Yaxue ke¡ªpr portfolio

YAXUE KE

PR PORTFOLIO

1. WFF Social Media Project

WHAT IS WFF？

Westminster Film Forum (WFF) is a student-led film festival of the University of Westminster

(London, UK). During three exciting evenings, WFF brought together screenings, Q&As, live music

and much more. Shortlisted student films from courses of Film and TV, CMP, Animations and the

rest were showcased and judged by renowned names from UK film industry.

WHAT DOES WFF SOCIAL MEDIA PROJECT INCLUDES?

At the beginning of March, 2014. I along with 7 team members started the WFF social media

project to support the WFF, which was due on 26 March. The time is pressed, but within one

month, through systematic planning and effective teamwork, we established a complete set of

online asset for WFF with quality multimedia content. We kept updating on the six platforms on a

daily basis during and after March.

HOW I CONTRIBUTED TO WFF？

PR Manager and Social Media Coordinator

· Generated overall social media strategy with WFF social media team; assisted WFF “Selfie”

social media campaign.

· Built inter-promotion links across the official website and 4 main social media platforms

(Facebook, Twitter, Instagram and YouTube) of WFF; used PR skills to boost social media

followers dramatically within short time.

· Responsible for the establishment and content updating of WFF YouTube Channel; assisted

updating other WFF social media accounts.

WFF official website: http://westminsterfilmforum.wix.com/home

WFF Facebook: https://www.facebook.com/westminsterfilmforum

WFF Twitter: https://twitter.com/2014WFF

WFF Instagram: http://instagram.com/westminsterfilmforum

WFF YouTube Channel: http://www.youtube.com/channel/UC5gYQE6lbMFgRAfpAAezbsA

WFF Google+: https://plus.google.com/u/0/104730161479165185266/posts

2. UCLH Online Newsroom

ABOUT UCLH

University College London Hospitals NHS

Foundation Trust (UCLH) is an NHS foundation trust

based in London, United Kingdom. It comprises 8

hospitals in UK. You can find more about it in

http://www.uclh.nhs.uk/Pages/home.aspx.

BUILDING UCLH ONLINE NEWSROOM

UCLH Online Newsroom is an individual course

project completed during my Public Relations MA

study at the University of Westminster. It is

supposed to serve as the online media center for

UCLH. The press releases and media stories are

created as exemplary content. It is for academic practice, and was open neither to UCLH nor the

public.

3. Fannie Schiavoni London Flagship Store

UL-tra-modern Launch Brochure &

Brand Report of Fannie Schiavoni

Fannie Schiavoni London Flagship Store UL-tra-modern Launch Brochure is part of the

flagship launching campaign under Fashion PR Course at the University of Westminster. I chose a

designer’s jewelry brand named Fannie Schiavoni. This brochure is for academic use only. The

complete set of the flagship launching campaign documents comprise this launch brochure,

flagship retail rationale report and a PR strategy PPT.

Brand Report of Fannie Schiavoni is an analysis of the its branding performance, including

brand image, brand value, website strategy, product communications, existing and potential

audience, social media presence, traditional media coverage, brand campaign,

internationalization, and cultural inspiration. Quantitative research is adopted when measuring its

social media engagement. Also, comparisons were made among Fannie Schiavoni and two more

jewelry brands when discussing branding strategy. Suggestions for Fannie Schiavoni the brand is

given.

Fannie Schiavoni

London Flagship Store

UL-tra-modern

Launch

20 May 2014

Fannie Schiavoni BIOGRAPHY

Born in Sweden, Fannie Born in Sweden, Fannie Schiavoni moved to London at the age of 18 to study tailoring at

London College of Fashion. Having completed a number of internships alongside her studies for designers

including Hussein Chalayan and Giles Deacon – she then launched her first collection before graduating in spring

2009. Browns Focus bought the eponymous collection and in the same year she received the prestigious New Gen

award from the British Fashion Council.

Her background in tailoring and use of traditional methods of handcraft has helped develop a unique approach to

the design of her chain metal accessories. After receiving the prestigious New Gen award from the BFC for three

consecutive seasons her collections are now stocked globally and can be found at stores such as Barneys, Isetan,

I.T, Ikram, Lane Crawford, Opening Ceremony and Curve.

Revered globally by press and buyers alike, her designs have also been embraced by high profile artists including

Lady Gaga, Rihanna, Miley Cyrus and Katy Perry. She has collaborated with designers such as Alexandre Vauthier,

Matthew Miller and Craig Lawrence, as well as created commissioned one-off pieces for Rihanna, Interview

Magazine, Lane Crawford and Diesel Art Gallery.

What is UL-tra-modern? U for USUAL Despite the fact that Fannie Schiavoni products has been embraced by lots of fashion people, artists and super stars, Fannie

Schiavoni products can actually be USUAL in style and match all kinds of clothes, whether it’s a beautiful party dress, or a simple

school T-shirt, or performance costumes.

L for LUXURY All Fannie Schiavoni products are handmade. This Fannie Schiavoni flagship store also receives custom-tailoring service. These

are the LUXURY quality Fannie Schiavoni pursue and LUXURY customer experience Fannie Schiavoni provides.

tra for TRADITIONAL For Fannie Schiavoni it's always been about craft and the TRADITIONAL techniques she uses to make her chains, ring by ring.

