Blog : social media

Planning, managing and celebrating #TheMoment with Glasgow 2018

Planning, managing and celebrating #TheMoment with Glasgow 2018

After 11 days of incredible sporting action, the inaugural multi-sport European Championships drew to a close on Sunday evening. Titles were won and lost, world records smashed, and we were right in the thick of it.

Stripe’s work on Glasgow 2018 started way back in February last year. Our first task after being appointed as the Championships’ digital agency was to set out a unique strategy to reach sports fans, families and the local community in the run up to the Championships, to generate awareness and help people understand what this new event was all about. With a focus on organic and paid social we set this strategy in motion, engaging these audiences and encouraging them to help us bring #themoment to life, starting with the first of our key milestones: 500 days to go.

In the 500 days that followed we delivered some amazing work: created thousands of assets; planned and published posts across Glasgow 2018 profiles; produced films for online and TV; launched the official mascot Bonnie the Seal; recruited volunteers; live streamed with athletes and ambassadors; ran over 200 hundred social ad campaigns; measured and reported on all digital activity; and a whole lot more besides.

With Glasgow 2018 marking the first time that the six featured sports have come together to hold their European Championships, we needed to constantly analyse, evaluate and evolve our approach. Established multi-sport events like the Olympics or Commonwealth Games and recent single sport events here in the UK like London 2017 offered insight into what can work to engage sports fans and non-fans alike, but a new format presented new challenges.

We knew that the awareness and understanding piece of our work was going to be a much bigger challenge than that faced by other events and we weighted our strategic focus accordingly. This meant conducting a detailed research piece at the outset, really digging in to the conversation about other events, Glasgow as a host city, and the individual sports. We profiled our domestic and international audiences, segmenting our tactics for each based on all our findings to help us tailor both organic and paid social activity.

We also developed a bespoke measurement framework specifically for Glasgow 2018 that allowed us to evaluate activity in terms of not only the awareness and engagement benefits, but also hard metrics such as sales for ticketing campaigns. By combining in-built social platform insights, website analytics including UTM tracking, social listening tools, custom attribution modelling and enhanced ad reporting thanks to employment of the Facebook pixel, we’ve been able to accurately measure everything we’ve done and consistently deliver results.

Throughout the journey to the Championships, our priority was balancing of great creative with great insight: delivering brilliant ideas and content that really resonates whilst ensuring we were able to measure the value of what we do and provide genuinely useful insight that helped the combined Glasgow 2018 and Stripe team push things forward. As the Championships themselves kicked off two weeks ago, our day to day activity changed but not the way we worked.

On the 1st August we changed gear and moved to near round-the-clock measurement and monitoring of conversation surrounding the Championships, seven days a week. For twelve days we tracked key conversations, influencers, opportunities and issues. We watched Adam Peaty break another world record and set Twitter alight, we shared the home crowd’s disappointment when Ross Murdoch just missed out on a medal by the narrowest of margins, and we celebrated when Laura Kenny’s comeback led to a well-earned gold (and a mention from Elton John).

The Stripe team was responsible for gathering data and insight on all online discussion in real time and delivering reports at regular intervals each day, as well as spotting and working up reactive content and creative opportunities to maximise impact during the Championships.

Now that the event is over, all that’s left is to reflect on an amazing 18 months of preparation and hard work that resulted in one heck of a payoff. We’re still pulling together our wrap up report of everything that’s happened since that first milestone campaign, but we already know for sure it’s going to point to a hugely successful event and we’re so proud we got to be a part of it.

Most exciting job on earth? Experienced community manager sought!

Most exciting job on earth? Experienced community manager sought!

We are looking for an experienced, passionate and ambitious community manager to work closely with one of our exciting clients based in London. With an international audience, the role will involve on and offline activity, content creation, influencer management, proactive and reactive social posting, tackling multiple brands and channels simultaneously and everything that comes with that responsibility.

