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It’s not black and white: Restoring integrity in the Academy Awards

It’s not black and white: Restoring integrity in the Academy Awards

We will shortly see the arrival of the 88th Academy Awards. Rather than celebrating the great and good of the motion picture world, the lack of diversity in this years’ awards is taking centre stage. This issue has been simmering for a few years and has now reached boiling point with the seemingly glaring institutional bias against minorities in this 2016’s nominees. This follows the same outcome in 2015. High profile individuals including Rebel Wilson and Sasha Baron-Cohen have condemned the Academy Awards as racist. Here at Stripe, we know a thing or two about the business of reputation management and the value of a positive reputation to an organisation. Warren Buffet famously said, “It takes 20 years to build a reputation and 5 minutes to ruin it.” So how has 88 years of building a reputation been dismantled and more importantly how can it be rebuilt?

If your perception is that a group of white, wealthy, big wig Hollywood directors sit around a smoke filled board room deciding the fate of the nominees, you’re wrong. The voting process that determines which films and actors become Oscar nominees involves more than 6000 voting members and hundreds of eligible films, actors, actresses, directors, cinematographers, editors, composers, and more. To even be eligible for a nomination involves a strict procedure governed by specific guidelines.

The votes are then calculated by PricewaterhouseCoopers, who have handled the duties of mailing out ballots and tabulating the results for the last 80 years. They post the ballots of eligible nominees to members of the Academy in December, then calculate the votes in January. Hmm, I hear you say.

Regardless of the how, with damning, high profile condemnation of the Academy Awards and the lack of recognition of some exceptional performances and pictures involving minorities – CreedStraight Outta Compton and Beasts of No Nation – The Oscars has not only lost integrity and respect from a global audience but increasingly raises the issue of why is this happening and how can it be addressed?

The Academy in June invited 322 new members, with many reflecting the Academy’s push for greater diversity among its membership. But the current membership — overwhelmingly white and over-50 — won’t see a fast overhaul soon, due to strict membership rules.

How do they promote diversity? How do they change? More importantly, how do they survive and reclaim the integrity that they have spent 88 years cultivating and that has been severely eroded in the past two years?

The Academy need to look in the mirror, look at its membership, look at the box office, look at society and change. As communications consultants, this is a fascinating issue. You take a call from the Academy, asking you to tell them how to help fix this problem? What is your answer?

This will be the question keeping Cheryl Boone-Isaacs up at night, as President of the Academy Award and a former Public Relations officer, she knows only too well that she is navigating stormy waters.

She will know that piece meal change and a little here and a little there will no longer cut it. They need to demonstrate systemic change and this will only start with an Academy member panel that is more representative of US society. Small steps have been made but people now want to see bigger change, faster. What’s more, the Academy needs to be seen to be helping to cultivate greater diversity in the creative industries, ensuring that those who are capable of being judged for the awards in the future, have been afforded equal opportunities to fulfil their talent.

For now, the Oscars sit in a period of damage limitation and the world will eagerly anticipate the 89th Academy Awards nominees.

AW16: JUMPING ON THE DIGITAL BANDWAGON

AW16: JUMPING ON THE DIGITAL BANDWAGON

LFW2-Article ImageAmidst the topical ‘broken fashion system’ debate flooding trade news since the end of last year, it appears that the fashion industry is now undergoing a major shift to meet the demands of the digital age – or more specifically: generation Z. Fashion brands are currently trying to work out where they fit into this digital world and how they can meet the expectations of the modern consumer in order to stay relevant (Final Fantasy x Louis Vuitton Spring / Summer ’16 anyone?). During a time where technological advancements are allowing us to download, live stream, and process information as-it-happens, how are fashion brands responding to a world that simply wants everything now?

As Kirsty recently discussed on the blog, Burberry has been quick to jump on the digital bandwagon as a way to raise its profile and introduce the heritage brand to a wider, younger and social media-savvy audience.  But Burberry hasn’t stopped there: the British label’s creative director, Christopher Bailey, has most recently announced it’s plans to make all collections immediately available for purchase online and in-store from September, with shop window displays and media campaigns changing the moment the show is finished. Following the news, Tom Ford, Tommy Hilfiger, Proenza Schouler and Rebecca Minkoff have all been quick to reveal plans for a similar shift into direct-to-consumer shows.

