個案總覽

Social media influencers have been at the peak of pop culture for the past few years, everyday people suddenly becoming celebrities and influencers for Millennials and Generation Z. Calling themselves creators, influencers now exist in every industry and have widespread, highly engaged followings; many companies are eager to work with them to build their brands. This text offers an overview of influencer marketing, focusing on collaboration between organizations and influencers. Brand managers, agency professionals, new influencers, and students will particularly benefit from this book, gaining practical advice and learning from examples in areas such as the Creator Economy, typology of influencers, and considerations for campaign design. A valuable introduction to the influencer marketing ecosystem and the influencer marketing relationships framework, Celebrity 2.0 shows how content marketing, native advertising, and influencer marketing can effectively come together. Chapter 2 begins with three stories: the creator as content developer, the creator as influencer, and the creator as entrepreneur. The Creator Economy is the growing group of businesses centered around independent content creators, including social media influencers, bloggers, and podcasters; this ultimately gives creators more power and audiences more choice. Several trends that led to the Creator Economy are outlined. In terms of monetization for creators, an audience needs to be built first, and it needs to be understood that not all audience members are the same in their willingness to spend money. Examples of successful influencers are given, and different types of creators, such as YouTube creators and web content creators, are described. One of the primary strengths of creators is their connections with everyday audiences.

Social media influencers have been at the peak of pop culture for the past few years, everyday people suddenly becoming celebrities and influencers for Millennials and Generation Z. Calling themselves creators, influencers now exist in every industry and have widespread, highly engaged followings; many companies are eager to work with them to build their brands. This text offers an overview of influencer marketing, focusing on collaboration between organizations and influencers. Brand managers, agency professionals, new influencers, and students will particularly benefit from this book, gaining practical advice and learning from examples in areas such as the Creator Economy, typology of influencers, and considerations for campaign design. A valuable introduction to the influencer marketing ecosystem and the influencer marketing relationships framework, Celebrity 2.0 shows how content marketing, native advertising, and influencer marketing can effectively come together. Chapter 3 offers a broad overview of influencers, starting with a discussion on influencers as opinion leaders. Celebrity endorsement and marketing has a long history, while influencer marketing is new, which means there are many different definitions of influencer marketing. Several example definitions are given as well as important considerations concerning influencer marketing. Social media influencers are sometimes called micro-celebrities; seen as regular people, they have some level of influence over their audience. Based on their number of followers and if they have influence beyond social media, influencers are grouped into micro-influencers and macro-influencers. More specific tiers can also be used, such as nano-influencers and mega influencers. Using employees as influencers is explored as well as how marketing managers can choose the best influencer for their goals.

Social media influencers have been at the peak of pop culture for the past few years, everyday people suddenly becoming celebrities and influencers for Millennials and Generation Z. Calling themselves creators, influencers now exist in every industry and have widespread, highly engaged followings; many companies are eager to work with them to build their brands. This text offers an overview of influencer marketing, focusing on collaboration between organizations and influencers. Brand managers, agency professionals, new influencers, and students will particularly benefit from this book, gaining practical advice and learning from examples in areas such as the Creator Economy, typology of influencers, and considerations for campaign design. A valuable introduction to the influencer marketing ecosystem and the influencer marketing relationships framework, Celebrity 2.0 shows how content marketing, native advertising, and influencer marketing can effectively come together. Chapter 4 dives further into influencer marketing, exploring theories about how it may work. One theory is source credibility; if a celebrity has source credibility, they can effectively endorse a product. Source credibility is made up of trust (how well the consumer accepts the endorser's message), expertise (the degree to which the consumer views the endorser as knowledgeable), and attractiveness (if the consumer sees the endorser as physically attractive). Attractiveness can also be impacted by likability and whether or not the endorser is viewed as relatable. The matchup hypothesis describes how congruence is necessary between a social media influencer and a brand in order to have a positive impact; the meaning transfer model claims that endorsers bring pop culture to the endorser-brand relationship. A description of how Generation Z views influencers is provided, and the necessity of building the influencer's relationship with the audience is discussed.

Social media influencers have been at the peak of pop culture for the past few years, everyday people suddenly becoming celebrities and influencers for Millennials and Generation Z. Calling themselves creators, influencers now exist in every industry and have widespread, highly engaged followings; many companies are eager to work with them to build their brands. This text offers an overview of influencer marketing, focusing on collaboration between organizations and influencers. Brand managers, agency professionals, new influencers, and students will particularly benefit from this book, gaining practical advice and learning from examples in areas such as the Creator Economy, typology of influencers, and considerations for campaign design. A valuable introduction to the influencer marketing ecosystem and the influencer marketing relationships framework, Celebrity 2.0 shows how content marketing, native advertising, and influencer marketing can effectively come together. Chapter 5 discusses how to design an effective influencer marketing campaign. Before designing a campaign, companies should conduct an audit of all their current digital assets to make sure further marketing efforts can make a difference. Goals should be outlined following the SMART format; an overview of the consumer journey is offered in relation to campaign objectives. Defining the target market is essential; buyer personas can assist in that endeavor. A thorough discussion of choosing influencers is provided, giving tips on how to look for influencers, metrics that should be considered, and how influencers may view partnerships with brands. Several social media platforms are examined, and a deeper look at Instagram, TikTok, and YouTube-the top three influencer platforms-is offered. Various structures can be used for campaigns; it's vital during any campaign to measure success and pivot when needed. An example of going through the design process for an influencer marketing campaign is given.