You will be energetic, outgoing, have a love for all things entertainment and showbiz as well as the ability to work in a fast paced culture, but in an organised way. With a solid understanding of how brands use social channels, how they should operate in the social space and the ability to lead an account from planning, delivery through to reporting and analysis, you’ll deliver innovatively and effectively.

If you are curious and creative, with amazing communication skills and a major love of the Mail Online’s sidebar of shame, send your CV and links to your work to talent@stripecommunications.com.

Location: London
Ideal start date: ASAP

Stripe are seeking a senior creative conceptual designer

Stripe are seeking a senior creative conceptual designer

Are you bursting with ideas, a pixel-perfect perfectionist and have passion for the exact amount of white space? Stripe are on the hunt for a talented and ambitious senior conceptual designer to join our Edinburgh team full or part-time and to deliver across both Edinburgh and London clients.

Stripe is a leading creative and digital communications agency known for being a fast-paced, dynamic and fun place to work. We are award winning both for the work we deliver as well as being a great place to work.

You are the next generation of Stripe, helping take creativity to the next level. You deliver outstanding creative, especially in the digital arena, however your experience will include the ability to develop concepts that go beyond digital tactics and tie into emotive ideas that engage and move the audience.

The role requires social asset creation (static, gifs etc), video editing, photography, creative direction, participation in brainstorms, campaign conception and development, an understanding of print and production and the ability to give and take feedback constructively to achieve the best solution possible.

You are a people person, thrive on being challenged and are keen to make your mark in the creative world and across the business.

Sound good? Then send your CV and portfolio to talent@stripecommunications.com.

Closing date is Sunday 1st July.

Who’s leading the way this International Women’s Day?

Who’s leading the way this International Women’s Day?

We are currently at the epicentre of a new feminist movement spearheaded by the #MeToo campaign, and as a result International Women’s Day (IWD) is arguably more significant than ever before.

Given the swell of conversation calling for gender equality, IWD presents the perfect  opportunity for brands to showcase their commitment to the solution by pushing for real societal and business change.

However, not everyone has hit the mark. Here’s Stripe’s breakdown of this year’s best and worst IWD campaigns and whether they really #PressforProgress…

Mattel, Inspirational Barbies

Here’s a great example of a brand identifying an issue and taking positive steps to address it, rather than just paying it lip-service.

When Mattel, maker of Barbie, found 86% of mothers around the globe are worried about the kind of role models their daughters are exposed to, they responded by marking IWD with the release of a new range of dolls celebrating inspirational, historical women. They also released a further 14 dolls in their ‘Shero’ range, including a doll version of UK boxer Nicola Adams.

While there are currently only three dolls in the ‘Inspiring Women’ range: Amelia Earhart, Frida Kahlo and Katherine Johnson, Mattel assures us there will be more coming.

For those of us who can think back to playing with anatomically impossibly shaped dolls and only really being influenced by how it looked, it’s nice to think this generation will be encouraged to think ‘Yes, I can be a successful boxer, mathematician, director, artist’… the list goes on.

Well played, Mattel.

Luxor Crystal, Whisky glass ‘for women’

The Austrian firm, Luxor Crystal, known for making luxury glassware embellished with Swarovski crystals, has designed the Highlander Whisky Glass featuring ‘a new shape especially for women’.

Apparently our hand shapes are so delicate we require special glassware. Please.

The glass design itself is lovely, but the marketing campaign is misguided. Women do not need gender-specific drinking products – this condescension does not endear us to your brand. All Luxor Crystal has done is reinforce the gender stereotype that whisky is a man’s drink. Can’t women just enjoy a dram in whatever glass they choose?

Uber, #DrivenWomen

Uber’s #DrivenWomen campaign film introduces audiences to the brand’s female drivers, in a bid to challenge the oldest gender stereotype out there. The video celebrates the brand’s female drivers by showcasing their voices on how driving makes them feel and how it positively impacts on their lives – helping to actually drive change on the issue (pardon the pun).

We’re often surprised to be met by female drivers, simply because there’s less of them. And the #DrivenWomen campaign answers many of the questions passengers are afraid to ask. Why do they drive? What do they like about it? Is it becoming more common? Do passengers ever challenge their suitability for the job?

