12月15日口譯文章：交際媒體倒逼奢靡品牌布衣化
若澤·德卡波(Jos de Cabo)把大批時光都花在了交際媒體上。但是與多半工資了與親朋堅持接洽而在Twitter和Facebook上更新狀況分歧，德卡波和他部下140多人的團隊——重要在紐約和倫敦——有著另外一個目的。
他們在全球最受迎接的交際網站上到處征采，為蘭蔻(Lanc洀攀)、伊夫聖羅蘭(Yves Saint Laurent)等奢靡品牌探求小我拍攝的凸起這些品牌的照片，好比某只手袋或某款鞋子的圖片，用於市場營銷的運動。
德卡波說，這些品牌(對應用哪些照片具有終極的決議權，不會為拍攝者付出待遇)應用收集天下的資本，可以拉近與用戶之間的幹系。在花費者愈來愈反感傳統告白確當下，這類做法還可以增長營銷運動的公信力。
“每一個品牌在全球都有大量擁躉，他們想要成為品牌的一部門，”德卡波說。2010年在哥倫比亞大學得到MBA後不久，他和同夥開辦了這家名為Olapic的公司。這家始創公司表現，與傳統的營銷圖片比擬，交際媒體內容可使在線銷量增長約5%。
“人們上彀的方法變了，”德卡波說。“他們習氣了在網上探求真正的信息。懂得到這一點，企業就能夠增強與花費者之間的接洽。”
現在，交際媒體讓通俗人具有了影響企業收集形象的才能，而Olapic供給的這種辦事是奢靡品牌——和傳統零售商——面臨這一情勢堅持品牌影響力的最新試下。
曩昔，企業完整可以應用市場營銷運動通報出一個聯貫的信息，但現現在，交際媒體的敏捷突起——和網上天天數十億的評論辯論，個中很多與國際奢靡品牌有關——使企業不能不從新評估本身對Instagram和Snapchat等網站的應用、互動和回應方法。
這須要企業探求新的方法與粉絲樹立接洽，不管是經由過程在著名交際媒體上的常常性互動，照樣供給線上的福利，好比約請花費者到幕後拜望時裝秀或照片的拍攝，強化他們與某個計劃師或時尚品牌的幹系。一些企業還借助交際媒體擴展在傳統客戶群以外的影響力，必定水平上是為了吸引在收集上發展起來的新一代花費者。
但是，就像在真實天下同樣，奢靡品牌在交際媒體和其他收集運動上投入的精神也各不雷同。
這些結論來自L2公司比來宣布的一份申報。該公司總部設在紐約，重要追蹤各大品牌在收集天下的影響力。這份重要基於美國花費者習氣的研討申報比較了一些天下最著名時尚品牌的收集計謀，如香奈兒(Chanel)和迪奧(Dior)，並為這些企業的交際媒體影響力、收集營銷、電子商務，和挪動平台上的平常互動舉行了排名。
依據L2的申報，一些善於收集營銷的品牌，如博柏利(Burberry)，已把交際媒體和其他收集平台直回收入了團體的營銷籌劃中。L2的研討主管莫琳·馬倫(Maureen Mullen)說，這些運動讓企業在收集天下有了更大的影響力，她說，博柏利在YouTube和Snapchat等網站上按期的宣布內容，是人們愈來愈盼望融入下一個收集趨向的緣故原由之一。
“七年前，博柏利象征著‘英倫風’和‘彩格布’，現在這個品牌激發的焦點遐想是立異，”馬倫說。“他們經由過程收集運動有用地晉升了品牌代價。”(Kate Spade是除博柏利以外，唯逐一家被L2評為“天才”的公司)
不外，多半奢靡品企業尚未把日趨擴展的收集影響力轉化成發賣額的增加。
L2的申報表現，收集發賣仍舊只占奢靡品企業總收入的6%。包含拉夫·勞倫(Ralph Lauren)和邁克·高仕(Michael Kors)在內的約10家公司，在奢靡品收集營銷中占了一半以上的份額，配合發生了與奢靡操行業有關的網站65%的流量。
但是零售業專家稱，一家企業的收集形象——不但是在重要用戶群心中的形象，還包含更普遍的收集用戶——大概對品牌的團體榮譽發生龐大影響，在精曉收集的年青購物者傍邊特別如斯。
“經由過程交際媒體，花費者們可以對品牌發生影響，使其相符本身的咀嚼，”Felix Capital駐倫敦的合股人弗裏德裏克·考特(Frederic Court)說。這家風投公司投資了一些與時另有關的收集公司。“企業須要探求一種新的方法感動花費者。”
這個變更對路易威登(Louis Vuitton)和香奈兒(Chanel)如許的奢靡品牌來講非分特別猛烈。這些在交際媒體湧現以前幾十年出生的公司，已謀劃造出了一種少數人專享的高端品牌形象，這也是它們的營銷計謀的一部門，它們描寫了一種平日讓多半人難以企及的生存方法。
一些剖析師說，為了應答收集天下全民自由介入的局勢，很多公司已擴展了品牌的網上萍蹤，平日與交際媒體達人和其他名流互助，展現一種加倍布衣化的形象。
好比，迪奧就與歌星蕾哈娜(Rihanna)聯袂，後者的交際媒體粉絲數目是這個時尚品牌的四倍。卡爾文·克萊因(Calvin Klein)也與賈斯汀·比伯(Justin Bieber)簽署合約，必定水平上是為了應用這位歌手在Instagram和Twitter上的活潑粉絲資本。後者的存眷人數是卡爾文·克萊的15倍。
“每一個品牌都須要在專享性和包涵性之間找到均衡，”Brandwatch的剖析師詹姆斯·洛夫喬伊(James Lovejoy)說。這家處於紐約的科技公司歷久追蹤交際收集上的輿論。