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If this ‘see-now-buy-now’ experiment wasn’t enough to satisfy consumers, fashion brands worldwide, including Burberry and Tom Ford, have said they will start showing seasonless men and women’s ready-to-wear collections together on the catwalk, twice a year.  This new strategy takes place not only to take some pressure off the business, but also as a result of new digital trends evolving around gender fluidity. Paul Smith and Vetements have also confirmed they will begin showing their collections in this format.

The purpose of fashion shows and presentations used to be so that designers could show their collections to the industry’s journalists and buyers – in the hope of good press and placed orders – and were (and still claim to be) trade-only events. But since the introduction and popularity of live streaming, social media, mobile apps, street style, and blogging welcomed a completely new and commercial way to consume fashion, the fashion world has gradually allowed itself to become more widely and instantly accessible to its consumer.  Having gradually moved to a more consumer-led approach, the industry now finds itself in a position where it is no longer deemed reasonable for its consumers to preview collections seasons in advance, and then have to wait six months for said collection to be available for purchase.

The British fashion industry is contributing upwards of £26 billion to the UK’s economy alone, yet we still seem to be looking at an industry that is so desperately looking at ways in which it can realign itself with the digital communication cycle. I don’t know about you, but if technological advancements and consumer acknowledgement are pushing brands to change the face of fashion as we know it, be that moving the focus from trade to consumer, then Autumn / Winter 2016 has already established itself as a season like no other. Watch this space.

Zoolander 2: How to be really, really, really ridiculously good at marketing

Zoolander 2: How to be really, really, really ridiculously good at marketing

I’ve always been a huge fan of the movie Zoolander. As a cynical teenager, I loved how it politely poked fun at the worlds of marketing, fashion and celebrity – industries I now work closely with and within.

Released in 2001, Zoolander was ahead of its time, parodying the vacuous ‘Blue Steeliness’ of the fashion industry; the embellished language of advertising (‘wetness is the essence of beauty’) and the superficiality of celebrity culture…but doing so with its tongue placed firmly in its cheek.

Fifteen years on, the world Derek Zoolander inhabits is more relevant than ever, thanks to the exponential growth of the internet and social media. Naturally, I’m excited about the sequel, but I’ve become even more engaged with the movie thanks to its ingenious marketing campaign.

Zoolander 2 takes a unique approach on movie marketing; rather than be confined to the traditional platforms of relentless press junkets and photo shopped billboards, the strategy goes far beyond this, utilising its fashion plot and iconic male model protagonists, to engage with and become a part of the world it has been politely parodying for the past decade and a half.

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The Zoolander 2 campaign launched, like any big fashion brand, at Paris Fashion Week. Zoolander and Hansel were the grand finale at Valentino’s AW15 catwalk show, dressed in their signature eccentric garments and perfect pouts, they walked the runway and gave insiders an exclusive look at what everyone would be talking about next season.

Since then, Zoolander 2 has continued to be marketed like a highly anticipated fashion collection, spearheaded by two of the world’s most famous male models. Indeed Derek and Hansel are to Zoolander 2, what Kate Moss was to Calvin Klein and Cara Delevingne was to Burberry.

The strategy runs throughout the film’s marketing materials from radio ads to its promotional posters. The clever posters take on the guise of a fragrance advertisement and the movie’s premiere doubled as a fashion show.

Just like any catwalk starlet with a collection to promote, Derek Zoolander has been popping up on the front covers of fashion magazines for the past few months – from Vogue to Esquire. Casting aside my suspension of disbelief – this is the equivalent of King Kong on the cover of National Geographic or Gordon Gekko on the Financial Times…but it works, and the fashion world is embracing Zoolander and its eponymous character, as one of its own.

I’m a fan, so I’ll be seeing the sequel regardless, but it’s also reassuring to know that the fashion world has given its seal of approval and confirmed that Zoolander 2 is ‘so hot right now’.

Brands going for gold in sport

Brands going for gold in sport

Whether you gushed at the sight of sausage dogs gleefully running around in hot dog buns towards humans dressed as giant bottles of Heinz Ketchup, or winced at the unborn baby shooting out of its mother to snatch at a bag of Doritos, it was hard not to sit up and take notice of what brands were doing for Super Bowl 50.