The drivers profess the benefits of being in control of their own schedules, and according to a recent global study 74% of female driver-partners cited flexibility as the key reason they drive for Uber.

The campaign has its finger on the pulse of a real issue – visibility – by showing the women behind the wheel. It’s a win for empowerment and equality, exactly what IWD stands for.

Next and Hello! Magazine, Star Mums

Unveiling an all-white, glamorous panel of celebrity mothers to judge Hello! Magazine’s ‘Star Mums’ competition, sponsored by Next, has succeeded in one thing – royally pissing off their target demographic.

The selected line up chosen to dub the publication’s Star Mum has resulted in national backlash for both brands’ ‘‘narrow view of motherhood”. Unfortunately for both Next and Hello!, they’ve managed to offend the people they were trying to empower with a poorly executed and thought-out representation of mothers in British society.

Albeit a misunderstanding, what was meant to be celebration of diverse mothers doing incredible things has gone down like a lead balloon by losing sight of the competition’s purpose.

When Style transforms into a Story

When Style transforms into a Story

Today marks the start of London Fashion Week (LFW) which can only mean two things for the week ahead, stylish consumers will be glued to their phones and fashion brands will be working a lot of overtime.

LFW is the opportunity for journalists, consumers, buyers, celebrities and influencers to catch a glimpse of the next season’s collections six months before they hit the shelves – unless it’s Nicola Formichetti, then you can receive it within an hour from Amazon. But do not fret, if you are without an invite or ticket, this season, fashion brands and influencers alike will keep the FOMO at bay. And if you are within the 150,000 who are attending then well done, you’ve essentially made it.

Thanks to its audience of more than 500 million users, Instagram Stories has evolved to become the top choice for fashion brands to trial instant content. According to Instagram Advertiser statistics, 75% of Instagram users take action after viewing an Instagram sponsored post, and the number of brands using Instagram Stories is expected to rise to 70.7% by the end of 2017.

But how do Instagram Stories actually provide long-term value for a brand with content disappearing after 24 hours?

Fashion brands will benefit from this platform in a number of ways; whether it’s providing a countdown or showcasing their garments in action, it will create an impact. By inviting their followers to witness behind-the-scenes action of models getting fitted or practicing their walk pre show, this will provide an in for fans to what was previously an exclusive experience. This indoctrinates the viewer to become invested in the brand, becoming encouraged to view future posts and establishing longer term brand affinity.

You may have seen organic posts with ‘swipe up’ at the bottom that are reserved for users/brands with 10k+ followers. Most brands will have these verified accounts, enabling them to link out to their websites, landing pages or blog posts from within their stories – helping to provide a ROI for their short-lived stories.

A study from Rakueten Marketing has found that premium fashion marketers will pay up to £93,000 per post, showing just how powerful influencers and their stories are to an event like LFW. This year Topshop have invited actress Sophia Brown and Women in Fashion co-founder Lily More to take over their blog and to involve them both in a live streaming via Topshop.com.

For the social media spectators like myself, it’s a long term benefit to the brands to provide access into the behind the scenes of the event and are exposed to every aspect of this season’s collection, developing brand ambassadors and fans and fortunately Instagram Stories provide just that.

Fortunately London Fashion Week lasts a full 7 days, unlike Insta Stories – which can only be a good thing for fanatics like myself! So before you tap through those #LFW posts, take a second to think about the lasting power of Instagram Story.

Filling our feeds with food

Filling our feeds with food

Picture this: I’m meeting some friends for brunch on a typical Sunday morning. I order an acai smoothie bowl and a matcha latte.

What happens when the waitress brings across our order? My hand reaches for my iPhone, opens Instagram and I’m being absorbed into my online journal, also known as my Instagram Story. After a quick edit and a location tag – because no one has time to be elusive these days – I admire my perfectly filtered photograph starring the components of my brunch on an oh-so-edgy tarnished wooden table. A second later it is posted for the whole world to see.