“當蕾哈娜在Instagram宣布身穿迪奧的照片刻，她影響到的人大概並非迪奧的客戶群，”他接著說，“但她毫無疑難吸引了更多的存眷者。”
對付Instagram的市場開辟賣力人馬特·雅各布森(Matt Jacobson)來講，這家圖片同享平台已成為奢靡品牌和存眷者在選取交際收集時的不貳之選，這類與更普遍人群互動的才能，是企業應用收集平台計謀的癥結。
比方，英國品牌凱倫·米蓮(Karen Millen)把經由過程在交際媒體上眾包的照片放入在線市肆，並展現其用戶——和全球——對該品牌的收集評價。寇馳(Coach)在比來的一次告白宣揚中應用了用戶的圖片，側重展現鞋類產物系列，包含一張展現客人在全球哪些所在攝影的互動輿圖。
雅各布森說，不管企業是不是介入，這些收集互動都邑產生。經由過程讓焦點用戶和更普遍的收集用戶介入個中，奢靡品公司就有機遇應用交際媒體的營銷潛力。
“你參不介入，對話都在舉行，”他接著說。“你沒法退出。但你可以選取不介入。”
【參考譯文】
Jos de Cabo spends a lot of time on social media. But unlike most people who post on Twitter and Facebook to keep up with friends and family, Mr. de Cabo and his team of more than 140 people — primarily based in New York and London — have another goal.
They scour the world’s most popular social media sites on behalf of luxury brands like Lanc洀攀 and Yves Saint Laurent, hunting for photos taken by individuals that feature the brands, say an image of a handbag or pair of shoes, that could be used in marketing campaigns.
By tapping into the digital world, Mr. de Cabo said, brands (which have final say over what photos are used and do not pay people for their online images) can foster closer relationships with their followers. They also can add extra credibility to marketing at a time when consumers are increasingly turned off by traditional advertising.
“There’s an army of fans out there for every brand, and they want to be part of your world,” said Mr. de Cabo, who started the company, called Olapic, with friends soon after completing an M.B.A. at Columbia University in 2010. The start-up says that its social media content can increase online sales by roughly 5 percent compared with traditional marketing photos.
“People are now wired in a different way,” Mr. de Cabo said. “They are used to seeing authenticity online. By embracing that, brands can build a stronger connection with consumers.”
Services like Olapic are the latest attempt by luxury brands — alongside traditional retailers — to stay relevant in a world where social media has given people greater power over how a company is perceived online.