My personal favourite brand involvement wasn’t an advert. It was a stunt (shockingly!). Airbnb OWNED it with theirs. They offered Super Bowl fans the chance to stay in the home of Carolina Panthers star Roman Harper – complete with pool table, sky lounge and yoga room – to watch the game while he battled for the big prize against the Denver Broncos. At a heavy cost of $5,000, Airbnb gifted the money to charity too, which was a really nice touch (down) from them.

The Super Bowl is a worldwide phenomenon and one of the biggest sporting events of the year. Reuters claimed this year’s game attracted over 111 million TV viewers in America alone. With these colossal off-the-scale viewing figures, it’s no wonder some of the world’s biggest brands are paying $5 million for a 30 second window to push their latest products to win the ‘brand battle.’

This is obviously a budget which can go a long way towards creating a fantastic campaign, but to global consumer brands such as Snickers, Budweiser and Pepsi, it’s a drop in the ocean.  Considering over 111 million people watched Super Bowl 50, the cost of $45 to reach one thousand people doesn’t seem that much for them. What would be the impact of NOT advertising or pulling off a stunt?

If we look at brands involving themselves at major sporting events closer to home, it’s worth noting the increase in sales Tunnocks Tea Cakes and IRN-BRU experienced on the back of the 2014 Commonwealth Games opening ceremony. The giant tinfoil covered cakes and cans of Scotland’s favourite soft drink took to the stage as Glasgow welcomed nations from across the world to the city for Scotland’s biggest sporting event of the century, with over 9 million people in the UK tuning in to watch the show.

Whether we agree or disagree with the money spent by brands that are pushing product awareness during big sporting events, it’s hard to argue against the return on investment.

It remains to be seen what the best form of association is for brands looking to put themselves out there before, during or after big sporting event, whether it be advertising, sponsorship, joining the discussion on social media or turning round a cool and funny stunt to spread the word. What’s clear is that if a brand’s objectives fit well with a particular sport and they have the budget to be involved then it makes perfect sense to take advantage and increase their exposure. But, it does have to be done right and in line with their brand values.

With the Euro 2016 Championship in France just around the corner, I’m looking forward to seeing how far brands will go to get noticed. Watch this space.

Roses are red, Violets are blue, Valentine’s Day stunts, are they for you?

Roses are red, Violets are blue, Valentine’s Day stunts, are they for you?

It’s nearly that time of year again that fills so many of us with dread – Valentine’s Day. We all know that brands love to hijack seasonal events for their campaigns (think John Lewis Christmas) and Valentine’s Day is no exception. For some it’s a natural fit, a match made in PR heaven, but there is nothing worse than brands jumping on board the bandwagon just for the sake of it. House of Fraser? I’m talking to you.

The strongest brands know what they stand for and stick to what they represent irrespective of seasonal events. They stay focused on their core brand messages and drive towards clear brand objectives.

With that in mind and with V-day fast approaching, I took a look at some brands who have stayed true to their identity and created campaigns to make us weak at the knees. Saying that, I have to name and shame the brand which left us bitterly disappointed.

 

House or Fraser’s #emojinal disaster

03 Valentines- Article ImageThis week, House of Fraser has been ridiculed on Twitter after their newsfeed was transformed into an ‘Emojinal’ campaign featuring high-profile celebrities. The social media drive has left many of the brand’s 306,000 followers confused – with one user claiming the person in charge of the brand’s Twitter account must have ‘entrusted a 12-year-old with the password’. To make matters worse, they created and 1 minute video telling Will and Kate’s love story using nothing but emoji’s…the reaction? Not good. Many believe Emojinal is a masterclass on how to ruin a century-old upscale brand with one terrible social media campaign. House of Fraser, I think we need to go on a break.

We know House of Fraser got it wrong, but here are a few stunts we love…

 

Ikea offers a free cot…in 9 months

04 Valentines- Article ImageIn 2013, The Swedish homeware emporium offered the nation’s most efficient parents-to-be a free cot, just so long as their baby arrived nine months to the day from Valentine’s Day. The ad declared a limit of ‘one cot per baby’ with ‘delivery not included’. The campaign proved to be a success featured in the Daily Mail and shared over 10,000 times on social media.

 

Armed forces – going commando for Valentine’s Day

The Royal Navy kept the love alive for Valentine’s Day despite being thousands of miles from home. In a bid to boost their social media following, families used the ship’s Facebook page to post photos and letters to their loved ones – perhaps proving that distance (and a good campaign) can make the heart grow fonder.

