fold without some ad
backing of course, but when a magazine can survive from ad backing alone they no longer
impartial forward thinkers”. However, Eric Wilson thinks that there is still a large degree of
41
independency “of course there are pressures. And of course magazines cover the companies
that advertise with more prominence than those that do not...but for the most part, the
choices they make reflect a large degree of independency. Whenever a designer tries to
assert too much control, you still see resistance, like VOGUE does not cover Girogio Armani
very much, even though he pulled his advertising”.
Sophie Maguire also makes a link between independency and credibility “By selling out and
having words put into their mouths, they lose credibility and any editorial independence that
once was”. In fact, Maloney explains that if journalists fails in providing an independent point
of view, there is an effect on the credibility, so consumers are more educated and have the
tools to identify when news are not genuine.
It looks like independency helps building credibility, however, when it comes to the media,
interviewees coincide that it is an utopia. Andy Bull explains “It is naïve to think that
traditional publishers are independent. The Daily Mail is a brand, as is The Times, as are all
the publications I have worked for. Each of those publishing brands has an agenda, and the
journalists on a title know what that agenda is and stick to it when making their news
judgement”. Ruth Atherley adds “I think that no matter who develops the piece - it is
important to keep in mind what the agenda of the writer / producer of the piece is...media
can also have corporate agendas”.
If traditional media is not that independent and that is affecting their credibility, could brands
produce their own content and expect to be credible? Is independency key to building a
credible source for messages? From the blogger’s example analysed in the literature review,
it looked like what really damages credibility is a lack of transparency, so the miss use of
third-party endorsement is understood as black propaganda. Talking about brand journalism,
Sophie Maguire explains “the integrity of the message is slightly different. It’s this upfront
sale from a brand that I believe works in their favour”. Because of that, perhaps what it
matters is honesty and not pretending to be independent.
42
4.7 Transparency as a Trust Builder
In the literature review, Julia Jahansoozi explains that transparency is key to establish a
dialogue with publics and journalists and PR’s interviewed for this study coincide that
transparency is a trust builder. Therefore, those brands using a transparent approach are
more likely to engage with their readers.
Both Eric Wilson and Kate Reardon believe that readers need to have a sense of trust in the
authorship of news. PR’s explain that in order to build a sense of trust, brands need to be
authentic about the brand journalism approach, being transparent about their intentions at
all times. Andy Bull explains that “wise publishers, and wise brands, seek to produce
journalism / brand journalism that is untainted by commercial interests, political affiliations
and so on, or which is transparent about those interests etc are”. Tom Martin also supports
this idea by saying “consumers are willing to engage with brands but they would rapidly
dismiss brands attempting to deliver biased content.” Also Ruth Atherley corroborates the
point “I believe transparency is important and credibility is built through honest authentic,
transparent communication.”
As they include links to e-commerce and different branding clues within the content, The Edit
and MANGO Magazine are clear about their intentions: they sell the products they have in
stock. However, NOWNESS’s intentions are not as clear and while hiding the authorship of
the content might initially work in their favour, it can also be seen as an intention of
providing biased content and therefore might generate trust issues with their audience.
In chapter two, McCroskey explains that is the audience who give credibility to the source
and Tom Martin, gives an interesting insight that also links transparency with credibility: It´s
really an illusion that is only broken if a brand or media vehicle is “found out” so I think it´s
an outcome of broken credibility versus a status in an of itself.”
Comparing the degrees of transparency delivered by traditional media and brand journalism,
Andy Bull explains “what is important is that the consumers of news and information are
aware of the agenda behind the brand they are consuming that news and information from.
43
With traditional news brands, it is often hard for the average person to know what the
agenda is. With a brand that is not primarily a publisher, it is often easier for the average
consumer to assess what the agenda might be”. Also Sophie Maguire agrees with him by
explaining “once people realise their £4.90 Vogue is in fact a walking advert of deceit, will
they decide to spend their money elsewhere? On brand journalism perhaps, where yes they
are being sold a lifestyle and, or a product, but it is done with an honest integrity that a
customer will spot and appreciate.”
Maloney explains that commercial interests and dependency on PR have an impact on the
transparency of traditional media, which also affects their credibility. In fact, the author
explains that PR should be a media system in its own right, precisely to avoid the lack of
transparency and the detriment effect on credibility. If the authorship of the content is clear,
it looks like Brand Journalism appears to be an opportunity for brands to be transparent and
therefore build trust among their audience.
4.8 Content versus Authorship in Transmitting Credibility
In the literature review, Phillip Young appoints that “PR as endorsement fails”, saying that
the key in transmitting credibility relies on story-telling skills. PR’s interviewed for this
dissertation believe that third-party endorsement is, in fact, a trust builder but the quality of
the content is key in engaging with readers.
When talking about the influence of traditional fashion magazines, Eric Wilson provides an
interesting insight: “It is based on creating the impression of authority and the imprimatur of
coolness. Fashion magazine readers want to be cool. They want to see a fantasy, and they
also want to feel they belong”. Regardless of the authorship of the source, brand journalism
also creates this aura of coolness. In fact, Juan Mora explains that coolness is one of the key
attention drivers for MANGO Magazine and celebrities that the brand associates with, play a
major role: “How cool is MANGO that associates itself with such a cool person”.
Kate Reardon thinks that the influence of traditional fashion magazines is based on
journalistic skills and their ability to provide quality content: “Magazines are influential due to
44
the skill of editors and stylists and they are the first form of curated content”. In fact, Net-a-
Porter trusts former editors to develop their magazine, so they have got the knowledge
about how to curate the content.
Phillip Young thinks that brands need to add different points of view in order to provide
engaging content. Telling other points of view not only would give more transparency to the
publication but it would also increase their credibility. Practitioners explain that consumers
expect brands to deliver entertainment and information, not only sales. While it might look
like brands are afraid to feature products from competitors, Tom Martin explains that adding
other brands on would enrich the reader’s experience: “It´s not like the consumer isn´t
aware of these alternatives so discussing them with your branded content doesn´t help sell
those brands. It simply makes your content more valuable to the reader. By removing the
need to expose themselves to other media to get the complete picture or total information, a
brand increases its opportunity to develop greater propinquity with the consumer. This
propinquity leads to the consumer from awareness to knowing to linking to buying from a
brand.”
On the other hand, Andy Bull points out that “the best brand journalism will be identical to
really good, balanced, traditional journalism” and Tom Martin says: “…brands committed to
entertaining, educating and helping consumers lead better, more interesting and informed
lives via the creation and distribution of great content, will see consumers see them (the
brands) as equal to traditional journalists”.
In their opinion, relevant content has the power to bypass the influence that a third-party
would have on readers for adding an independent view on the story. However, Kate Reardon
points out that traditional fashion magazines are influential because they are the first form of
curated content, introduction a factor of time in building a bond with readers. Also, Tom
Martin, explains that a trajectory on time is crucial to became a trusted source: “The New
York Times didn´t build its audience over time, it has taken them over 100 years to gain the
reputation and audience they have. Given the expansiveness of digital tools and social
platforms, it may not take a brand 100 years to develop that audience but it´s not going to
happen in a few years either”. Finally, he points out that “during the transition period, brands
45
need to focus on how they can leverage traditional media to not only drive sales today but
audiences tomorrow”.
4.9 Convenience versus Authorship of the Source
PR’s and journalists coincide that commercial motivations of brands such as MANGO or Net-
a-Porter, which include e-commerce links within their publications, only make it easier for
consumers and don’t necessarily affect the trustworthiness of the source, specially because
they are transparent about their intentions.
Sharon N. Hughes explains that nowadays consumers are “mobile buyers” and that
convenience prevails to trust. Also, Kate Reardon explains “I think it makes perfect sense for
all of these boundaries to be blurred when it comes to retail commerce and fashion”,
explaining that it is logical for consumers to buy directly from the source of inspiration. She
also explains that readers “are not as naïve as they might have been in the 1950’s”,
therefore they know what they are buying into and they value the practical side of it.
In fact, Kate Reardon gives an interesting insight: “I think everybody has commercial
motivations...you still have to sell journalism, everybody is selling something”. However, it is
interesting to point out that most of the e-commerce ventures of traditional media failed.
Regarding his article for The New York Times ‘Magazines Starting to Sell the Fashion they
review’, Eric Wilson explains “What is more concerning is when VOGUE is selling a product,
because it does damage the magazine credibility when they are seen as being in business
with the subjects” adding, “I think it’s very interesting that of all the examples I cited in the
2011 article, most of them actually failed.” This shows an interesting trend to consider: it
looks like retailers could use editorial but when editors join e-commerce, the business
damages their credibility. It looks like consumers expect brands to sell but not traditional
magazines. In fact, Maloney says that commercial motivations can ultimately affect the
credibility of the media, and this is just a practical examples about it.
46
4.10 Influencers Help to Build a Credible Source for Messages
In addition to the use of the endorsement of the media, PR has traditionally used other
endorsements such as experts, consumers or celebrities to validate their messages. As seen
in the literature review, their power of influence is not only based on third-party
endorsement - being independent from the main source - but also on the elements of
expertise, trustworthiness, similarity and physical attractiveness, which Perfoll attributes as
factors that help the audience to give credibility to the message. The content analysis shows
that all three approaches to brand journalism use these different type of influencers and PR’s
and journalists agree that this is helping brands to be perceived as an authoritative source.
According to their positioning, MANGO Magazine features mostly bloggers and customers;
The Edit Hollywood stars and celebrity models and NOWNESS includes different types of
celebrities, artists and also readers within its content.
For example, each issue MANGO features a fashion blogger or style icon, which gives style
tips on combining their products. The use of these influencers not only drives traffic to the
magazine from other trusted sources, like their blogs or social media platforms, but as Juan
Mora explains, it also gives more credibility to the source: “…as celebrities are the ones
communicating the message, they work as brand ambassadors …Because MANGO is linking
their messages to people that have a non biased opinion…it looks less forced than other
bigger names that are clearly being paid to say so. Because people trust them and their
fashion opinion then they trust MANGO”88.
From Juan’s quote, it is interesting to point out the relation between money and credibility,
which links back to the attribution theory, which explains that the public wants to know the
reason why the speaker validates the message. Interpreting his words, it looks like bigger
names, used by other brands would have less credibility because people would assume they
have been paid. Less popular personalities would then have more credibility because readers
would assume they haven´t been paid, however, they might have been paid anyway. In fact,
Maria Rodriguez, marketing director of CONTEM, corroborate Juan’s words: “…if brands abuse
47
88 See appendix 4.1: MANGO Magazine Use of Fashion Bloggers
the use of bloggers or celebrities that are the image of too many brands, the credibility or
the value that they can create for the brand decreases dramatically”.
