fashion marketing & communication thesis

“Picture Perfect�:

The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere Aleksandra Pavlova // BA Fashion Marketing and Communication, Level 6, 2019 Major project, CWK 2 // Project Tutor: Teresa Buhigas // Word Count: 9072

IED Barcelona, 2019

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

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Aleksandra Pavlova

IED Barcelona, 2019

abstract

The purpose of this study is to comprehend the significance of emotional marketing in the social media realm at the current day and age, and provide a theoretical framework of analysing the impact of semiotics on the success of execution of digital contnet . An aim is to show that storytelling itself is a powerful tool of consumer pulling and is a vital component of effective digital content creation.

The study centers its focus on the main theories of emotional consumer marketing, semiotics research, as well as the adaptation of those towards and Instagram marketing tools. The final focus is made on analysing the current use of those aspects by brands and creators of our time, and conducting a critical evaluation of those through primary research.

The desired outcome of the project is the construction of an Instagram Emotional Marketing Model that represents the findings on the overall analysis of the subject.

Overall, high focus is held on the theoretical segment of the research prior to the discussion, as the key theories and concepts of semiotics need to be understood in order to generate a critical evaluation of the findings.

Key words: semiotics, emotional marketing, brand narrative, Instagram, digital consumer

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

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Aleksandra Pavlova

IED Barcelona, 2019

acknowledgements

I express my endless gratitude to my tutor Teresa Buhigas for guiding me through this project and her dedication to push me to do my best and be critical in my research.

I also thank my specialised tutor Gabriella Pedranti for her interest in the subject and her endless knowledge that she has chosen to share with me.

This project is dedicated to my mother and my friends for their support and always believing in me.

This thesis wouldn’t be possible without the constant counceling of those people and I confirm that it is a result of my own work.

Word count: 9072

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CONTENTS

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

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i.

INTRODUCTION

ii.

LITERATURE REVIEW

iii.

DATA RESULTS

iv.

DISCUSSION & CONCLUSIONS

v. vi. vii.

RECOMMENDATIONS BIBLIOGRAPHY ANNEX

p. 7-12

p. 13-52

p. 53-66

p. 67-70

p. 71-72

p. 75-80 p. 81-98

Aleksandra Pavlova

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1 // MOTIVATION 2 // GENERAL AIM, OBJECTIVES & RESEARCH QUESTIONS 3 // PROJECT STRUCTURE 4 // METHODOLOGY 5 // HUMAN NATURE EVOLUTION THROUGH STORYTELLING - THEORETICAL APPROACH 6 // GENERATING EMOTIONAL STIMULUS AND IT’S LINK TO CONSUMER-ORIENTED MARKETING 7 // THE USE OF STRATEGIC STORYTELLING IN THE DIGITAL MARKETING SPHERE 8 // DECODING THE USE OF SEMIOTICS ELEMENTS IN CREATING DIGITAL NARRATIVES 9 // INSTAGRAM: PLATFORM OVERVIEW ANDS APPLICATION OF SEMIOTICS 10 // INSTAGRAM DEBATES 11 // THEORETICAL RESEARCH KEY FINDINGS 12 // THE SCIENCE OF STORYTELLING 13 // INSTAGRAM IN STATISTICS 14 // FASHION BRANDS ANALYTICAL BENCHMARK 15 // DATA RESULTS KEY FINDINGS 16 // DISCUSSION OF THE FINDINGS 17 // CONCLUSIVE PRIOJECT OUTCOME: THE EMOTIONAL BRANDING MODEL

18 // PROJECT LIMITATIONS & FUTURE RESEARCH

REVIEWED SOURCES COMPLEMENTORY INFORMATION

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere�

motivation

i. I N T R O D U C T I O N

Due to the current fashion market tightly intertwining with the digital field, and the rapidly changing trends of the consumer culture, the channels of reaching the customer and the communication developed by businesses also experience shifts. Social media plays an essential role in constructing the brand image and gener- ating interaction between it and the buyer.

Within the realm of social media, Instagram is one of the leading social platforms of the current time, and is highly influential in the communication of the largest ninety percent of brands across all industries. Statistically speaking, Instagram captivates over one billion users on the monthly basis, over seventy percent of which claim to have purchased a product they saw on Instagram. This gives endless opportunities for the marketers of our time to create unique content that can help to win over a large audience, and therefore become a major driver of sales.

The purpose of this paper is to investigate the opportunities behind the use of the platform in creating emotional marketing messages and visual brand narratives, and research the importance of the use of semiotics in content creation. Furthermore, the primary reasoning behind selecting this topic stems from the author’s personal interest in the discussion on brand use of storytelling, as well as a desire to collect and contrast opinions of some of the debates present in the current research of this subject matter, that can finally be formulated into conclusive theoretical outcomes.

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Aleksandra Pavlova

general aim The focus of the following research paper is aimed at closing the gap between the emotional marketing knowledge used by marketers of the 21st century and its application to the digital world, as well as the new tactics that can help to generate engagement. This thesis focuses on storytelling as a tool and looks into the research of semiotics that can be used by brands online in order to develop emotional connections with the customers. Thus, the overall aim is to develop a solid conclusion regarding the operational extent of social media and the added value of visual codes to it, as opposed to the solitary use of quantitative measures in analysing digital outcomes. The goal lays in investigating into the core of the debate between semiotics and metrics and constructing solid conclusions on the vitality of both of those factors in the overall success of brands in the online sphere.

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theoretical review objectives & research questions UNDERSTANDING THE RELATION OF THE EVOLUTION OF HUMAN NATURE TO STORYTELLING - What are the main theories that are used to explain the human relation to creative narratives?

- How can those narrative theories be summarised in order to understand the key basis on the human nature from this perspective?

- Overall, what is the initial purpose of creating stories?

UNDERSTANDING THE IMPORTANCE OF GENERATING EMOTIONAL STIMULUS IN THE APPROACH OF CONSUMER-ORIENTED MARKETING - How can digital storytelling be defined?

- What are the main theories used in understanding the way storytelling is implemented in brand’s communication strategies?

- What are the key tactics used in generating an emotion response?

INVESTIGATING THE USE OF STRATEGIC STORYTELLING IN THE DIGITAL MARKETING SPHERE - What are the key components of successful storytelling online?

- What are the key tactics used in achieving coherent emotional narratives?

BREAKING DOWN THE SEMIOTICS ELEMENTS USED IN CREATING DIGITAL NARRATIVES - What are the key elements contributing to the successful use of semiotics theories in digital marketing tactics?

- What are the cognitive mechanisms behind the use of colour, text, and the overall use of “aesthetics” as semiotic tools?

ANALYSING INSTAGRAM AS A PLATFORM FOR THE APPLICATION OF SEMIOTICS - What is the reasoning behind the success of Instagram as a storytelling platform?

- What are the concepts behind Instagrammatics and Instagrammism?

- How can the elasticity of Instagram be used in developing new tactics?

OVERVIEWING THE KEY INSTAGRAM “DEBATES” - What is the main conflict within Instagram tactics?

- How can the semiotics vs big data debate be broken down?

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

project structure

R

E

ER

OJ PR

UNDERSTANDING THE USE OF SEMIOTICS AND EMOTIONAL BRANDING IN THE NEW-ERA DIGITAL MARKETING SPHERE

LI T

T

M

E

C

AI

AT U

INTRODUCTION

V RE

IE W

HUMAN NATURE EVOLUTION THROUGH STORYTELLING THEORETICAL APPROACH

GENERATING EMOTIONAL STIMULUS AND IT’S LINK TO CONSUMER-ORIENTED MARKETING THE USE OF STRATEGIC STORYTELLING IN THE DIGITAL MARKETING SPHERE DECODING THE USE OF SEMIOTICS ELEMENTS IN CREATING DIGITAL NARRATIVES INSTAGRAM: PLATFORM OVERVIEW ANDS APPLICATION OF SEMIOTICS INSTAGRAM DEBATES

+ conclusions to each chapter

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KEY FINDINGS

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DA TA

DIS

C

Aleksandra Pavlova

R

E

LTS U S

U

SS

IO N

PROJECT OUTCOME: INSTAGRAM EMOTIONAL BRANDING MODEL

THE SCIENCE OF STORYTELLING INSATGRAM IN STATISTICS: users, marketing, content

CONCLUSIONS & RECOMMENDATIONS

EXISTING CASE STUDIES FASHION BRANDS FUNCTIONAL BENCHMARK

KEY FINDINGS

+ interview with a specialist

ANNEX: COMLEMENTORY RESEARCH

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

methodology Upon starting the research, investigating into secondary sources of information, including books, articles, research papers, interviews and questionnaires by other researchers has helped the author to evaluate the way that the already existing research can enhance the further opportunities and topics of investigation. Looking into conclusions drawn from those investigations and dissertations also lead to opening of new discussions within the project, adding to the structural formation of the chosen subject.

Additionally, in regards to conducting secondary research, the author uses a critical approach of contrasting arguments in order to ensure their validity. Nevertheless, the focus of the research is held solely on the western consumer, as the cultural differences areproven to be prevalent in the field on emotional marketing and semiotics, as well as the ways different people cross-culturally perceive social media and brands in general.

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Overall, the project was began by conducting an overview of the current theoretical field of semiotics and narratives, afterwards moving towards reviewing Instagram and social media research more specifically. In this filed, one of the main contributors to the subject matter is Lev Manovich, an his paper “Instagrammism and contemporary cultural identity” (2016) is referred to throughout the project as the most complete research source conducted in the field of Instagram semiotics. The findings of the author are reviewed and contrasted through conducting primary research in the form of a benchmark study, as well as an interview with an industry professional. In this case, the interview plays a complementary role in the formation of the project outcomes, and fills the gap in the lack of research in some areas of the study.

The theoretical research chapter is closed by a discussion of concepts of its flexibility and analytics be-

Aleksandra Pavlova

IED Barcelona, 2019

ing reviewed additionally in order to open the final debate of semiotics vs. analytics.

drawn in regards to the factors reflected in the operationalisation of those businesses.

Furthermore, in order to provide evidence for Instagram as a platform being a critically important tool in the use of digital emotional marketing, data results are collected on the current and future positions of the platform and it’s user and content opportunities. The data collection has overall been organised in segments dependent on the central focus: the marketing data, content data, and user data.

Overall, in order to establish the most current and updated tactics used by brands in the online sphere, the methods used in the project include a variety of both qualitative and quantitative information, with a balance of primary and secondary research initiatives.

Furthermore, by extending the research into other fields including the digital consumer behaviour, branding and content differentiating, a large part of the project was spent on gaining primary research and exploring the field of brands that are practicing the development of their businesses heavily throughout online channels. Returning back to the debate of the possibility of “measuring success�, a critical conclusion is

Thus, through the method of constant comparison and being critical in the findings of the research, the author has been selective in the sources and methods used, and due to the broad nature of the subject, has attempted to hold the focus on the most significant and widely used concepts within the semiotics and the digital marketing fields.

The final model outcome of the project is thus formed by a collective overview of the findings and reshaping the already existing explorations of the topic of discussion.

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ii. L I T E R A T U R E R E V I E W

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere�

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- P R E F A C E -

As an introduction to the literature review, it is important to highlight the semiotic concepts that are referred to throughout the research and define those concepts.

Semiotics as stands on its own can be defined as a study of sign processes, communication and signification, using signs, symbols, colours and words, all aimed towards understanding the relative meanings of the transmitted messages.

As a whole, semiotics can be divided into three branches of study, each focusing on a particular level/stage of perception between the signifier and the signified, displayed on the following model. Out of the three, the area that this paper mostly focuses on is semantics, which investigates the relation between signs and the things towards which they refer.

(Grilo, 2017), (Barthes, 1964)

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SE M A

By Aleksandra Pavlova

N

CS TI

= investigates the relation between signs and the

things towards which they refer

IN MARKETING, IT DETERMINES THE USER PERCEPTION

SY

= focuses on relations

amongst signs in formal structures

S

ly focused on language

IN MARKETING, IT DETERMINES THE PRODUCT CONFIGURATION

M G

IC AT

IN MARKETING, IT DETERMINES THE PRODUCT STRATEGY

ICS

fect on their users, primaro-

CT

= research into the relation

between signs and their ef-

N T

A

SEMIOTICS SEMIOTICS

PR

A

* derived from the different segments of semiotics research, this thesis hold focus mostly upon the semantics relations, within which the effects of semiotic codes and their use online is investigated and proven Figure 1: The Semiotics Branches model Reinterpreted from (Grilo, 2017), (Huang, 2017)

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

HUMAN NATURE EVOLUTION THROUGH STORYTELLING THEORETICAL APPROACH Introduction and topic basis

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Storytelling as a concept has always played a

those new formats achieved distribution on

part in human’s lives throughout history, and has

an industrial scale, the emergence of the 20th

provided evidence for the society’s development

century mass media has occurred. Newspa-

through passing knowledge by the means of sto-

pers, magazines, movies, music, television.

rytelling from generation to generation, as well

Then the internet, being the first medium that

as inter-culturally (Gopnik, 2012). Stories themselves

combines all narrative formats – text, audio,

are defined as the way humans process infor-

video, or all together. The difference between

mation and are how life events are summarised

the previous media and the online worlds is

into comprehensible timelines

One

that the internet is also participatory, nonlin-

of the key benefits of stories is that they are uni-

ear, and interactive (Rose, 2011). It acts as an in-

versal, however the way they are told changes as

stigator constantly encouraging the users to

new technologies arise. Every new medium that

comment and contribute to any activity

is invented gives rise to a newer form of narra-

2011).

tive. As an example, in Europe the invention of

tion into this field of semiotic integration - the

the printing press and transportable type in 1450

knowledge that allows users to adapt content

led to the emergence of written storytelling and

based on building connections and thus gen-

has popularised novelising. The development of

erating a desired response. This thesis focus-

motion picture cameras in 1890s introduced an

es on exploring that relation between behav-

era of blooming experimentation that led to the

ioural science of human nature and the way

development of feature films by 1910s, followed

this knowledge can be applied to the new-era

by conventional television in 1925. As each of

digital marketing sphere.

(Robson, 2018).

(Rose,

This concept gives the basis to the adop-

Aleksandra Pavlova

IED Barcelona, 2019

The Narrative Paradigm

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One of the key researchers in exploring the

Humans are homonarrans 1, thus all forms of human communication can be seen as being a story

concept of human perception of narrative is Walter Fisher, offering up the outcome of his research in the form of the Narrative Paradigm, which he claims is what gives shape

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to public and social knowledge as identifiable

Beliefs and behaviours are constructed on the basis of “good reasons” that are determined by the context and the values of a particular culture. Therefore, storytelling is adaptive as well as subjective, and cannot be denied

concepts in societal communication and giving public knowledge a form of being 1984, p. 15).

