Archive for the ‘Social Marketing’ Category
Survey: HK audiences shift video viewing time from digital platforms to social media – Marketing Interactive
Despite the overall video viewing time remaining steady in Hong Kong, some local audiences are shifting their viewing medium from digital platforms to social media, a study finds.
Conducted by Omnicom Media Group (OMG), the Hong Kong video content viewing landscape study is based on a self-complete online survey among 815 Hong Kong residents aged between 18 and 59.
The survey was carried out from March to April and targeted individuals who had watched video content on free TV, pay TV, or digital video content platforms within the seven days before completing the survey. The study aims to monitor the fast-changing video-viewing behaviour of Hongkongers.
The study found that while the total video viewing time remained steady in the first quarter of 2024, some audiences shifted from watching videos on digital platforms, including Netflix and YouTube, to social media such as Instagram, Facebook and X. The total video viewing time in the past week was 77.7 hours, comprising 36.9 hours on digital platforms, 19.8 hours on social media, and 21 hours on free and pay TV.
In terms of social media viewing time, Instagram led with 7.9 hours, followed by Facebook (7.8 hours), and X (2.5 hours). Instagrams total viewing time was on par with Facebooks for the first time, according to the report.
Furthermore, the report identified significant increases in viewership for Instagram, Netflix, and Disney+ in the first quarter of 2024, with their viewing times rising by 6%, 10%, and 6% respectively. Meanwhile, douyin, XiaoHongShu, and bilibili appeal to distinct groups of audiences.
Viewership of free and pay TV
Interestingly, the report found that TVB was the only free TV platform to see increases in both penetration and viewing time, rising by 5% and 0.6 hours respectively. Notably, TVB's viewership had made a remarkable comeback among the 18 to 24 and 45 to 59 age groups, with increases of 16% and 8% respectively, after a decline in the fourth quarter of 2023.
The report found that ViuTV's viewership had also increased among the 18 to 24 and 45 to 59 age groups, rising by 9% and 6% respectively. On the other hand, middle-aged consumers watch HOY TV less often whereas viewership remains the same among other age groups.
Viewership of digital platfroms and OTT platforms
Speaking of digital platform viewership, the report found a drop in total viewing time among audiences aged 35 or above, while younger segments maintained high levels. While the viewership and viewing time of YouTube were overall stable, Netflix and Disney+ achieved the secondand thirdmost often watched digital platforms respectively with an increase of viewership in the first quarter of 2024.
On the other hand, YouTube Premium was still not yet popular among consumers, with only one-third of YouTube audiences subscribed to the service.
Meanwhile, other digital platforms such as douyin, XiaoHongShu and bilibili presented distinctive trends in viewership. Douyin had experienced a resume of viewership and viewing time in the first quarter since the surge in the fourth quarter of 2023.
Bilibili had formed a relatively steady viewership while the other two hadnt. Also, viewers of douyin skewed towards non-working and more mature audiences, whereas bilibili appealed to younger groups.
On the other hand, the report showed that OTTs saw a mild comeback in viewership in the first quarter, following continuous dips in 2023.
According to the study, the overall OTT platforms time spent per week is 15.9 hours in first quarter of 2024, increased 16% compared to the fourth quarter of 2023. The increase in total viewing time is particularly led by Netflix, followed by Disney+. Noticeably, the intent of current subscribers to renew subscriptions remained high for the two channels.
When it came to viewing devices, it turned out that an overwhelming majority of audiences used electronic devices (95%), usually smartphones, to access video content. Younger consumers remarkably spent more time watching video through electronic devices whereas 45 years old or above still preferred TV sets. Interestingly, it was found that audiences preferred watching long-form videos on a big screen whereas YouTube on a smaller screen.
Nicole Cheng, insights director, Omnicom Media Group Hong Kong, said: Total viewing time remained stable in early 2024. However, time spent on video viewing increased among those aged 18-34, while middle-aged and older groups watched less. The first quarter of 2024 saw a bounce back in OTT viewing, led by Netflix and followed by Disney+. Our quarterly study tracks media consumption habits in Hong Kong, providing insights into evolving behaviours and emerging trends.