Juan Mora also explains that MANGO Magazine is oriented to engage with brand fans in an
editorial form “the role of the magazine is to create and give MANGO even more fashion
credentials, make the brand relevant and fashion orientated, without shouting” referring to
the use of advertising. In fact, the magazine has a clear customer focus; it promotes style
competitions among their customers, offering them the possibility of being featured on the
title and also, interviews with bloggers include questions about MANGO’s key items for the
season and tips for their customers. This inclusion leads to a two way communication tactic
in pro to engagement and brand loyalty and it also shows an intention of using customers as
influencers, appealing to the similarity factor explain above89. Also, Andy Bull, highlights the
importance of customers as the most powerful endorsers: “Celebrity endorsement sounds
very old media to me. I believe most brands would rather have the mass endorsement of
many ordinary people.” However, Kate Reardon explains that celebrities are key and “all the
different forms of media are going to use celebrities in which ever way they can”.
The Edit uses Hollywood celebrities such as Liv Tyler and celebrity models such as Georgia
May Jagger or Miranda Kerr for their cover pages. Also, the content analysis show that there
is a main presence of big names such as Alexa Chung or Olivia Palermo in the inside pages90.
The use of high-profile names drives attention to the magazine but also talks about a fashion
conscious reader, sophisticated and more likely to be influenced by “red carpet” icons. The
physical attractiveness of these referents also helps the magazine to build its credibility
around fashion. Because of that, the magazine not only serves as a tool to engage with high-
end customers with a strong purchase power but it also serves as a source of style
inspiration. The use of celebrity fashion photographers such as Mario Testino, well known for
producing photo shoots for VOUGE, also gives fashion credentials to the publication91.
On the other hand, The Edit also uses the power of influence of the fashion editor; features
48
89 See appendix 4.2: MANGO Magazine: Use of Consumers
90 See appendix 4.3: The Edit: Use of Celebrity
91 See appendix 4.4: The Edit: Use of Celebrity Photographers
are signed by brand journalists and even though they respond to the brand, they might be
perceived as independent experts. Also, the use of luxurious brands within the content,
transfers a referent value to the publication, so those brands are perceived as experts within
the industry and therefore they have a strong power to set up trends.
It is interesting to point out that on “The Lofi Luxe Issue”, cover girl Georgia May Jagger, is
also the main image of Katie Grand’s collection for Hogan, which can be also bought on their
website, showing a clear link between the selection of celebrities and the brand itself.
The third approach, NOWNESS, uses three different recommendations: ‘Editors Curate’,
‘Contributors Picks’ and ‘Most Loved’, including reader’s point of view. This way, contributors
are not only are commissioned to contribute with their art but they also act as endorsers of
stories, mentioning their preferences 92.
NOWNESS also uses celebrities within the content but it doesn’t tap into their private lives, it
uses them as muses for art projects. It also uses fashion insiders such as Iris Apfel, well
known on the fashion industry but rarely featured on mass media93. As NOWNESS positions
itself as a cultural platform, the main featured influencers are niche artists, who help
creating a halo of a creative hub, destination for luxury literate consumers.
4.11 PR’s Think Brand Personality Gives Credibility but It is also a Filter
As seen in the literature review, readers choose to consume a title because they feel
identified with it. Also, consumers buy into a specific brand because of the lifestyle values
that it transmits. Talking to PR practitioners, it looks like, brand personality gives credibility
to the content, transferring a referent value to the publication. However, as well as driving
credibility, the brand can also be a filter, so consumers who initially don’t engage with the
brand, won’t engage with the content either.
For example, as MANGO Magazine features only one brand, MANGO customers might be
49
92 See appendix 4.5: NOWNESS: Use of Readers, Editors and Contributors
93 See appendix 4.6: NOWNESS: Use of Celebrity
more likely to engage with it. In fact, the content analysis shows that the magazine includes
the customer’s point of view, which can lead to brand loyalty. However, readers who don’t
consume the brand might be less likely to read the content. As The Edit offers a retailers
point of view, featuring different kind of brands, there are more possibilities for the public to
find it interesting.
In fact, in the literature review Phillip Young explains that while brands have the opportunity
to publish, the challenge relies on appealing the same audience directly. Tom Martin thinks
“traditional media still is the easiest way to get a branded message in front of a mass
audiences”. Brands need to build an audience first and if they just add their point of view to
stories, it is more likely that they will engage only with fans.
Also, Young thinks that brands need to add different points of view in order to provide
engaging content and Andy Bull thinks “good brand journalism should work on non-fans,
those who are indifferent to the brand, even those who hate it. Also Maria Rodriguez
corroborates his point by saying “brand journalism should go further and be able to attract
and get the attention of not so fanatical fans of the brand too”. In fact, as NOWNESS doesn’t
specifically cover their products and it is mainly story-led, it is more likely that luxury
consumers in general, engage with the content. Therefore, GUCCI or CHANEL consumers
might find the content relevant, even though they might not buy into LVMH brands.
Telling other points of view not only would give more transparency to the publication but it
would also increase their credibility and the possibility to open the content to other
consumers, not only fans. Also, Andy Bull explains that brand journalism can actually help
the brand to appeal new consumers by developing relevant content: “Benetton Colors mag is
not about Benetton clothes. Rather, such brands create content that is designed to appeal to
the sort of people that buy its products.”
Relying on providing relevant content instead of only promoting the brand is also important
to be found on the google search. Juan Mora explains “in the digital world you need to tag
your blog posts or content with related words so when googling your content appears the
first. So if you create a magazine surrounding your product you are creating your own tag
50
cloud that will help to bring your product to the front line”.
4.12 Brands and Traditional Media Complement Each Other
When talking about the status of the media at the introduction of this paper, it looked like
brands and traditional media were competing for readers. If it is true that the media
landscape presents a more targeted readership, the content analysis shows that they
complement each other, with brand journalism being a source of information and traditional
media a traffic driver; the content published by brands becomes newsworthy for the media,
which shares the branded message with a bigger audience.
For example, while MANGO Magazine and The Edit are published on the brand’s website -
more likely to be visited by someone who has a previous engagement with the brand - the
use of style icons within the content makes the issues newsworthy for traditional magazines
such as VOGUE Portugal94 or GRAZIA 95, whose audience is much more diverse and therefore
can drive new customers to the site. Also, even if NOWNESS is not specifically linked to
LVMH, the brand also uses the magazine as a publicity tool. The creative twist of stories
using celebrities also makes the stories newsworthy for publications such as The Guardian,
which in addition of covering those stories, links back to the NOWNESS site96.
Moreover, bloggers featured on MANGO Magazine also cover their issue on their blogs.
Therefore the same branded message originated on the brand’s website travels around the
Internet getting exposure on other sources perceived to be independent97.
In fact, Eric Wilson explains that traditional media still have a quality audience: brands have
more options today to get their products noticed immediately in blogs, but the quality of the
audience (meaning people who can actually afford their products) may not be the same as
that of a traditional magazine”.
51
94 See appendix 5.1: MANGO Magazine in VOGUE Portugal
95 See appendix 5.2: The Edit in Pop Sugar and GRAZIA
96 See appendix 5.3 NOWNESS on The Guardian
97 See appendix 5.4: MANGO Magazine: Coverage on Fashion Blogs
Juan Mora explains that at the moment MANGO doesn’t integrate the magazine into their PR
strategy in the UK but they have been asked by the brand to suggest style icons who could
work in the UK market, showing a clear intention of uniting all efforts to include their brand
journalism project into their media strategy.
Those examples show that the use of celebrity is such a powerful publicity tool and also that
the media is, in fact, relying on brands for content. Even if this model benefits brands, it also
demonstrates Malone’s theory about the PR-isation of the media and Tom Martin´s vision
about the media failing to provide interesting content. This leaves a worrying media
panorama because as Ruth Atherley says, the pillars of journalism are still important: “…
traditional media is incredibly important and given the layoffs and closures happening all
around the world…it concerns me. Traditional media is our watch dog, journalists provide
context and perspective and this approach is crucial”.
In fact, it looks like the raise of Brand Journalism is also concerning traditional media about
its own future. When asking Kate Reardon whether a brand is powerful enough to bypass the
power of traditional magazines, asking if they would need each other in the future, she
replied: “I work for Condé Nast, so I am going to say yes”.
52
Chapter 5: Conclusions and Recommendations
5.1 Conclusions
There are many definitions of Public Relations but the use of third-party endorsement is
common in most of them. For example, Tim Bell describes PR as “the use of third-party
endorsement to inform and persuade” and Morris and Goldsworthy say that PR “works
primarily though the use of media relations and other forms of third party endorsement”.
However, background research shows that the fashion media landscape is experiencing a rise
of brand publications, which is challenging the traditional PR model of third-party
endorsement regarding the use of traditional media.
After analysing the status of the media, it looks that there is an opportunity for brands to
engage with readers directly. This is made up of three factors: traditional media is failing to
provide relevant content, consumers are looking directly for content instead of a channel,
and readers have become more impatient; showing a big opportunity for brands to fill the
gap. However, the disclosure of the authorship within the content raises questions regarding
the transparency and credibility of the source. That is why the understanding of those
implications is essential for PRs to make the most of the opportunity that the media
landscape is presenting.
As seen in the literature review, different authors have different views regarding the
credibility of the source. For example, Morries and Goldsworthy explain that “when it creates
its own media, digital PR loses PR’s unique selling preposition: third-party endorsement,
usually and hopefully from an authoritative source”98. On the contrary, Young says that the
use of the media is not a way a legitimating the message but the cheapest way of
transmitting the message to a massive audience. Nowadays, with the use of the Internet
everyone can be their own publisher and a brand can actually be perceived as an
53
98 Goldsworthy, S., Morris, T., PR today: the authoritative guide to public relations,Palgrave Macmillan, New York, 2012
authoritative source, however the challenge relies on appealing to the same audience directly
and the quality of the content is key.
Given the relevance of this, the hypothesis presented for this study was: “Brand journalism
is an opportunity for fashion brands to build a relationship with its publics. However, as it
changes the traditional PR model of third-party endorsement, it poses risks in terms of
transparency and credibility.”
In order to develop this hypothesis, three research questions were taken into consideration:
What are the main approaches to Brand Journalism that brands are using at the moment and
why? How transparent is the brand authorship within the content? And do PR practitioners
think that the transparency of the brand authorship within the content has an impact on its
credibility? Through a content analysis of three brand publications, MANGO Magazine, The
Edit and NOWNESS, and interviews with PR’s, digital specialists, Brand Journalists and
Journalists, this dissertation provides an insight into these questions while providing an
understanding of the topic and analysing the implications for Public Relations.
After having analysed the fashion brand journalism sphere, research shows three different
approaches to Brand Journalism: ‘One-brand’, ‘Multi-brand’ and ‘Off-brand’. All three
approaches feature different stories based on the lifestyle of their target audience but only
two have a product focus and include the media model of content-to-commerce, adding links
to e-commerce. The Edit and MANGO Magazine enhance all the stages of the decision
making process, from inspiration to purchase, while NOWNESS is building a media channel to
generate awareness instead of pushing sales.