(Fisher,

As elaborated on further by Rybacki

and Rybacki

(1991),

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Fisher suggests that “it is

in our nature as humans to use stories to get

Those “good reasons” in persuasion are determined based on individual cultures, history, character, language, and experiences. The basis of their perception can vary on community level

at truth”. Overall, the Narrative Paradigm as an approach helps to understand the basis of human behaviour in relation to formation and

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perception of stories. This perspective acts as one of the key theories in the given field

The rationality of a story depends on its consistency with other stories that have been seen, heard, or experienced by someone. Thus, everyone perceives and reacts to them differently

of study and explains storytelling as one of the oldest existing form of communication.

In order to further break down the Narrative Paradigm, the key premises of basic human behaviour noted by Fisher are outlined next:

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The world is all made up of stories. According to Fisher, humans as a species establish a meaningful life world by recounting and accounting stories as a key differentiation of us from other animals

Homonarrans concept meaning “the human being that tells stories”, introduced by a German folklorist Kurt Ranke in 1966 ((Yengin, 2017)

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

The Narrative Transportation Theory Many additional studies have been conducted

claims that during the expression process, in-

in the process of analysing the relationship be-

dividuals can in certain cases lose contact with

tween stories and their effect on persuasion.

some of the characteristics of the real world

Specifically, some researchers link stories and

(Gerrig, 1993:10-11).

their effects on persuasion through the Narra-

to be used in the digital setting by establishing

tive Transportation Theory , which is another

strong bonds with the viewers through the use

approach that must be reviewed in order to un-

of emotional storytelling.

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This research can be adapted

derstand the full effects that storytelling may have on humans if is constructed effectively

Additionally, the Narrative Transportation The-

. According to Richard Gerrig, “it is

ory provides a basis for other researchers in

assumed that individuals are transported to a

analysing the mental processes in persuasion

world where aesthetic based expression pro-

of those experiencing the storytelling. Thus,

cess is used rather than paradigm based an-

it has been found through a segmentation of

alytical process.” This expression refers to a

the dual-process models 3, that the real world

distinct mental process in which the recipients

events and facts are the base for any story pro-

(viewers, readers, listeners) of a story are fas-

cessing

cinated by the characters or the events of the

that any evaluation and encoding has is made

story and therefore develop potential relation-

through layering over already known facts.

ships with them and live through their experi-

Thus, any narration can substantially affect

ences. In his research Gerrig demonstrates and

an individuals’ buying behaviour in product or

provides evidence for that through this process

brand advertising, and has a vital function in

of transportation, the stories can have an effect

understanding and analysing target markets

on real world attitudes and behaviours. He also

for companies (Kılanç, 2013:46).

(Green, 2017)

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17

3

(Neimand, 2018).

Therefore, the meaning

Theory of Narrative Transportation - based on the experience of being transported to the world of a story (Moreau, 2016) The interaction between intuitive (fast, intuitive, unconscious) and deliberate (planned, slow, directed) thinking (Thompson, 2014)

Aleksandra Pavlova

Figure 2 Example of narrative transportation through storytelling (Neimand, 2018)

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Overall, the purpose of narrative as a whole is to create dynamic patterns between past and future, and integrate mental images into the imaginary situations by generating an emotional response. In humans, this causes motivation related to actualisation possibility of the imagined events, that in turn creates a basis for behavioural changes, and sometimes even leads to new attitudes and behaviours being produced. Thus, well-made stories take part in the persuasion process of the viewer by creating a desired behaviour change. By creating this mechanism through the means of social media, interaction between audience and social network can take place, and thus, the audience itself can play its active role in development and narration of the narrative.

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

GENERATING EMOTIONAL STIMULUS AND IT’S LINK TO CONSUMER-ORIENTED MARKETING Defining Digital Storytelling

vices such as still images, graphics, videos and

In order to initially define the concept of digi-

audio in creating a narrative on digital platforms

tal storytelling, it is first important to look back

(Seyfi, 2017).

at the pioneers of this field and review some of the already existing definitions. The concept it-

Furthermore, various researchers of the field

self first appeared in 1980, introduced by Dana

of storytelling have collectively defined the key

Atchley

- a digital branding narrative

elements of the process being: the character,

pioneer, who was worked for Apple, Adobe,

the plot, themes (values) and the aesthetic ex-

Coke, and other monopolistic companies. Atch-

ecution (Vincent, 2002). All of those play a vital role

ley refers to digital storytelling by: “Digital tools

in constructing narraties including within the

such as image, film and music are the key com-

online filed, and thus are the prikary concepts

ponents used in storytelling”. Other research-

that need to be reviewed when formulating sto-

ers, including Elizabeth Figa (2004) define digital

rytelling messages.

(1941-2000)

storytelling as the “usage of voice, music and visual messages according to text in digital environments.”

(Figa, 2004: 34-36),

and Armstrong

formulates his storytelling definition as: “the

ing in brand communication

information transportation and story transpor-

As discussed in Chapter 1 of the paper, humans

tation by means of media.” He elaborates on the

by nature are highly emotionally-driven beings.

definition by continuing: “digital storytelling is

The main positive emotion that can be self-in-

representation of short movies mostly created

duced is pleasure, hence why it is being seeked

by personal stories by using digital tools.” (Arm-

by people in different aspects of their lives. Do-

Overall, digital storytelling can

pamine 4 is released giving us the feeling of be-

be defined as: the interaction of multimedia de-

ing rewarded. On the other side of the spectrum,

strong, 2003: 11-18 ).

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The theoretical basis of storytell-

4

Dopamine is a neurotransmitter that is released in the brain accounting for pleasure

Aleksandra Pavlova

IED Barcelona, 2019

humans also want to avoid being uncomfortable based on the concept of risk-avoidance, seeking for the environment/making decisions based on what is the most safe and secure (Escalas, 2004).

In the marketing context, emotions

are what underlines all decision-making processes. Nearly all buying decisions are made unconsciously, based on instincts and basic reactions, and not rational processes as the society views it. Thus, in the “test-and-learn” 5 realm of marketers basing their practices on quantitative research, emotion is a powerful source of their hypotheses, which are then validated through experimentation and can lead to deeper insights about the customer’s unconscious motivators. The following approaches described in this chapter help to further elaborate and give explanations as to why humans behave the way they do even in the scenario of a marketplace. Despite the widely spread

“To continue winning the internet marketing game, your content has to be more that just brilliant, it has to give the people consuming that content the ability to become a better version of themselves.”

- Michelle Stinson Ross, Director of Marketing Operations at Apogee Results

assumptions that conscious decision making is more prominent during shopping than unconscious, it can be proven that the majority of actions are taken simply as a response to an especially constructed stimulus (Ramzy, 2007).

Test-and-learn is a a set of practices followed by retailers, banks and other consumer-focused companies to test ideas in a small number of locations or customers to predict impact.

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

The Limbic Model

status, power, and autonomy; This system’s de-

Various case studies exist in this realm, con-

sion is anger, rage and powerlessness), and the

ducted in order to construct a model that can

Balance System (motivated by risk avoidance,

optimise and adjust tactics in creating the most

and stability; This area may be triggered by fear

emotionally relevant customer experience.

and anxiety, but it is also associated with har-

One of the most famous models that attempts

mony and conformity, as it seeks security). Each

to break down the emotional systems of cus-

of these systems is more responsive to differ-

tomers is the Limbic Model, based on the lat-

ent stimuli, and linking these biological triggers

est

findings across various disciplines in

to the needed incentive, the connection can be

neuroanatomy, evolutionary biology, psychol-

made between the feeling a brand or compa-

ogy and neurochemistry. The model has been

ny wants to evoke in the customer and how to

developed by a German research group named

achieve that goal (Kwan, 2018).

(2017)

sire is pride or a feeling of victory, and it’s aver-

Gruppe Nymphenburgover the past twenty

21

years, with the purpose of uncovering the main

Looking deeper into the main emotional sys-

emotional systems that exist in the brain, as

tems, there are seven defined Limbic types that

well as explaining how they influence the shop-

are distinguished as an outcome of the Model.

ping behaviour in particular (Wahid, 2018). These

Those types are the basis to the segmentation

main described systems include: the Stimulant

of different customer groups, and separat-

System (aims to discover new things and learn

ing which specific approaches can be found in

new skills; This part of the brain is triggered by

reaching each specific group. Those types are

novelty, curiosity, change, surprise, and excite-

predominantly based on the emotional values,

ment, thus the system avoids boredom but is

through the understanding of which, the mar-

drawn to new sensations), the Dominance Sys-

keting experiences can be designed focusing

tem (focuses on performance, self-assertion,

on effectively resonating with this audience on a

the suppression of competition, and achieving

deeper emotional level.

Test-and-learn is a a set of practices followed by retailers, banks and other consumer-focused companies to test ideas in a small number of locations or customers to predict impact.

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Aleksandra Pavlova

IED Barcelona, 2019

IMULANC ST E PLEASURE

FANTASY PLEASURE

desired feelings

SENSUALITY

HUMOR

OP

EN

NOSTALGIA

FLEXIBILITY

SECURITY

TRUST

-M

IN

DE

D

T LIS NA

ITIO

PERSISTENCE

FUNCTIONALITY

DUTY LOGIC

AMBITION

STATUS

PRECISION

PRIDE

ELITE

HONOR

PERFORMANCE

C

TR

AD

FREEDOM

FAME

A

A

FIGHT

N

THRIFT

RMER

VICTORY ORDER

RISK TAKING

PERFO

ED LIN

JUSTIECE

B

IMPULSIVENESS

COURAGE

IN

TRADITION

SPONTAINETY

DO M

LOYALTY

VE AD

FUN

OBEDIENCE

QUALITY

N

CURIOSITY

POETRY

R RE U T REBELION

DIVERSITY

HOME

HEALTH

MORAL

ART

EXTRAVAGANCE

R ONISE

HARM

L

DREAM

ADVENTURE THRILL

CREATIVITY

CIP DIS

E NC

FRIENDSHIP

A

OPENNESS

NATURALNESS

AUTHENTICITY

HEDONIST

FANTASY EASE

seeking:

INDIVIDUALISM

E

seeking:

consumer personality type

EFFICIENCY

primary emotional system

seeking:

DISCIPLINE CONTROL Figure 3: The Limbic Model (reinterpreted from Kwan, 2018)

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

The Benefits Ladder Approach Another point of view on the topic of brand nar-

associate the brand or product with. The main

rative rational is proposed by an author and

desired feeling described on the Benefits Lad-

founder and CMO of Beloved Brands from a

der approach are: seeking knowledge, staying

more functional perspective - Graham Rob-

in control, feeling free, optimism, resinating

ertson. An emotional marketing model is con-

with inner self, feeling of being liked by others,

structed by him came as a result of launching

and social proof as well as feeling comforta-

a company that helps brands to create and

ble. As an outcome, the appropriate strategies

image and strategy coherent with their target

can be proposed designed specifically to how

demographic. The main focus of the mod-

those feelings can be achieved. For that stage,

el is to dissect the key practices used in the

Robertson also proposes a model of balance

emotional marketing approach through the

between the consumer’s desires, the brand’s

“benefits” that the brand or a company offers

value proposition, and the actions and proposi-

to its customers. This approach supports the

tions of direct competitors. These findings are

ideas of Nick Kolenda’s research in the use of

summarised in the following model.

semiotics in branding and the use of psychological coding in a brand’s digital communication, which is discussed further in Chapter 4 of the document. Robertson emphasises that the emotional benefits stand on the top of the “benefits ladder” after the key product features themselves and functional benefits that the product can bring (Beloved Brands, n/d). The key of those emotional benefits as a whole is to provoke a certain feeling that the customer will

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Aleksandra Pavlova

IED Barcelona, 2019

The Benefits Ladder Approach

OPTIMISM SEEKING KNOWLEDGE FEELING FREE FEELING LIKED COMFORT STAYING IN CONTROL

INNOVATION PERSONALISATION EXCLUSIVE FEATURES DIFFERENT VARIETIES NEWEST MODEL

EMOTIONAL BENEFITS

How does it make the consumer feel feel?

IMPROVES HEALTH

FUNCTIONAL BENEFITS

SMARTER SOLUTION

What do consumers get?

PRODUCT FEATURES

SAVING MONEY SENSORY APPEAL EXPERIENCE HIGHER EFFICIENCY

What does the product do?

CONSUMER TARGET

What do consumers want?

Figure 4: The Benefits Ladder model (reinterpreted from *the concepts discussed through the thesis focus primarily on the emotional benefits stage of the ladder, through which the model of emotional marketing is researched within the realm of social media

To summarise the chapter, the different theoretical approaches covered throughout help to understand the importance of researching and designing carefully the strategies used in online communication, and adapting those strategies according to the different customer types the brand may be working with. The psychological effects of those various tactics are what forms the unconscious thoughts of the recipients of the brand narratives, thus are the key to building sufficient and prolonged customer relations.

24

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

THE USE OF STRATEGIC STORYTELLING IN THE DIGITAL MARKETING SPHERE Why generating an emotional response is a vital component of successful storytelling

themselves in the known characters and stories, which makes it easier to also sympathise with brands associated to them and with what

In Western socity, since the classic age, the eye

these brands represent (Fog et al. 2003: 149). When

and the image are have slowly become the ma-

consumers connect with characters and per-

jor means of understanding the world

(Remaury,

ceive them as authentic, they also connect the

As concluded in the previous chapter, the

characters’ identities and values to that of the

traditional way of using stories in advertising

marketed product. (Fog et al. 2003: 156). This type of

is based on constructing an emotional narra-

story format makes it easier to demonstrate

tive around a brand or a product itself, as well

a product’s meaning and function in a socially

as following its distinct characteristics through

adapted context, and thus, more effectively (Fog

telling that narrative in constructing associa-

et al. 2003: 147; Escalas 2004a: 171).

2007).

tions (Fog et al. 2003: 146– 147). In the marketing world, companies that adopt this method replace com-

One of the other main advantages of using sto-

mercials that accentuate the price and product

ries in advertising are that they make viewers

information with stories that have the task to

more susceptible to emotional sales argu-

entertain and involve the consumer emotionally

ments as a whole (Escalas 2004b: 43), and have the

(Fog et al. 2003: 147).