Social media influencers have been at the peak of pop culture for the past few years, everyday people suddenly becoming celebrities and influencers for Millennials and Generation Z. Calling themselves creators, influencers now exist in every industry and have widespread, highly engaged followings; many companies are eager to work with them to build their brands. This text offers an overview of influencer marketing, focusing on collaboration between organizations and influencers. Brand managers, agency professionals, new influencers, and students will particularly benefit from this book, gaining practical advice and learning from examples in areas such as the Creator Economy, typology of influencers, and considerations for campaign design. A valuable introduction to the influencer marketing ecosystem and the influencer marketing relationships framework, Celebrity 2.0 shows how content marketing, native advertising, and influencer marketing can effectively come together. Chapter 6 focuses on some of the issues to consider when implementing influencer marketing campaigns. While it may be difficult, brands must let go a bit and give influencers some creative control, not too much but not too little. Legal considerations are described, such as contract clauses to protect the brand (for both the company and the influencer), compensation, and disclosures. Ethical considerations, like influencer fraud, are explored. Mistakes and unintended consequences are inevitable as influencer marketing is still relatively new; brand safety is crucial, and vetting influencers rigorously is vital to retaining brand safety. The chapter ends with a discussion on the future of influencer marketing, including topics such as evolving platforms, new and diverse influencers, multiple revenue streams, and potential research areas.

Gibson and Fender, two of the biggest success stories in the guitar industry, were founded in 1902 and 1946, respectively. After both companies introduced their version of the electric guitar, their stories became intertwined, and they began a race for innovation interspersed with periods of financial crisis, corporate takeovers, and poor strategic decisions. But, over time, they captured a 70% share of the market between them and became world-renowned, producing legendary guitars that changed the face of popular music, and thus of culture. In response to declining sales of electric guitars in the mid-2000s, the two companies adopted very different survival strategies. Gibson opted for diversification, purchasing companies that expanded its product line, while Fender chose to attract new audiences with high growth potential. Gibson's overly ambitious strategy led it to bankruptcy, allowing Fender to retain its leadership status. Parts A, B, and C of this case present the two companies' history, their innovations, their evolving product lines, and the consequences of their strategies.

Case Supplement for Case HEC315

Case Supplement for Case HEC315

The Singapore Tourism Board (STB) had been working on a new brand campaign to attract visitors to Singapore. However, instead of highlighting the country's attractions and listing the reasons why it would be a good destination, they wanted to roll out a different kind of campaign that would resonate with consumers. Working with the Economic Development Board (EDB), STB developed a country brand to deliver a more compelling message to tourists and investors alike. Drawing on Singapore's early history, STB focused on telling stories that showed how Singaporeans overcame adversity on their road to success. STB worked with many people and organisations before launching the campaign about people following their passions. After the launch of the 'Passion Made Possible' campaign, STB hoped for widespread adoption of the country brand and a useable framework for future campaigns.

In August 2021, the founders of We are Marlow Corporation (Marlow) were considering the company's future. Marlow was a direct-to-consumer (D2C), subscription-based business that sold lubricated tampon kits. The company was about to receive full approval from Health Canada to sell its products and the founders needed to shift their focus to a marketing strategy for their upcoming launch. They needed to decide on their target market and pricing scheme and how they would allocate their promotional budget to sell as many units as possible. The founders wanted a plan that would contribute to Marlow's long-term sustainability and growth.

In January 2022, a partner in Homeland Foods was identifying Canadian distribution channels through which to launch dried fruit products from his company based in Armenia. He needed to identify the most appropriate initial target market, select the most effective distribution channel(s), and develop an effective marketing strategy. Distribution channels under consideration included general grocery stores, ethnic food stores, natural food stores, gourmet food stores, and online distribution. Promotions concerns included finding a plan that would reach an appropriate customer segment on a limited budget. He was also concerned about how well the Armenian branding would transfer to a Canadian audience.

In May 2021, Asahi Group Holdings, Limited (Asahi), a Japanese global beer, spirits, soft drinks, and food company, shifted its focus to non-alcoholic beers. The shift was made after spending US$20 billion to acquire premium beer brands from Anheuser-Busch InBev SA/NV, a Belgian multinational drinks and brewing company. The Japanese beer market had been shrinking for decades with Japan's declining population, and more recently, the market had shrunk further because of restrictions imposed during the ongoing COVID-19 pandemic. In response, domestic beer producers were looking abroad for better market opportunities.<br><br>Asahi needed a strategy to compete against the Belgian beer giant. Considerations included whether to pursue growth in Asahi's core beer business or diversify in the food industry, how to position a growing portfolio of products to minimize cannibalization, whether to shift focus from the premium to the lower-mass beer market, and how to approach the potential Chinese beer market. Regardless of growth strategy, Asahi needed to deal with a loss in share value, triggered by investors nervous about Asahi's acquisition spree. To regain investor trust, Asahi needed to manage its financial leverage.