She hardly ever draws. She design while making and carefully explore shapes on the mannequins that are influenced by her

background in tailoring. There will be on site jewelry making craftsman exhibiting this tradition throughout the store opening

hours.

modern for MODERN This Fannie Schiavoni flagship provides an MODERN customer experience pioneering in the world. The in-store experience

includes digital walls showing Fannie Schiavoni inspirations and jewelry matching system enabled by Bodiemetrics.

VENUE 71-72 New Bond St, London, W1S, UK

The Heart of London

71-72 New Bond St

Interior—A Glance

Fannie Schiavoni chains as interior decoration.

Digital Walls showing Fannie Schiavoni Inspiration

Jewelry matching system enabled by Bodiemetrics.

Onsite jewelry making — Craftsmanship = Material + Labor.

Time 6:00 pm — 8:30 pm Launch Event

9:00 pm — 2:00 am After Party

Event timeline 6:00 pm — 6:30 pm Chain jewelry piece making performed by Fannie Schiavoni.

6:30 pm — 6:40 pm The first speech delivered by Fannie Schiavoni.

6:40 pm — 6:50 pm The second speech delivered by a guest.

6:50 pm — 7:00 pm The third speech delivered by a guest.

7:00 pm — 7:30 pm Showcase of Fannie Schiavoni products by guests.

7:30 pm — 8:00 pm Free time for in-store visit and jewel matching machine experiencing.

8:00 pm — 8:30 pm Press interviewing time.

UL-tra-modern Party

Venue: in-store

Dress code: smart casual

Guest List

ALICE GOLD

ALSHA DIXON

CATHERINE POCKSON (THE ALPINES)

ELLIE GOULDING

EMMA WATSON

JORDAN DUNN

KATIE WHITE

KATIE MELUA

KATY B

KAYA SCODELARIO

SKINS (SKUNK ANANSIE)

Brand Report

of

FANNIE SCHIAVONI

Evelyn (Yaxue) Ke 1418821

Public Relations MA University of Westminster

Feb 12, 2014

Contents

1. The cores of brand building 1.1 A glance at its official website 1.2 An iconic brand image 1.3 Conveying the brand value 1.4 Communications in seasonal products 1.5 The online shop categories 1.6 The self-‐portrait of designer 1.7 Reaching the audience 2 Social media strategy 2.1 General social media presence 2.2 Facebook 2.3 Twitter 2.4 Tumblr 2.5 Pinterest 2.6 Instagram 2.7 Social media solutions 3 Engaging traditional media 3.1 Magazines 3.2 Websites 4 Starting a PR campaign 4.1 Promotion of the projects 4.2 Exploring more brand campaigns 5 Internationalisation of the brand 5.1 International stockiests 5.2 Reaching a special market 5.3 Inspiration of diverse cultures 6 Conclusion

1. The cores of brand building

1.1 A glance at its official website

You never know a brand can be so rebellious against orthodoxy until you click open the official website of Fannie Schiavoni. Look at the girl on the home page: naked above the waist, wearing lucid plastic bands with metallic chains across the body. Fannie Schiavoni is designer’s brand of chain metal accessories. Born in Sweden, Fannie Schiavoni launched her first collection before graduating from the London College of Fashion in Spring in 2009. In the same year, she received the prestigious New Gen award from the British Fashion Council. Till now, her accessories have been worn by a handful of artists and fashion icons, such as Lady Gaga, Rihanna, Katy Perry and Skin. Recently, she has been collaborating with major brands including Swarovski and Diesel. Fannie Schiavoni’s official website follows a simple black and white style with typical columns of a young designer’s brand. It includes brief introduction of the designer, display of collections, distribution of stockiests, online shopping, press room, project showcase, link to an official blog, contact information and social media links. Generally speaking, it’s a well-‐framed official website for a designer’s brand. But examined in detail, each part has a lot of room for improvements, which will be discussed in detail later in this report. 1.2 An iconic brand image Fannie Schiavoni’s accessories are iconic by the chain design, which is audaciously eye-‐catching and sense-‐challenging. This design pattern is very conducive to the brand identification even in today’s diversified market. Its chain design inspiration can be carried through all the products in the following collections, and it would be what makes Fannie Schiavoni a brand of great vitality in the long future. 1.3 Conveying the brand value

Basically speaking, every brand has a brand value inside, and in today’s brand building, more and more brands choose to literally express their value in a clear way and reinforce it in different forms in its promotion behaviour. For Fannie Schiavoni, the brand value is sort of in a vacuum state. In the “About” column, there is “biography”, “inspiration” linking to page with several inspirational videos and a list of brands and designers that was admired by Fannie, and “News” linking to the official blog. Since Fannie Schiavoni already has an iconic brand image and the culture around chains is rich, Fannie Schiavoni can try to think up a concrete brand value. For example, the rebellious spirits of young or modern people reflected by adopting chain—a somehow controversial tool than was used in the ancient time. Or, it can explore the relationship between the origin of accessories and slave culture, for there exists a saying in academic studies that accessories like necklaces and bracelet derived from chains on neck and wrist. This implicative relationship may also lead to some discussions of the inborn and emotional nature of human beings. 1.4 Communications in seasonal products

Fannie Schiavoni launched its products in a seasonal way—ss(spring summer) and aw(autumn winter)—two collections annually, which is closely linked to the fashion calendar. In each collection, its products are displayed by only one or two models with a new photographic style that is in line with the overall photography and brand style. This is a common method of collection displaying for designer’s brand. But if brand communications can be added to the collections or even each product, the brand value can be strengthened much more. Generally, many jewellery brands believe that jewellery is the concentration of human emotions or symbols of individual lifestyles. Thus for a jewellery brand, literalising every design concept and inspiration and communicate with customers will embrace greater effects, in comparison with many other consumer goods.