It has been found that commer-

tendency to hook and engage viewers better

cials received in episodes make the consumers

than other advertising formats by giving them

more susceptible towards sales messages,

warm feelings and fulfilment

as the engagement occurs through identifying

Britton 2004: 112).

with the characters shown in the story (Fog, Budtz

tive Transportation theory described in Chap-

Humans easily recognise

ter 1, which refers to a story’s ability to make

and Yakaboylu, 2003: 149).

25

(Escalas, Moore &

The reason behind this is Narra-

Aleksandra Pavlova

IED Barcelona, 2019

the viewers lose themselves in the story and travel to other worlds (Escalas 2004b: 38). In advertising specifically, this transportation helps to construct a story-based sales pitch, convincing as consumers respond to it emotionally with less cognitive activity and unconscious identity instead of a realistically evaluating the commercial (Green & Brock 2000: 718–719). By painting these mental images stories make marketing communication more personal and trustworthy (Green & Brock 2000: 711, 716). Since any image is finally made up by motifs, which mediate both primary (denotational) and secondary (connotational) meanings, both shall be taken into account and try to be reached.

(Barthes 1964: 42).

As

opposed to the video format advertisements, research shows that the commercials that are able to create suspense and engage the viewer make them feel like it is shorter than it actually is as a result. As a result, this leads the viewer to become more positively opinionated towards the commercial itself and its underlying message in particular (Alwitt 2002: 47).

The key tactics used in achieving a cohesive emotional narrative One might argue that stories have always been prevalent in advertising, but fact is that there are various breakthroughs that the industry has seen during the past decade, and a long way has been come in the changes of consumer targeting and advertising, as the need to differentiate a brand from its competition continues to increase

(Hajli, 2013).

Linking the digital storytell-

ing to the knowledge gained through emotional marketing concepts, it is clear that to be able to persuade and communicate in an increasingly digital world, the importance of understanding the role of the persuasive appeal of online communication is vital (Stroupe, 2004).

Looking more deeply into the field of social media, it is commonly understood that in order to become a part of the consumer’s life, marketers have to create stories that will suit the narration and image of brands (Escalas 2004a: 171). In a disser-

26

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

tation called “Storytelling Advertising – a Visual

past experiences

(Bruner 1990: 45).

This phenom-

Marketing Analysis”, the author Sarah Elise Väre

enon is called “self-brand connection” and is

investigates visual importance of what storytell-

also proven to have a straight connection to

ing means in regards advertising and how it dif-

the consumer’s intention to buy a brand (Escalas

fers from storytelling through the use if visuals

2004a: 169, 176).

on it’s own. In this case, the advertising storytell-

ing through age, sex, geolocation, browsing

ing, as well as advertising in general, is a form of

behaviour, and purchase history of their target

marketing communication. As marketing com-

customer segments, newer tools and technol-

munication itself is the promotion of a company

ogies including personalisation and artificial

and its offerings with the aim to position these

intelligence are now being used in the mark-

in the minds of different target audiences (Fill 1995:

ing tactics. Nevertheless, increasingly more

15–16),

the products of market leaders today are

and more research is being conducted in this

generally equal, the task of marketing communi-

field, since even with the use of specific data

cation is to create favorable brand personalities

and analytics, the core of why consumers act

and product associations in consumers’ mind

in the way they do is still now fully known.

Thus, past the traditional target-

(Mårtenson 2009: 17).

Apart from differentiation, marketing commu-

27

As mentioned previously, differentiation through

nication is also used for informing, persuad-

storytelling is done by creating a story and a

ing, and reminding consumers of a company

world around a brand that showcases the brand’s

and its offerings (Fill 1995: 3). This communication

individuality.

A clear connection

might take place between consumers or it can

between narrative advertising and the consum-

be transmitted on a societal level, when infor-

er’s desire to buy a product has been proven,

mation with a market-orientation is shared

due to the fact that, as mentioned previously,

publicly. Traditionally, however, marketing

humans are extremely culturally conditioned to

communication is defined as a company’s

construct narratives and but their own lives and

(one-way) communication with consumers

(Fog et al. 2003: 146).

Aleksandra Pavlova

(Mårtenson 2009: 19),

IED Barcelona, 2019

which is the method this the-

sis focuses on. In marketing-oriented storytelling the brand-owner, i.e. the company, is the storyteller and the market is the audience (Salzer-Mörling & Strannegård 2004: 228).

By building a

company’s business around a story, therefore tapping into the consumer’s emotions, the company can earn a unique position in the consumer’s mind 6).

(Mossberg & Nissen Johansen 2006:

As a result, stories can also work as great

frameworks and references for developing new products for a market Huijbens, Björk & Olsson 2010: vi).

(Mossberg, Therkelsen,

All these effects can

mostly be achieved through the mixed usage of graphics, images, videos and sounds is very persuasive and therefore can be used majorly in marketing and attracting customers. These

In conclusion, from the psychological perspective, the way that brands can engage with consumers is by giving them an emotional cue to identify themselves with, thus, the market-oriented stories are a way of helping consumers internalise commercial messages in the marketplace (Mårtenson 2009: 126). Therefore, brands and online creators produce online content and use language with a specific intent in mind, which usually is the desire of persuasion and longterm retention though building emotional dependence cues.

are the main semiotic concepts on which the following chapter of the thesis focuses on.

“Web site messages are designed; they are often carefully wrought attempts to attract and retain audiences” (Warnick, 2007, p. 26)

28

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

DECODING THE USE OF SEMIOTICS ELEMENTS IN CREATING DIGITAL NARRATIVES Key elements contributing to the successful use of semiotics theories in digital marketing tactics

actual objects in a layout that direct attention,

Focusing strictly on semiotics, some of the

tion of the reader (Pracejus, Olsen & O’Guinn 2006: 83,

social semiotic principles described earlier in

88). When these general aesthetic principles are

this thesis generally say that the placing, size,

under control, creatives need to think about the

colours, and contrast of an object in an adver-

proportion of the elements in the post as well

tisement are the key factors that determine the

as the clarity of the advertisement.

also spots of open space of any colour help to concentrate the focus and direct the percep-

viewer’s perception. Additionally, it has been

29

proven that cultural differences also play an

In order to elaborate on this topic, the follow-

important role in this scenario. Expanding on

ing segment discusses the key components of

those ideas, there are other factors that play

creating an emotional response is providing

are important to consider when dissecting post

the customer with a tactical first impression,

in the frame of social media. For instance, there

which is a vital stage of generating an emo-

are certain natural tendencies and unique traits

tional link. This is critical, since statistically

even within the western society that need to

the critical span of reaction time is a third of

be taken into account when reviewing semiot-

a second, which is how much time can en-

ics (including the tendency to read layouts in a

sure that the customer will return again. In a

Z-motion, and other culturally developed prin-

book “Emotional Design: Why we love (or hate)

ciples)

This difference

everyday things” the author Donald Norman

in decoding is the reason why advertisement

describes this immediate reaction as a part of

needs to be fluid and adaptable, and a united

the emotional design model occurring at the

campaign or a communication transcript is not

visceral level. The emotional design model is

effective equally across cultures. Besides the

itself is divided into three levels.

(Bovée & Arens 1992: 320–321).

Aleksandra Pavlova

IED Barcelona, 2019

“A person interprets an experience at many levels, but what appeals at one may not appeal at another - a success is to appeal at all levels” (Norman, 2004)

VISCERAL

focuses on look and feel, a subconscious reaction that helps to build first impressions

BEHAVIORAL

PRE-CONSCIOUSNESS

S E N S O R Y

FEELING ATTRACTIVENESS

USABILITY PERFORMANCE PRODUCT FUNCTION EFFECTIVENESS

focuses on the experience as a whole, a reaction that derives from self image, experiences, and past memories

REFLECTIVE

MEANING IMPACT

focuses on the pleasure derived from usability, a conscious reaction that stems from the ease of use

M O T O R

SHARING EXPERIENCES CULTURE

Figure 5: The Three Levels of Design model Reinterpreted from (Szerovay, 2017) *From the model above, digital communication tools have effect on the visceral level, mostly based upon initial reactions and first impressions.

Hence, the importance of use of correct semiotics and visual language have a crucial importance on the success of advertising outcomes

30

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere�

red energy, danger, strength, power, determination, passion, desire, love

orange

purple

enthusiasm, fascination, creativity, determination, attraction, success, encouragement

power, royalty, nobility, ambition, femininity, nostalgia

yellow

greyscale

joy, happiness, intellect, energy, stimulation

elegance, formality, mystery, grief, simplicity

green growth, harmony, freshness, fertility, strong emotional correspondence with safety

blue

depth, stability,trust, loyalty, wisdom, confidence, intelligence, faith, truth

Figure 6: The Basis Of Colour Theory model Reinterpreted from (Kwan, 2018), (Smilovitz, 2018)

31

*A further analysis of the effects of colours on the human response are detailed in the Annex (Appendix 1)

Aleksandra Pavlova

IED Barcelona, 2019

Decoding colours As mentioned previously there are two main

can be used to navigate the customer journey

semiotic based factors apart form the actual

and experience. As an example, since cool

communication storyline that contribute to the

colours encourage relaxation, customers may

viewer’s interpretation of content. Firstly, col-

be inclined to spend more time shopping and

ours - being knowingly one of the key com-

will also perceive a shorter wait at checkout -

ponents of marketing psychology (Kolenda, 2019).

points out a marketing psychology expert Nick

Research shows that at the most basic level

Kolenda. On the other side, using warm colours

of colour psychology, it is known that certain

leading to higher arousal can spur actions like

hues evoke certain feelings. For instance, blue

impulse buying, since it decreases the brain’s

is often associated with peace, relaxation, and

ability to rationalise.

trust. In contrast, yellow, the other primary colour, is associated with creativity, optimism and happiness. And red is associated with

Decoding text

power, passion, and love – but it also incites

Secondly, is the copy text. Creating an emo-

anxiety. The reactions caused by colours can

tionally relevant narrative is important in

be both biological as well as learned - it can

keeping the messaging of the brand or com-

arouse, creating energy through increased

pany aligned and consistent in order to en-

adrenaline and higher blood pressure (cool

sure the continuous resonation with the cus-

colours decrease arousal whereas warm

tomer through the marketing process. Apart

colours increase arousal); Whilst the second

of the product sold directly, there are other

reaction is based on preference, but it is also

factors that also are perceived as part of the

influenced by experience, culture, and context.

purchase - intangibles, like the story itself

From a marketing perspective, these findings

and the ability to make a liable connection,

32

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

that feels trustworthy and truthful. Coupled

teem can be gained through a

with the visual elements, an emotionally rel-

sense of achievement, give your

evant copy can ensure the message is per-

clients some calls to action that

ceived on an emotional level. There are var-

they’ll feel good about.”

ious copy-oriented tactics that can be used in

2018). This is what will give them a

building an emotional relationship between

sense of achievement and gen-

the brand and the receiver, based around

erate a positive emotion. Anoth-

triggering positive emotions. Firstly, is over-

er way to trigger the same emo-

coming the largest barrier of e-commerce in

tion is by highlighting usability.

general being the lack of trust. This can be

Since it is one of the key benefits

overcome by encoding simple messages in

and factors off product judge-

the communication that ensure the security

ment, the ease and efficiency of

of the product/brand/service, even if they are

pre-purchase communications,

not fully justified. Nick Kolenda explains this

especially considering the on-

phenomena in the following way: “When an

line environment is what affects

argument contains any justification, we mind-

the mental level of processing

lessly assume that the justification is valid, so

fluency in the consumer’s mind.

we’re more persuaded by it” (Kolenda, n.d.).

Overall:

(Kwan,

Another way in which the copy text can be enhanced for emotional connectivity is by adding a call to action that generates the feeling of pride as it aligns with the consumer’s personal goals. Nathalie Nahai, an entrepreneur and a public speaker in the field of psychology and digital strategy, elaborates: “If self-es-

33

Reduced time and effort to process the information = High processing fluency = More pleasing experience

Aleksandra Pavlova

IED Barcelona, 2019

Figure 7: (Lee, 2015)

These are some examples of semiotic analysis decoding of images used in advertising.

34

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

Decoding Aesthetics Despite alternative viewpoints, psychological

ting, however, the use of this word is

aesthetics has frequently incorporated the

highly prevalent and has a significant

themes that developed through Shaftesbury,

weight not only to the formation of

Hutcheson, Kant, and Schopenhauer: “aes-

online images and branded content

thetic experience is a special kind of expe-

overall, despite the fact that media

rience in which pleasure is produced by the

aesthetics is a multidisciplinary and

contemplation of objects possessing unity in

relatively new arena for academic re-

diversity” (Bates, 2010). This mostly philosophical

search. Despite there not being clear

understanding has evolved through Bullough,

difinitions, the term “digital aesthet-

Beardsley, and other contributors into the

ics” has existed for over two decades.

view of aesthetic experience being a special,

As Simon Penny wrote in 1996, “Inter-

psychological process involving the suppres-

active art represents a radical phase-

sion of everyday concerns and instead focus-

shift in western esthetics.”(Penny, 1996).

ing attention on a particualr object or a sight.

As described by the author, the digitally-mediated interactivity that the

35

Furthermore, when it comes to aesthetics the-

online sphere provides is an experi-

ory, it is not considered an equivalent to visual

ence unlike any other in the world of

attractiveness. That the meaning of aesthet-

physical visual arts, and although the

ics has changed dramatically since Marcel

feeling the digital aesthetics provide

Duchamp in the 20th century (from visual at-

the viewer with is similar to what was

tractiveness to shocking content), the concept

derived six hundred years of painting,

of digital aesthetics has not fully settled down

the experience as a whole is com-

even yet (Tractinsky, 2004). In the digital media set-

pletely different thanks to interactivity.

Aleksandra Pavlova

IED Barcelona, 2019

To conclude, improving the usability of the website or the social channel and making it consumer-centred can help to both unconsciously and consciously influence the buyer’s emotions in a desired way. Inside this segment the largest role play such factors as layout, fonts, colours, graphics and pathways, as well as the overall artistic profile as a whole. The more well planned and consumer based those factors are, in combination by the use of semantic priming - the more comfortable the agent will be with trusting the source and thus the brand/product as a result.