Join us this coming 26 June forContent360 Hong Kong, a one-day-two-streams extravaganza under the theme of "Content that captivates". Get together with our fellow marketers to learn about AI in content creation, integration of content with commerce and cross-border targeting, and find the recipe for success within the content marketing world!
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Survey: HK audiences shift video viewing time from digital platforms to social media - Marketing Interactive
Impresario’s SOCIAL and Collective Artists Network’s Big Bang Social join forces – Adgully
Collective Artists Networks Big Bang Social and Indias leading casual dining restaurant company, Impresario, behind iconic brands like SOCIAL, antiSOCIAL, and Smoke House Deli, have joined forces to form a unique partnership. SOCIAL provides a natural space for creators to come together, offering a platform where they can collaborate and share their work. By fostering these connections, SOCIAL plays an important role in enabling local communities, creating a vibrant environment where creativity and community spirit thrive.
The essence of this partnership lies in its mission to empower creators across multiple cities to curate compelling narratives that celebrate the essence of their local neighborhoods. From the bustling streets of Hauz Khas to the charm of bylanes of Khar, from the vibrant spirit of Church Street to the yet-to-be-discovered gems, this collaboration brings in a new era of discovery and celebration of local culture.
Divya Aggarwal, Chief Growth Officer, Impresario Entertainment & Hospitality Pvt. Ltd. commented, "With the creative prowess of creators like comedians, writers, dancers, podcasters, visual design artists, poets, and more, we aim to showcase rich narratives that flaunt different aspects of neighborhoods and bring together local communities in the pincode. This partnership is a milestone development in discovery and celebration of local talents, paving the way for new initiatives in the F&B industry."
Sharing his thoughts on the partnership, Dhruv Chitgopekar of Big Bang Social said, "At Big Bang Social, we are committed to providing creators with a platform to amplify their voices and showcase their unique perspectives. In this partnership, we seek to bring in a creative renaissance, where creators are empowered to weave narratives that align with the soul of neighborhoods, giving birth to a sense of exploration and pride in the local culture among patrons of SOCIAL."
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Impresario's SOCIAL and Collective Artists Network's Big Bang Social join forces - Adgully
Why Putting Warning Labels on Social Media May Not Work – Northeastern University
On Monday, U.S. Surgeon General Vivek Murthy said he wants Congress to allow for warning labels to be placed on social media sites advising of the negative effects the platforms could have on adolescents mental health.
The warning labels would be like ones on tobacco and alcohol products, warning that social media has not been proven safe, Murthy wrote in an op-ed for the New York Times. He said some research shows that teens spending more than three hours a day on social media have a higher risk of mental health problems.
But the efficacy of such a label and whether itd even be allowed is up for debate, according to Northeastern University experts.
Warning labels on media images that have been digitally modified are ineffective in preventing the negative effects of media images on body image at best, said Rachel Rodgers, an associate professor of applied psychology at Northeastern. At worst they actually exacerbate these effects.
Rodgers, who specializes in body image, did a meta-analysis of the experimental literature on this topic and found that there is no benefit to body image when it comes to labels on altered photos.
Moreover, from a systemic perspective, using warning labels allows harmful industry practices to continue rather than leveraging systemic change, and places the burden on the user to protect themselves from something harmful, Rodgers said. When the user is a vulnerable young person, this is not an ethical stance.
The use of such a label would have to be passed by Congress, but its also unclear if it would be upheld by the Supreme Court if it were challenged in court. And many such health labels have faced legal challenges.
Claudia Haupt, a professor of law and political science at Northeastern, said that the Supreme Court has been aggressive in enforcing the First Amendment and using it as an argument against warning labels.