The value of third-party endorsement is based on the independency of the source, so being
independent means providing a non-biased opinion about the issue and this gives more
credibility to the message. Brands that are acting as publishers, and therefore challenging
the traditional PR model of third-party endorsement, might not be linking the authorship of
the content in order to present themselves as independent publishers. They could potentially
be risking their transparency in order to be viewed as more credible. Research shows that
two of the three publications analysed, The Edit and MANGO Magazine, have clear links
54
between the content and the brand, however, the third approach, NOWNESS, disassociates
itself from the brand. As the content analysis shows that the platform is in fact promoting
their own brands without disclosure, their approach lacks transparency and it is close to the
concept of astroturfing - the practice of falsely creating the impression of independency -.
PR’s and journalists interviewed for this study, agree that independency is not key in building
a credible source, but transparency is. In fact, transparency appears to be a trust builder. In
the literature review, Julia Jahansoozi explains that transparency is key to establish a
dialogue with publics and interviewees coincide that brands using a transparent approach are
more likely to engage with their readers.
In fact, findings show that without the filter of journalists, consumers become the
gatekeepers of information. Maloney explains that nowadays consumers are more educated
and have the tools to spot covered information and PR’s and journalists agree that readers
are savvy enough to question the content that it is presented to them. For example, the
content analysis shows that two of the three approaches analysed imitate the look and feel
of traditional fashion magazines but PRs think that instead of giving an idea of independency
to the content, the design helps to deliver the message. In fact, readers are able to
differentiate between the two and their only concern is the content, the publisher is
irrelevant. Also, PRs point out that consumers are willing to engage with brands in an
editorial way, however, if brands aim to provide biased content, they would rapidly dismiss
them.
On the other hand, Maloney explains that the commercial interests and the dependency on
PR have an impact on the transparency of traditional media, and this is affecting their
credibility too. In fact, PR’s and journalists interviewed for this study agree, to a greater or
less degree, that traditional media is not that independent and that this is also afecting their
own credibility. Maloney says that in order to avoid this lack of transparency, PR should be a
media system in its own right and it looks like brand journalism can be the medium. If the
authorship of the content is clear, brands have the opportunity to deliver honest
transparency and therefore build trust among their readers.
55
However, The New PR point out that a media is transparent when showing other points of
view, often including competitors. The content analysis shows that The Edit and Net-a-Porter
only feature their products within the content and NOWNESS, mention competitors within the
text but not so frequently. PR’s interviewed coincide that adding competitors within the
content gives more credibility; instead of creating a conflict of interests, it enriches the text.
In fact, Young says that PR as endorsement fails, and that what really matters is the content
that brands are able to provide. PRs interviewed explain that content is more powerful than
the authorship of the content in building credibility, which challenges the endorsement power
that traditional media has always had.
Regarding the power of the content, PR’s and journalists think that as long as brands are
transparent about their intentions, having commercial motivations behind the message
doesn’t affect the integrity of the content, it just makes the decision-making process easier
for readers. This shows that convenience prevails to independency of the source and
demonstrates that the new media model of content-to-commerce can actually benefit brands
willing to develop a publishing venture. In fact, The Edit and MANGO Magazine are proving
to be a powerful way to engage with the audience while driving sales.
Also, the inclusion of other endorsers such as experts, celebrity and consumers, helps to
provide relevant content as well as validating the message and therefore increasing the
credibility of the message. Perfoll, cited in the literature review, explains that the elements of
what these endorsements are based on - expertise, similarity and physical attractiveness -
help the audience to assign credibility to the message. The publications analysed in this
study use different third-party endorsements according to their positioning: MANGO
magazine features mainly fashion bloggers and consumers, while The Edit use Hollywood
stars and celebrity models and NOWNESS includes different types of celebrities, artists and
readers. PR’s agree that the endorsement power of these parties is helping brands to be
perceived as authoritative sources. However, findings link back to the attribution theory
explained in the literature review, saying that readers want to know why people are giving
their view. PR’s agree that those celebrities featured in lots of publications, will be perceived
as a sell out while more niche celebrities will have more credibility when endorsing a product.
56
Analysing what confers credibility, PR’s agree that brand personality gives credibility to the
source, however, it also acts as a filter and brands that only cover their own products might
be missing out on the opportunity to engage with new audiences and only engage with those
who have a previous engagement with the brand, such as fans. That is why adding other
points of view not only gives more transparency to the approach but it also helps the brand
to appeal new consumers. By providing relevant content, brands create a key word cloud
that helps the publication to be found by search engines online.
Background research has already showed that brands and traditional media were competing
for readers. If it is true that the media sphere presents a more targeted readership, the
content analysis conducted in this study shows that they complement each other - brand
publications are a source of information and traditional media a traffic driver. The content
first published on a brand’s publication, specially the one containing celebrity stories, attracts
the attention of the traditional media, which then shares the message with their own
audience linking back to the brand’s publication. Journalists explain that traditional media
still has a quality audience and PR’s agree that brands still need the media because of that.
However, this demonstrates Malone’s theory about the PR-isation of the media when saying
that traditional media relies on brands to provide content. The author thinks that this is
affecting their own credibility and PR’s agree that this fact is drafting a worrying media
panorama because the pillars of journalism are still important, so journalists provide context
to the media approach.
In conclusion, findings show that in a digital world, where consumers are more educated and
have tools to find out if a brand is trying to provide biased content, transparency appears to
be key to engage with readers. Also, as consumers look for content and not a channel,
brands that are able to develop relevant content can build a credible media. However, PR’s
agree that there is a time factor, explaining that traditional media didn’t build its reputation
rapidly. Therefore, the constant delivery of transparency and relevant content can help
brands to become an authoritative source. As Tom Martin says, “brands need to focus on
how they can leverage traditional media to not only drive sales today but audiences
tomorrow”.
57
5.2 Recommendations for Future Research
The content analysis conducted for this dissertation gives an insight on the three approaches
to Brand Journalism that rule the media: ‘One Brand’, ‘Multi Brand’ and ‘Off Brand’, analysing
one example for each approach. As there are more brand publications within the same
categories, such as Ralph Lauren Magazine, Acne Paper or Barneys New York, it would be
interesting to extend the analysis further to see how those brands are implementing Brand
Journalism and find out the implications on transparency and credibility of those models.
Also, as the brands analysed in this paper haven’t been able to share their strategy, it would
be interesting to compare findings with their views, while analysing their data in terms of
traffic and time spent on site, which will give a more accurate idea of the audience
engagement with those publications. On the other hand, this study only covers a content
analysis and interviews with relevant professionals and it would be interesting to analyse
reader’s point of view regarding the three approaches. Especially in regards to NOWNESS,
whose findings show that transparency is key in developing a relationship with the readers
and the content analysis shows that the platform pretends to be independent featuring their
own brands without disclosure.
58
Bibliography
Agins, T., The End of Fashion, Harper, New York, 2000
Barry, A., PR Power: inside Secrets from the world of spin, Virgin Business Guides, London,
2008
Bivins, T., Public Relations writing: the essentials of style and format, Contemporary
Publishing Group, 1999
Goldsworthy, S., Morris, T., PR today: the authoritative guide to public relations,
Palgrave Macmillan, New York, 2012
Heath, R., Handbook of Public Relations, Sage Publications, California, 2001
Lea-Greenwood, G., Fashion Marketing Communications, John Wiley & Sons, Ltd, London
2012
L’Etang, J., Pieczka, M., Public Relations: critical debates and contemporary practise,
Moloney, K., Rethinking Public Relations, Online resource, Routledge, London 2000
Phillips, D., Young, P., Online Public Relations: a practical guide to developing an online
strategy in the world of social media, 2nd edition, Kogan, London, 2009
Pringle, H., Celebrity Sells, John Wiley & Sons, Ltd., San Francisco, 2004
Tench, R., Yeomans, L., Exploring Public Relations, Prentice Hall, England, 2006
59
Online resources
Acne Paper, Acne Paper online, retrieved 16th August <www.acnepaper.com>
Barneys New York, Barneys New York online, retrieved 16th August <www.barneys.com>
Brand Channel, Brand Channel online, PR Stirs it Up, 14th July 2003, retrieved 16th August
2013, < www.brandchannel.com/>
Brand Republic, Brand Republic online, 30th November 2012, retrieved 7th January
2013 www.brandrepublic.com
Center for Journalism Ethics, School of Journalism & Communication University of Wisconsin-
Madison online, retrieved 16th August <http://ethics.journalism.wisc.edu>
Digitalista, Digitalista blog, retrieved 8th August 2013, <www.digitalista.tumbrl.com>
Fashionista, Fashionista online, retrieved 7th August 2013, <www.fashionista.com
Forbes Magazine, Forbes Magazine online, retrieved 16th August 2013, www.forbes.com
Fast Company, Fast Company online, retrieved 16th August 2013, <www.fastcompany.com>
Harper’s Bazaar, Harper’s Bazaar online, retrieved 16th August 2013,
<www.shop.harpersbazaar.com>
H&M, H&M online, retrieved 16th August 2013, <www.hm.com>
Institute for Public Relations, IPR online, retrieved 16th August 2013, www.instituteforpr.org
Joyn, Top 20 influencers in UK / US, Joyn London online, 20th August 2011, retrieved 6th
August 2013 <www.joynlondon.com>
60
Louis Vuitton Möet Hennessy, LVMH online, retrieved 16th August <www.lvmh.com>
Mango, Mango online, retrieved 16th August, <www.mango.com>
Magento, Magento online, retrieved 16th August 2013, <www.magentocommerce.com>
Martin, T., Tom Martin website, retrieved 16th August 2013 <tommartin.typepad.com>
Media Week, Media Week online, retrieved 16th August 2013, <www.mediaweek.co.uk>
Mediations website, October 30th 2012, retrieved 7th January 2013
http://publicsphere.typepad.com
Momentum, Momentum online, retrieved 16th August 2013, <www.momentumreview.com>
Net-a-Porter, Net-a-Porter online, retrieved 16th August, <www.net-a-porter.com>
Nowness, Nowness online, retrieved 16th August <www.nowness>
Parallel Interactive Communications, Parallel Interactive Communications online, retrieved
16th August 2013, <www.parallelic.com>
Platform Magazine, Platform Magazine online, retrieved 16th August,
<www.platformmagazine.org>
PRSA, PRSA online, retrieved 17th August 2013, www.prca.org.uk
PR Warrior, PR Warrior online, retrieved 16th August, <prwarrior.typepad.com>
Ralph Lauren Magazine, Ralph Lauren Magazine online, retrieved 16th August
<www. global.ralphlauren.com>
61
Rayson Review of Journalism, Rayson Review of Journalism online, retrieved 16th August
2013, <www.rrj.ca>
The Business of Fashion, The Business of Fashion online, retrieved 17th August 2013,
<www.businessoffashion.com>
The Globe and Mail, The Globe and Mail online, retrieved 16th August
<www.theglobeandmail.com>
The Guardian, The Guardian online, retrieved 16th August 2013, www.theguardian.com
The New York Times, The New York Times online, January 16th 2011, retrieved 7th
January 2013 www.nytimes.com
The New PR Wiki, The New PR Wiki online, retrieved 16th August 2013, <
www.thenewpr.com>
The Observer, The Observer online, retrieved 8th August 2013, <www.guardian.co.uk >
Third Wave Fashion, Third Wave Fashion online, retrieved 16th August 2013,
<www.thirdwavefashion.com>
Trend Watching, Trend watching online, retrieved 8th August 2013,
<www.trendwatching.com>
62
Appendixes
1. Examples of The Three Approaches
1.1 One Brand: MANGO Magazine
As seen below, MANGO Magazine includes interviews with bloggers, photo shoots, videos and
product reviews with links to e-commerce to MANGO’s website. The following examples are
extracted from this issues: “Sincerely Jules” 99, “Louise Roe” 100 and “Nicole Warne” 101.