36

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

INSTAGRAM: PLATFORM OVERVIEW AND THE APPLICATION OF SEMIOTICS The Instagram Phenomenon - why it has succeeded as a storytelling platform

particular, providing and reinforcing inter-re-

Instagram is the first social networks created

marketing organisation of brands. Marketing

for the mobile environment and focused ex-

messages are no longer unidirectional within

clusively on static and moving images. It is a

a consumer network, such as through email

social platform that operates under the condi-

marketing or through a company cite,

tions of constant expansion, largely because it

et al., 2010),

is competing with other social platforms such

stakeholders have shown to prefer two-way

as Snapchat, Facebook, and YouTube in provid-

social media communication

ing the users with all of the available functions:

2014; Guidry, 2013).

private messaging, sharing wide variation of

the current most important consulting tools for

content types, and now even vlogging (IGTV).

online customers, the online shops must have

Despite that, the prime focuses are the photo-

a reliable and solid profile in social networks,

graphic image and video representations, par-

especially taking into account the integration

ticularly prevalent through tablets and mobile

of advertisement that Instagram is adapted for.

devices. Instagram is a place of visual story-

(Observatorio de ecommerce y transformación digital, 2016).

telling. It provides a space for marketers that

Overall, Instagram is strongly one of the most

is well adapted to campaigns and brands that

visually-adapted platforms of our time, and is

seek a social network for multi-layered mean-

additionally highly “fluid” (constantly changing

ings (Wallsbeck, 2014).

formats and adopting new tools) which ensures

lations among the different elements of the

(Kozinets

instead, organisations and business (Saxton and Waters,

Since social networks are one of

strong competitiveness, which has now allowed

37

Additionally, Instagram marketing is leading

it to become almost a merge of all other forms

to significant changes in companies’ commu-

of media in one, making it not only a place for

nication strategies in the fashion industry in

creatives, but also a powerful business tool.

*A further discussion of the full operational dissection of Instagram activities is represented in the Annex (Appendix 3)

Aleksandra Pavlova

IED Barcelona, 2019

Figure 8: Outtakes of a semiotics book “Coming Back is Half the Trip” by Geoff McFetridge⁣, an Instagram creator and semiotician. His paintings, drawings, and sculptures circle around topics such as beginning and end, relation and understanding, perception, the transcendental and the unconscious. (Draw Down Books via Instagram, 2019)

38

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

Disclosing the concepts of Instagrammatics and Instagrammism

Instagram, and generating a semiotic connec-

Based on Instagram’s specificities, some au-

generated by verbal domain. In general, the

thors defend the idea that this social network

purpose of hashtags is to define meaning for

has a specific way to produce, edit and share

an image, and it is possible to configure a wide

images, referring to this imagetic synthesis

range of references, with a polysemic perspec-

as the concepts of Instagrammatics and Ins-

tive, when “the visual is in concert with the tex-

tagrammism. Tim Highfield and Tama Leaver

tual”. The grammar presented on Instagram

(2016) are among the group of researchers

is a structure that goes beyond the generally

who see the specificities of visual content on

known “rules”, being multi-surfaced and open

Instagram as a particular form of expression

to rapid changes, such as locations, captions,

and meaning-making process. In their text,

comments (participatory culture), the use of

“Instagrammatics and digital methods: study-

filters, the inserting links and other significant

ing visual social media, from selfies and GIFs

structures that are being constantly developed.

to memes and emoji” the term Instagrammat-

Due to this frequent updating, the Instagram-

ics is found being used in reference to a singu-

matics culture requires a special attention from

lar structure of image (in connection with texts

commercial semioticians and the participatory

and other meaningful elements). This leads it

brands.

tion between the visual field and the meanings

to being referred to as a separate grammatical

39

system that emerges through Instagram itself,

Another very significant contribution to the re-

and is based on a set of aspects that shape

search into the concepts of Instagrammism is

the whole communication process. Addition-

made by an author Lev Manovich. For Mano-

ally, the authors reinforce the importance of

vich,

the role of hashtags as a way of tracking and

comes from elements of design, as well as

studying the individual and social activity on

those of photography and cinema, which fuse

Instagram’s

particular

composition

Aleksandra Pavlova

IED Barcelona, 2019

together to create a new outcome. Thus, Instagrammism takes shape as a hybrid form, creating a specific atmosphere that brings the bi-dimensionality of design together with the spatial relations discussed in Chapter 4. Furthermore, as Manovich argues, the phenomenon of Instagrammism does not necessarily involve a subject who rules those actions, but leaves the meaning-making process within the sensory realm, where subtle and ethereal sensations are what makes up the final experience (Manovich, p.80-82).

Overall, analysts attribute the success of the platform to its simplistic interface, high usability, and the focus on visuals rather than text, which overall helps brands to build narratives, (Henning-Thurau, Guinner & Gremler, 2002).

At the same

time, users are too becoming increasingly knowledgeable and critical of quality of the content, due to the wide availability of creative resources seen in the online world. Thus, brands need to post clear and action-oriented photos, to avoid the risk of being characterised as irrelevant (Barnes, 2014).

To summarise, in order to compare the approaches towards Instagrammatics, some concepts focus on the more “grammatical” aspect of Instagram, while others refer more to it’s s artistic and expressive outcomes, focusing largely on the creative quality of images. According to Manovich’s words, the phenomenon of Instagrammism is defined a “media form that combines lens image capture and design techniques goes along with particular content. Together, these elements create particular ‘sensibility’, ‘attitude’ or ‘tonality’ ”. (Manovich, 2016 p.3). Thus, the phenomenon of the unique visual language of Instagram is due to the multi-levelled meaning of every post and action and the interpretation those have in the eyes of different users, and can be used by marketers to win over the users by producing high quality content taking into consideration the wide variety of tools available on the platform.

40

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere�

#SEMIOTICS

Figure 9 (@ynotworkshop via Instagram)

41

Figure 10 (@saatchiart via Instagram)

Aleksandra Pavlova

IED Barcelona, 2019

VIA INSTAGRAM

Figure 11 (@wardgoes via Instagram)

Figure 12 (@nullsleep via Instagram)

42

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

INSTAGRAM DEBATES Usability of Instagram: Uniformity vs. Differentiation

Notwithstanding the countless visual possibil-

To understand details of visual communication

the use of metaforms, metonyms, synecdo-

of Instagram, it is necessary to understand

ches and the wide variety of ironic meanings, it

that in it the users are primarily exposed to the

is important to highlight that the uniformity of

dominance of visual codes, and for this reason

Instagram content still remains a key issue for

it is necessary to compare the rhetorical sens-

many users and industry professionals. (The

es of tropes form the visual perspectives. The

origins of those narration tools are discussed

visual tropes that will be presented here are

in-depth by Daniel Chandler, a British visual

similar to the verbal ones discussed by Ken-

semiotician, in a publication called “Semiotics

neth Burke (1941). He defined those concepts as

for Beginners-Rhetorical Tropes”)

ities that Instagram provides it’s users through

being essential to the narrative process as a

43

whole: Metaphors (visually referred as meta-

One example of the relevance of uniformity

forms); Metonym & Synecdoche (visually re-

to Marketing experts is a post from January

ferred as visual metonym and visual synecdo-

2018 made by the Social Media Marketing

che); and Irony as a version of contextualism

group

(Chandler, 2018). Thus, in addition to the basic char-

talks about Instagram as the major source of

acteristics of Instagram, those visual meta-

advertisement within social media, there are

forms can create interesting rhetorical nar-

various references present that praise the

ratives to enhance brand expressions. Visual

consistency and uniformity of feeds, including

tropes bring connotations, visual associations,

colour patterns, stability of themes, order of

transpositions of qualities, transferences and

elements arranged in posts, repetitive filters

substitutions of meaning that make the activity

and other references to the homogeneity and

in social networks richer and more meaningful.

invariability set of images that are posted on

(LinkedIn, 2018).

In this discussion, which

Aleksandra Pavlova

Instagram. Although consistency and uniformity are key factors for Branding and Marketing, this should not be interpreted as a boring repetition of references or a sameness sense in aesthetic choices, because this strategy can lead to a certain kind of monotony in posts and its content. In support of the multi-faceted capacity of social networks, it is not possible to limit the marketing action in Instagram having uniformity and consistency as the main refer-

IED Barcelona, 2019

way to include a touch of irony and humour in brand’s discourse (Chandle, 2018). The ability to encounter the communicational potential of visual tropes also means to be open to a new visual rhythms within the social networks.

Overall, it is important to remember that the process of image signification is not necessarily linear, and that it is necessary to rethink visual strategies that may be more than just

ence.

aesthetic patterns. Possibilities must be left

At the same time, before conforming to invar-

ful alternatives that seek greater authenticity

iability of the feeds, attention should be paid to the fact that creativity and uniformity do not necessarily go hand in hand, particularly when we are dealing with the visual dynamism of social networks. Once the “core visual” for a brand’s performance on Instagram has been defined with uniformity and consistency, it is

for less disciplined choices, new meaningin visual content, always remembering that brands become susceptible to the inescapable connection between participatory culture and the brand image itself.

Application of analytics: Semiotics vs Big Data

important to maintain an uninterrupted search

Considering the valuable contribution that se-

for new forms of sign distinction, whether

miotics can have to data mining, and especially

through the use of metaforms or visual meto-

text mining, creating interpretation data mod-

nyms/synecdoches, or even to discern the best

els - the starting point is researching for pre-

44

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere�

Figure 13 (@AnOtherMagazine via Instagram)

45

Aleksandra Pavlova

IED Barcelona, 2019

vious articulations between semiotics and Big

an example, analytics show that in the regular

Data. This dialog has first been started at the

users, the #art hashtag is a frequent, however

end of the last decade by different research-

the meaning behind each of the posts is differ-

ers, as the rise of social media has really be-

ent and cannot be analysed by the system it-

gan. Some authors including Paul Boissac

self. Furthermore, in standard English, “art”

(2008), Carlos

in this case tends to be used as a concept that

Scolari (2012), José Luis Fernández all have reviewed the

comprehends almost anything from sculpture

subject matter from different perspectives and

to handcrafts to pop-art to nail-art, which also

therefore providing contrasting viewpoints on

showcases the expansion of the limits of the

the relation of semiotics to the Big Data. Some

possible meanings and interpretations

authors have focused their studies on Insta-

ti-Tobi, 2017)).

gram in particular, being the more visually di-

work can only be understood when all the vari-

verse and adapted platform, nevertheless, an

ables are analysed deeper than systematically,

important point to be drawn from all is the fact

and the consumer’s true intentions and inter-

that Instagram is a channel in which images

pretations are known. Furthermore, taking into

are the main signs, so meaning flows and it

consideration even new systems like Cognitive

́s much more open than in other social media

Computing 6 , it is one of the ways that semiot-

Thus, the automatic patterns

ics is used within the field of Big Data, however

in which images are converted for data anal-

not independently on its own. There are vari-

ysis cannot be considered as useful in terms

ous other ways that the two concepts can be

of expressing the full possibility of meaning

operated together in a complementary manner,

that those images offer. As a result, the de-

such as Social Analytics and Data Visualisation,

bate cannot be ended by the conclusion that

where semiotic concepts provide the frame-

using analytics can give any substantial evi-

work under which computing can be used to its

dence for Instagram studies and decoding. (As

full potential (Verba, 2015).

(2018),

Steve Verba

(Pedranti-Tobi, 2017).

(2015),

(Pedran-

Therefore the true meaning of the

Cognitive Computing is one of the most powerful developments in Big Data analytics, which uses hundreds of linked algorithms (neural nets) and an immense knowledge base to process and answer questions like a human being.

6

46

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere�

Overall, the challenge of analysing big data lies exactly on the balance between two things: its rapid-pace nature and our lack of a humanly possible capacity of following such speed. It is exactly Digital Semiotics that gives meaningful organisation to Big Data, transforming it from simply data into a useful framework of valuable information. Semiotics is the explanation behind Big Data itself, and it is what helps to understand the basis of experience and control it within the cultural conditions of global interactivity (Antunes, 2016). Thus, it is hugely important to consider the larger perspectives behind the use of semiotics in bridging the gap between Big Data and Marketing, in which the two concepts operate together instead of being seen as interchangeable. In turn, semiotics can provide a useful insight on the underlying code systems in the Big Data application, and thus add value to the newly developed computing systems and applications used by marketers. In certain fields of study within Instagram specifically, Big Data can provide sufficient insight and can be used on it’s own to draw conclusions, however when working on uncovering the true intentions of consumer behaviour and justifying the more tactical action, it is essential to understand all the underlying factors in order to draw any valuable conclusions.

47

Aleksandra Pavlova

IED Barcelona, 2019

“Without facts facts and and “Without principles, data data is is principles, useless.” useless.”

–Bob Hoffman, Writer, Speaker and Type A Group Partner

48

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

THEORETICAL RESEARCH TAKEAWAYS

The key objectives of marking communication are: marketplace differentiation, informing, and persuading, thus, brands produce online content keeping those intends in mind, in a pursuit of long-term retention though building emotional cues

Humans as a species establish a meaningful life by recounting and accounting, and sharing stories, which gives basis to storytelling a being part of human nature

Cultural differences play an important role in differentiating persuasion tactics, since history, character, language, and experiences all play a role in the formation of perceptions, judgement and “good reasons”

pose of narrative

as a whole is to create

dynamic patterns between past and future, and integrate mental images into

A clear

the imaginary situations

been proven between

tional response

connection has

the narrative advertising

and the consumer’s desire to buy a product, thus, the trend of storytelling in advertising is likely to continue

49

The pur-

by generating an emo-

Aleksandra Pavlova

Improving the usability of a social channel and making it consumer-centred can help to both unconsciously and consciously influence the buyer’s emotions in a desired way

Placing, size, colours, and contrast of an object in an advertisement are the key factors that determine the viewer’s perception of an image online

IED Barcelona, 2019

Instagram marketing is leading to significant changes in companies’ communication strategies in the fashion industry in particular, providing and reinforcing inter-relations among the different elements of the marketing organisation of brands

The concepts of Instagrammatics and Instagrammism are the basis of the Instagram framework that define its particular form of expression and meaning-making process, and is based on a set of aspects that shape the whole communication process on the platform

Semiotics should be used in combination with big data in determining marketing actions and justifying certain aspects of consumer behaviour, as well as differentiation tactics should be used rationally, with taking into account certain levels of aesthetic uniformity and aesthetically consistent solutions

50

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

THEORETICAL RESEARCH OUTCOME: KEY ELEMENTS OF GENERATING ENGAGEMENT Shown by the theoretical analysis, there are various factors that affect the way users perceive M

messages online. Some are based on the type

M S LI A EY IM K IN IS

of content provided, some are determined by the user themselves, some can be controlled, and others are generally fixed. However, the following tactics are generated as the key components of the online brand communication that are important to consider for any brand competing for higher engagement at the marketplace, all linked to the storytelling aspect of the compa-

VIS

UA

LA PPE AL

ny’s operations.