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Parisian Love by Google

02 Valentines- Article ImageThis heart-warming ad shows a man moving to Paris, falling in love with a French girl, getting married and starting a family – except you don’t see any human beings. The whole ad is conducted via Google searches. The video has had over 7,600,000 views and has been shared worldwide. You can watch the ad here.

So a word of advice this Valentine’s…don’t hijack calendar dates, news events and trends to follow the crowd because you could end up breaking up with the followers you have spent years building. Stick to what you believe in and never lose sight of your brand values and objectives. If it doesn’t feel right it probably isn’t, take a step back and save yourself getting too #emojinal.

Reality Check

Reality Check

As the UK gears up for the final of Celebrity Big Brother tonight (well, about 2.7 million of you), it raises the question of whether reality television is a platform the communications industry should be taking more seriously.

Love it or hate it, reality television is the genre that refuses to go away, despite reports that it is becoming ‘stale’. Whether it’s met with howls of protest or obsessive chatter, it gets people talking and continues to pull in those all-important ratings – what more could you ask for?

Don’t get me wrong, I completely see both sides of the argument for and against reality TV formats, but you need to look at the bigger picture when it comes to the opportunity it presents: ordinary, everyday people expressing their opinions and openly showcasing behaviour that in one way or another influences the general public. And if, like me, you work in consumer communications, I’m of the belief that keeping up to date with these trending topics is crucial to the service you are providing.

Take a look at your favourite lifestyle magazine’s feed on Twitter right now. How many stories are related to the CBB final tonight? Or how many times have you checked your showbiz app (yes, you know the one I am talking about) and an image of the latest reality celeb has flashed up on the screen? Part of our role as consumer communications experts is to monitor and interpret current media interests and you cannot deny they are ALL about that good old dose of reality entertainment.

That isn’t to say we should endorse drunken babble or bitchy catfights (entertainment guaranteed or not) – take the recent success of Netflix’s Making a Murderer for example, the real life drama of a man accused of murder which has enthralled the world. Or the success of the Great British Bake Off – whose final episode attracted just over 15 million viewers last year, making it 2015’s most viewed television programme. *Cue everything related to cake being top of the national news agenda*

I’m aware that this is at the other end of the reality spectrum from Ex on the Beach, but the popularity of the Making a Murderer series and GBBO points towards a culture obsessed with reality (and cake, obviously) which only goes to further prove that when it comes to resonating with Generation Z, you better make sure it’s genuine and authentic. And there’s nothing more authentic than reality [scripted or not].

So get watching and start taking notes. You might just learn something about the audience you are trying to engage with…

Brooklyn does Burberry

Brooklyn does Burberry

Burberry is getting a bit of stick at the moment. I mean, hiring Brooklyn Beckham to shoot their latest Burberry Brit campaign – how dare they? Fashion photographers across the world lashed out as the eldest Beckham child announced it via his Instagram and shared the news we could watch the live stream on Snapchat.

I can see their point. They’ve worked hard for years to hone their craft, build relationships and ultimately make it in a business that’s hard to crack. However, as a comms professional I think it’s brilliant.

Brooklyn has over 5.9m Instagram followers and is one of the most influential people in the world right now. Arguably his audience isn’t exactly Burberry buyers – but let’s face it, everyone loves a Beckham. I know I follow him, so do my friends and colleagues and would we have known or been interested in a new fragrance campaign if it wasn’t for him? By getting Brooklyn on board, the brand has gained global coverage and has positioned themselves as cool, innovative and accessible to all.

People want to see what he’s doing, what he’s wearing and who he’s talking to. This is why Snapchat is the perfect platform. The behind the scenes look into celeb life is what makes the social channel so brilliant and Burberry have combined this love for celeb gossip with their own story.

For me Burberry is owning Snapchat. They’re the only brand doing it well.

It’s the third most popular social app among Millennials and has more than 100 million daily active users. So why isn’t the industry using it more? It’s raw, relevant and real which can be scary, but with over 6 billion daily video views surely that’s a risk worth taking. Digital commerce outperformed all other Burberry channels, with mobile visits accounting for most of the traffic to Burberry.com.

Maybe 2016 is the year we all jump on the Burberry bandwagon?