63
99 Sincerely Jules, MANGO Magazine, MANGO online, retrieved 19th August 2013, <www.mango.com>
100 Louise Roe, MANGO Magazine, MANGO online, retrieved 19th August 2013, <www.mango.com>
101 Nicole Warne, MANGO Magazine, MANGO online, retrieved 19th August 2013, <www.mango.com>
1.2 Multi Brand: The Edit
Issues of The Edit include interviews with celebrities and artists, features about travel
destination, lifestyle photo shots, videos and product reviews, everything with links to Net-a-
Porter products. The following examples are extracted from this issues: Live Tyler102, The
Vacation Issue103, The Lo-Fi Issue104, The Pre-Fall Issue105.
64
102 Live Tyler, The Edit, Net-a-Porter online, retrieved 18th August 2013, <www.net-a-porter.com>
103The Vacation Issue, The Edit, Net-a-Porter online, retrieved 18th August 2013, <www.net-a-porter.com>
104 The Lo-Fi Issue, The Edit, Net-a-Porter online, retrieved 18th August 2013, <www.net-a-porter.com>
105 The Pre-Fall Issue, The Edit, Net-a-Porter online, retrieved 18th August 2013, <www.net-a-porter.com>
1.3 Off Brand: NOWNESS
NOWNESS106 doesn’t include product presence nor links to e-commerce and the content is
mainly story led. The following stories are extracted from the publication’s archive.
65
106 NOWNESS, NOWNESS online, retrieved 18th August 2013, <www.nowness.com>
2. Examples of the Authorship Linked to the Brand
2.1 MANGO Magazine
As seen below, the magazine is located on the brand’s website and the corporate logo has a
main presence. Also, there are appreciations of authorship within the text, such as the use of
the first person as it is the brand talking to the reader: “We present...”. Example extracted
from Laura Hayden issue107
66
107 Laura Hayden, MANGO Magazine, MANGO online, retrieved 19th August 2013, <www.mango.com>
2.2 The Edit
As seen below, despite having a different branding, the magazine is located on the brand’s
website and the corporate logo has also a main presence. Features are signed by
journalists108.
67
108 The Edit Archive, Net-a-Porter online, retrieved 18th August 2013, <www.net-a-porter.com>
2.3 NOWNESS
As seen below, NOWNESS109 is located in a different platform, it has a different branding and
in the “About us” page there isn’t any link to LVMH. However on the LVMH corporate
website110, NOWNESS appears as a brand of their portfolio. Also, there is an example of the
brand talking to directly tot the audience: “ NOWNESS asked photographer Elizabeth Toll to
venture into the forest.”
68
109 NOWNESS, NOWNESS online, retrieved 18th August 2013, <www.nowness.com>
110 Louis Vuitton Möet Hennessy, LVMH online, retrieved 16th August <www.lvmh.com>
The content analysis shows that NOWNESS promotes brands in three different ways: product
placement, advertorial and key words in text. See examples below.
2.3.1 Product Placement
Yayoi Kusama: Self Obliteration111
This story explores the internal world of Yayoi Kusama, a contemporary Japanese artist who
turned a physiological issue into an acclaimed style of art based on polka dots, while
promoting her new exhibition in Buenos Aires. The story is composed by a short film, where
we can see the artist talking about the mental journey that led her art, supported by an
article, where the reader can find information about the artist and the exhibition.
69
111 “Yayoi Kusama: Self Obliteration” published on Nowness, 28th June 2013, retrieved 19 June 2012, <www.nowness.com>
As we can appreciate on the text extract below, the content does not link back to any brands
from the LVMH group directly. However, Marc Jacobs, creative director of Louise Vuitton,
released a collection of accessories in 2012 based on Yayoi Kusama art: pashmina, diaries,
handbags and shoes with polka dots as the main character. In order to promote the
collection, the brand dressed all store windows worldwide with the products and a display
also inspired by her art. In addition to this link, it is interesting to point out that the
pashmina that the artist is wearing on the short film is from the same collection112.
70
112 Fashionology, Louis Vuitton’s collab with Yayoi Kusama hits Tuesday, 9th July 2012, retrieved 18th August 2013, <http://www.fashionologie.com>
2.3.2 Advertorial
Moynat: Parisian Promenade
The key driver of this story is a film directed by Mary Clerté, featuring the legacy of the
French brand Moyant, with fashion blogger Jeanne Dames as the main character, interpreting
the Moyant woman of today as she explores Paris. The body text accompanying the film,
explains the story of the brand, showcasing the history of the owner while making a
parallelism with the woman shown on the film.
Even though Moyant does not appear on the portfolio of brands owned by LVMH shown on
their corporate website, the group acquired the French brand in March 2011113. Therefore
there is a clear link between the authorship of the content and the content itself.
On the film, we can appreciate products from the brand as well as seeing Moyant´s branding
in a form of drawings and logo toward the end of the piece. The format of the content
reminds to an advertorial but it does not specify if the content is sponsored. As there are
clear branding clues, the average reader might understand that it is a branded story, what it
is not so clear is the link between NOWNESS and Moyant, which could be interpret as a lack
of transparency.
Eample of the video shown on the next page.
71
113 “Bernard Arnault´s Buying Streak – Bulgari, Heritage Brand Moyant Acquired; Jimmy Choo May Be Next”, March 14 2011, retrieved 19 June 2012 < www.fashionologie.com>
72
2.3.3 Key Words in Text
A Magazine Curated by Stephen Jones
This story reports the launching of a new magazine curated by the millenary designer
Stephen Jones, who has designed hats for the haute-couture shows of the most luxury
fashion brands. The story is composed by images of the magazine, supported by a short
introduction and an interview with the designer. In the text, there are two names of the
brands from LVMH that he has worked for, Marc Jacobs and Christian Dior (partially owned by
the group), and one name of a brand from the competitor Gucci Group, Balenciaga.
2.3.4 Use of Complementary Brands
Carl Burgess for Nike114
This story presents a creative video that Carl Burgess made for the firm Nike about the
essence of running in London. It is interesting to point out that Nike does not have a link to
LVMH, however, as the group doesn´t own a brand exclusively dedicated to sportswear, Nike
can be seen as a complementary brand to use with the products they make.
73
114 Carl Burgess for Nike, NOWNESS online, 1st March 2011, retrieved 18th August 2013 <www.nowness.com>
3. Editorial Format Helps to Deliver a Branded Message
3.1 Format examples
74
Net-a-Porter website uses the same typeface from the Didone family on their website115
75
115 Net-a-Porter, Net-a-Porter online, retrieved 18th August 2013, <http://www.net-a-porter.com>
4. Examples of The Use of Influencers
4.1 MANGO Magazine: Use of Fashion Bloggers
Most of the issues receive the name of a fashion blogger, see examples below116.
76
116 MANGO Magazine, MANGO online, retrieved 18th August 2013 <www.mango.com>
4.2 MANGO Magazine: Use of Consumers
MANGO Magazine includes consumers within the content. As seen below, in the “MANGO
Street” section, there are interviews with consumers as well as links to enter a competition
to be featured on the magazine. The following examples are extracted from this issues:
“Sincerely Jules” 117, “Eleonora” 118 and “Nicole Warne” 119.
77
117 Sincerely Jules, MANGO Magazine, MANGO online, retrieved 19th August 2013, <www.mango.com>
118 Eleonora, MANGO Magazine, MANGO online, retrieved 19th August 2013, <www.mango.com>
119 Nicole Warne, MANGO Magazine, MANGO online, retrieved 19th August 2013, <www.mango.com>
4.3 The Edit: Use of Celebrities
Use of celebrities in the front cover as well as inside pages. See examples of Olivia
Palermo120
78
120 The Edit Archive, Net-a-Porter online, retrieved 18th August 2013, <www.net-a-porter.com>
4.4 The Edit: Use of Celebrity Fashion Photographers121
4.5 NOWNESS: Use of Readers, Editors and Contributors 122
79
121 The Traveler Issue, The Edit, Net-a-Porter online, retrieved 18th August 2013, <www.net-a-porter.com>
122
4.6 NOWNESS: Use of Celebrities
Iris Apfel123
80
123 Advanced Style: Age and Beauty, NOWNESS online, retrieved 18th August 2013, <www.nowness>
5. Brands and Traditional Media Complement Each Other: Examples
5.1 MANGO Magazine in VOGUE Portugal
Nicole Warne: o novo vintage124
5.2 The Edit in Pop Sugar and GRAZIA
Miranda Kerr Slips Into Swimwear and Spills Her Secrets to The Edit125
81
124 Nicole Warne: o novo vintage, VOGUE Portugal, retrieved 18th August , <www.vogue.xl.pt>
125 Miranda Kerr Slips Into Swimwear and Spills Her Secrets to The Edit, Popsugar online, retrieved 18th August <www.popsugar.com>
Georgia May Jagger Still Gets Insecure About Her Tooth Gap126
Revered Photographer Mario Testino Tuns Fashion Designer For Net-a-Porter127
82
126 Georgia May Jagger Still Gets Insecure About Her Tooth Gap, GRAZIA online, retrieved 18th August 2013, <www.graziadaily.co.uk>
127 Revered Photographer Mario Testino Tuns Fashion Designer For Net-a-Porter, retrieved 18th August 2013, <www.graziadaily.co.uk>
5.3 NOWNESS on The Guardian
NOWNESS articles on The Guardian128
83
128 NOWNESS on The Guardian, The Guardian online, retrieved 18th August <www.theguardian.com>
5.3 MANGO Magazine: Coverage on Fashion Blogs
MANGO Magazine on Gary Pepper129
MANGO Magazine on The Blod Salad130
84
129 Nicole Warne Magazine, Gary Pepper Blog, 23rd April 2013, retrieved 18th August 2013, <garypeppergirl.com>
130 Chiara Ferragni For MANGO Magazine, The Blond Salad Blog, 30th September 2012, retrieved 18th August 2013, <www.theblondesalad.com>
MANGO Magazine on Stlye Scrapbook131
85
131 Andy For MANGO Magazine, Style Scrabook Blog, 22nd August 2012, retrieved 18th August 2013, <stylescrapbook.com>
6. Interviews
6.1 Interview with Eric Wilson
1. Do you think that traditional fashion magazines are losing their influence over
brands that are using brand journalism such as Net-a-Porter?
