The present study investigated fashion Instagram marketing, applying the concept of gamification. It set out to examine the following specific issues: 1) perceptions of flow, pleasures, dimensions of game dynamics (challenge, competition, achievement, reward, relationships among participants, and relationships between brands and consumers), and consumer responses based on frequency and involvement in exercise; 2) the effects of game dynamics dimensions on flow and pleasure; and 3) the effects of flow and pleasure on consumer responses. An online survey was used to gather data and the study analyzed a total of 200 responses. The results of the study were as follows. Perception differences were found only in relation to exercise involvement. Competition, relationships among participants, and relationships between brands and customers positively predicted flow. Among the dimensions of game dynamics, challenge, competition, reward, relationships among participants, and relationships between brands and consumers positively influenced pleasure. In addition, the study also found that pleasure and flow had positive effects on intention to participate and brand loyalty. Meanwhile, only pleasure predicted word-of-mouth. These findings suggest that fashion brands implementing Instagram as a marketing channel should seek to stimulate pleasure and fun to provoke positive consumer responses. Furthermore, the findings of the study provide practical and useful insights for fashion brands implementing Instagram marketing.

The study aims to analyze and compare how fashion brands of different categorization communicate in Instagram. Six global brands (Zara, H&M, Prada, Gucci, Nike, and Adidas) are chosen to be analyzed due to their different type/category of brands and their worldwide recognition. Netnography concept and method is used to conduct the data collection and data analyze during a period of time of six mouth. The results show that overall fast fashion brands (Zara and H&M) emerge to be more effective than other fashion categories in online communication. The Haute-de-couture brands (Prada and Gucci) reveal to be very similar in the way they communicate, demonstrating a good level of interactivity with consumers. The Sports brand (Nike and Adidas) have a low level of communication with the consumers and low number of photos and videos uploaded, which results in an average online communication of the brands in Instagram. This research highlights that to be successful in the online communication, fashion brands must be always updating photos and videos, they need to interact with consumers and make them feel a part of the brand, use celebrities to give more notoriety to the brand and be always present in the latest trends.

The aims of this study are to understand the influence of celebrity endorsement on consumers’ word-of-mouth and decision behavior, that is: (i) understand the influence of the number of followers of the celebrity and the positive/negative valence of the messages conveyed by them in the intention to buy and their intention to generate eWoM; (ii) analyzing how the behavior of a celebrity (antisocial vs. pro-social) may affect the perception of its credibility, the intention of the consumers to relate to the celebrity in the social networks and the social identification with it; (iii) understand the impact of celebrity messages on brands and products present in social networks. To achieve this goal a quantitative methodology for the development of research was adopted, selecting the application of a survey as the information collection instrument. The sample is selected by convenience sampling method, collecting 241 responses, 122 females and 119 males. Findings show: (i) concerning the intention to purchase, female seem to be more influenced by the opinions and recommendations of celebrities, while male tend to be more likely to generate e-word-of-mouth into their contact network through social media. (ii) Regarding to antisocial versus prosocial type of celebrity, celebrities with a prosocial behavior seems to have a greater influence for both genders in the way they identify with celebrity and their willingness to relate to them. (iii) Female tends to feel higher purchase intention when exposed to an endorsement, where celebrity promotes a brand or product through its Instagram account.