What actually is the purpose of this post? Who knows and really, who cares. But who needs to care? It’ll be gone within 24 hours anyway.

Since 2010, 208 million posts have been shared on Instagram with the ‘food’ hashtag. The majority of these are nothing more than a fairly standard plate of food which has been greatly improved by some good lighting and careful editing.

The current mentality seems to be that if it’s not posted on Instagram, it didn’t happen.

On the other hand, the app that went live in 2010, provides a platform for restaurant brands to engage and adjust to the growth of social media and its consumers. With its 600 million active users, Instagram has become a drawing board for foodies, creating a bible for potential food and drink hotspots with the addition of the location sticker. If clicked on by the consumer, this could earn more revenue for the brand and provide the user with the ability to see live events from a chosen location.

What makes Instagram unique is that it has the ability to hold more worthy photographs in comparison to an average foodie website. This is because of you, the user and consumer. People love food photography because people simply love to look at food, and if there is a personality behind the visual, it immediately becomes more relatable. Due to increased popularity of international food culture, more users are willing to try different cuisines than ever before, as they have previously ‘seen it on Instagram’ and therefore, it is familiar.

Standing on your chair to capture the aerial view of your food and drinks is something I must admit is out with my boundaries. However, if you think that your meal is worthy of an Instagram upload, then surely that’s hats off to the chef! I’m not saying that my acai smoothie bowl was remotely average, I mean, it still made it to the gram. However, I am greatly aware of the danger of total addiction to an edited and, to an extent, false view of the world, which makes reality look boring in comparison.

Equally, the popularity of Instagram has certainly had some negative impacts. It has created a competitive marketplace for restaurants, as they now have to adapt to being ‘Instagrammable’ by featuring tables, chairs, cutlery, dishes and other interior that simply are photographs waiting to happen. The pressure behind the app can also force brands into creating new recipes for the sole purpose of becoming a strong Instagram trend, which means the app is costing restaurants extra money as they are giving into the 21st century #foodporn craze.

Whether you choose to believe it or not, Instagram is addictive. The aspiration to achieve some social gratification from a post that features last night’s dinner leaves you on a cliff hanger as you wait patiently for those likes and views to rake up. But what this vulnerability can also question is: does the food we photograph actually taste as good as it looks, or is it all just an irrelevant false illusion?

The answer comes down to a matter of opinion, but one thing is for certain – Instagram is fed by our love of food.

GLASGOW 2018 EUROPEAN CHAMPIONSHIPS APPOINTS STRIPE COMMUNICATIONS AS DIGITAL AGENCY

GLASGOW 2018 EUROPEAN CHAMPIONSHIPS APPOINTS STRIPE COMMUNICATIONS AS DIGITAL AGENCY

We are delighted to officially announce today that Stripe Communications has been appointed as digital agency to Glasgow 2018, the inaugural multi-sport European Championships event.

Our brief is to deliver digital and social strategy, campaign ideation, content creation and implementation of paid and organic digital activity across all social and web channels over the next 18 months.  The team will focus on 13 key event milestones such as volunteer recruitment, the mascot launch and the European Championships event itself.

Taking advantage of the strong legacy created by the 2014 Commonwealth Games and keeping sport at the heart of communities across Glasgow and Scotland, this new event will elevate the status of European Champions and attract a potential television audience of up to 1.03 billion across the continent, with a wider audience expected via digital platforms.

Darcie Tanner, Stripe Digital Director, said: “This is a unique opportunity to continue the legacy of the Commonwealth Games and deliver innovative campaign activity across platforms and channels, and we’re excited to start delivering.”

Stripe was awarded the six figure account in February and work began immediately.

The European Championships will take place in multiple venues across Glasgow, such as the Emirates Arena, Gleneagles and a planned new BMX track at Knightswood Park, hosting 3,000 athletes participating in six events over 11 days.