I think these are separate issues. Magazines are losing their influence, but not because of
the appearance of retailers that present their products with an editorial slant. Rather, they
are losing readers and advertisers to the internet in general. Their products have not
changed very much in terms of content and style, but they have not found a viable way to
adapt a monthly print product into an instant news environment.
2. Does the authorship of the content matter in creating a bond with the readers /
customers? Why?
Absolutely readers need to have a sense of trust in the authorship of news. This is true of all
media, but as it applies to fashion magazines, there may be a fine line between pure editorial
and choices that are obviously influenced by advertising and other considerations, but
readers are very sophisticated today and they are very likely to notice if things are not
authentic. Look at the Oscars red carpet as an example. It’s only been in the last decade that
actresses are more often than not paid to wear designer dresses, and it’s in the exact same
period that the public in general became less influenced by the red carpet. People know it’s
fixed, so why should they buy into those trends? The second a magazine loses the trust of its
reader, the whole thing’s over.
3. In your opinion, what is the influence of traditional fashion magazines based on?
Is it third-party endorsement that inspires trust for readers?
It is based on creating the impression of authority and the imprimatur of coolness. Fashion
magazine readers want to be cool. They want to see a fantasy, and they also want to feel
they belong.
4. Do you think that traditional fashion magazines, which are ad supported, are in
reality editorial independent?
Yes. Of course there are pressures. And of course those magazines cover the companies that
advertise with more prominence than those that do not – they rely on advertising to survive.
But for the most part, the choices they make reflect a large degree of independency.
Whenever a designer tries to assert too much control, you still see resistance, like Vogue
does not cover Giorgio Armani very much, even though he pulled his advertising, and many
magazines have pushed back against Dolce & Gabbana.
86
5. Do you think that transparency and credibility go together when it comes to
promoting editorial content?
Absolutely.
6. Examples of brand journalism in fashion such as MANGO magazine or Net-a-
Porter, use a similar look & feel than traditional fashion magazines. Do you think
this fact is giving them editorial credibility?
Credibility, no, but it makes them more accessible by speaking in the language of magazines.
7. In the same examples described above, we can appreciate the use of celebrity
within the content. Do you think that the use of these referees transfer a referent
value to the publication giving them editorial credibility? If so, do you think that
the use of these referees is strong enough to bypass the power of influence of
traditional magazines?
I don’t think I can answer this, namely because I don’t really know.
8. As brand journalism and traditional magazines co-exist in the same chaotic
media world, where brands are publishing and magazines are starting to sell, do
you think that readers can differentiate between them both? Do you think that
benefits brands somehow?
I do think readers can spot these “synergies” from a mile away, and while they may not
object to them, that doesn’t mean they will be successful. I think it’s very interesting that of
all the examples I cited in the 2011 article, most of them actually failed.
9. Do you think that having commercial motivations behind the message affects the
trustworthiness of a source?
Absolutely.
10. Most fashion magazines are product-led, which makes them dependable of
brands to provide content. Do you think that traditional magazines and brands still
need each other to survive?
Absolutely, though the dynamics have changed. Brands have more options today to get their
products noticed immediately on blogs, but the quality of the audience (meaning people who
can actually afford their products) may not be the same as that of a traditional magazine.
11. Also, brilliant fashion editors are joining brands to develop brand journalism
projects. Are we looking at a media model where brands will be able to own the
journalistic words? If so, what would be the main implications in terms of
transparency? And credibility?
87
I think it’s a mistake to consider Net a Porter’s magazines to be journalism, just because
they may be written by former journalists. Ultimately, those writers answer to the brands
that their company is also selling. So basically their job is to make pretty press releases. The
big difference today is that they are able to send them directly to the consumer, as opposed
to the press. Still, what they are doing is pretty transparent, and readers know better. What’s
more concerning is when Vogue is selling product, because it does damage the magazine’s
credibility when they are seen as being in business with their subjects. How much so is the
question, and I don’t think we know the answer yet.
6.2 Interview with Andy Bull, author of the book “Brand Journalism”
1. Independence has traditionally been essential in establishing a relationship
between journalists and their readers. However, after the success of fashion
magazines owned by brands such as Net-a-Porter, do you think that the authorship
of the content matters to create this bond with the publics? Why?
It’s naïve to think that traditional publishers are independent. The Daily Mail is a brand, as is
the Times, as are all other publications I have worked for. Each of those publishing brands
has an agenda, and the journalists on a title know what that agenda is and stick to it when
making their news judgements: pro-Tory, pro-China, anti-teacher, anti-immigrant, as the
case may be.
What is important is that the consumers of news and information are aware of the agenda
behind the brand they are consuming that news and information from. With a traditional
news brand, it is often hard for the average person to know what that agenda is. With a
brand that is not primarily a publisher, it is often easer for the average consumer to assess
what the agenda might be.
What is essential for an effective bond between brand and public is trust and transparency.
One great strength of modern social media is that anyone can share their view of a brand
and its products. That collective assessment of a brand – that ‘wisdom of the crowd’ - is
highly effective in exposing a brand that is not being truthful and transparent.
One general point: brand journalism doesn’t work for bad brands. And it is challenging for
brands who the majority love (eg McDonalds – see chapter 1 of Brand Journalism) but which
a vociferous minority hate.
2. Do you think that the fact that brands have commercial motivations behind the
message affects the trustworthiness of the source?
It is likely to bring a scepticism to assessments of whether it can be trusted. What brands
will tend to do is encourage users to rate products. They would like to build a weight of
88
individual, independent rating on the products they sell. Take TripAdvisor for example.
Through its affiliate HolidayLettings it sells advertising space to owners of holiday
accommodation. Through TripAdvisor it encourages those who use that accommodation to
rate it. Some accommodation will be rated highly, some will be panned. Accommodation
owners who get bad reviews might cease to advertise, but HolidayLettings accepts that as
inevitable fallout from the new media world. Many other online brands – eg Tesco – ask
purchasers to rate their purchase.
3. In your opinion, is third party endorsement what inspires trust for readers?
What do you think it is the USP of the traditional media?
The greatest endorsement is word of mouth. Book publishers have long known that, and the
results have been seen in slow-fuse best sellers such as Sebastian Faulks’s Birdsong. When
brands engage on Facebook and other platforms they are seeking to mobilise word of mouth
recommendations in their favour – eg Like my brand.
The USP of traditional media is independence: producing content in which any opinion,
assessment or analysis is untainted by commercial interest. As I say above, I think that is
illusory in many cases. Wise publishers, and wise brands, seek to produce journalism/brand
journalism that is untainted by commercial interests, political affiliations and so on, or which
is transparent about what those interests etc are.
4. Do you think that brands still need the support of the traditional media?
Yes. Traditional media is still very powerful. Wise brands know this. For example, Oxfam has
twinned with the Guardian to produce content on causes close to the hearts of both
organisations (see Brand Journalism Chapter 13). The most advanced brand journalism
producers, such as Red Bull, have turned the tables in two ways. One, they sell the brand
journalism they create to traditional publishers and broadcasters (see brand Journalism
Chapter 7). They also create such compelling content, and sponsor such newsworthy events,
that traditional media has to cover them.
5. The examples of brand journalism shown above use a similar look & feel than
traditional fashion magazines. Do you think this fact is giving them editorial
credibility?
Yes, see answer immediately above. In my view, there is more a brand can do. I think the
very best brand journalism is not focused on the products or services of the brand creating
it. Red Bull’s content does not mention the drink it makes, Benetton’s Colors mag is not
about Benetton clothes. Rather, such brands create content that is designed to appeal to the
sort of people that buy its products. This is an extension of the sort of traditional customer
magazine which focused on the wider lifestyle of the customer of the brand, rather than
89
focusing on that customer’s point of financial content with the brand. So, as a personal
example, I once edited HSBC Premier magazine. Premier is an HSBC account. The magazine
was about wider lifestyle, not the account.
6. In your website, you say that brand journalism is a way of presenting
information that a particular audience needs, wants, values or is entertained by. Do
you think that brand journalism specially works with brand fans?
Good brand journalism should work on non-fans, those who are indifferent to a brand, even
those who hate it. Some brands really seek to create and nurture brand advocates. Ford
does it with new car launches (See Brand Journalism Chapter 14) and Coca Cola gave its
entire Facebook presence over to a couple of fans who had built a big following on the
platform. But I think the average person is suspicious of such advocates. Even if they are
motivated solely by a genuine love of a product I think the average person will feel they
should get a life. I may be demonstrating Anglo-Saxon scepticism here, maybe Americans
will be more embracing.
7. Does the use of luxurious brands and celebrities, within the content, transfer a
referent value to the publication? Does the use of such referees cultivate the
ground to establish a credible source for messages?
I don’t know, but I doubt it. Celebrity endorsement sounds very old media to me. I believe
most brands would rather have the mass endorsement of many ordinary people.
8. Do you think that transparency and credibility go together when it comes to
promoting editorial content?
Yes.
9. Lucy Yeomans, Editor in Chief of Net-a-Porter, said that they are going to start
including brands that are not in their portfolio to sell, and actually H&M has added
Louise Vuitton pieces into their editorial platform. Do you think that brand
journalism needs to incorporate other points of view, rather than just the brand, to
be more efficient? If so, what are the main risks for the brand?
The best brand journalism will be identical to really good, balanced, traditional journalism.
The most confident brands are prepared to take the necessary steps to creating content
which fits that outline. Some brands, such as American express, have created brand
journalism platforms which aggregate content from several authoritative trad journalism
sources and wich, in terms of content, have many points of view, none of them necessarily
that of American Express
90
10. Eric Schneider, a chartered accountant who founded Totem Agency and
specialised in brand journalism, said in an article about brand journalism,
published in October 2012, on Center for Journalism Ethics from University of
Wisconsin-Madison that “in our world, our position is transparency, it is clear to
the audience that they are promoting the business so there is no presumption of
editorial integrity”. Do you agree with this?
I think this comment chimes with my point above, that consumers will have a clear
expectation of the vested interest in a brand journalism site. However, some brands and
some brand journalists aim higher than this.
11. As brand journalism and independent magazines co-exist in the same chaotic
media world, where brands are publishing and magazines are starting to sell, do
you think that readers can differentiate between them both? Do you think that
benefits brands somehow?
I’m sorry, I’d not sure what you mean by magazines ‘starting to sell’.
If you are asking whether readers can differentiate between traditional (I don’t agree with
the word independent, for the reasons stated at various points above) and brand journalism,
then that depends on two things – transparency and quality.