Introduction In the context of online interactions, social media has becoming a crucial part of people‟s everyday lives, where they converge to exchange, debate, communicate and participate in any form of social interaction (Ryan & Jones, 2009). They post and share new content but also review and rate products/services and/or brands, share experiences and expertise and exchange opinions (Ryan & Jones, 2009). As a result, the growing popularity of social media, the competitors‟ presence on social networking sites and the cost reduction pressure derived from the financial crisis and consequent necessity to find cheaper solutions for brand promotion, motivated companies to use social media as part of their marketing and brand building activities (Tsimonis & Dimitriadis, 2014) and to create brand fan pages in different social networks such as Facebook, Instagram, Twitter, and YouTube, among others. Due to this attractiveness, social media is becoming the media channel of choice across the world (Dong-Hun, 2010). However, traditional media still plays an important role for both consumers and marketers, being a central component of brands‟ communication strategies. Yet, several questions still remain unanswered regarding social media effectiveness and influence on consumer engagement. In the current study we intend that we intend to contribute to fulfil the second. Thus, the objective of the current study is to explore how brands create and maintain online relationships with consumers through their Websites, Facebook and Instagram brand pages . Theoretical development The concept of engagement was originally employed in different fields of study including psychology, sociology and organizational behaviour. Now is attracting marketers‟ attention especially in the field of relationship marketing (e.g., Brodie et al., 2011; Hollebeek, 2011). Accordingly, two central concepts consumer engagement and online brand engagement need to be defined. First, consumer engagement, refers to the intensity of a person‟s participation and connection with company‟s offerings and activities that can be initiated by the consumer or the organization (Vivek, Beatty, & Morgan, 2012). Online brand engagement, on the other hand, can be defined as a consumer‟s cognitive and affective commitment to partake in an active relationship with a brand on a website or other computer-mediated platform designed to communicate brand value (Mollen & Wilson, 2010). Online brand engagement measures how much and how frequently users interact with a firm‟s page and its social media content. When consumers make the effort to like, favourite or comment a brand‟s post, they are vigorously engaging with that content. Engagement metrics display audience action, an important feature for social media health and growth (Dunham, 2014). As social media provides numerous ways for users to get involved with organizations (Waters, Burnett, Lamm, & Lucas, 2009), marketers must find rightful strategies to nurture relationships with the public. Dialogue has been one of the topics under research by several scholars. Including this two-way form of communication is crucial to “understand how organizations can build relationships that serve both organizational and public interests” (Kent & Taylor, 2002: 21), thus several studies use dialogic communication to investigate the influence of online strategies for relationship building (Loureiro & Gomes, 2016). Three crucial strategies have been used in numerous studies (Waters et al., 2009; Loureiro & Gomes, 2016; Men & Tsai, 2012) to build and maintain relationships online: disclosure or openness, information dissemination, and interactivity and involvement. First, disclosure or openness refers to the companies‟ willingness to be transparent in their online communication activities. Waters et al. (2009) suggest that companies must provide information such as company‟s full description, its history and mission. Organizations should use hyperlinks connected to their websites and use logos and visual cues to enhance brand recognition. Information dissemination concerns posting photos and videos, announcements about products, as well as answering questions to address stakeholders‟ needs, concerns and interests (Men & Tsai, 2012; Loureiro & Gomes, 2016). Posting links to external news content related to the company and its business and including press releases and campaign summaries can maximize the impact of a company‟s online presence (Waters et al., 2009). Finally, interactivity and involvement can be seen as the most important strategy, out of the three, since it is essential to foster relationships with the public and represents one of the main advantages of using different social media platforms (Haigh, 2014). This strategy is often analysed as a whole, with no distinction between the two terms (Men & Tsai, 2012; Loureiro & Gomes, 2016) however, interactivity can be analysed separately from involvement according to research done by Haigh (2014). Involvement regards connecting with consumers. Providing information such as organizational contacts, giving users the ability to stay in touch with the company is one way to involve them. Interactivity, on the other hand, is often defined as “the extent to which users can participate in modifying the form and content of the mediated environment in real time.” (Steuer, 1992: 84). When considering computer-mediated environments, Liu (2003) also studied interactivity, developing a scale to measure interactivity on websites. According to the study, interactivity should be defined as "the degree to which two or more communication parties can act on each other, on the communication medium, and on the messages and the degree to which such influences are synchronized” (Liu & Shrum, 2002: 54) and three dimensions should be included when discussing this topic: active control, two-way communication and synchronicity. Active control regards users‟ capacity to voluntarily participate and usefully influence communications. Two-way communication concerns the bifacial flow of information. Synchronicity evaluates the speed of the interaction. This led to the definition of interactive communication: “communication that offers individuals active control and allows them to communicate both reciprocally and synchronously” (Liu, 2003: 208). Finally, human-to-content interactivity refers to the ability to contribute to the organizational online content by commenting on organizational posts and to reply to other users‟ posts. (Loureiro & Gomes, 2016; Men & Tsai, 2012). Thus, considering the above-mentioned, the following research question is proposed: RQ1: What strategies are Portuguese companies incorporating to create and maintain relationships with publics on their Websites, Facebook and Instagram pages? Research design We conducted an exploratory content analysis to investigate online relationship cultivation strategies by Portuguese brands (RQ1). Following Loureiro and Gomes (2016), first we retrieve a list of the 50 most valuable Portuguese brands of 2016 provided by Brand Finance, “…the world’s leading independent branded business valuation…” (The Brand Finance Group, 2016). This list is made with regards to the brand value (USD $ millions) and the brand rating in the year under analysis, therefore raking the top 50 Portuguese brands. Afterwards, from this initial sample of 50 companies, brands are analysed in terms of their presence in social media by verifying if they have an official website and brand fan Pages on Facebook Instagram. After examining their social media presence, the sample included 47 companies with a website, 28 companies with a Facebook page and 19 with an Instagram account. Pages without information or not maintained by the organisation were not considered. Coding categories used in this analysis are adapted from previous research (Waters et al., 2009; Men & Tsai, 2012; Haigh, 2014; Loureiro & Gomes, 2016). The categories coded are the same for Website, Facebook and Instagram pages. Based on Waters et al.‟s (2009) method for coding online relationship cultivation strategies, the website and social media pages are examined to identify the presence of items representing organizations‟ strategies of disclosure, information dissemination and involvement. The units of analysis are the website corporate profile page on Facebook and Instagram page. We evaluate whether each strategy and item occurred, hence categories are coded with „yes‟ or „no‟ depending if the information was present (Haigh, 2014). On websites, the first step is to go to the homepage and see if the website provided a site map to easily find the items belonging to each strategy. When site maps are not available, each tab inside the website would be inspected to look for the information needed for each strategy. Since websites are more complex, with information spread across them instead of reunited in one single page as in Facebook and Instagram the following analyses were simpler. On Facebook the first page of each corporate profile is studied. This is the page that users see after signing in and where they have access to all the main elements, including the photo album and the message board. The details examined on each page are items that are readily observable (Men & Tsai, 2012). On Instagram, the analysis is similar to Facebook. Here, most of the page is visually-based (photos and videos) with the exception of to the brief description below the profile picture or logo (where usually companies also insert the URL to the Website). Thus, we look to photos‟ descriptions to get more insights about the content shared and the cultivation strategies implemented. Users‟ comments are also considered to evaluate, whether or not companies reply to them and initiate conversations with consumers. Intercoder reliability was tested using Perreault & Leigh‟s (1989) formula. Main results and conclusions Websites perform better in the first two strategies (disclosure and information dissemination) by frequently displaying a brief description about the business as well as brand history, logo and visual cues, news links and information about achievements and awards. However, in what concerns the last strategy, interactivity and involvement, websites lack interactive features that allow firms to engage with consumers such as commenting and sharing opportunity. Generally, actions to foment online participation are not implemented. This could be explained by the fact that Websites‟ main purpose is, according to Keller (2009), to express ambitions, history, products as well as the firms‟ vision therefore they act more as sources of information than as sources of interaction. However they still have to be attractive enough to encourage repeated visits (Keller, 2009). By contract, brand fan pages on Facebook and Instagram disclose and disseminate less information about firms and their activities (more evident on Instagram) and perform better in the interactivity and involvement strategy. In accordance with (Jahn & Kunz, 2012), brand fan pages main goal is to promote a communicative and interactive channel that creates a bond between the user and the brand, therefore it is expected that the main strategy used to nurture relationships on these social networks is the one that enables interaction and encourages involvement. Finally, comparing the three SNS‟s, Facebook seems to be the more consistent channel to combine and implement the three strategies altogether, since it displays a better overall performance. However, each social networking site has its own role, therefore companies should consider which network works best for each strategy and for each type of consumer and build an overall plan that maximizes the potential to connect with consumers, remembering that the image they build online should present an accurate representation of the brand and should align with other marketing efforts to present consistent messages to customers. Regarding consumer engagement, brands should focus on creating interesting and captivating content instead of posting too regularly just to have an active online presence. Posting more often does not necessarily lead to online brand engagement. Moreover, having more followers is not necessarily good on its own. Fans need to feel connected to the brand and its content and usually, smaller audiences are more engaged with brands. Therefore, brands should work on strategies that allow them to grow their audience while keeping the perks of interacting with smaller audiences. Also, audience growth rate is a helpful measure to evaluate performance on each network, identify which one is generating the highest rates and investigate how to gain more followers on all networks. Additionally, it may be useful in tracking specific campaigns‟ success.