Brand communications in this part can be divided into two parts: the name and the key inspirational message, for each collection and even every product. The name and key message can come from a cultural concept or the designer’s own main inspiration. This communication strategy also requires the designer to be more consistent in product characteristic while shaping each collection. If the products of each collection is more identifiable in style or by new elements, this communication can be more smooth and sensible. 1.5 The online shop categories In light of communication strategy of seasonal products mentioned above, the displaying of products of online shop can be improved too. Currently, there are three categories in the online shop: bracelet and gloves, necklaces, and body jewellery. This is a categorising method that is convenient for the customers to target their goods. However, there can be more than one way of categorising existing at the same time for the online shop. Another advisable categorising method is listing products in line with the seasonal collections, which will also make the new collections more impressive among all collections. 1.6 The self-‐portrait of designer In the “About” column, there is an image of model wearing Fannie Schiavoni’s accessory. But from an integral brand building angle, this image can be replaced by a photo of Fannie Schiavoni herself. The designer himself or herself can always be the spokesperson of his or her won brand. The self-‐portrait of designer can also be produced in media coverage and event attending, which will all contribute to the brand image and brand presence in society. But this is a reserved suggestion, for it also depends on whether the designer herself prefers to keep a low key or not. 1.7 Reaching the audience The target audience of Fannie Schiavoni are mainly young females with certain purchasing power and fashionistas of all age. Considering that its design is unisex in nature and some male models have been shot, Fannie Schiavoni’s second audience could be males of the same situation as females’. In reaching the audience, Fannie Schiavoni should be more proactive. Fannie Schiavoni is not very active in social media, which limits its capacity in audience reaching. However, it’s worth mentioning that many fashion celebrities have shown their love for Fannie Schiavoni’s accessories. This is advantage for Fannie Schiavoni and should be strengthened more with more PR work for this brand. 2 Social media strategy 2.1 General social media presence The general situation of Fannie Schiavoni’s social media presence is relatively inactive, in comparison with both luxury jewellery brands and some other successful designer’s jewellery brands. In this part of the report, a comparative study will be given—the social media presence of Eddie Borgo and Van Cleef & Arpels. Eddie Borgo is an American jewellery brand also with distinctive designs and established in 2008, a

year earlier than Fannie Schiavoni. The pricing level of Eddie Borgo is similar to that of Fannie Schiavoni, but one difference is that Eddie Borgo positions itself as a luxury jewellery brand. As for Van Cleef & Arpels, one of the most successful high jewellery brand, the social media work is done in an very mature way. Below is a table showing which social media has these three brands run at the moment. Facebook Twitter Tumblr Pinterest Instagram Youtube Google+ Fannie Schiavoni

√ √ √ √ √

Eddie Borgo

√ √ √ √

Van Cleef & Arpels

√ √ √ √ √ √ √

2.2 Facebook Likes Contents Fannie Schiavoni

2,571 new collection, new material, celebrity wearing this brand (image and MV), awarding event, magazine and webiste coverage, charity activity, MV with the designer as a actress, relevant fashion event

Eddie Borgo

761 new collection, celebrity wearing this brand (image and MV), magazine and webiste coverage, relevant fashion event, the designer’s own Ebay collections of other brand products, fashion fund running

Van Cleef & Arpels

315,589 new collection, photos and its own Youtube videos serving as the inspiration of a collection or brand culture, Festive greetings with videos, launching of its own mobile app, introduction of publicised book revealing Van Cleef & Arpel’s culture, boutique opening news, its contribution to and collaboration historical and cultural activities, introduction of its technical innovation, celebrity wearing this brand, news for its own cultural activities etc.

2.3 Twitter Tweets Followers Contents Fannie Schiavoni

459 999

Retweets from websites, magazines, bloggers, department stores, newspapers, other brands, celebrities; same contents as Facebook mostly without images; the designer’s personal life

Eddie Borgo

687 7,644 Retweets from websites, magazines, bloggers, department stores, newspapers, other brands, celebrities; same contents as Facebook mostly without images

Van Cleef & Arpels

1157 18.9K Retweets from websites, magazines, bloggers, department stores, newspapers, other brands, celebrities; same contents as Facebook mostly with images

2.4 Tumblr Contents Fannie Schiavoni

Selection of products (same photos with those in official website collections)

Van Cleef & Arpels

Products, raw materials, techniques

2.5 Pinterest Boards Pins Followers Contents Fannie Schiavoni

9 337 91 womenswear, menswear, projects, editorials, celebrities wearing this brand, inspiration, personalities, shop online, re-‐pins

Eddie Borgo

3 113 158 celebrities wearing this brand, street shot of people wearing this brand, magazine coverage, products in various styles of photography

Van Cleef & Arpels

26 468 3,764 similar to its facebook contents

2.6 Instagram Posts Followers Contents Fannie Schiavoni

301 1510 new products, materials, magazine coverage, designer’s personal life and likings, designer’s photo with celebrities

Eddie Borgo

245 16K new products, magazine and newspaper coverage, celebrities wearing this brand