–Jay Baer, Bestselling Author, Marketing Expert and Founder of Convince & Convert

51

” G IN S PA S T “F A S

“Content is fire; social media is gasoline.”

ED EASALITY R INC TION C FUN

Aleksandra Pavlova

IED Barcelona, 2019

1. MINIMALISM IS KEY: The days of informations-heavy

content and images are gone. Today, users prefer simpler naration and visuals thay are easy to “decode”. Thus, brands should use shorter captions and a well thought out image to attract customers

L

A N O N I T O TIO M A E I T OC EC S IR AS D

G VIN R L E O NV US

2. VISUAL APPEAL: Using all the tools available on Instagram to make the content more organised and visually pleasing through the use of the discussed semiotics elements and directing the viewer’s eye through concent segmention

3. INCREASED FUNCTIONALITY: Most people use Instagram

E

TH

I

on the go - thus the concent has to be adapted to allow the users to take decisions instantly. Using features like “shoppable” content functions, shortcuts and hyperlinks, allows to create a more in-the-moment experience, which can help to naturally generate engagement

4. FAST PASSING: Instagram is a platform that has tought

people tto get used to hearing, seeing, and making judgements fast. Since time is limited, first impressions play a vital role in delivering messages. Short captions, attractive images, and direct call to actions are key here

5. DIRECT EMOTIONAL ASSOCIATION: By priming consum-

CH

OSE

N

A

R

B

AS PEC IFIC NIC HE

ers and tapping into the basic human emotions, companies can build strong emotional associations and long-term connections with their customers

6. INVOLVING THE USER: Making the content personal to

the customers and making them feel involved is one of the main tactics in giving them the sense of “pride”, that has proven to be one of the most importnat elements of generating returns. Thus, co-creation and the use of UGC can majorly increase engagement.

D

7. CHOSE A SPECIFIC NICHE: choosing a niche primarily

P

for the consumer target can help the brand to better understand their customer and adapt their communication towards resinating with them on a more personalised level

A N

O

S

R E

8. BRAND PERSONALITY: filling a brand with a “human” per-

Y

T

LI

sonality is a vital component that needs to be fulfilled in order for the customer to be able to relate to it on a personal level.

Making the brand a “friend figure” for the consumer is one of the most effective ways of generating loyalty and involvement

52

iii. D A T A R E S U L T S

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

53

The symblol of the Golden Ratio derived from the Fibonacci Sequence, symbolising the perfection in proportion, found in different areas of life and creation, used widely in art, design, architecture. One of many examples of relating art to methematics. In this case can be used as a metaphrical example of the relation of creativity as such to data and quantitative thrive towards “perfection”

Aleksandra Pavlova

IED Barcelona, 2019

THE SCIENCE OF STORYTELLING In order to quantify the statistical measures of storytelling, some of the key signifiers need to be reviewed. As discussed previously, the basis of storytelling are placed around the concepts of human evolution and primarily biological basis. Thus, “measuring� storytelling (in a broad sense), much like measuring biology - is based around statistical knowledge of human reactions to different stimuli. Thus, it is important to take into account research that relates those more biological factors in order to apply them further to the online field. Some of the important statistics are discussed below, as well as further on through this chapter: Reinterpreted from (Smilovitz, 2018)

60x 100,500

online words are consumed by the average western citizen daily

times faster is the rate at which human brain processes images in comparison to words

92%

of consumers want brands to create advertising that feels like a story

For brands, this means that

Image-heavy content should

Creating simpler and more

customers

be used more over copy text

linear

increasingly more selective

to form a more compelling

brands in the formation of

with the content they con-

story and capture the view-

universal narratives. Deliv-

sume. The task is to cap-

ers’ attention from the first

ering storytelling in place of

tivate the users attention

glance.

traditional advertising can

are

becoming

content

can

help

with working titles and short

in turn ensure higher levels

yet effective captions.

of interest, and thus generate engagement.

54

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere�

INSTAGRAM IN STATISTICS As discussed through the project, a conclusion can be made that Instagram is one of the strongest platforms current-

ly present in the digital field in terms of adaptation towards brand communication. In regards to the numerical justification of these findings, this segment of research is dedicated to justifying the potential of this platform and reviewing the quanti-

tative research and case studies currently present in the field.

A primary study is also conducted in the form of a benchmark, which improves the significance of the research and exemplifies the discussed data.

At the same time, one of the challenges with content analysis when applied to social media content, is its dynamic nature.

As Instagram users have continuous access to all posts and

can take different actions, including liking and commenting, saving and sharing posts. Thus, in analysing dynamic web con-

tent, researchers put emphasis on time frames used for data

research and collection being short spans of time and being as

recently recorded as possible. For example, according to the recommendations of a researcher Sally McMillan (2000), a fast

paced online environment demands that data are collected in short time frames so that all content is analysed and com-

pared simultaneously. Thus, the data results showcased in the following analysis are sourced from no more than a year prior, and are selected critically from a range of related findings.

55

Aleksandra Pavlova

IED Barcelona, 2019

User Statistics The following charts represent the most valuable demographics statistics of Instagram us-

31% 30%

48%

ers. Amongst other factors, it is important to review the general user profiles of brands before adopting particular strategies

17%

31% 21% GRADUATE

UNDERGRADUATE

HIGH SCHOOL OR LESS

9%

7% 13-17

18-24

25-34

35-44

6%

45-54

55+

USER AGE DEMOGRAPHIC

USER EDUCATION DEMOGRAPHIC

- since analytics provide the breakdown of the basic elements of the target, however are not compared intersectionally

62%

and within the global averages.

38%

51% 32%

Understanding those statistics is also important in signifying the usability if Instagram as

WOMEN

MEN

11%

URBAN SUBURBAN RURAL

USER GENDER DEMOGRAPHIC

USER LOCAITION DEMOGRAPHIC

a platform overall, justifying the valuability of social media strategic communication and marketing for different types of brands and consumers. Those findings are applied further

110

42% 31%

66 27%

64

56 35

on in analysing marketing and content-oriented statistics, and give a solid base for the continuation of quantitative research.

75K+

31-75K

30K-

USER INCOME DEMOGRAPHIC

USA BRAIZL INDIA RUSSIA TURKEY

USER GEOGRAPHICS

(LEADING COUNTRIES BY MILLIONS OF USERS)

(Bakay, 2014), (Clarke, 2019), (Gotter, 2018), (West, 2019)

56

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

98%

OF BRANDS USE INSTAGRAM USE INSTAGRAM FOR AT LEAST ONEWAY COMMUNICATION

72%

OF USERS HAVE BOUGHT A PRODUCT THEY SAW ON INSTAGRAM

83%

1 billion

2 million

70%

OF USERS FOLLOW AT LEAST ONE BRAND ON INSTAGRAM FROM THEIR PERSONAL ACCOUNT

MONTHLY ADVERTISERS ON INSTAGRAM

OF USERS LOOK UP A BRAND ON INSTAGRAM AT LEAST ONCE

78%

90%

INSTAGRAM HAS

x 10

HIGHER INTERACTION RATE THAN FACEBOOK (2.2% vs 0.22%)

OF BIG RETAIL BRANDS HAVE “SHOPPABLE” 7 INSTAGRAM ACCOUNTS

(Cerchia, 2015), (Clarke, 2019), (Gotter, 2018), (West, 2019)

57

7

PEOPLE USE INSTAGRAM ON THE MONTHLY BASIS

“Shoppable” in this case means inclusing features with a direct call-to-action

OF THE TOP 100 BRANDS ARE ON INSTAGRAM

Aleksandra Pavlova

IED Barcelona, 2019

Marketing Statistics At the current time, Instagram is experiencing

as well as the effects of ad content on video

a new significant spike in engagement across

sharing on social media. Another research-

users, across industries particularly within the

ers, including Lee et al.

luxury segment of brands. The numbers are

(2014),

growing to be more than any other social net-

content on engagement on online articles and

works

A recent report by Forrester,

sharing of posts. Their findings show that per-

that has been conducted on over 3 million user

suasive content (such as emotional and phil-

actions and within more than 2,500 brand posts

anthropic content), as opposed to informative

across social networks, has shown that Insta-

content, has a positive impact on engagement,

gram is delivering brands over 50 times more

increasing participation up to a double amount

engagement per follower than Facebook and

(Wallsbeck, 2014).

(Beck, 2014).

120 times more than Twitter (Elliott, 2014).

(2014)

and Jabr et al.

have investigated the effect of emotional

Due to the proven effectiveness of the use of

Although there is an increase in the number

emotional marketing on social platforms, Insta-

of studies on fashion brands on Instagram,

gram itself has completely shifted the way mar-

there is limited systematic research focused

keters operate visual content and in particular

on investigating the specific types of market-

the communication to mobile audiences. “In

ing content that those brands adopt in order

2014, 86% of top brands already had Instagram

to support storytelling and generate user

accounts, up from 71% at the previous year� (Q3

engagement. Only few studies in the adver-

2014 Instagram Study, n.d.), the the numbers have been

tising-oriented literature report on the actu-

only increasing form year to year since. Thus, by

al effects of promotional activities in the field

incorporating the platform heavily into creative

settings. One of those studies conducted by

campaigns, brands discovered newfound ways

Tucker (2012) investigates the effects of social

of engaging with their audiences and showcase

media advertising on charitable contribution,

their more artistic sides.

58

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere�

Content Statistics Studies in the field of content have shown that

during the first 19 hours from the time the

the ideal number of posts is 2 per day for com-

post goes up, thus, this time should be taken

mercial brands

into consideration when planning the post-

(Phillips, 2018).

Through a ben-

chamark study of top 55 brands on Insagram it

ing schedule

was found that the average number of posts is

measurability can vary across different time

1.5 per day (UnionMetrix, 2019), and it ensures high

zones and target demographics, however

levels of engagement, keeping the account ac-

weekdays, specifically Tuesday and Thursday

tive through the Instagram algorithms, which

have statistically proven to be the most ac-

add another layer of complexity for brands to

tion-rich days of the week.

(Pate, 2016).

Overall, engagement

balancing quality and quantity of content, since it has been shown that pauses in activity affect

As for engagement, Instagram is a top so-

engagement negatively. Experts differ on the

cial platform when considering that factor,

exact frequency that illustrates consistency,

as mentioned previously, overcoming Face-

but most agree that daily postings are required

59

book and Twitter being the other main com-

(Barnes, 2014), (Barker, 2018).

petitors. By a study on thousands of brands

Apart from frequency, knowing when the best

that the average engagement rate is 4.3% and

time to post is also critical, specifically when

the median is 3.5% (UnionMetrix, 2019). This value

dealing with the new timeline changes when

is high compared to any other social channel,

posts are not displayed chronologically. From

which is why Instagram is valued so highly

author to author the recommended post times

amongst businesses, since higher visibility

vary, however studies have shown that the op-

drives higher sales. At the same time, bigger

timum times are between 3-5pm for the first

brands great amounts of followers it is hard

post, and 6-8pm for the second. Additionally,

to achieve that value, since statistically speak-

statistics show that branded posts on average

ing engagement usually decreases in correla-

receive 50% of the final engagement on a post

tion with accounts gaining popularity.

from different tiers it has been determined

Aleksandra Pavlova

27.9

TIMES IS THE AVERAGE NUMBER OF POSTS BY BRANDS MONTHLY

7/10

INSTAGRAM HASHTAGS ARE BRANDED HASHTAGS

4.5%

HIGHER CONVERSION RATE ON POSTS CONTAINING UGC 8 THAN THOSE WITHOUT IT

IED Barcelona, 2019

79%

60%

MORE ENGAGEMENTS GET THE POSTS WITH THE TAG OF LOCATION

OF BRANDS USE THE SAME FILTER FOR EVERY POST

3x

24%

MORE ENGAGEMENT ON SPONSORED VIDEOS THAN PHOTOS

18%

MORE LIKES ON LOWER SATURATED IMAGES

LIKES GET IMAGES WITH BLUE AS THE DOMINANT COLOUR THAN RED AS THE DOMINANT COLOUR

75%

TAKE ACTION LIKE VISITING A WEBSITE AFTER LOOKING AT A BRAND’S POST

(Clarke, 2019), (Gotter, 2018), (West, 2019) 8

UGC - User Generated Content

60

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

Content Types: Visual Breakdown The latest in-depth research on the types of Instagram content has been conducted by Manovich in 2015, however the conditions of the platform and the content itself have changed drastically since that time. In order to break down the basis of the current state of the platform, the framework of Manovich’s studies is taken into account, however the examples and descriptive details are reviewed from the perspective of newer findings and additional studies from oth-

1. CASUAL

As stated originally by Manovich, “the overall purpose of casual photos is to visually document and share an experience, a situation, or portray person or group of people” (Manovich, 2016). However, at the current day and age this statement can be hidden behind additional layers of meaning. Apart from this being the type of content made by the everyday user without specific intends in mind, it can also be chosen as a tactical move by brands and “professional” users that produce content that “intentionally looks not staged”, however in reality it is. Examples of such content type are presented below, and although it looks upstaged, these photos are posted by popular accounts that post it with a stylistic intend.

er researchers. Overall, primarily three main types of content can be distinguished: Casual (taking up 80% of Instagram content), Professional (11%) and Designed (9%). Those types are especially useful in revealing the differences between Instagram photography in particular in comparison to earlier periods in photo history. Additionally, it is important to point out that

by @dasha_tsenter via Instagram

by @yaroslavamalkova via Instagram

by @alinagriga via Instagram

by @lottavolkova via Instagram

these types refer to individual photos on Instagram and not the whole author’s galleries, and some authors consciously curate their galleries to only feature professional or design photos. However, many more Instagram users are not as consistent, and mix two or three styles.

61

*This segment of research is suppored by an interview with a content creator and blogger Evgeniya Iokar, one of the profile owners originally reviewed by Manovich in his research in 2016. View Appendix 2 in the Annex for the full interview.

Aleksandra Pavlova

IED Barcelona, 2019

2. PROFESSIONAL

Professiona pohotos always have an intentionally clear aeshetic intention. Usually, these photos are made for business purposes, being promoion or generating engagement. This style is used widely for bloggers and often curated particualrly for Instagram use. The main differentiation of this type of imagery from others is the focus on quality, although profiles that apopt this style also tend to be focused on the design aspect as well. A few years ago, the definition of a “professional� post was simply any that was obviously thought out, however since the rise of bloggersphere this term has gained a more indusrty-oriented and more narrow meaning.