Brand journalism should be presented with transparency, just as trad publishers put
‘advertising feature’ on sponsored content.
On quality, if brand journalism is good enough, and adheres to the definition of good brand
journalism that you can see in my previous answers, particularly the one about ethics, then
it will be as good as trad journalism.
6.3 Interview with Tom Martin
1. Independence has traditionally been essential in establishing a relationship
between journalists and their readers. However, after the success of fashion
magazines owned by brands such as Net-a-Porter, do you think that the authorship
of the content matters to create this bond with the publics? Why?
I think the spirit of authorship is what matters. Consumers have a highly tuned bullshit
meter and brands that attempt to pass off advertorials as editorial will be discovered and
shunned. But brands that are committed to entertaining, educating and helping consumers
lead better, more interesting and informed lives via the creation and distribution of great
content, will see consumers see them (the brands) as equals to traditional journalists.
91
2. Do you think that the fact that brands have commercial motivations behind the
message affects the trustworthiness of the source?
If they allow it to, yes. This is probably the most difficult aspect of brand journalism for
brands to accept. It requires a true commitment and trust in the power of content to drive
long-term sales growth.
3. In your opinion, is third party endorsement what inspires trust for readers?
What do you think it is the USP of the traditional media?
I actually don’t. Traditional media have largely abandoned their role as independent voices
that report news, entertainment, etc. There is well known biases and a disturbing trends
towards sensationalism that has undermined their position as news resource.
4. Do you think that brands still need the support of the traditional media?
Yes, traditional media still is the easiest way to get a branded message in front of mass
audiences. Again, this is the biggest challenge for brands. The NY Times didn’t build its
audience over night, it has taken them over 100 years to gain the reputation and audience
they have. Given the expansiveness of digital tools and social media platforms, it may not
take a brand 100 years to develop that audience but it’s not going to happen in a few years
either. During the transition period, brands need to focus on how they can leverage
traditional media to not only drive sales today but audiences tomorrow.
5. The examples of brand journalism shown above use a similar look & feel than
traditional fashion magazines. Do you think this fact is giving them editorial
credibility?
I think consumers tend to adopt the familiar over the unfamiliar. Hence, when newspapers
and magazines tried to launch digital versions on devices like Kindle that required the reader
to accept a visual format which didn’t resemble the offline format they were used to,
adoption was slow. Once tablets entered the picture and these same newspapers and
magazines could reproduce the familiar offline interface in a digital environment, adoption of
these digital versions grew.
6. Do you think that the Mango approach only works with brand fans, who are more
likely to believe just one side of the story?
Can’t answer as I’m not familiar with Mango’s approach
92
7. Does the use of luxurious brands and celebrities, within the content, transfer a
referent value to the publication? Does the use of such referees cultivate the
ground to establish a credible source for messages?
I think it probably does. It creates a halo effect.
8. Do you think that transparency and credibility go together when it comes to
promoting editorial content?
I think transparency is an overused word that has become a cliché. It’s really an illusion that
is only broken if a brand or media vehicle is “found out” --- so I think it’s an outcome of
broken credibility versus a status in an of itself.
9. Lucy Yeomans, Editor in Chief of Net-a-Porter, said that they are going to start
including brands that are not in their portfolio to sell, and actually H&M has added
Louise Vuitton pieces into their editorial platform. Do you think that brand
journalism needs to incorporate other points of view, rather than just the brand, to
be more efficient? If so, what are the main risks for the brand?
Yes I do, but not for efficiency but effectiveness. It’s not like the consumer isn’t aware of
these alternatives so discussing them within your branded content doesn’t help sell those
brands. It simply makes your content more valuable to the reader. Thus they don’t need to
turn to alternative media options to get the information they desire. By removing that need
to expose themselves to other media to get the complete picture or total information, a
brand increases its opportunity to develop greater propinquity with the consumer. This
propinquity leads to the consumer from awareness to knowing to liking to buying from a
brand.
10. Eric Schneider, a chartered accountant who founded Totem Agency and
specialised in brand journalism, said in an article about brand journalism,
published in October 2012, on Center for Journalism Ethics from University of
Wisconsin-Madison that “in our world, our position is transparency, it is clear to
the audience that they are promoting the business so there is no presumption of
editorial integrity”. Do you agree with this?
I’m not sure I really understand his quote. “our position” and “they are promoting” doesn’t
align…. However, if his point was that branded journalism is automatically judged as biased
by the consumer I would disagree. I think consumers are willing to give a brand the benefit
of the doubt but they will be quick to dismiss a brand that attempts to deliver biased
content.
11. As brand journalism and independent magazines co-exist in the same chaotic
93
media world, where brands are publishing and magazines are starting to sell, do
you think that readers can differentiate between them both? Do you think that
benefits brands somehow?
I don’t think consumers really care. They just want the information they want in a format
they like. Though I do think that traditional media publishers believe that their editorial
integrity is a differentiator and that consumers will automatically dismiss branded journalism
and assume that traditional media are unbiased reporters of information.
6.4 Interview with Maria Rodriguez
1. Does the authorship of the content matter in creating a bond with readers /
customers?Why?
Trust, is key, to create a bond with readers. The sources of information that audiences
trust, like recommendations from friends, social media and published content in
articles are places where trust cannot simply be bought, but instead has to be earned.
In fact, social media is the new home for trusted communication. The brand must
connect with its audience in a way that creates value, and especially that open
transparent conversations.
2. In your opinion, what is the influence of traditional magazines based on? Is it
third-party endorsement that inspires trust for readers?
Traditional magazines used to be the main source for information in certain industries,
specially in the fashion industry where blogs and celebrities were not borned yet. Definitely,
third-party endorsement increase trust for readers.
Journalists use objectivity in their reporting. The build trust through objectivity and
transparency. They also are supposed to have access to more information than other people.
3. Do you think that the fact that brands have commercial motivations behind the
message affects the trustworthiness of the source?
Brands that really want to do brand journalism has to balance very well the key information
readers want to read of their business with strategic and not many brand messages that are
completely relevant for them, at the right moment at the right place. Brands should be
carefull with branding their content too much, for example addin a logo to an image of a
product, a reader could be less likely to read the whole message through. In Branding
relevancy is a pillar to engage with the audience, therefore in storytelling relevant content is
also key.
4. Do you think that brands still need the support of the traditional media?
94
Traditional media as ATL and BTL are still traffic drivers of the target audience to the brand.
Effective campaigns are those who are able to mix the right media, but definitely storytelling
allows a brand to have an identifiable human speak on its behalf.
6. The examples of brand journalism shown above use a similar look & feel than
traditional fashion magazines. Why do you think they use a similar design?
Using an editorial Look and Feel is the not new, it has been there for a while, as it is
aspirational and gives more rigor to the messages.
7. In the same examples shown above, we can appreciate the use of celebrity and
luxurious brands within the content. Do you think that the use of these referees
transfer a referent value to the publication? Does the use of such referees cultivate
the ground to establish a credible source for messages?
Prescriptors and referees are some times the hook or reclaim of the brands communication,
brands gain top-of-mind awareness.
To the second question, not always as if Brands abuse the use of bloggers or celebrities that
are the image of too many brands, the credibility or the value that they can create for the
brand decreases dramatically.
8. Do you think that brand journalism works better with brand fans?
Brand fans are key for the life of any brand. They are the loyal ones, the ones that spread
messages, the ones that keep up to date with brand updates, the ones that buys more and
more frecuent. Brand journalism definitely should have them into account. Nevertheless,
brand journalism should go further and be able to attract and get the attention of not so
fanaticals fans of the brand too.
9. Do you think that transparency and credibility go together when it comes to
promoting editorial content?
They should be, otherwise the brand gets the risk of loosing the attention of readers and
what is worst the loyalty of clients.
10. Do you think that in most cases it is clear for the audience that brands are
promoting the business and that there isn’t presumption of editorial integrity?
Readers want to get the information related with the product or service they want to buy or
consume at a certain point of their lives. Brands have to be able to give them what they are
looking for in the shape, content and time at which they are lookin for it, Moment of Truth.
95
11. Lucy Yeomans, Editor in Chief of Net-a-Porter, said that they are going to start
including brands that are not in their portfolio to sell, and actually H&M has added
Louise Vuitton pieces into their editorial platform. Do you think that brand
journalism needs to incorporate other points of view, rather than just the brand, to
be more efficient? If so, what are the main risks for the brand?
Other points of views always enrich content, but brands have to be carefull and avoid
carnivalization of their own products by using to many recommendations of other brand
items for example. Luxury piezes always upgrade and brings higher the aspirations of the
brand, but always with out loosing the focus. An unfocus brand is very dangerous as it can
loose the track and consistency of its messages at any moment.
12. Harper’s Bazaar USA has incorporated an e-commerce site where readers can
buy the products they cover on their editorial lines. As brand journalism co-exist in
the same chaotic media world, where brands are publishing and magazines are
starting to sell, do you think that readers can differentiate between them both? Do
you think that benefits brands somehow?
I think readers can differentiate them both, but more and more there are very thing lines
between business. The paths that used to connect people with brands were well defined,
predictable, trustable and easy to understand. However nowadays. Those paths are multiple,
there is instantaneous-reaction, real-time conversations and more and more marketing
departments seems to be media departments and media are becoming retailers.
6.5 Interview with Sharon N. Hughes
1. How do you think that brand journalism differs from the traditional media
strategies, using fashion journalists to get their message across?
Brand journalism is about using multiple channels and journalistic-style writing to tell a
company’s story, unlike traditional media strategies using PR firms and techniques to focus
on non-sales techniques which focus on brand positioning. Although brand journalism today
encompasses many variations of journalists aiming to get their message across, brand
journalism gives a company the ability to communicate directly to its audience.
2. In your opinion, is third party endorsement what inspires trust for fashion
readers? What do you think it really is the unique selling point of the media?
Yes, we no longer trust companies and their advice on what we should buy, think or do. With
the use of social media we rely on our Peers to suggest products and services, especially in
the fashion industry. I didn’t think they had one.
96
3. Independence has traditionally been essential in establishing a relationship
between journalists and their readers. However, after the success of fashion
magazines owned by brands such as Net-a-Porter, do you think that the authorship
of the content matters to create this bond with the publics?
Yes
4. Lucy Yeomans, Editor in-Chief of Net-a-Porter, said in a recent interview for the
Business of Fashion that yes, they are working with a piece of the buy but she can
honestly say that she feels like she has ever had more freedom to shoot what ever
she wanted since she has been working there. Do you think that fashion
magazines, which are ad supported, are editorially independent?
Although, I believe an editor should have the full authority to determine editorial deemed fit
for their audience and within the mission of the publication; Editors still have a responsibility
to their readers, legally, ethically, morally and socially to establish content within the code of
practice for editors.
5. Do you think that brands still need the support of the media? And do you think
that the use of brand journalism can have a bad impact in the relationship with the
media?