Van Cleef & Arpels

117 35K new products, celebrities wearing this brand, its boutique, its cultural and conceptual projects

2.7 Social media solutions From the table in 2.1, we see that Van Cleef & Arpels has been engaged with more social media, which is interactive in content. A vital suggestion for Fannie Schiavoni is that it should start its own Youtube account, gather its own albums, and insert its own video in its other social media accounts. From contents analysis in the following tables, it can been seen that there is a main part of job that has not been done by neither Fannie Schiavoni nor Eddie Borgo—promotion of brand culture. For both Fannie Schiavoni and Eddie Borgo, the main utility of social media is posting new products and speading news coverage; while for Van Cleef & Arpels, it is showcasing new products and spreading the brand culture. This has also to do with what level a brand has achieved in brand building, as is mentioned in the first part of the report. As for Instagram, Fannie Schiavoni runs it in a totally different way from Eddie Borgo and Van Cleef & Arpels—it is mainly the personal life of the designer. It is a choice of will of the designer. But from the last table, it is clear that an Instagram account with brand and product posts is far more popular than

one with personal life account. If Fannie Schiavoni would like to use Instagram as a powerful brand promotion tool, she should change the nature of its account. 3 Engaging other media 3.1 Magazines Fannie Schiavoni has always been the target of magazine coverages. In 2010 alone, it got coverages from 37 magazines; and in 2011, 11 magazines. 3.2 Websites

Fannie Schiavoni is also constantly reported or cited by fashion and lifestyle websites. 4 Starting a PR campaign 4.1 Promotion of the projects

On Fannie Schiavoni’s official website, there is a list of projects about her collaboration with other brands or artist. The content is pictures and MVs, except the “UNBREAKABLE SPIRIT” “UNBREAKABLE SPIRIT” is a collaborative charity project, selling bracelets and original T-‐shirts to help supporting the post-‐earthquake assistance in Japan. The picture of this project on Fannie Schiavoni’s website links to a Facebook page that was written both in English and Japanese.

This project is a good example of Fannie Schiavoni’s PR campaign. For a collaborative campaign, it is useful to prepare a special media pack to promote it, whether by setting up special social media account or holding special event to pitch the media. 4.2 Exploring more brand campaigns Except those projects, Fannie Schiavoni is void of PR campaigns. It should establish a PR team of its own or hire a professional PR agency to intensify its campaigns as well as other promotional activity. 5 Internationalisation of the brand 5.1 International stockiests EUROPE UK 6 Italy 5 France 1 Norway 1 ASIA Hong Kong 3 South Korea 1 Japan 2 Singapore 1 Kuwait 1 NORTH AMERICA USA 8 Above is a table showing the number of Fannie Schiavoni’s stockiests in each country. This shows that Fannie Schiavoni is a brand which has already been internationalised and got great potential for wider global market. 5.2 Reaching a special market One substantial market left unexplored by Fannie Schiavoni is China. For reaching the Chinese market, there are several distinctive features for Fannie Schiavoni’s PR to mind. First is the language—Fannie Schiavoni should add the Chinese version of its official website, which is the same if it aims to enter other non-‐English market. In addition, it is supposed to have a proper

translation of the brand name in Chinese. Second is the different dominant social media: in China, Sina Weibo, the Chinese counterpart of Twitter, almost dominates social media kingdom; and only a small fraction of young Chinese belong to the users of Facebook and Twitter; Instagram is getting increasingly popular among young Chinese. Below is an image of Van Cleef & Arpels’ official account of Sina Weibo.

5.3 Inspiration of diverse cultures Reaching a global market sometimes also means that a brand should adapt to the culture of a specific country. And in return, this specific culture can also serve as the inspiration for the designer, thus enriching the design patterns and finally the brand culture. 6 Conclusion Fannie Schiavoni is a designer’s brand that has reached respectable success since its launching. But for brand building, social media tactics, promotional campaigns and internationalisation, there are still a lot of work can be done. In this report, a handful of specific suggestions are given, which can be further explored by Fannie Schiavoni’s PR team in future.

4. EASTPAK SOCIAL MEDIA REPORT

Eastpak Social Media Report analyses, measures and gives recommendations to the social

media activities of Eastpak. First it presents analysis of social media goals and target audience of

this brand. Then, it utilises an array of social media measurement tools to track and measure the

engagement, content, message resonation, and tone and sentiment of the brand’s social media

activities. At the end, conclusions were made specific recommendations are given.

Brand Report of Fannie Schiavoni is an analysis of its branding performance, including brand

image, brand value, website strategy, product communications, existing and potential audience,

social media presence, traditional media coverage, brand campaign, internationalization, and

cultural inspiration. Quantitative research is adopted when measuring its social media

engagement. Also, comparisons were made among Fannie Schiavoni and two more jewelry

brands when discussing branding strategy.

SOCIAL MEDIA METRICS REPORT

Evelyn (Yaxue) Ke 14188213

Terms of Reference ABOUT EASTPAK Eastpak is an American manufacturer of packs, bags, luggage and clothing. It is part of the VF Corporation brand portflolio.