3. DESIGNED

Designed photos are different from others by the fact that they inentionally look set up, and are taken for purely aesthetic purposes or transmitting a certain idea. This style if often used by creators throughout the whole profile thus making the page look more fluid and eye-catching. This content type is often seen by brands when releasing a specific campaign on Instagram, in which all posts have a relation to each other and need to operate in symbiosis.This conent type ensures uniformity. Designed images are also usually the type used in fashion photography, and made to be seen as creative content.

by @lottaliinalove via Instagram

by @maximvo via Instagram

by @manizha via Instagram

by @love_aesthetics via Instagram

by @mylifeaseva via Instagram

by @burimova via Instagram

by @privetsasha via Instagram

by @kickiyangz via Instagram

62

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

Isabelita Virtual case The case of Isabel Martinez (@isabelitavirtual via In-

having ever shown her face on her profile or

is a valuable case to be reviewed and

posing any mainstream content. In this case

analysed. The creator got famous on Insta-

the profile is majorly semiotics based - the use

gram in 2011 for her unique and recognisable

of colours, shaper, suggestive images, narra-

photography and Instagram aesthetic, now

tive collages, all lead the viewer to improvising

becoming an award-winning creative director,

the true meaning of the images based on their

collaborating with brands such as Dior, Her-

own views and perceptions. This case is re-

mès, Kenzo, Tiffany & Co, Coach, & Other Sto-

markable for the justification of the “differenti-

ries, Viktor & Rolf (Bellucci, 2018). Her art is unique

ation vs. uniformity” debate in showcasing how

as she has become a competitor to the current

stylistically different yet semiotically balanced

new wave of influencers and has become a

profile can adapt its content to become widely

part of the Instagram bloggersphere, without

recognisable.

stagram)

Figure 14 (Images sourced from @isabelitavirtual via Instagram)

63

Aleksandra Pavlova

IED Barcelona, 2019

FASHION BRANDS ANALYTICAL BENCHMARK As shown by the research through the theo-

types of customers and in different segments

retical analysis,“storytelling consists equally

of the market, as well as differencing by types

of both the narrative itself and the way it is told

of content overall, the target customers’ Lymic

by the encoder

(Mossberg & Nissen Johansen 2006: 247).

type, and the use of colour on the platform (all

Likewise, any advertisement is formed by its

concepts discussed throughout the research).

content and its stylistic execution (Rossiter 2008: 140).

Firstly, ASOS is chosen to be analysed as a a top representative of e-commerce retail seg-

In order to investigate this theory first hand, a

ment that has earned a significant following

study of this image-based storytelling adver-

without any physical presence; & Other Sto-

tising can be conduced using the methods that

ries and Monki are reviewed as brands within

dig beneath the surface level of a post. With

the mid-segment of the market and both hav-

the help of the semiotics knowledge gained

ing majorly different directions in the ways of

throughout the research, combined with the-

communication and the use of storytelling, as

ories of storytelling, and Instagram marketing

well as the “language” and motifs the brands

communication tools - a benchmark analysis

adopt; Nike is chosen as one of the most famous

can be carried out on a selection of brands, in

cases of emotional storytelling standing in the

order to understand the underlying messages

core of the brand and the way it has evolved

and mechanisms of their storytelling. The fol-

over the years, bringing it to be the most fol-

lowing segment of the research in dedicated to

lowed sportswear brand on Instagram; Finally,

breaking down those mechanism and review-

Gucci and Celine are picked to be analysed as

ing different types of fashion brands in order

the high-end brands that have recently shifted

to understand the storytelling differentiation

their focuses in different ways that has affected

and draw conclusions on the most effective

their communication. Overall, after the study is

practices. The brands chosen for the following

conducted certain elements can be highlighted

benchmark are ones that differentiate through

as those bringing these brands higher engage-

storytelling and creating narratives for different

ment than others.

*The full benchmark analysis of the brands can be forund in the Annex (Appendix 4)

64

DATA RESULTS KEY FINDINGS

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

65

Figure 15 Gucci’s latest two-part lipstick campaign is a great example of storytelling used in the frame of social media (sourced from @Gucci via Instagram)

Aleksandra Pavlova

Having analysed the key data results of the filed of investigation and through conducting additional primary research, a symmary of the key practices used for generating engagement on Instagram can be established. Combined with the theoretical perspectives reganding the semiotic research, conclusion can be drawn on the overall success factors, represened in the Discussion chapter of the paper.

IED Barcelona, 2019

QUALITY > QUANTITY

Overall, brands that focus on quality of each publication over the number of weekly posts gain a larger audience and emgagement rate. This is additionally proven by quantitative research, showing that posting too much can have an inverse effect on the overall engagement.

POSTING CONSISTENTLY

IMPLEMENTING UGC

As proven by studies, posting 1-3 times per day at the prime activity hours shown statistically can help the brand to generate higher engagement, than posting less than daily or posting during less active hours

Interacting or reposting user generated contnet is one of the most effective ways of increasing engagemnet and building more lasting relationships with the audience.

CONSIDERING INSTAGRAM ALGORYTHMS

CREATING “EASY” IMAGERY AND CAPTIONS

At the current time the algorithm has become an issue for many creators and has negatively affected the engagement rates of even the business accounts.

Posting regularly and being active can help to increase visibility

EXPERIMENTING WITH FORMATS

Studies show that there is no “winning formula” in terms of content type. The potential of experimental content is continuously growing, giving brands room for distinguishing the most successful types of activities for their particular audience.

As shown by data,users react better to simpler imagery and text online that are easy to understand and than dont take a long time ti “decode”

PROVOKING CONVERSATIONS Starting two-way interactions is one of the most effective mays of generating engagement. Human-to-human connections are the heart of marketing, thus, consumer-oriented storytelling is a technique that can reinforce these bonds.

66

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

The aim of this dissertation is directed at un-

ating a desired behaviour change. In market-

tional branding in the new-era digital market-

means of social media, where the audience

derstanding the use of semiotics and emoing sphere, and proving the importance of

semiotics as a significant metrics component

iv. D I S C U S S I O N

in generating a successful storytelling strat-

itself can plays its active role in development of narratives.

egy. The overall focus of the research has

Furthermore, the contrast of theoretical ap-

vital role in the construction of the storytell-

tion such as the limbic model and the ben-

been spread over various factors that play a ing strategy for a brand on Instagram. As a result, different perspectives present in ac-

ademic literature have been reviewed by the author in order to generate the final outcome that would combine within it the critical interpretation of those approaches.

Starting the research at diving into the very

core of the storytelling paradigm, it has lead the author to look into the roots of human nature and investigate the origins of the crea-

tion of narratives, being an instinctual-level need of the modern society. It was found that narratives help not only to build storylines

and create understanding of a subject or an event, but also can have greater psycholog-

ical effect on the viewer or listener, making them more susceptible towards relating to

a story being told and being emerged in it.

This fact is, what stands at the basis of the research is that by creating a cohesive and emotionally rich narrative, humans can be

made to feel almost anything that the author “codes” into the emotional value of the sto-

ry. Thus, well-produced stories take part in the persuasion process of the agent by cre-

67

ing, these mechanisms are used through the

proaches covered throughout the dissertaefits ladder approach help to understand

the importance of researching and deigning carefully the strategies used in online com-

munication, and adapting those strategies

according to the different customer types the brand may be working with. The psy-

chological effects of those tactics are what forms the unconscious thoughts of the recip-

ients of the brand narratives, thus they are the key to building sufficient and prolonged customer relations. From perspective of cog-

nition, the way that brands can engage with consumers is by giving them an emotion-

al cue to identify themselves with, thus, the market-oriented stories can be described as a way of helping consumers internalise com-

mercial messages. With the justification of

those findings, it is important to highlight the overall importance of brands and online cre-

ators to produce content and use language

with a specific intent in mind, can help brands to persuade their customer and ensure their long-term retention.

Apart from those theoretical basis of emo-

tional marketing research, the analysis has

Aleksandra Aleksandra Pavlova Pavlova

IED Barcelona, 2019

also been directed towards dissecting the

ply data into a useful framework of valuable

form for most brands of today. In order un-

with one another. Semiotics is the expla-

use of Instagram as a key marketing plat-

derstand the use of Instagram is this way, the main approaches towards Instagram-

matics and Instagrammism were contrasted.

Findings show that some of those concepts focus on the more “grammatical� aspect of

Instagram, while others refer more to its s

artistic and expressive outcomes, focusing largely on the creative quality of images.

Nevertheless, the overall phenomenon of the

unique visual language of Instagram is due to the multi-levelled meaning of every post

and action and the interpretation those have in the eyes of different users. The research into those concepts are what links together the semiotics research to the ways it can be

adapted to the different types of users. This information can also be used by marketers to win over audiences by producing high quality content and taking into consideration a wide variety of tools in their hands.

At the same time, the overall understanding

Instagram as a tool for ammunition doesn’t

stop there. There are also various debated that arise when discussing the use of Instagram by brands and creators at the current time.

One of those debates being the

challenge of analysing big data as a key per-

formance and analytics tool as opposed to denying the importance of semiotics as a

significant metric. As concluded, semiotics is what lies at the core of transforming sim-

information, and the two work in synthesis nation behind big data itself, and it is what helps to understand the basis of experience and control it within the cultural con-

ditions of global digitalisation. Furthermore, it is hugely important to consider the larger

perspectives behind the use of semiotics in bridging the gap between big data and dig-

ital marketing, in which the two concepts

operate together instead of being seen as interchangeable. In turn, semiotics can pro-

vide a useful insight on the underlying code

systems in the data application, and thus add value to online strategies. In certain fields of study within Instagram specifical-

ly, big data has shown to provide sufficient insight and usability on its own for conclusions to be drawn.

Overall, it can be concluded that the use of semiotics metrics adds a value of direct im-

portance in creating Instagram strategies and constructing digital narrative, and as shown through both the theoretical literature and the data collection, there are consistent variables that can ensure a more en-

gaging strategy. Those factors are derived from both the analysis on human design as

well as the current offerings of Instagram

tools that give opportunities for brands to generate engagement. Those key factors

are disclosed further in the model outcome that is a result of this research.

68

AS P T A R HA GRA OV M EN A VE NE BO AL BY BR GA TH GOR DAT T PO AND IVE A PO ITHMA, IN E ’S S SIT S S I T S P FF I C PO ONE NG ERF ECT IVE AN NE O CON OR ON AN N TH D TS F TH SI MA EN OF E K STE NCE E GA GE EY NT .

GE NE CO LY M EN RAT MIN T G

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SS

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BE

USING THE STRATEGIES OF SEMANTIC PRIMING AND THE APPROACH OF OFFERING SPECIFIC CLEAR “BENEFITS” THROGH THE BRAND’S COMMUNICATION CAN MAKE THE CONSUMER FEEL MORE INCLINED TOWARDS ENGAGING WITH THE BRAND

INSTAGRAM EMOTIONAL

OF GS HE N I L N T EP I EE ST E F RITY RY IAH E D A T U M NY O B NG EC RI TI D S A P G A AS T FIG O A N N R IN H ND R T D NE T A R I RT IE D E GE US ME STA RAN FR RD ON R O LB A U E B T S E IN A N FR HE IK CO EO E. T D L SER ION T B U VE U O E I G M LO RCE TH N E Y PE E B E A T UR REA C

MO RE

KNOW YOUR FOLLOWERS

P VA LAN FU NC NIN E QU L C AN G O TH EN AM D R UT NE E W T G PAIG EL CON TI VE AY ENE NS EAS TE R V S IN ING NT B IT TH T RI C S Y O I E UP OF ELE RE PO TEA ME N A S G T K D AN D T S T Y S OF EPT HE , T AIN S IS OF ING C D CH HE R O FR E O NT ESP AN OV LEV NE EEN ITE NE ER AN OF A L T C DI THE NEE LL A E. ST RI STR DS CB UT AT TO IO E N

BRANDING MODEL HOW WHY WHAT

AL

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RS FI Y IT AL QU “S BO AFE RI NG IS”

UNE L A IS E MIC SIM S T ER HE E H TH -C THASAG IT RO OF ES D W ND E A E M O OD RT OR H PR R E C PL DE FFO E M HIC R E OR W E E AR SS EF Y, GH LE ER GL HI NT N TH ILLI S TO EME W AD AG LE ENG

R TE S R A AL SMISU V

TE N RA IO CU CAT ND Y TO NI Y A E. B N U LL I T L AN MM A MP GE Y, RT CO ISU SI LED OR AL E D V PO ’S W TH IGIT E IM D TH AM O N R D TH IS AN O R K U B F IT BR NG LEA CS LO S O ING IGN S I E C TI C O E CT DE TH BE LY IO E OD U AS BAL SEM LIK C C STR ND S TI R G N EA Y VE IN ECT HE CO AG GL US BJ EST ND GU DIN SU Y A A, A AN COR L I KE ED ND AC M RA B

RE S U EA BR LAR RCH A SH A L ND N O DI ESS ING D CO WE GI TA NOT PR MM S TH O L O IN CO ICED POS NLY AT R G MO NSU NO ITIO SE EGRE ME W, NS EN SE R IS AS AR T E LE CT BEC HE IV OM E -

F SO AT ES K RM FO MAS R NT LY G FO LPS N RE N HE FE T O ATI EW DIF NO UL LSO ER N NT E V ING NT TIM T A IM T US NTE RE S , BU ISCO ER S CO MO WER O D EXP E MO S. IT VIE D T ND D TH TIVE E AN S A TH BR CHE O FIN SPEC E OA R T PER TH PR DE G AP OR GIN IN GA EN

v. R E C O M M E N D A T I O N S

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project limitations & future research One the key limitations faced in regards to this project arises from the chosen topic of discussion being relatively new, hence why the number of academic sources relevant to the subject and available to the author are limited.

At the same, there is a large amount of informational topics that require being covered in order to understand the full picture of the use of semiotics in the digital sphere, hence why the time issue is also one to be taken into account. In the case of now being restrained by time, the author would have been able to dive in deeper in to certain areas of discussion or order to analyse deeper specific sources and scope of existing research. Due to this, the number of sources used for the theoretical analysis has been narrowed down through critical elevation.

Additionally, another limitation is related to the data analysis segment of the paper, particularly to the relevance of sources. As the subject matter of the research is focused on the digital media and Instagram in particular, many of the sources available to public use can be considered outdated quickly after being published, due to the fast-pace changing nature of the digital word at the current day and age. Thus, finding the newest sources has been difficult and many of the data did not match amongst researches. In order for this issue not to affect the credibility of the research, the author has used the latest published data no more than from one year earlier.