Yes. No. Journalist are everywhere, newsroom reporter, a publica2ons’ writer, blogger, etc. Those who use
journalism skills to tell stories on brand’s behalf are journalists. Therefore the use of a mul2ple stream of channels
used to communicate with an audience is the media.
6. Do you think that the fact that brands have commercial motivations behind the
message affects the trustworthiness of the source?
Yes and No. I believe consumers are savvy enough to know that brands are using journalism
to market products, hence the success of customer reviews, blogs and even Facebook. We
trust our peers more than the brand.
7. After my content analysis, I have identified three different approaches to brand
journalism:
A) Different stories, one brand (Mango)
B) Different stories, multi brand (Net-a-Porter)
C) Different stories, no brand (Nowness)
o Which approach do you think it is more transparent? C
o Which approach do you think transmits more credibility? A, B, C
o Which approach do you think that readers will pay more attention to? C
o What are in your opinion the motivations behind each strategy?
97
A. brand differentiation; B. brand expansion; C. the ability for editorial independence
not tied to the brand.
Does the use of luxurious brands and celebrity, including famous fashion bloggers,
within the content transfer a referent value to the publication?
Yes. Celebrity endorsements have been a success in brand promotions since the 50’s.
Do you think that the Mango approach only works with brand fans, who are more
likely to believe just one side of the story?
I do believe it is a tactic to draw out brand ambassadors and loyal consumers.
As brand journalism and independent magazines co-exist in the same chaotic
media world, do you think that readers can differentiate between them both? Do
you think that benefits brands somehow?
The average reader will not. Yes.
Yeomans says she believes in editorial integrity and that is why she works closely
to the buyers team after the fashion shows so they choose the product together.
Do you think that retailer perspective gives more room for transparency than the
brand perspective?
I believe retailers have their hand on the pulse of what their customers really want and need.
They have the inside scoop, so yes.
Harper’s Bazaar USA has incorporated an e-commerce site where readers can buy
the products they cover on their editorial lines. If magazines start to sell, do you
think they are going to lose its trust because of that? If so, what would it be the
main implications for brands in terms of third party endorsement?
No. Magazines have always been inverted sales tools. Secretly we admire editorials and ads,
keep pages of the magazine and aspire to buy or seek out the products in store or online. We
are a mobile buyers, so this only makes it easier to buy not an issue of trust, in my opinion.
6.6 Interview with Juan Mora
1. Independence has traditionally been essential in establishing a relationship
between journalists and their readers. However, after the success of fashion
magazines owned by brands such as Net-a-Porter, do you think that the authorship
of the content matters to create this bond with the publics? Why?
98
I believe the authorship does not matters so much nowadays, as long as you create
something that is appealing and brings something new to the readers or in this case the
customer or potential customer. The key to understand todays media and communication it
is based on understanding “content”. Why tv channels are partnering with phone companies?
To be the perfect combination un between content creator and content platform. The same
with Net-a-porter and the new magazine they have launched. they are featuring their
product within appealing stories to their customers, so NAP has become a destination place,
where you can shop and get the news and the content you get somewhere else. A really
clever move.
To summarize the authorship does not matter if it tells something interesting to the public
they are aiming to target and helps you sell your product.
2. Do you think that the fact that brands have commercial motivations behind the
message affects the trustworthiness of the source?
Because we are insiders, I think so, yes, we are the professionals that are behind those
messages. I know brands do or create something, because it looks cool and it has a
commercial or brand building objective behind, and it i know it is used to attract the
customer, so I am biased. The same with PR and every single piece of news you see on the
papers. Or for example when a brand “goes green” I hardly believe it is because they want to
save the world from the bottom of their harts, it is just purely for brand image building.
In the other hand I don’t know how naïve is the receiver of the message, but if brands keep
doing the same exercise, it must be because it works for them, and customers have respond
positively to this efforts.
For fashion brands to create their own content, it is a way to encapsulate and communicate
their brand essence and engage an audience, and give that je ne sais quoi to their
collections. Also, think that in the digital world you need to tag your blog posts or content
with related words so when googling your content appears the first. So if you create a
magazine surrounding your product you are creating your own tag cloud that will help to
bring you product to the front line.
3. About MANGO magazine, could you tell the role of this project within the
communication strategy? And Who do you think it is aimed at?
I know what Mango allows me to know. Remember I do their PR so they edit the information
so I receive a clear and concise message, so then I can promote that. With my limited
knowledge on the Mango communication strategy and as far as I know about their key
messages to communicate to the English market.
99
The role of the magazine it is to create and give Mango even more fashion credentials, make
the brand relevant and fashion orientated, without shouting. I think Mango core customer
must be slightly different that the competitors who are used to a more aggressive kind of
communication (personal believes)
We are not pushing the magazine so far in the UK, we don’t integrate it in our PR efforts,
yet. But it is aimed to that kind of customer who likes to discover thing for themselves. Lets
say, someone goes online looking for a pair of trousers, but on the landing page they find the
magazine featuring the super cool stylist who integrates Mango into their daily style. And
hey! listen she actually wear the trousers I was looking for, how cool is Mango that
associates itself with such a cool person. And wow! magic, I can order the trousers straight
from the website, I am onto something cool.
We have been given the opportunity to suggest people to be the future protagonist of the
magazine so then we would be able to use it for our own strategy.
4. MANGO magazine uses celebrities and style icons within its content, do you
think that the use of such referees cultivates the ground to establish a credible
source for messages?
Yes, indeed, the magazine it is created by Mango, or curated as it is more commonly said
today. But as the celebrities are the ones communicating a message they work as brand
ambassadors. That is the reason why they are using such niche people, I mean really cool
stylist that noT everybody has heard of, or cool kids. Because mango is linking their message
to people that have a real and non biased opinion. So it look less forced than other bigger
celebrities that are clearly being payed to say so. Because people trust them and their
fashion opinion then They trust Mango.
5. MANGO magazine uses a similar look & feel than traditional fashion magazines.
Why do you think they use a similar design?
I can't not answer this as I don't have this info
6. Could you tell what drives more attention to their products, MANGO magazine or
the coverage that the brand gets on traditional fashion magazines?
Unfortunately I can't not answer this question objectively as I don't know how impactful is
the magazine on sales. The uk market, us as a PR agency, we are focused on coverage,
because where the brand it is positioned at the moment in here it is What it works best. As
I've said before we have been given the chance to suggest people for the magazine so we
will be able to play with that and integrate the magazine in our daily job.
100
7. Is there a specific relation between the information that the brand releases to
the media and the information that the brand keeps for its own magazine?
Everything is connected as we wAnt to send a cohesive message. So same idea different
platforms. So readers get the same idea from anywhere, that's the connection
8. In your opinion, do you think that brands still need the media to promote their
products?
What media are you referring to? If you mean, newspapers , magazines etc... Yes I do. As
long as those communication channels are the right way to communicate between the brand
and he consumer.
9. As brand journalism and independent magazines co-exist in the same chaotic
media world, where brands are publishing and magazines are starting to sell (see
Harper’s Bazar USA), do you think that readers can differentiate between them
both?
Why would they need to differentiate? The aim of both, magazines and brands it is to
become the hub of everything a destination brand where you can find from product to
content. To spend time in the brAnd and experience the Mango lifestyle in this case. Readers
care about having everything more centralised, see the case of having social media platforms
where you can control everything: twitter, Facebook, Pinterest etc... From one place. We like
to have everything to the reach of our hands so the same with content and brands. And
brands have realised thAt. It is just a case of giving a solution to kneels acquired necessities.
PURE MARKETING.
6.7 Interview with Ruth Atherley
1. Independence has traditionally been essential in establishing a relationship
between journalists and their readers. However, after the success of fashion
magazines owned by brands such as Net-a-Porter, do you think that the authorship
of the content matters to create this bond with the publics? Why?
I think authorship of content does matter – but perhaps not in the expected way. If an
organization decides to use brand journalism to tell their story, they need to – in my opinion
– commit to being authentic about the approach. They can’t just hide marketing messages
behind an article written in editorial style, they must actually develop a balanced story that
tells all sides of the story.
2. Do you think that the fact that brands have commercial motivations behind the
message affects the trustworthiness of the source?
101
I think that no matter who develops a piece – it is important to keep in mind what the
agenda of the writer/producer of the piece is. That isn’t just for brands that use brand
journalism, but for any study or survey released and published in traditional media.
Traditional media can also have corporate agendas or other reasons that we may not be
aware of (not saying they do, but it needs to be considered.) Brand journalism – in the way
that I recommend our clients use it – should be pieces that inform, enlighten and engage
and tell the truth…. In a way that builds trust and credibility.
3. In your opinion, is third party endorsement what inspires trust for readers?
What do you think it is the USP of the traditional media?
I think third party endorsement is a trust builder. Unfortunately there are fewer opportunities
for a brand to tell its story through traditional media and, in my opinion, there is an
opportunity for an organization to step forward and tell its own story using the same
approach as traditional media. I think the challenge comes when organizations call a
marketing campaign ‘brand journalism’ – brand journalism doesn’t shy away from sharing
what didn’t work as well as what worked … it tells a balanced story and doesn’t shy away
from the criticisms or issues – and explains what has been done to improve or change what
wasn’t working. We all provide information based on our own knowledge, biases and
experiences – and that means traditional journalists too …
4. Do you think that brands still need the support of the traditional media?
I think traditional media is incredibly important and given the layoffs and closures happening
all around the world … it concerns me. Traditional media is our watch dog, journalists provide
context and perspective and this approach is crucial. The continuing challenge of a shrinking
traditional media industry means that there is an opportunity for brands to provide their own
– but only if they remove the marketing lens from this activity and allow themselves to more
fully and authentically engage with their stakeholder groups.
5. After my content analysis on fashion brands that use brand journalism, I have
identified three different approaches to brand journalism: A) Different stories, one
brand (Mango) B) Different stories, multi brand (Net-a-Porter) C) Different stories, no brand
(Nowness)
o Which approach do you think it is more transparent and why?
A: I think each one works in different cases. There is a no ‘one size fits all’ approach.
o Which approach do you think transmits more credibility and why?
A: I like different stories, multi-brand …. But the other two can be incredibly effective
as well, depending on the specific situation.
o Which approach do you think that readers will pay more attention to and
why?
I am not sure I can answer this.
102
o What are in your opinion the motivations behind each strategy?
I learned a long time ago not to assume motivations behind any strategy that I
wasn’t in the room to develop.
6. The examples of brand journalism shown above use a similar look & feel than
traditional fashion magazines. Do you think this fact is giving them editorial
credibility?
I think advertorials have done this for years. I think consumers are very smart and they
don’t get tricked by marketing messages hidden in editorial style design … they want
editorial style content that is credible and reliable…no matter who creates it.
7. Do you think that the Mango approach only works with brand fans, who are more
likely to believe just one side of the story?