In 2014, Merrick Pet Care saw an opportunity to enter the oral pet care category by introducing dental brushes for dogs. Although its close connections with retailers allowed the company to place the product on the shelves, the product sales were lackluster, and the initial entry was deemed unsuccessful. The brand had to decide whether or not to continue devoting resources to the oral pet care category. If the answer was yes, the company had to find out how to succeed in the face of the initial unsuccessful launch.

Fast Retailing Co. Ltd.’s UNIQLO brand (UNIQLO) was planning to relaunch +J, its collaboration with the legendary high-end designer Jil Sander in the fall of 2020; however, the COVID-19 pandemic began in March of that year, causing many consumers to spend less on clothes and more on essentials. Just like the first launch of the +J collection in 2009, this launch would once again happen during a global recession. The affordable street fashion brand faced a challenging decision regarding whether to reintroduce the higher-priced collaboration brand amidst this unprecedented situation.

Steak ’n Shake, one of America’s oldest and most iconic fast-food chains, was founded in Normal, Illinois, in 1934. When Biglari Holdings assumed control of Steak ’n Shake in August 2008, the company was struggling and incurring losses of approximately US$100,000 per day. To turn the company around, the new owner implemented an aggressive pricing-discount strategy marketed as “4 under $4” that offered any of four different meals for under $4. The strategy worked. Steak ’n Shake went on to post seven consecutive years of same-store sales increases. However, in 2016, sales began to drop, and the company posted five consecutive years of declining store sales. The price-discounting strategy may have been critical in reversing the company’s fortunes, but had it also led to Steak ’n Shake’s current issues? Should Biglari Holdings consider raising prices of menu items? Would customers accept paying higher prices after being accustomed to Steak ’n Shake’s traditionally low pricing strategy?

Dismissing all the hype around the metaverse would be a mistake. Metaverse marketing strategies do not need Mark Zuckerberg to be on track to become the future norm, perhaps a lot sooner than some brand managers might think. After all, when it comes to interacting with consumers, the metaverse experience has already taken things up a notch. This article provides six mistakes to avoid when planning a metaverse strategy. Mistake 1: Assuming the metaverse is far away. Mistake 2: Trying to dominate. Mistake 3: Assuming the metaverse will reflect real-world structure. Mistake 4: Focusing on transactions (in fact, the metaverse is also about creating new consumer connections, cultural relevance, and community clout). Mistake 5: Failing to seize the opportunity to drive stakeholder capitalism. Mistake 6: Equating the metaverse to NFTs. Ultimately, the evolution of the metaverse will bring together today’s disparate and fragmented ecosystems, allowing businesses to connect with consumers and solve problems in revolutionary new ways. We’ll soon see how far things go in 2022. But whatever happen this year, the writing is on the virtual wall—and it says the winning brand strategies for the metaverse will not take a business-as-usual approach.

Fast Retailing Co. Ltd.'s UNIQLO brand (UNIQLO) was planning to relaunch +J, its collaboration with the legendary high-end designer Jil Sander in the fall of 2020; however, the COVID-19 pandemic began in March of that year, causing many consumers to spend less on clothes and more on essentials. Just like the first launch of the +J collection in 2009, this launch would once again happen during a global recession. The affordable street fashion brand faced a challenging decision regarding whether to reintroduce the higher-priced collaboration brand amidst this unprecedented situation.

Steak 'n Shake, one of America's oldest and most iconic fast-food chains, was founded in Normal, Illinois, in 1934. When Biglari Holdings assumed control of Steak 'n Shake in August 2008, the company was struggling and incurring losses of approximately US$100,000 per day. To turn the company around, the new owner implemented an aggressive pricing-discount strategy marketed as "4 under $4" that offered any of four different meals for under $4. The strategy worked. Steak 'n Shake went on to post seven consecutive years of same-store sales increases. However, in 2016, sales began to drop, and the company posted five consecutive years of declining store sales. The price-discounting strategy may have been critical in reversing the company's fortunes, but had it also led to Steak 'n Shake's current issues? Should Biglari Holdings consider raising prices of menu items? Would customers accept paying higher prices after being accustomed to Steak 'n Shake's traditionally low pricing strategy?

In July 2019, J.Crew Group Inc., a multi-brand, multichannel specialty US clothing retailer, was investigating a launch within a new apparel category. The company's marketing research manager had been tasked with interpreting trends and market potential within the industry as well as primary customer research, to recommend a new product line that would increase revenues. She saw three main potentially viable options in the rental, resale, and athleisure markets. Using a mixed methods approach, the research manager would need to provide the chief marketing officer with her recommendation regarding a new product line for J. Crew Group Inc..

Spreadsheet supplement for case W27129.