Modern Dating: Time to show it some Tinder loving care

Modern Dating: Time to show it some Tinder loving care

If you have ever asked your parents how they met, you might be met with some romantic story about how they spotted each other in a bar and one of them plucked up the courage to start a conversation. Maybe your dad later found the courage to pick up the phone to give her a call, all the while praying that it wasn’t her own dad that picked up the landline first. Fast forward to 2017 and it’s definitely changed in terms of how our means of communication has evolved.

Now, when our kids ask us about how we met our significant other we might be relaying stories of how we both swiped right on Tinder or that daddy saw mummy on Instagram and sent her a DM.

Okay, the hopeless romantics of you might hark back to a more Hollywood approach involving rose petals and grand acts of romance and bemoan the impact modern dating apps such as Tinder, Happn and Bumble have had on our propensity for showing some sort of romantic inclination. Yes, there has been a big change in how we approach dating in the modern era. People do still meet strangers in bars and ask them out on a date but it’s more than likely that they have already ‘stalked’ them in some way on Facebook, Twitter, Instagram or LinkedIn. Romance is still alive, it’s just now publicly documented on our Facebook for us all to see. I mean, how many proposals and choreographed first dance videos have we all watched?

The undoubted shift in this change of attitudes has been driven by technology. However, there is a certain snobbery surrounding dating apps and online dating. There is often a stigma attached to those who use them but those attitudes are changing. In 2000, around 100,000 people had online dating profiles in the UK. Fast forward to 2015, that number had reached 7.8m. It has been claimed that there are 26 million matches a day on Tinder across 196 countries. With the ‘Tinder economy’ worth almost £12bn to the UK economy, who are we to look down on those that use it?

Unsurprisingly, following the rise of digital, the number of couples who met their partner online has skyrocketed and was the third most popular way of meeting your romantic partner in 2009. What is most refreshing of all this is that the boom in online dating has helped more and more same-sex couples meet. In the US, 70% of same-sex couples admitted to meeting their partner online.

On some dating platforms, there is a certain degree of anonymity that means there isn’t that fear of being outed and you can meet someone who is in the same situation. Dating apps may not have the romance of meeting your partner at a farmers market as you both reach for the last punnet of strawberries and your hands brush against one another but online dating and dating apps have undoubtedly helped a generation find love.

So technology has broadened the dating pool. We are no longer limited to meeting someone on a random night out. It’s why a peely-wally Glaswegian boy can meet a gorgeous girl from Cincinnati, Ohio and no one will bat an eyelid. People will complain that there is no exclusivity in modern dating but it means people can be more bold and adventurous. Dating apps might lack a certain romance but they have empowered a generation. The great success of modern online dating is that it has helped people find love in the most unlikely of places.

Dating apps and online dating may come with a certain reputation but it is time to embrace dating and technology and show it the tender loving care it deserves.

Fibs over facts: why is faking it making it?

Fibs over facts: why is faking it making it?

 

Whether in the form of breaking news that pigs really can fly, political manipulation or clean eating ambassadors claiming nutritionist status, fake news is one for us all to watch in 2017.

Often tricky to spot, bogus and bizarre headlines are halting the thumbs of social media scrollers worldwide and feeding us a variety of fibs. From stirring up a finger-wagging frenzy of political scandal to helping websites cash in by luring in traffic with “clickbait”, audiences are becoming all too easy to fool with online content.

Since the Brexit vote last year and most recently the inauguration of the new US President, we are beginning to see the rise of “alternative facts” in our newsfeeds. The press’ purpose is to guide us with quality information and of course to encourage democratic opinion and debate, but when the president’s own media adviser declares war on it, it’s not hard to see how vulnerable audiences are becoming completely suspicious of the media; people want to source and share information that mirrors their own views and beliefs.

So why all the fuss now?

Digital = shareable, and pretty much anyone can be their own author. Recent surveys conducted in the US have found that people are getting their news from social media sites 62% of the time, and 80% of students are unable to identify a real from a fake story. Why bother looking any further for a source when credible-looking headlines can be shared in one click? And to add to that, we as content consumers are doing less and less actual consuming before we share. A study last year found that up to 59% of links aren’t even being clicked on let alone read until the end before sharing in our own feeds.