I think the world is full of brand fans, people that don’t really have an opinion, skeptics and
haters … brand fans have self-identified as interested … it would depend on what Mango’s
objective is for brand journalism … do they want to maintain loyal fans, attract new ones?
8. Does the use of luxurious brands and celebrities, within the content, transfer a
referent value to the publication? Does the use of such referees cultivate the
ground to establish a credible source for messages?
I think in the pop culture society that many of us live in – celebrities are an interesting
choice and there are many case studies that show success in connecting celebrities to a
product or service. There is also some great value in this kind of connection when it comes to
charities and celebrities.
9. Do you think that transparency and credibility go together when it comes to
promoting editorial content?
I think that transparency is an important word – but one that needs to be defined. What are
the boundaries of transparency with brand journalism? Absolute transparency doesn’t
happen even with traditional media – there often isn’t enough space to describe everything
that happens. But I believe transparency is important and credibility is built through honest,
authentic, transparent communication.
10. Lucy Yeomans, Editor in Chief of Net-a-Porter, said that they are going to start
including brands that are not in their portfolio to sell, and actually H&M has added
Louise Vuitton pieces into their editorial platform. Do you think that brand
journalism needs to incorporate other points of view, rather than just the brand, to
be more efficient? If so, what are the main risks for the brand?
103
I think it is interesting that this shift is happening. I think that what the risks are depend on
how far the organization with stretch in this area. I do think that it is important for a brand
considering this approach to use critical thinking and outline potential risks before they
engage.
11. Eric Schneider, a chartered accountant who founded Totem Agency and
specialised in brand journalism, said in an article about brand journalism,
published in October 2012, on Center for Journalism Ethics from University of
Wisconsin-Madison that “in our world, our position is transparency, it is clear to
the audience that they are promoting the business so there is no presumption of
editorial integrity”. Do you agree with this?
Yes. The same way that I would expect the average person to understand what the
underlying editorial mandate is for any media outlet, I would expect that if you go to an
organization’s website and read an article about brand journalism and they are transparent
that they developed the piece – that there is editorial integrity there.
12. As brand journalism and independent magazines co-exist in the same chaotic
media world, where brands are publishing and magazines are starting to sell, do
you think that readers can differentiate between them both? Do you think that
benefits brands somehow?
I think people are much smarter than we give them credit for – I think they can tell…
I do think brands benefit, but not in the way you mean. I think for decades, traditional media
was the only opportunity to reach their stakeholder groups … now, they can connect directly
with their ‘tribes’ – the people that care about – or should be aware – of what they are
doing.
6.8 Interview Mireia Tomas
1. Does the authorship of the content matter in creating a bond with readers /
customers? Why?
I believe so, if we know who writes a piece, we see everything more real. Sometimes not
seeing the authorship of the content can create confusions.
2. In your opinion, what is the influence of traditional magazines based on? Is it
third-party endorsement that inspires trust for readers?
Traditional fashion magazines are pretty much influenced by brands, as they are product-led,
the influence of their content relies on the content that brands can supply.
104
3. Do you think that the fact that brands have commercial motivations behind the
message affects the trustworthiness of the source?
Of course, it does generates apprehension.
4. Do you think that brand journalism works better with brand fans?
I believe so, as they are the ones who initially will be more interested in listening what the
brand has to say.
5. Do you think that transparency and credibility go together when it comes to promoting editorial content?
Of course, if we don’t trust that there is transparency within the content we don’t give any
credibility to it.
6. Harper’s Bazaar USA has incorporated an e-commerce site where readers can
buy the products they cover on their editorial lines. As brand journalism co-exist in
the same chaotic media world, where brands are publishing and magazines are
starting to sell, do you think that readers can differentiate between them both? Do
you think that benefits brands somehow?
I think that sometimes readers cannot tell the authorship of the content and that is
generating apprehension among the readership.
7. After my content analysis on fashion brands that use brand journalism, I have
identified three different approaches to brand journalism: A) Different stories, one
brand (Mango) B) Different stories, multi brand (Net-a-Porter) C) Different stories,
no brand (Nowness)
o Which approach do you think it is more transparent and why? The first one only
shows its brand, therefore the reader knows exactly what they are trying to sell.
The second one, if you work in the industry, you can tell that there are brands who have paid
more to appear in the best positions, therefore I think it is less transparent. The third one, if
there is a brand behind, is not transparent at all, however, if the average reader doesn’t
know about the link with the brand, it can transmit more credibility.
o Which approach do you think transmits more credibility and why?
As it is story-led, I would say the third one.
o Which approach do you think that readers will pay more attention to and why?
T h e t h i r d o n e , s o i t i s n e w s w o r t h y .
o What are in your opinion the motivations behind each strategy?
The first and second one, the strategy is to sell, while the third one is more about generating
brand awareness.
105
6.9 Interview Sophie Maguire
1. Do you think that traditional fashion magazines are losing their influence over
brands that are using brand journalism such as Net-a-Porter?
Brand journalism allows the brand to speak directly to the consumer, cutting out the middle
man, surely this ends in traditional fashion magazines losing their influence.
2. Does the authorship of the content matter in creating a bond with the readers /
customers? Why?
In terms of tone and language yes. Good journalism will always connect with the reader on
an emotional level and thus gain trust.
3. In your opinion, what is the influence of traditional fashion magazines based on?
Is it third-party endorsement that inspires trust for readers?
No I don't think third part endorsement inspires trust at all. Said third party are on pay role
are they not? So how free is their voice really.
4. Do you think that traditional fashion magazines, which are ad supported, are in
reality editorial independent?
I believe once a magazine, or any publication, set about making a profit from advertisements
they lose their voice, independence and in turn respect. By selling out and having words put
into their mouths, they lose credibility and any editorial independence that once was. Print
magazines will inevitably fold without some ad backing of course, but when a magazine can
survive from ad backing alone they are no longer impartial forward thinkers.
5. Do you think that transparency and credibility go together when it comes to
promoting editorial content?
I think this depends on the publication itself and what they stand for. I would be more likely
to crave transparency from a popular magazine who I feel are fueled by money than I would
a niche publication. This is because i feel niche publications have more room for ‘real’
opinion, rather than heavily edited content that is sycophantic in its underlying propose.
6. Examples of brand journalism in fashion such as MANGO magazine or Net-a-
Porter, use a similar look & feel than traditional fashion magazines. Why do you
think they use a similar design?
It could be argued they do this to pull the wool over the readers eyes, but surely a reader
looking at such content already knows that they will be looking at a biased opinion to some
extent. Perhaps they use a similar look and feel as this is tried and tested formal, that works,
get reaction and is know world over. The layout of a fashion magazine is not what instills
106
trust in the reader, its the ethics and ethos of a company.
7. In the same examples described above, we can appreciate the use of celebrity
within the content. Do you think that the use of these referees transfer a referent
value to the publication giving them editorial credibility? If so, do you think that
the use of these referees is strong enough to bypass the power of influence of
traditional magazines?
Deeming editorial credible due to celebrity involvement in narrow minded, ill informed and
ultimately naive.
8. As brand journalism and traditional magazines co-exist in the same chaotic
media world, where brands are publishing and magazines are starting to sell, do
you think that readers can differentiate between them both? Do you think that
benefits brands somehow?
I think a reader can always tell when there is an underlying message to sell, whether that is
brand journalism or advertorials in magazines. It’s advertising all the same. But the integrity
of the message is slightly different. It’s this upfront sale from a brand that I believe works in
their favour.
9. Do you think that having commercial motivations behind the message affects the
trustworthiness of a source?
Yes. Money talks.
10. Most fashion magazines are product-led, which makes them dependable of
brands to provide content. Do you think that traditional magazines and brands still
need each other to survive?
No. I think traditional magazines need brands, but brands have realised they can cut out the
middleman by creating their own journalism, their own voice and their own messages. The
only upper hand the magazine world has, that I can see, is its notoriety. Which itself could be
at risk with its tendency to lose credibility by continuously selling out. Once people realise
their £4.90 Vogue is in fact a walking advert of deceit, will they decide to spend their money
elsewhere? On brand journalism perhaps, where yes they are being sold a lifestyle and, or a
product, but it is done with an honest integrity that a customer will spot and appreciate.
11. Also, brilliant fashion editors are joining brands to develop brand journalism
projects. Are we looking at a media model where brands will be able to own the
journalistic words? If so, what would be the main implications in terms of
transparency? And credibility?
Perhaps these ‘journalist’s will then be free from the pretense of a ‘free press’ and feel less
guilt when writing someone else's opinion and having words thrown into their mouths for a
107
monthly wage.
“hurt me with the truth, but never comfort me with a lie.”
6.10 Interview with Kate Reardon
1. Does the authorship of the content matter in creating a bond with the readers /
customers? Why?
I think that most readers/ consumers of luxury brands are sophisticated enough to realize
where the pervaders of their media are coming from and can make their own decisions on
how they are going to be swayed. i think there is certainly room for wonderful creative
integrity even when it comes directly from a brands point of view. some of the most creative
i ages veer mad have come from pure ad so when u get to the top end of the market the
consumer is sophisticated enough to know exactly what message is being told.
2. As brand journalism and traditional magazines co-exist in the same chaotic
media world, where brands are publishing and magazines are starting to sell, do
you think that readers can differentiate between them both?
Yes I think readers are fantastically educated savvy and wise and they make fully in formed
decisions i don't think anyone feels fooled or misled at any point. I think it makes perfect
sense for all of these bounder to be blurred when it comes to retail commerce and fashion. I
think nowadays readers are not as naive as they might of been in maybe the 1950. there are
a generation of readers who have grown up with the digital era, they know exactly what is
going on.
3. Do you think that the fact that brands have commercial motivations behind the
message affects the trustworthiness of the source?
I think everyone has commercial motivation. unless you are producing fashion as fine art and
that you are not even hoping sell it, and that it is to be just a beautiful exhibit in your
bedroom at some point, that this is commerce and yes there is a line between journalism
and selling handbags as your profit line, but you still have to sell journalism so everyone is
selling something.
4. In your opinion, is third party endorsement what inspires trust for fashion
readers? What do you think it really is the unique selling point of the media?
They are influence due to their skill of their editors and stylists. It is the first form of curated
content. Yes of course if there is a credibility. if you believe in curated content and that the
person who's curation you are buying into, of course you will appreciate their seal of
approval.
108
10. In the same examples described above, we can appreciate the use of celebrity
within the content. Do you think that the use of these referees transfer a referent
value to the publication giving them editorial credibility?
I think celebrities has been remunerated in someway or another for decades to endorse
products either official or unofficially and i think the traditional media as well as the new
media, brand journalism, whatever. All the different forms of media are going to use
celebrities in which ever way they can
11. Do you think that brands still need the support of the media?
I work of Conde Nast I’m going to say yes.
12. Do you think that the media have become dependent of brands?
We don't depend on the brands to give us press releases or images but we do depend on the
bands to create products that our readers are going to want to buy and read about.
109