Image 1

Eastern Canvas Products, as the brand was first know, was established in 1960 and produced bags for the US Army. In 1976 Monte Goldman, after persuasion from his son Mark, began producing bags for consumers under the Eastpak brand. The brand quickly gained popularity, especially on college and university campuses. Eastpak has more recently diversified into apparel and accessories whilst keeping backpacks, luggage and other bags as its core focus. Most Eastpak bags come with a 30-‐year warranty. In 2000 the Eastpak brand was acquired by VF Corporation, the clothing and apparel giant, where it joined other brands such as JanSport, The North Face, Kipling, Lee and Wrangler in VF Corporation’s vast range. Eastpak has now withdrawn from the U.S. market. Eastpak also created the Eastpak Artist Studio where they invite designers, artists and other creative minds to re-‐think, adapt or re-‐decorate the Eastpak bags and auction them for charities such as the Red Cross. Famous designers such as Quinze & Milan have recently participated. EASTPAK’S SOCIAL MEDIA GOALS As can be inferred through the content of the message currently created by Eastpak, the brand intends

to present itself as a brand of heritage, utility and fashion to enable and enrich urban life. As promised to consumers and retailers alike, Eastpak is “to bring smart solutions, freedom with a plan, and inspirations to all urban movers”. Also as expressed in brand values, Eastpak is “to seek the stories beneath the surface; to leave these better than we found them; to create resistance against boredom and banality; and to make a connection with our friends in the city”. The goals of Eastpak’s social media activities can be understood as the following: · To raise awareness of the Eastpak brand among its target audience.. · To present the history and heritage of Eastpak brand. · To introduce Eastpak Artist Studion and showcasing that Eastpak is currently working with

designers to present artistic and fashionable products. · To illustrate Eastpak products is with great utility and quality that can be emerged into both

youngsters’ and adults’ urban life. · To increase product sales both online and off-‐line. Further analysis will determine whether these goals are being achieved. TARGET AUDIENCE

Image 2

The Eastpak consumer is called “The Urban Insider”. The Urban Insider mindset appeals to and is designed for 3 broad life stage of consumers: · Nascent—aged 14-‐18 · Emerging—aged 19-‐24 · Established—aged 25+

Image 3

Eastpak is desiring to engage the target audience who have grown up with Eastpak, either because they saw the “cool kids” wearing it at school or at the skate park, or because they where were “cool kids” themselves. As group of audience progress into next “emerging” stage of life, they move away from this brand, and don’t know the vast array of products Eastpak has that would make a difference in their world. Therefore, on the whole, the core audience is the Emerging age group. He or she invariably lives, works or plays in a city, where he or she is more likely to cycle or use public transport to get around. The Urban Insider is usually our meeting friends or doing something interesting, since he or she is more social and active than the average consumer. He or she also enjoys travelling, on long or short trips, to find and live out exciting new adventures. He or she is passionate about the city he or she lives in, and about city life. He or she is drawn by a mix of high-‐energy urban centers and calm, green space. He or she likes seeking out areas in his or her city that’s as yet unpolluted by tourists. He or she is not likely to plan his or her time out in the city, preferring to “play it by ear” and to accept the pleasant surprises that may arise. His or her style is eclectic and understated. It’s a mix of brands and looks taken from many stages in his or her life. And while he or she is conscious of being cool, it’s key that he or she isn’t seen as “trying too hard”. OVERVIEW OF SOCIAL MEDIA ACTIVITY Directly related to the brand’s focus on the “emerging” audience, Eastpak has a considerable online presence on popular and informative social media sites. For the purpose of brevity, this report will center on the official www.eastpak.com website and to the official social media website. It should be noted that there are multiple “secondary” social media platforms which are specific to other countries (for example, Eastpak France has its own Tumblr account).

INTERACTION BEWEEN OFFICIAL WEBSITE AND SOCIA MEDIA SITES

Image 4

As is shown by Image 4, the official website links to three social media: Facebook, Instagram and Youtube. Eastpak also runs an Twitter account, which is however omitted on the official website. Also on Facebook, Twitter, Instagram and YouTube accounts there are links to official website, while not linking to each of the remaining three social media sites.

Image 5

It is worth noting that, as is shown by Image 5, the site linking most to Eastpak official website is its official YouTube account, meaning it is posting interesting and engaging content on YouTube.

Image 6

As shown by Image 6, Facebook account ranks the third as the upstream sites which people visited immediately before the official website, also proving that Eastpak’s Facebook is contributing to the official website which is directed linked to online purchasing. SOCIAL MEDIA PLATFORMS

Image 7 Image 8

Image 9

Image 10

From Image 7 to 10, it can be seen that Eastpak is much more active on Facebook, Instagram and YouTube than on Twitter. It is clear that Eastpak is not considering Twitter as its main social media account at the moment. Therefore this report will mainly focus on measurement of Eastpak’s Facebook, Instagram and Twitter.