And it’s not all politics and propaganda – Richard Branson recently learned about his own “passing” from the release of a fake news story which subsequently prompted the creation of an RIP Facebook page. The page cranked up over a million likes, an indication of how unconfirmed news can spread like wildfire. Branson spoke out to the official media to reassure the public that he is not only alive and well, but he is now calling for police intervention on the rise of fake news reporting.

The good news is that the government are now working on establishing an industry-standard definition of the phenomenon, whilst also delving into what platforms such as Google, Facebook and Twitter can and should do to look out for the not-so-social media-savvy among us. It will be interesting as well as useful to see how the psychology behind it works too, and how online adverts might be adding to what has also been dubbed as an “epidemic”.

PR will be crucial for guiding businesses through the “post-truth” minefield, and as well as the media, we all need to tune in to the evolving sources we get our information from and regain trust in journalism. It’s great that the likes of Facebook have now accepted a level of responsibility for protecting its users from fake news scams with its flagging feature, but I hope that both the media and general public call perpetrators out on their bluff to make sure it doesn’t reach a point where we’re all living in conflicting realities.

What if The Great British Bake Off refuses to go with the dough?

What if The Great British Bake Off refuses to go with the dough?

There are three things guaranteed to get the British public hot under the collar: Jeremy Clarkson, a political expenses scandal, and The Great British Bake Off.

Since the show first hit our screens in 2010, it has undergone its fair share of scandal. From the infamous Baked Alaska #bingate of 2014, to the custard stealing antics of the series 3 contestants, and even a flurry of bet-rigging accusations. There was nothing however that could have prepared us for the announcement made on Monday that the BBC’s posterchild programme will be moving to Channel 4.

The BBC was balanced, measured and generally very BBC in the way it broke the news:

bbc-tweet-bake-off

Channel 4, on the other hand, was slightly more excitable:

channel-4-tweet- bake-off

Within minutes, #GBBO was trending across the nation as fans voiced their indignation. Most were horrified by the idea of the show featuring adverts, a sentiment that anyone who has been attempting to follow the Paralympic Games in Rio will no doubt echo.

There’s an additional catch. The £75million, three-year deal cut by Love Productions with Channel 4 only includes the rights to the show, not the all-important quartet of presenters and judges.

Yesterday, a blow as hard as an unexpected soggy pie bottom was dealt to Channel 4. In typical pun-filled style, presenters Sue Perkins and Mel Giedroyc announced that they will not be leaving the BBC:

“We made no secret of our desire for the show to remain where it was. The BBC nurtured the show from its infancy and helped give it its distinctive warmth and charm, growing it from an audience of two million to nearly 15m at its peak.

“We’ve had the most amazing time on Bake Off, and have loved seeing it rise and rise like a pair of yeasted Latvian baps. We’re not going with the dough. We wish all the future bakers every success”

The immortal Mary Berry, stalwart of British baking television and someone you would definitely want as your grandmother, has yet to comment on the move, but I have a feeling that at 81 she doesn’t have time for this nonsense.

For all her diplomacy, kindness and compassion in times of cake-based crisis, Mary definitely isn’t someone I would mess with. At 13, she contracted polio which left her with a twisted spine and weakness in her left arm. She was told at school she would never amount to much, but look at her now: she is currently filming for the US version of Bake Off and has published more books than JK Rowling (a true fact!).

Paul Hollywood is harder to read. A Liverpudlian with a penchant for expensive cars, he can be forgiven for wanting to have his cake and eat it. At the end of the day though, he’s a smart cookie. Without the softness of Mary and the innuendo-laced moral support of Mel and Sue to balance his blunt manner, the show would be sorely lacking.

The Great British Bake Off is British television at its finest: a quintessentially twee hour of weekly escapism amidst a schedule full of ‘gritty realism’, chilling thrillers and police dramas. The battle for the rights to the show is set to be piping bags at dawn though, and I can’t wait to see the drama unfold.