Theres been litigation over warning labels in the past, Haupt said, with companies arguing against putting graphic labels on cigarette cartons and signs at crisis pregnancy centers stating theyre not health care providers.
The big problem with compelled disclosures is basically youre telling the company to tell the consumer that their own product is dangerous, Haupt said. They dont particularly like that because who wants to say, The thing Im trying to sell you might actually cause you harm.
She added that its likely social media companies would push back on a warning, if one were passed, claiming its infringing on their First Amendment rights.
In the past, she said, the Supreme Court has sided with companies on this. Haupt, along with Wendy Parmet, director of Northeasterns Center for Health Policy and Law, published research on this, looking into the courts history when it comes to health warnings.
Over time, the balance has shifted, Haupt said of the pairs findings. When public health would win in the past, free speech would be more likely to win. That would be relevant for all kinds of contexts where speech is used to inform the public about a public health danger. The First Amendment gets more and more leeway in the courts so it becomes more and more difficult to actually compel companies to warn about their products.
Haupt said Murthys push for a label that specifically targets young people might be better received, but ultimately it will come down to the precedent set in the crisis pregnancy center case that said disclosures have to be purely factual and uncontroversial.
The First Amendment itself doesnt say anything about this, Haupt said. Its just the courts interpretation. You can debate whats purely factual, whats uncontroversial. And then we get back to what kinds of harm does social media consumption potentially cause and is that worth limiting speech? Thats the ultimate question. Its really hard to predict what the court will do with this.
What could be a more effective approach to combating the negative effects of social media, Rodgers said, is including social media literacy education in youth programming and developing policies and practices to focus on risk protection while also teaching youths to use social media in a positive way. The former could involve guidance from adults, including parents who can monitor childrens use.
I think social media use, when thoughtful, can bring a number of benefits, Rodgers said. This is not the same as being safe. I do believe there are ways of using social media in which the benefits largely outweigh any detrimental effects. However, this would be a very careful, deliberate, in some ways limited and controlled use of social media, informed by strong media literacy, and strategically implementing and leveraging the affordances of platforms to tailor ones online experience.
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Why Putting Warning Labels on Social Media May Not Work - Northeastern University
Which Fashion Brands Punch Above Their Weight on Social Media and How They Do It – The Business of Fashion
Today, a large following on social media does not necessarily offer brands a shortcut to driving the cultural conversation online. Many of fashions largest names have a relatively low engagement rate on social media, while smaller brands are able to consistently capture and lead online discourse. For example, Jacquemus regularly generates hundreds of thousands of likes on Instagram posts with a following of 6.4 million, while Dolce & Gabbana, a brand with over 30 million Instagram followers, typically receives fewer than 10,000 likes per post.
Which fashion brands punch above their weight when it comes to social media engagement, and how have they done it?
The BoF Brand Magic Index is a rigorous brand measurement tool that aims to provide marketers with a data-backed answer to the question of what makes a powerful brand.
In the latest volume, we added Engagement as a metric to analyse how effective 50 fashion and luxury brands are at inspiring customers on social media from October 2023 to March 2024. Engagement is calculated by assessing a brands engagement rate on Instagram, as well as how much user-generated content customers create about a brand on TikTok. Collectively, these data points indicate how much buzz a brand is creating irrespective of the actual size of its following, thereby adjusting for brands that generate high engagement simply by virtue of their sizable marketing budgets. The overall Engagement rank is an average of each brands rank on TikTok and Instagram.
Diesel and Calvin Klein tied for first place in Engagement, with much of Diesels strong performance stemming from the brands results on TikTok, and Calvin Kleins from Instagram. Diesel ranked No. 3 overall on TikTok, after luxury heavyweights Dior and Chanel, with 200,000 user-generated posts using the brands hashtag shared on the platform during the period.