What Has Been Tracked and Measured

ENGAGEMENT: the term “engagement” refers to what the audience does in response to content which is posted on a website or social media platform. Therefore, it does not focus on the number of people in the target audience, but on what they do after being exposed to the content. The level of interaction between the creator of content and the audience is an indicator of whether messages are influencing the audience in a desired way. Engagement has been tracked by measuring Facebook likes, comments and shares; Instagram like and comments; and Youtube views and discussions. SEGMENTATION: This term refers to the subgroups into which the target audience can be divided based on attributes such as demographics (age, gender, martial status, etc.), geographics (where people live) and psychographics (which refer to lifestyle and values, among others). By dividing the audience into smaller, more homogeneous groups, it can be better understood and messages can be tailor made for each subgroup. These messages can therefore better satisfy the interests of each group and their sender can ensure that they reach each person within them through the appropriate channels. CONTENT: The term “content” refers to anything and everything a corporation, person or brand creates (or curates) for its different platforms, such as its websites, blog, social media sites and traditional media. Content includes text, audio, photographs, videos and infographics, among others. Social media have allowed companies to interact more closely with their audience and to have better access to their feedback about the content they publish. Therefore, content creators can tailor it to better fit the specific needs of their audience. The current trend is to present content to the audience in the form of a story. MESSAGE RESONATION: Not to be confused with “impressions”, which refer to how many times a message has been displayed; “resonation” refers to the number of times a message has been passed along without it being altered. For example, resonation can be measured in terms of retweets. TONE AND SENTIMENT: Audiences’ responses to the content can be measured as positive, negative or neutral. As defined by Social Mention.com, sentiment is “the ratio of mentions that are generally positive to those that are generally negative”. By analyzing feedback, it is possible to determine which content has or has not been well received by the audience. So that the appropriate adjustments can be made to ensure that the needs of the audience are being satisfied. Analyzing tone and sentiment can also be useful in the detection of arising problems and issues which might need to be addressed. TOOLS The analysis was carried out daily over a four-‐week period during which the following tools were

used: · Manual notation on tables · ALEX.COM · KRED.COM · SENTIMENT140.COM · SOCIALBAKERS · SOCIALMENTION

Results WEEK 1. 19 JANUARY 2014 – 25 JANUARY 2014 FACEBOOK Content Form Like Comment Share 20 Jan Fashion blogger talking

about the meaning of 90’s and his Eastpak Story

Pic+Text+Link 10 0 1

21 Jan 90’s quiz with chance to win a 90’s inspired

backpack

Pic+Text+Link 4 0 0

23 Jan Discounts for new items Pic+Text+Link 26 0 1 23 Jan Toys and gadgets of the

90s Pic+Text 77 6 1

Eastpak didn’t reply to the comments, but “liked” all the comments. The message on 23 Jan is the only one that received comments, which all expressed excited resonance with the content. Facebook followers’ growth: from about 506700 to about 506850. INSTAGRAM Content Form Like Comment 20 Jan Fashion blogger talking about

the meaning of 90’s and his Eastpak Story

Pic+Text+Link 146 0

23 Jan Toys and gadgets of the 90s Pic+Text 257 6 23 Jan Discounts for new items Pic+Text+Link 218 2 24 Jan The 90’s friendship Pic+Text 243 0

Eastpak didn’t reply to the comments. YouTube 19 Jan 25 Jan Variation Subscribers 1190 1200 +10 Uploaded video views 354k 347k -‐7k While the subscriber for EastpakEurope on YouTube has slightly increased, the video however declined. WEEK 2. 26 JANUARY 2014 – 1 FEBRUARY 2014 FACEBOOK Content Form Like Comment Share 28 Jan Product display Pic+Text+Link 77 0 3 29 Jan Official YouTube video

of Eastpak History Pic+Text+Link 17 0 4

29 Jan 90’s quiz with chance to win a 90’s inspired backpack

Pic+Text+Link 3 0 0

30 Jan Fashion designer’s exhibitions with no direct relevance to Eastpak products


30 Jan Limited edition backpack from Eastpak Artist Studion


31 Jan Encouragement of city tripping without product display

Pic+Text 8 0 1

Facebook followers’ growth: from about 506850 to about 507050. INSTAGRAM Content Form Like Comment 28 Jan Product display Pic+Text+Link 295 3 30 Jan Fashion designer’s

exhibitions with no direct Pic+Text 128 0

relevance to Eastpak products

30 Jan Limited edition backpack from Eastpak Artist Studion

Pic+Text 177 0

31 Jan Encouragement of city tripping without product display

Pic+Text 154 2

Still, Eastpak didn’t reply to the comments. YOUTUBE 26 Jan 1 Feb Variation Subscribers 1200 1204 +4 Uploaded video views 355k 340k -‐15k The growth of subscribers slowed down compared with last week, while the loss of video views doubled that of last week. WEEK 3. 2 FEBRUARY 2014 – 8 FEBRUARY 2014 FACEBOOK Content Form Like Comment Share 4 Feb Official website

promotion Pic+Text+Link 12 0 0

5 Feb Collection display Pic+Text+Link 89 0 0 6 Feb SS14 lookbook Pic+Text+Link 18 0 1 7 Feb (non-‐offcial) YouTube

MTV of Campus culture Video+Text+Link 1 0 0

It is worth noting that the YouTube MTV had no relevance to Eastpak except its resonance on the campus culture Eastpak intended to build. Facebook followers’ growth: from about 507100 to about 507400. INSTAGRAM Content Form Like Comment 4 Feb Official website promotion Pic+Text+Link 145 1 5 Feb Collection display Pic+Text 244 7

6 Feb SS14 lookbook Pic+Text+Link 277 1 Still, Eastpak didn’t reply to the comments. YOUTUBE 2 Feb 8 Feb Variation Subscribers 1206 1209 +3 Uploaded video views 340k 342k +2k The growth of subscribers still slowed down compared with last week, while video views begun to pick up slightly. WEEK 4. 9 FEBRUARY 2014 – 15 FEBRUARY 2014 FACEBOOK Content Form Like Comment Share 11 Feb Humorous

(non-‐offcial) YouTube video

Video+Text 4 0 0

12 Feb Offcial statement about a designer’s partnership with Eastpak

Pic+Text 3 0 0

12 Feb Product display Pic+Text+Link 26 0 4 13 Feb Valentine’s Day

related product display


14 Feb Festive greeting and Valentine’s Day related product display


Facebook followers’ growth: from about 507450 to about 507800. INSTAGRAM Content Form Like Comment 12 Feb Product display Pic+Text+Link 266 2 13 Feb Valentine’s Day related

product display Pic+Text 198 2

14 Feb Festive greeting and Pic+Text 179 0

Valentine’s Day related product display

YOUTUBE 9 Feb 15 Feb Variation Subscribers 1210 1219 +9 Uploaded video views 342k 340k -‐2k The subscribers increased quicker this week, while the video view again begun decreasing by a small margin.