Where once a brand could use its marketing campaigns to present a coherent message, the meteoric rise of social media — and its billions of daily digital discussions, many involving global luxury brands — has forced companies to reassess how they use, interact and respond to the likes of Instagram and Snapchat.
That includes finding new ways to engage with those brand followers, either through regular digital interactions on popular social media sites or offering online extras, like behind-the-scene looks at fashion shows or photo shoots, to reinforce their ties to a designer or fashion house. Brands also have turned to social media to extend their presence beyond the traditional customer base, partly to reach a new generation of consumers that have grown up online.
Yet just like in the offline world, some luxury brands have embraced social media and other digital activities with greater energy than others.
Those are the findings of a recent report by L2, a company based in New York that tracks the digital impact of brands. The study, based primarily on U.S. consumer habits, compared the digital strategies of some of the world’s most well-known fashion houses, such as Chanel and Dior, ranking each company on their social media outreach, digital marketing, e-commerce and daily interactions on mobile platforms.
Some digitally savvy brands like Burberry, according to L2’s report, have incorporated social media and other online platforms directly into their wider marketing campaigns. These activities, says Maureen Mullen, L2’s head of research, have given companies a greater reach in the online world, associating Burberry’s regular posts on the likes of YouTube and Snapchat with people’s increasing desire to be connected to the next online trend.
“Seven years ago Burberry meant ‘British’ and ‘plaid,’ and now a core association of the brand is innovation,” Ms. Mullen said. “They’ve effectively changed the brand values through a lot of the things they’ve done in a digital capacity.” (Kate Spade is the only other company in L2’s “genius” category.)
But most luxury brands have yet to turn a growing digital presence into increased sales.
Online sales still represent just 6 percent of luxury companies’ total revenues, according to L2. And roughly 10 companies, including Ralph Lauren and Michael Kors, dominate this digital world, generating a combined 65 percent of all traffic to websites associated with the luxury industry.
Yet retailing experts say that how a company is viewed online — not just by its primary customers, but also by the wider online population — can have a significant impact on a brand’s overall reputation, particularly with digitally literate young shoppers.
“With social media, consumers are taking brands and reinventing them to fit their own tastes,” said Frederic Court, a London-based partner at Felix Capital, a venture firm that invests in fashion-related digital companies. “Brands need to find a new way to relate to their customers.”
This change has been particularly acute for luxury brands such as Louis Vuitton and Chanel. These companies — born decades before social media — have fostered an image of exclusivity as part of their marketing strategies, portraying a lifestyle that is often out of reach for most people.
In response to the digital free-for-all that is synonymous with the Internet, analysts say many companies have had to expand their brands’ online footprint, often teaming up with social media darlings and other celebrities to present a more populist image.
That includes Dior, which joined forces with the music star Rihanna, whose social media following is four times as large as that of the fashion label. Calvin Klein signed a deal with Justin Bieber, in part to tap into the Canadian singer’s avid following on Instagram and Twitter, where his audience is up to 15 times as large as that of the brand.
“Each brand needs to strike a balance between exclusivity and inclusiveness,” said James Lovejoy, an analyst at Brandwatch, a technology firm in New York that tracks discussions on social networks.
“When Rihanna wears Dior in an Instagram photo, the reach she gets might not be exactly Dior’s consumer base,” he added, “but she certainly attracts a wider audience.”
For Matt Jacobson, head of market development at Instagram, the photo-friendly online platform that has become the social network of choice for luxury brands and their followers, this ability to engage with a wider audience lies at the heart of how companies should use online platforms.
The British label Karen Millen, for instance, has crowdsourced photos from social media as part of its online store, showing how its customers — and the wider world — view the brand online. And Coach turned to user-generated images in a recent advertising campaign to highlight its range of footwear, including an interactive map showing where customers had taken their digital photos around the world.
These types of online interactions, Mr. Jacobson said, would happen irrespective of a brand’s participation. But by engaging with both core consumers and the broader digital audience, luxury brands have an opportunity to use the marketing potential offered by social media.
“The conversation is happening, with or without you,” he added. “You can’t choose to opt out. But you can choose not to participate.”
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