Overall, if more time was available to the author some additional topics of research would include: other areas of social media operations that affect the brand’s performance apart semiotics and emotional engagement; diving deeper into consumer psychology besides the limbic type segmentation, and researching further into the online user’s behaviour; adapting other research on the uses of visual language apart from semiotics concepts to uncover additional success factors of creating quality content for the digital media.

Aleksandra Pavlova

IED Barcelona, 2019

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IMAGES AND FIGURES: Figure 1 - created by the author (2019) Figure 2 - Neimand, A. (2018). Science of Story Building: Narrative Transportation [image]

Available at: https://medium.com/science-of-story-building/science-of-story-building-narrative-transportat

ion-923b2701e286 [Accessed 17th May 2019] Figure 3 - created by the author (2019) Figure 4 - created by the author (2019) Figure 5 - created by the author (2019) Figure 6 - created by the author (2019) Figure 7 - Lee. B. (2015). Personal [image]

Available at: https://dxb402.wordpress.com/author/nissaryan/ [Accessed 13th May 2019] Figure 8 - @DrawDownBooks via Instagram. (2019). [image]

Available at: https://www.instagram.com/p/Bvtiva4HGBa/ [Accessed 17th May 2019] Figure 9 - @ynotworkshop via Insatgram. (2019). [image]

Available at: https://www.instagram.com/p/BhzmCGeH2gi/ [Accessed 17th May 2019] Figure 10 - @saatchiart via Insatgram. (2019). “Sentence No.5,” Bill Van Werden [image]

Available at: https://www.instagram.com/p/qxGvAeDQRi/ [Accessed 17th May 2019] Figure 11 - @wardgoes via Insatgram. (2019). On storefront signs, symbolism and demography in Paris. [image]

Available at: https://www.instagram.com/p/BksT7OtjnjD/ [Accessed 17th May 2019] Figure 12 -@nullsleep via Insatgram. (2019). No filter [image]

Available at: https://www.instagram.com/p/2j2VfEK6SZ/ [Accessed 17th May 2019] Figure 13 - @anothermagazine via Insatgram. (2019). @metcostumeinstitute’s exhibition [image]

Available at: https://www.instagram.com/p/BxPdOh8AJtl/ [Accessed 17th May 2019] Figure 14 - @isabelitavirtual via Instagram. (2019). [image]

Available at: https://www.instagram.com/isabelitavirtual/?hl=en [Accessed 17th May 2019] Figure 15 - @gucci via Insatgram. (2019). Introducing lipstick collection Rouge à Lèvres Voile [image]

Available at: https://www.instagram.com/gucci/ [Accessed 17th May 2019]

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Appendix 1: Analysis of the effects of colours on the human response association

response

use in advertising

Red is associated to energy, danger, strength, power, determination, passion, desire. Light red and pink indicates sexuality. passion, and denotes feminine qualities. Dark red is associated with willpower, anger, leadership.

Enhances human metabolism, increases respiration rate, and raises blood pressure. Has very high visibility, is used as an initiation of courage.

Red brings text and images to the foreground. Used as an accent color to stimulate people to make quick decisions. In advertising, red is often used to evoke erotic feelings, and as an indicator of danger.

Orange is associated with joy, sunshine, and the tropics. It represents enthusiasm, fascination, happiness, creativity, determination, attraction, success, encouragement, and stimulation.

To the human eye, orange is a very hot color, so it gives the sensation of heat. Orange increases oxygen supply to the brain, produces an invigorating effect, and stimulates mental activity. It is also associated with healthy food and stimulates appetite.

Orange has very high visibility, thus i can be used to catch attention and highlight the most important elements of a design. It ismost effective for promoting food products and toys.

Yellow is associated with joy, happiness, intellect, and energy. Gold evokes the feeling of prestige, illumination, wisdom, and wealth, and also often symbolises high quality.

Yellow produces a warming effect, arouses cheerfulness, stimulates mental activity, and generates muscle energy. Yellow is an attention catching colour, thus accents when placed against other colours.

Yellow is often used in promotion of children’s products and items related to leisure. Yellow is an unstable and spontaneous color, so it should be avoided if the goal is to suggest stability and safety.

Green symbolises growth, harmony, freshness, and fertility. Green has strong emotional correspondence with safety. Dark green is also commonly associated with money, and aqua green is associated with emotional healing and protection.

Green is the most restful color for the human eye. It suggests stability and endurance, and indicates growth and hope.

Green is used widely to indicate safety in advertising medical products. It is directly related to nature, so it can be used to promote ‘green’ products.

Darker green is commonly associated with money, thus can be used in the financial world, banking.

Blue is associated with depth and stability. It symbolises trust, loyalty, wisdom, confidence, intelligence, faith, truth. Dark blue also represents knowledge, power, integrity, and seriousness.

Blue is considered beneficial to the mind and body - it slows human metabolism and produces a calming effect. It is strongly associated with tranquility, calmness, and symbolises sincerity.

purple

Purple is associated with royalty. It symbolises power, nobility, luxury, and ambitios. It conveys wealth and extravagance. Purple is associated with wisdom, dignity, independence, creativity, mystery.

greyscale

“Colourless” shades like black, white, and grey are often associated with elegance, performance, formality, White means safety, purity, and cleanliness, while black most often has a negative connotation.

Purple evokes romantic and nostalgic feelings. According to surveys, almost 75% of pre-adolescent children prefer purple to any other colour.

Purple is a very rare color in nature, and thus is intuitively percieved as artificial.

The greyscale is usually associated with coolness, cleanliness, simplicity, and efficiency. Darker shades may associate with sadness and fear.

Blue can be used in promotion of products and services related to cleanliness, as opposed to emotionally warm colors like red, blue is linked to consciousness and intellect.

Blue suggests precision, thus can be used when promoting tech products.

Lighter shades of purple are often used in advertising towards women, and bright purple can also be a good choice promoting children’s products.

vii. A N N E X

red

orange

yellow

green

blue

(Kwan, 2018), (Smilovitz, 2018) (Kolenda, 2019)

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In advertising, black and white are usually used as background colours to set the mood of the advertising and ensure readability of other colours as they are highly contrastive.

Aleksandra Pavlova

IED Barcelona, 2019

Appendix 2: Interview with Evgeniya Iokar Evgeniya Iokar is a Moscow-based influencer and content creator, who has started her blog in 2012 and up to now has gained 74k followers. Eugenia now workds in SMM and additionally creates content in the form of photography and copywriting for brands and lifestyle-oriented accounts on Instagram. Eugenia’s case is interesting in terms of analysing how her content was interprited by Manovich, versus the form it has taken now and her insight on those changes. In 2016, her account has been used as an example of “photo sequaence design”, interpreted by the author as a content type where “the sequence aesthetics takes priority over any individual photos” (designed-oriented profile), and the “creators who design both individual photos and their sequences may be considered as the true Instagram professionals.” (Manovich, 2016). Now, Iokar’s profile has taken a much more lifestyle and casual-professional root, during which she has gained an additional 27 thousand followers. Down below are outtakes of her profile.

Eugenia’s feed in 2016 (via Instagram)

Eugenia’s feed in 2019 (via Instagram)

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

*The interview wih Evgeniya has been done over voicemail and is translated from russian by the author. The contents have not been modified, however some questions have been taken out in order to keep direct relevanve to the topic of research.

HOW WOULD YOU DESCRIBE YOUR PROFILE BEFORE VS. NOW. WHAT HAS LEAD YOU TO CHANGE YOUR STYLE?

When I just created my Instagram account I didn’t even know that the photos I post are seen publicly, I didn’t think much of it. When it became more of a mainstream thing in 2013-2014 I started experimenting with editing and ended up with my much experimental white theme.

I only posted what fit the theme, but it wasn’t at all a representation of my life. But back in the day that was the most popular too. When I started gaining a following, I realised I wanted to be more myself with my audience, and my Instagram became more of a lifestyle blog, which is like it is now.

HOW WOULD YOU DESCRIBE INSTAGRAM NOW? HOW HAVE THE RULES CHANGED IN 5 YEARS?

Now I feel very comfortable with my content. I fell like it represents myself and is not made up. I post what I see, what inspires me, speak with my followers and share my struggles. Style-wise, some may say that it now looks more mainstream, but for me it’s just more effortless. I am still the same, I like the same things, but the way I show them has changed a lot. Of course, I don’t

83

do it to get as many followers as I can.

Quality over quantity. From experience, i know that content gets the most likes - but that’s not the point for me. The “rules” have changed through the years obviously. People accept it now, and they do it too. When I was just starting off - my classmates made fun of my content, they thought it was weird that I was making an effort. Now the problems are different - the field it too competitive, and everyone wants to be a part of it. Algorithms also are not helping. [laughs]

WHAT CONTENT IS THE MOST POPULAR NOW? HOW TO STAY ON TREND AND RELEVANT WITHOUT BEING CLICHE?

Now the super edited super unrealistic images are finally going on a decline.

They are still popular but many influencers and brands are realising that it is not the way to make conncetions with the audience. I think so too. Social media in general should become much more open, honest, I think that is what people need.

To become popular now, apart from going the known root of “perfect life” images, it is important to offer something unique and new, something that makes you - you. Not even nessesarily going down

Aleksandra Pavlova

the path of a lifestyle blog, any way of being creative works, people look for something they haven’t seen before. The latest trend that I’ve seen was the digital “robot” influencer. Like @LilMiquella andnow there are many others. I think it’s genious, the person who it behind the original idea of that profile. For me this formula works best - put something on Instagram that can only be placed there. Think about it - there is no other platform where @LilMiquella could exist. That is why people on Instagram love it. But it is hard to come up with these ideas, but it’s the best scenario to become popular.

HAVE THE CHANGES IN ALGORYTHM AFFECTED YOU? IS IT MORE DIFFICULT TO DEVELOP YOUR PAGE NOW COMPARED TO WHEN YOU STARTED?

Yes, of course. You need to post every day and be on schedule. Apart form posts, stories also matter now, they remind your followers to check your profile if you post something, because now Instagram doesn’t display posts in chronological order. I like to also post video content from time to time, it takes more time, but when I feel inspired it brings more engagement. I try not to think about it too much overall. But every change on Instagram now is making it more and more limiting for creators to make them the perfect platform

IED Barcelona, 2019

for advertisers. Everything needs to be very PG. I feel like not it is all about money, but there are good sodes of that also. I never knew i could earn money making conent, travelling, meeting cool people. Despite that, when I was just starting Instagram felt much more free.

YOUR JOB IS BASED AROUND MAKING CONTENT FOR BRANDS. WHAT ADVISE CAN YOU GIVE TO BRANDS THAT ARE TRYING TO SUCCEED ON INSTAGRAM?

I think there is no “winning formula” in this business. Everything is very intuitive fo me - when a company hires me I try to figure out a strategy for every brand individually. When I talk with the owners, research brand history and client base, I get a gut feeling, and only after this I start coming up with ideas and brainstorming. If i don’t get that, sometimes I reject the case. Overall, I usually don’t stick to very strict visuals, and try to make content that is more fluid, so it can be easily adaptable to new inputs. Nevertheless, overall I would say that the most important factors in this are quality of images, :short but sweet” captions, and a constant stream of content, varying different types of posts with stories. Stories for me are very important, I really think they add another layer to the communication, and I found from experience that it brings the brand and the customer closer together.

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

Appendix 3: Internal workings and the elasticity of Instagram Tracing Instagram’s history back to the start,

that is elastic and available to new interpreta-

and looking back, it can be distinguished that

tions. These concepts of concrete and elastic

the media has two distinct moments: the first

phases of Instagram are discussed by an au-

one lasting during 2010-2015, and was con-

thor Sónia Marques

nected to the amateur photography culture and

stood by looking at the two described “stages”

was based on resembling the aesthetic of the

of Instagram. Each of these stages thus re-

“Kodak Culture”, on which the app was origi-

veals a particular paradigm: in the first one,

nally based. This original idea of the “retro”

a concrete network is defined through a spe-

look has lead to a long-term trend of this type

cific time and space, all focused on the idea

of picture editing and brought Instagram’s in-

of nostalgic feelings. In the second phase, a

ternal filters to he masses. The “second age”

much more elastic paradigm takes turn, in the

of Instagram can be seen starting from 2016,

shape of an open and fluid network.

(2016)

and can be under-

when the platform has become uncontrollably mainstream and has brought on the new-wave

This shift and the explained fluidity of the

use of the app, making it a desired channel for

media can be expanded on by discussing

branded content, advertising, the age of influ-

the key functions of Instagram and how they

encers and Instagram-oriented content pro-

have changed over time. Since the launch of

duction as a whole (Manovich, 2016).

Instagram Stories (allowing users the possibility to post content which is very similar to

85

At the same time, Instagram has also become

Snapchat, with several ways to optimise the

more disconnected from the strictly nostalgic

post), there has been seen a non-stylised and

representations, incorporating the flexibility of

evanescent type of posting content, focused

signs and a much wider capacity to the process

on everyday “live” events. As the stories only

of content production, creating a semiotic field

last up to 24 hours, a function has later been

Aleksandra Pavlova

IED Barcelona, 2019

added to saving the stories to “highlights” on

to the aspect of vertical scroll, adding an extra

the user’s page, that can be adjusted at any

dimension to the whole experience and allow-

time and viewed by the followers for as long

ing for more types of creative content to be up-

as they are there. This has not only made In-

loaded.

stagram much more competitive to Snapchat, but has also become a way for more profes-

Overall within those new, flexible and elastic

sional accounts to keep a closer and more

Instagram elements, brands do no longer need

authentic relationship with these audiences,

to restrain themselves only in terms of uni-

by showcasing their day-to-day lives through

formity, consistency of colours, filters or other

stories, yet otherwise maintaining the desired

standardisations. These restrictions are more

uniformity of their feeds. Even being a short-

related to the old days of more concrete and

lived sequence, Stories is placed on the very

solid representations. Now, it has been shown

top place of Instagram’s Feed, being a priority

that space can be made for the flexibility of pic-

to users’ experience, showing that narratives

torial representations, experimenting visual

(no matter the size or format) are both elastic

tropes with different ways of arranging a motif

and very relevant to this social network.

or dealing with the pictorial sphere. For semiotics, this means that it is important to examine

In the same malleable way, Instagram also

the emotional and cultural aspects of images

launched an updates in 2016 and 2017 that

that allow them to move closer to users, rath-

allowed users to post videos and then slide-

er than being limited by the rational bias of the

shows (with up to ten pictures in 1 post, being

structural restrictions that govern profile con-

viewed like a carousel). This transformation

sistency.

modified the user experience in Instagram, admitting the horizontal scroll, corresponding

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“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

@ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS 87

Appendix 4: storytelling marketing in fashion brands analytical benchmark

STORYTELLING STRATEGY ASOS is an exclusively online based brand, which means that any storytelling initiatives can only be done through the social media realm. The narration of the brand a lot

of the times steams from talking about global issues and initiating positive change. Topics such as environ-

mental concerns, LGBTQ+ rights, inclusivity of people with disabilities and gender equality are often raised in its communication. ASOS is also a brand that advocates

for telling real stories - a diversity of models are used to represent the brand in campaigns as well as offering wide visibility to UGC. Those narratives help the brand to connect emotionally to their customers and build long-term connections through relating to them.