Narrative ENGAGEMENT According to the weekly analysis, Eastpak posted three to six messages on Facebook and Instagram, which is similar in content. It can be founded that when the brand post message about its concrete products, it received more Likes than other cases. This proved the attraction of its product. But other messages were not that engaging, except the “Toys and gadgets of the 90s” which triggered audience childhood memory. The two quizzes were special in form but lack meaningful information in content, thus failing to be “Liked”. In terms of comment and shares, the brand is rather stagnant. This calls for more systematic content strategy. The two graphs (Image 11 and 12) are the trend of Facebook fans and the time of people talking about the brand. It can be seen that although the number of funs kept increasing, the times the brand is mentioned in Facebook actually decreased. Therefore the growth in Facebook fun number isn’t necessarily suggesting a positive scenario for the brand’s social media presence.

Image 11 Image 12

SEGMENTATION

Image 13

From the brand official website visitors’ profile (Image 13), we can tell that the audience the brand reached included both gender, and most of them are college students and graduates. The browsing location also suggested that people who’ve got a job are also looking at the brand. This meets the brand’s intention to reach the “emerging” audience group. CONTENT Throughout the 4 weekly reports, the content of the brand’s social media strategy can be divided into 3 categories: product display, brand culture, and Artistic Studio and cooperative designer. As has been mentioned above, its product display always received more Likes. For the Artistic Studio and designer, if the artistic bags are posted in picture, the message can be more eye-‐catching than the common product display. However, for the brand culture, the content is a little vague and casual, lacking frames and concrete content. One relatively successful example is the “Toys and gadgets of the 90s”. While also, Eastpak has posted two videos which were not from its official YouTube account, which can be considered irrelevant to the brand if viewed strictly. MESSAGE RESONATION Social Mention indicates that during this time, the average message strength is 22% and the average reach was 44%. Also with regard to influence, Kred.com gives Eastpak 740 points over 1,000 and an outreach level of 3 over 12.

SENTIMENT

Image 14

Sentiment140.com (Image 14) shows that 73% of online sentiment towards Eastpak is positive. Though the data obtained through the use of different social media tools is variable, all sources coincide in determining the overall positive sentiment of the audience with regard to Eastpak.

Conclusions and Recommendations Eastpak mainly adopt three social media sites as its social media strategy. The main strategy applied to these sites is correct in direction and has been presented in professional frameworks, but there is still vast room for upgrading. For Facebook, Eastpak already has a considerable number of followers, which is increasing along the way. But the content posted should be more relevant, especially about the brand culture messages. It requires a more concrete brand story and culture construction beyond social media activity. It is suggested that the brand values be more clearly outlined and narrated first on its official website, then to be transported to social media sites accordingly with variations to enrich the content. For Instagram, due to the site’s visualization characteristic, pictures posted there should be more visually attractive. The pictures should be selected with care according to product display, style, color, and aesthetic effect. It is also suggested for most of the pictures, a link related to the details of the subject should be added. For in Eastpak’s case, the link seem to be a random addressing—for the similar posts, some are with links and some without. For YouTube, there is already a systematic and content-‐rich scenario. The videos are all shot by Eastpak itself, about the product introduction, manufacture craft, quality test, design inspiration and brand history. These are all wonderful contents to be shared on Facebook and Instagram, however few were linked to these two sites. It is noted that, on all social media platforms, pictures displaying product in any way with brief text is more likely to be “Liked” than snapshots of document, vague brand culture posts, ordinary brand events or even most videos. This visualization trend is irreversible, since people have less time for each single message when scanning their social media account.

It is advised that Eastpak should post at a higher frequency on social media platforms, ideally at least one entry per day, since social media users mostly refresh at least once a day on their screen. Also, more social media platforms can be included into the brand’s overall social media strategy and linked to the official website. Twitter is strongly recommended. Eastpak is currently running it but gets no large number of followers. Pinterest, another emerging visual social media site with built-‐in feature of online shopping can also be considered, since there are already a lot of common users pinning Eastpak’s product there.

5. SAMPLE PRESS RELEASE

Press Release

13th May 2014 Churchill For The Win!