By contrast, Calvin Klein ranked No. 4 for its Instagram engagement rate, with its top-liked posts each generating over 2 million likes from its more than 25 million followers. For context, Louis Vuitton, which has nearly double the number of Instagram followers as Calvin Klein, received about 1.5 million likes on its top-performing posts during the period. Notably, no brand ranked in both the top 10 for Engagement on Instagram and TikTok, highlighting the different skills needed to master each platform.
1. Creating Cultural Moments
For Calvin Klein, much of its Instagram engagement can be tied to its viral Jeremy Allen White underwear campaign, which drove 40 million eyeballs to its Instagram, according to the brands owner, PVH. For that campaign, Calvin Klein did not just follow its usual strategy of titillating imagery or celebrity; the brand also understood the cultural moment, tying its campaign release to the start of awards season where White was up for a Golden Globe for his role in The Bear, clad in Calvin Klein on the red carpet.
This was savvy brand building on several levels, giving the underwear campaign another boost but also reviving speculation that Calvin Klein was going to give capital-F fashion another try. Sure enough, in May Calvin Klein hired 2023 LVMH Prize winner Veronica Leoni as creative director of its Collection line, and said it would return to the runway in 2025.
When a cultural moment does not exist, the best brands know how to orchestrate one. In November, Calvin Klein held a surprise concert with K-pop band BTS Jungkook in New Yorks Times Square to add buzz to his denim campaign launched that August. An Instagram post from the event was Calvin Kleins top post in the assessment period, which has since received over 2.7 million likes.
2. Subverting the Status Quo
For Diesel, the denim brands popularity on TikTok is evidence that a turnaround under creative director Glenn Martens is resonating and especially with young audiences. TikTokers regularly post videos about the brands tank tops and bags, echoing Diesels Y2K aesthetic and subversive, playful positioning.
This idea of subversion runs throughout Diesels online strategy. For its February runway show, the brand invited 1,000 viewers to watch front row from home, with their faces live-streamed on screens around the runway, creating an immersive and collective viewing experience that was then reshared online.
3. Leaning into the Fanciful and Surreal
Jacquemus was the top performer on Instagram, with an average 2.6 percent of its following engaging with each post during the assessment period. For context, Jaquemus 2.6 percent Instagram engagement rate was almost double the second ranked brand. Jacquemus cuts through polished Instagram imagery by leaning into humorous and surreal content that blossoms on social media today, with fanciful store designs and whimsical videos serving among Jacquemus top-liked posts in the period.
The brands ability to stand out with rewatchable content and visually captivating juxtapositions, coupled with its status as a hot independent label, mean its content is catnip for social media audiences.
4. Giving Audiences a Reason to Engage
Ferragamo ranked the lowest overall in Engagement at No. 47, placing last for both Instagram and TikTok. (Brands ranked 48 to 50 are those that were unable to be assessed because they do not disclose the number of likes on their Instagram accounts as well as Bottega Veneta, which does not have an active account.)
For Ferragamo, its low Engagement rank may be due more to a lack of intrigue rather than any specific action by the company, which has suffered from falling sales amid a turnaround that is taking longer than expected. While Ferragamo presents a well-curated Instagram feed of high-quality product photography and news, the company lacks a distinctive aesthetic or point of view. Fashion brands today face fierce competition for attention on social media, both from other brands but also influencers, stylists and, of course, the friends and family of followers. Lower-ranked brands may need to consider how to act less like a brand and more like a media company to compete for attention.
BoF Insights and Quilt.AI work directly with brands on bespoke engagements to measure Brand Magic in detail and over time, enabling brands to identify positioning opportunities, deeply understand their customers and measure their marketing impact. Contact our team if you are interested in learning how we can work with you.
This article is part of a series that unpacks the assessment metrics in the second volume of The BoF Brand Magic Index.
A sample of The BoF Brand Magic Index featuring more information about the methodology is available for download here.
Full access to The BoF Brand Magic Index is for Executive members. For unlimited access to this and all future editions, become an Executive Member now.
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Which Fashion Brands Punch Above Their Weight on Social Media and How They Do It - The Business of Fashion