The History of Fashion Journalism

Best, Kate Nelson

doi:10.5040/9781474279741

Cited by 24 publications

(2 citation statements)

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“…Given that traditional fashion media had lacked a significant online presence (Mora and Rocamora, 2015), industry professionals noticed how popular these blogs were (Bradford, 2015) and during the second wave, bloggers were hired to write for company fashion blogs (Findlay, 2015). They were invited to events such as fashion weeks and collection launches (Best, 2017), became brand ambassadors (Pedroni, 2015) and, when bloggers sat in the front row of the Dolce and Gabbana Spring/Summer show in 2010, it was a watershed moment for fashion blogging (Bradford, 2015, p. 199). Bloggers were now legitimate marketing tools for fashion brands.…”

Section: From Blogger To Influencermentioning

confidence: 99%

Impact of the pandemic on social media influencer marketing in fashion: a qualitative study

Aydın

2022

QMR

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Purpose In spite of the rise of social media influencers observed in the 2010s, the direction and future of influencers are ambiguous. This popular yet overused marketing tool has shown certain problems and limitations such as a decrease in perceived authenticity and market saturation. Additionally, the outbreak of COVD-19 has amplified the significance of these factors and made many companies and influencers reconsider their involvement in influencer marketing. Within this context, this paper aims to explore whether influencers were impacted by diminishing perceived authenticity, market saturation or the prolonged pandemic. Also, the authors aim to investigate influencers’ perception of the future of influencer marketing post-pandemic. Design/methodology/approach To gain insight into trends in influencer marketing from the influencer’s perspective, this paper uses qualitative research in the form of interviews with influencers and industry professionals. Findings The findings highlight the importance of perceived authenticity for success in influencer marketing. Most interviewees indicated that they had noticed a boom in social media influencer marketing before the pandemic, yet provided mixed views regarding the market during the pandemic. Several believe that influencers will continue to be relevant in the increasingly digital world (e.g. increasing digital marketing spend and e-commerce), whereas an expectation of new digital platforms and innovations was also observed. In the long term, saturation and decreased effectiveness were predicted by several interviewees. Originality/value This under-researched topic is of relevance especially to consumer goods companies, as social media marketing and influencer marketing are currently highly effective and popular tools. To refine marketing strategies designed around influencers, understanding the limitations, in the context of COVID-19, is crucial.

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Section: From Blogger To Influencermentioning

confidence: 99%

Impact of the pandemic on social media influencer marketing in fashion: a qualitative study

Aydın

2022

QMR

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“…Contemporary brands no longer require the editorial filter of legacy media to communicate with consumers. The slow adoption of moving image by designer brands towards the later 2000s was subsequently accelerated by the rise through the 2010s of social media, particularly visual platforms, as the defining media practice of our age (Nelson Best, 2017: 220). The perception of fashion changed from a seemingly elitist and hermetic industry to its current mode of mass global entertainment, which has seen the rise of video to its status as the digital’s story-telling medium.…”

Section: Fashion Film and Aftermentioning

confidence: 99%

After fashion film: social video and brand content in the influencer economy

Rees-Roberts¹

2020

Journal of Visual Culture

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Luxury and designer fashion brands today produce as much digital content and branded entertainment as they do design and product. Online video is a key part of that production. In this article, the author questions whether the use of the generic term ‘fashion film’ is still relevant to discussions of the moving image in the digital age. He does this by examining a range of promotional uses of the moving image by the fashion industry – by brands such as Gucci, Burberry and Louis Vuitton – on the social media platforms Instagram, YouTube and Snapchat, which blend design with media. This article seeks to engage critically with the branded dominance of ‘fashion film’ as a commercial phenomenon in contemporary visual culture by positioning it as a shape-shifting form of ‘content’ through the dissemination of moving images on social media, on mobile image-sharing platforms, in which the visual dynamic of the feed (of marketing and data) is now, in part, superseding the aesthetic framework of cinema (of narrative and drama). Rather than situating it primarily as part of film history, here the author situates the contemporary fashion-moving image at the intersection of digital interactivity, fashion branding and celebrity influence.

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English Dandies and French Lions: Policing the Male Body in Popular Print and Visual Culture Between 1815 and 1848

Finkelberg

2022

The Male Body in Representation

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The History of Fashion Journalism

Cited by 24 publications

References 0 publications

Impact of the pandemic on social media influencer marketing in fashion: a qualitative study

Impact of the pandemic on social media influencer marketing in fashion: a qualitative study

After fashion film: social video and brand content in the influencer economy

English Dandies and French Lions: Policing the Male Body in Popular Print and Visual Culture Between 1815 and 1848

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