On May 13th, National History Museum held an exhibition displaying Winston Churchill’s paintings along with works of the winner of “Finding Churchill” painting competition. The month long exhibition is a part of museum’s theme event “In Memory of the Past” which pays tribute to Britain’s greatest historical figures. “Finding Churchill” painting competition saw young aspiring artists recreating some of Winston Churchill’s best works. The competition is held amongst UK teenagers aged 11-‐18 with the aim of reliving the era of Winston Churchill, the greatest Briton throughout history. The competition was launched from January 2014 in major art websites and across social media and received an overwhelming response of over 3000 paintings out of which only 10 had been chosen for the exhibition by a renowned panel of judges. This competition is the highlight event within the campaign—Find the Churchill in You. “Find the Churchill in You” was launched as a result of a recent survey report that stated that only 62% of the teens were able to recognise Winston Churchill. The primary goal of this campaign is to significantly increase that number as well as to intrigue teenagers in history. Ms. Stella Lu, chief creative executive of the campaign, said: “It is great working collaboratively with the museum to promote Winston Churchill as he is one of the best role models teenagers could follow.” Mr. Ivan Franklin, Director of National History Museum said: “This competition has not only been helpful in promoting ‘In Memory of the Past’ but also in discovering young talented artists, which is what we’ve been trying to achieve.” “Winning this prize and having my painting displayed alongside with Winston Churchill’s is just awesome! I feel so honoured. Actually, I’m beginning to develop an interest in Winston Churchill.” Evelyn, the 16-‐year old winner of “Finding Churchill” exclaimed. -‐END-‐ Editor’s Notes MESI Public Relations Ltd is a cultural communications agency focusing on profile-‐raising, brand management and revenue generation. It provides integrated 360º promotional campaigns that deliver comprehensive print, broadcast and digital media exposure whilst developing meaningful strategic alliances and brand affiliations for our clients. www.mesipr.com National History Museum is a world-‐class visitor attraction and a leading culture research centre. It is helping to conserve the extraordinary richness and diversity of the cultural world. www.nhm.ac.uk

Monday November 3rd 2013

PRESS RELEASE

Hailey and Hannah, two conjoined baby girls who were joined at the chest, underwent a separation surgery at University College London Hospitals (UCLH) on 3 November. The emergency surgery was a must at that moment, if not performed, both babies would have died. This separation surgery took 35 doctors and nurses nearly 18 hours and worked out to be very successful. Now the two girls are in stable condition at University College Hospital.

The separation operation started around 4:45 a.m. on 3 November, 3 hours after their birth. The prenatal scans gave a sign that the twins were connected at the heart. But it’s only after the birth can the doctors tell that the twins were connected at chest with a shared pericardium—the fluid-‐filled sac around the heart and major blood vessels. Specialist medical team form UCLH Heart Hospital were immediately called and sent to the Maternity Services Unit of Elizabeth Garrett Anderson Wing (which belongs to the University College Hospital). The joined team of two hospitals of UCLH co-‐performed this postnatal separation surgery.

Mr Seni Subair, labour ward lead obstetrician at UCLH, said: “It is only after they are born that doctors can use magnetic resonance imaging, ultrasound and feasibility of separation. We have carefully assessed how the twin’s shared heart function.”

Mr Neil Roberts, the leading cardiac surgeon of the separation operation, further added: “The surgical separation of conjoined twins is a highly delicate and risky procedure, requiring extreme precision and care. Mortality rates for twins who undergo separation vary, depending on their type of connection, and the organs they share. Hailey and Hannah’s case, thoracopagus twins, make up 40% of all conjoined cases. The survival rate is unfixed, we are so happy and inspired that the surgery was smooth and successful.”

Spencer Chumley, the mother of two girls, said excitedly, “I could not contain my joy. For a few minutes, my husband and I decided to abort and it was the hardest decision the parents have to make. But fortunately, the doctors at UCLH persuaded us to try separation surgery, and god bless us, we make it!”

-‐END-‐

Notes to editors

· Conjoined twins are identical twins joined in utero. A rare phenomenon, the occurrence is estimated to range from 1 in 50,000 births to 1 in 200,000 births, with a somewhat higher incidence

in Southwest Asia and Africa. Approximately half are stillborn, and a smaller fraction of pairs born alive have abnormalities incompatible with life. The overall survival rate for conjoined twins is approximately 25%. The condition is more frequently found among females, with a ration of 3:1.

https://en.wikipedia.org/wiki/Conjoined_twins

· Thoracopagus twins share a heart, which, depending on how closely they are joined, makes it nearly impossible to separate them and save them both. Thoracopagus twins make up about 40 percent of all conjured cases.

http://umm.edu/programs/conjoined-‐twins/facts-‐about-‐the-‐twins

· 7 miracle cases of successfully separated conjoined twins

http://theweek.com/article/index/236245/7-‐miracle-‐cases-‐of-‐successfully-‐separated-‐conjoined-‐twins

· Another recent news of similar separation surgery: Conjoined Twins are Successfully Separated in Dallas

http://abcnews.go.com/Health/conjoined-‐twins-‐successfully-‐separated-‐dallas/story?id=20109355

Contact Details

For further information about this Press Release, please call our Head of Communications, on 020 3447 9506, or email [email protected]

Media enquiries to UCLH Communications unit, 2nd floor central, 250 Euston Road, London NW1 2PG

Tel: 020 3447 9897 Email: [email protected]

Mr Neil Roberts

Tel: 020 3456 6072 Fax: 020 3456 6062 Email: [email protected]

Mr Seni Subair

Tel: 020 3447 2697 Fax: 020 3447 9775 Email: [email protected]

6. PERSONAL PR BLOG

YAXUE PR: http://pryaxue.wordpress.com

This blog is based on Wordpress and cannot be opened in mainland China.

“Some are born great, some achieve greatness, and some

hire public relations officers.”

— Daniel J. Boorstin

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