ENAGEMENT ANALYSIS NUMBER OF FOLLOWERS: 9.337,177 AVERAGE LIKES PER POST: 15,120 AVERAGE VEWS PER VIDEO: 309,600 AVERAGE COMMENTS PER POST: 122 AVERAGE POSTS PER WEEK: 29 AVERAGE LIKES PER WEEK: 393,139 Based on the number of followers compared to the number of likes and comments of ASOS, the engagement rate of the brand equals to 0.11%. This value is relatively lower than the average, however it has to be considered that the high number of followers can be negatively affective the average engagement.

* The engagement rate is calculated through: Engagement Rate = (Likes+Comments) / Followers x 100

Aleksandra Pavlova

IED Barcelona, 2019

VISUAL LANGUAGE & SEMIOTICS BREAKDOWN CONTENT TYPE: mostly professional, but mixed with casual, designed,

including UGC. The profile keeps a coherent however not too strict theme of visual language.

LYMBIC TYPES: Mostly the Open-minded, and the Harmoniser types,

however some Adventurer and Harmoniser also relevant. All types based

around the “Stimulance” goal, thus communication has to represent accordingly.

USE OF COLOUR: Down below are the most used colours through the

brand’s profile. It can be seen that mostly bright colours are used, includ-

ing shades of yellow, green, pinks, ligh blues. According to colour analysis theories those colours provoke such feeling as inthusiasm, joy, creativity, stimulation, enegry, confidence, which correlates with the brand image.

EVALUATION:

- High frequency of posts (around 3 per day) offers the maintanance of visibility and overcoming Instagram algorythms

- Diverse types of content, including videos, shoppable pho-

tos, carousel posts, daily stories easures high usability of the platform and allows for controlled content segmentation

- The uses of images and colour scheme matches the brand

image and the primary target profile from the perspective of

emotional branding tactics on the visceral and behavioural levels

@asos via Instagram

@ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS @ASOS 88

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

@AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories 89

STORYTELLING STRATEGY & Other Stories adopts storytelling strategies widely in it’s communication, mostly done through cam-

paigns and collaborations that represent different

types of creative interpretations of enviromental

and female-empowering concepts. The brand takes

a very romanticised and non-controversial approach it communication, thus building an image of an inspi-

ration platform, which results to them being related more to the lifestyle than to the fashion segment of the market. Thus, & Other Stories build emotional relations to their cusotmers by representing some-

thing they want to be a part of and see themselves in, relating their personal lifes being fullfilled by what the brand has to offer.

ENAGEMENT ANALYSIS NUMBER OF FOLLOWERS: 1.598,929 AVERAGE LIKES PER POST: 6,200 AVERAGE VEWS PER VIDEO: 92,144 AVERAGE COMMENTS PER POST: 45 AVERAGE POSTS PER WEEK: 8 AVERAGE LIKES PER WEEK: 48,936

The engagement of & Other Stories is 0.37%. This number is slightly lower than Instagram average for a brand of that scale.

Aleksandra Pavlova

VISUAL LANGUAGE & SEMIOTICS BREAKDOWN CONTENT TYPE: most of the content on the profile is designed, howev-

er with the underlying intent of being seen as “casual” to some extend. The account overall is used primarily for driving sales, hense the wide use of shoppable links.

LYMBIC TYPES: The brand targets are most strongly the Harmoniser and

the Open-minded, both based around the desire of “Balance”

USE OF COLOUR: Down below the colour scheme of the brand is repre-

sented. Overall, a lot of pastels and light/bright colours are used in the brand’s communication, which fits the band image overall. The images work coherently together however the theme is kept more strongly within the colour scheme more so than through how the image contents relate to each other.

EVALUATION:

- The content posted by the & Other Stories on Instagram fits the brand image well and is well planned - However,

the intentionally “effortless” content may not

bring the brand to it’s full engagement potential.

- The frequency of posts is satisfactory however doubling the number of weekly posts to the recommended amount may help to generate higher levels of engagement

- The tools of Instagram are used to the full extent, including shoppable posts, carousels, and videos, however what the

brand can improve on is generating conversation with the customers through a stronger use of stories

IED Barcelona, 2019

@AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @AndOtherStories @andotherstories via Instagram @AndOtherStories 90

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

@Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki 91

STORYTELLING STRATEGY The storytelling strategy of Monki is based around

talking to teenage girls and young women. Body-pos-

itivity, feminism, self-acceptance and self-growth,

the “girl power” community, and rebelling against norms are the topics frequently raised in Monki’s communication. The brand markets towards a very

specific target communication-wise, even though the offered products are not extremely niche. In term of consumer relations, Monki takes up the position of a “best friend” figure, and the language of the brand

is closely focused on providing that support and acceptance that consumers can be drawn to, thus,

building a very specific and loyal customer base of people who are drawn to being part of this community.

ENAGEMENT ANALYSIS NUMBER OF FOLLOWERS: 611,476 AVERAGE LIKES PER POST: 8,400 AVERAGE VEWS PER VIDEO: 29,000 AVERAGE COMMENTS PER POST: 35 AVERAGE POSTS PER WEEK: 14 AVERAGE LIKES PER WEEK: 117,600

0.95% is the rate of engagement of Monki, which is the highest across the benchmark. At the same time, the brand’s rate of engagement per week is not the highest of the list, although this can be relaed to the high frequency of posts.

Aleksandra Pavlova

IED Barcelona, 2019

VISUAL LANGUAGE & SEMIOTICS BREAKDOWN CONTENT TYPE: Most content posted by Monki is professional content,

with some designed elements. The Instagram of the brand it mostly used for brand image endorsement as opposed to directly selling, since not many shoppable images are present.

LYMBIC TYPES: Monki targets primarily the Hedonist, Open-minded and

Adventurer types of consumers - the types seeking “Excitement” and “Pleasure” USE OF COLOUR: The brand mostly uses bright warm tones like pink,

red, orange, purple in the construction of the feed. A theme can be seen throughout the whole feed however it is not completely uniform. Alike the general messaging of the brand - it does not strike for perfection.

EVALUATION:

- By the findings on statistics of engagement, Monki posts the “golden ratio” amount of posts, being on average two per day. This ensures it’s potential fulfilment of engagement from the perspective of Instagram algorithms

- The brand has a storng storytelling narrative with consistent content visual language

- The overall engagement rate of Monki is proportionally the

highest in comparison to the other brands of the benchmark, which can be also put down to the smaller number of foll-

woers. Nevertheless, the overall activity of the brand on the platform is diverce and rich

@monki via Instagram

@Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki @Monki 92

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

@Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike 93

STORYTELLING STRATEGY The storytelling strategy of Nike if uniquely different from all the other discussed brands. Nike is the mas-

ter of storytelling, where this concept stands at the

very core of the brand since its creation. The strength of that is that a brand like Nike doesn’t win over fol-

lowers by making the most perfect appearance, on

the other hand, the strength is in being unique and true to self. Nike is the most followed brand of the

benchmark by far and out of the sportswear segment as well. All due to Nike being professional in telling

real stories and transporting the viewers into the created narratives, anyone can relate to it and feel

a genuine connection, wanting to become part of the community and represent what the brand stands for.

ENAGEMENT ANALYSIS NUMBER OF FOLLOWERS: 87.613,763 AVERAGE LIKES PER POST: 380,000 AVERAGE VEWS PER VIDEO: 4.840,000 AVERAGE COMMENTS PER POST: 4,368 AVERAGE POSTS PER WEEK: 2 AVERAGE LIKES PER WEEK: 760,000

The overall engagement rate of Nike is 0.60%, which is a good result for an account with such high number of followers. At the same time, Nike posts the least frequently out of all of the reviewed brands, which gives it higher chances of engagement, since it increases the lifetime of each separate post.

Aleksandra Pavlova

IED Barcelona, 2019

VISUAL LANGUAGE & SEMIOTICS BREAKDOWN CONTENT TYPE: Nike’s content is primarily only professional. It holds

within it designed elements also, however thoise are nesessary for the stoy-

rtelling. The content is very carefully curated and produced to high standard, due to which the frequency of posts varies but is relatively low.

LYMBIC TYPES: Nike targets the Performer and Adventurer types of

customers, with slight variations to other segments. The main motivation of those types is “Dominance”, according to the Lymbic model, thus the consumers mosly lust for adventure, thrill, and discipline.

USE OF COLOUR: Nike mostly uses muted colours in its communication,

thus making the profile look organic overall. Although colour theory doesnt seem to be the most important factor in the construction of the account.

EVALUATION:

- Very emotionally-driven content with intense storytelling that stands in the core of the brand, thus is percieved organically

- All content is produced with high budgets and emotional

messages that are thought through start to finish. This is a

valuable differentiator of Nike comared to other brands who attempt adopring a similar strategy

- The highest number of followers and overall engagement.

However, the ratio of the rate of engagement is not the highest performing (although the rare posting behaviour also affects the engagement through negative algorythms)

@nike via Instagram

@Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike @Nike 94

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

@Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci 95

STORYTELLING STRATEGY Gucci is a brand worth discussing in this segment due

to the recent change of brand image and communi-

cation strategies both online and offline. Therefore, the torytelling of the brand has also changed drasti-

cally, where previously it has been mostly associated with brand heritage, history, craftmanship, and brand

value, and now has turned to being associated with

pop-culture focused styling, unique aestethic choices in brand prsentaition as well as on the runway. Nevertheless, storytelling has remained a large part of the

brand narrative, and is now based mostly upon fan-

tasy, digitalisation, unpredictable and daring visual choices, which has helped the brand to redirect their efforts to a more millenial audience in the recent years.

ENAGEMENT ANALYSIS NUMBER OF FOLLOWERS: 33.936,671 AVERAGE LIKES PER POST: 62,706 AVERAGE VEWS PER VIDEO: 352,666 AVERAGE COMMENTS PER POST: 208 AVERAGE POSTS PER WEEK: 35 AVERAGE LIKES PER WEEK: 2.194,710

The engagement rate of Gucci is currently 0.19%, which is a low number across the board and even for the brand itself in general. However, this can be factored to the recent passing of Met Gala, during which the brand has been posting much more than the recommended amount, which has affected the engagement averages.

Aleksandra Pavlova

IED Barcelona, 2019

VISUAL LANGUAGE & SEMIOTICS BREAKDOWN CONTENT TYPE: Gucci’s content is purely designed, which is what is

nessesary for transmitting the brand’s creative ideas. The campaigns are all based on storytrlling and are presented in sequences and adopting new creative formats.

LYMBIC TYPES: Gucci targets mainly the Open-minded, Hedonist, and

Adventurer lymbic types, alothouygh some of the loyal audience still remains from before Guccis creative transition, who belong more to the Traditionalist type. The current tagret of the brand ore motivated by seeking “Fantasy”, “Stimulance”, and “Adventure”.

USE OF COLOUR: Guccis media is very colour-oriented, however the col-

our choices are segmented by campaigns and showcasing specific events, rather than being maintained through the whole feed as a whole.

EVALUATION:

- Less engagement due to an uncontrolled posting behaviour, which can be increrased by creating a schedule and aploading regularly

- At the same time, Gucci’s Instgram is not used by the brand for directly driving sales, but more for nkeeping the brands

image and narrative alive and showing it’s progression. Thus, engagement on it’s own does not play a vital role

- The visual storytelling as it stands is one of the strongest across the benchmark. Although it’s less emotion and empathy driven, it is aimed an fascinating the viewer and understanding the brand’s narration

@gucci via Instagram

@Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci @Gucci 96

“The Use of Semiotics and Emotional Branding in the New-Era Digital Marketing Sphere”

@Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine 97

STORYTELLING STRATEGY Finally, Celine’s case is additionally different from all

others across the benchmark. The brand has been

recently going through a brand image transition (alike Gucci), and changing direction towards tar-

geting a younger audience, and shifting the product range form high-end toready-to-wear. At the same time, Celine has remained its brand identity at its core authentic, highlighting its evolvement and her-

itage as part of it’s storytelling online even through the tactical changes it’s been undergoing. Addition-

ally, since the brand has not been present on social media at all until the past year, the Instagram cannot be compared statistically to other brands.

ENAGEMENT ANALYSIS NUMBER OF FOLLOWERS: 1.797,013 AVERAGE LIKES PER POST: 10,888 AVERAGE VEWS PER VIDEO: 123,140 AVERAGE COMMENTS PER POST: 73 AVERAGE POSTS PER WEEK: 9 AVERAGE LIKES PER WEEK: 98,000

The engagement rate of Celine is currently 0.61%. Celine is a unique case amongst the benchmark now only stylistically, but also since the brand is relatively new to the Instagram sphere (the account was started less than a year ago, although the current rate is already satisfactory).

Aleksandra Pavlova

IED Barcelona, 2019

VISUAL LANGUAGE & SEMIOTICS BREAKDOWN CONTENT TYPE: Celine’s content stylisation is unique across the bench-

mark, since it is the only brand than maintains high uniformity of the overall feed throughout all of the variables The content overall can be out into both the professional and designed categories LYMBIC TYPES: The target of Celine belongs mostly to the Traditional-

ist and Harmoniser types, and is overall highly defined despite the recent re-targeting of the brand towards a younger audience. The target is driven mostly by seeking “Discipline” and “Balance”.

USE OF COLOUR: The colour scheme of the brand’s Instagram is

shown below. It is also highly controlled and represents well the colours

associated with the “new Celine”, being majorly monochrome with slight variations. According to colour theory, the used colour scheme associates with elegance, mystery and nobility.

EVALUATION:

- The account is very heavily stylised and the overall uni-

formity of feed, colopur scheme and image correlation is maintained highly controlled

- Since the brand has not been present on social media at all until the past year, the Insatgram cannot be compared

statisticlally to other brands, however, the engagement rate is the second highest out of the selection, which is a significant result taking away the other variables.

@celine via Instagram

@Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine @Celine 98