Consumers have enjoyed shopping via the web for over a decade, but the emergence of shopping through social media or social commerce is slowly gaining traction Instagram is one of the largest interactive photo-sharing sites that retailers, specifically apparel and accessory companies, are utilizing to sell their merchandise. Consumers are increasingly using this platform to engage, discover and get inspired; therefore, it is critical for retailers to understand how this platform influences purchase intention. This paper focuses on analyzing the impact of Instagram on consumer’s purchase intention based on an adapted model of Technology Acceptance Model and Theory of Reasoned Action. Using multi-group analysis, consumers (n=317) were divided into two groups: shopped for fashion products (including browsing, making a one-time purchase, or making repeat purchases) or not shopped using Instagram for apparel specific brands. The participants were surveyed using an online instrument with questions related to attitude, subjective norms, normative beliefs, perceived usefulness (PU), perceived ease of use (PEOU) and purchase intention. Frequency statistics were obtained for the demographic variables. Overwhelmingly (approximately 78%), respondents used Instagram daily with 82.6% following an apparel brand. 40% of the respondents had shopped previously on Instagram (i.e. browsed as well as purchased products), with 13% of these respondents spending more than $100. An exploratory factor analysis using principal component with varimax rotation and a minimum eigen value of one was used to identify the latent variables in the model: PEOU (α = 0.82); PU (α = 0.81); Normative Beliefs (α = 0.81); Attitude (α = .87); Subjective Norm (α = 0.88); Purchase Intention (α = 0.79). Results indicated that subjective norms did not influence purchase intention for both the groups indicating that consumers do not follow “groupthink” mentality while intending to purchase via Instagram. Furthermore, it was found that PEOU influence on attitude for the two groups of consumer were different, with no impact for the group who had shopped on Instagram. All the other relationships were supported in the model. These results provide both implications and limitations for retailers and academia.

The purpose of this study is to find out the key to success of the photographs in Instagram through content for tourist destination. While there are several studies in the tourism industry about the impact of Social Networks such as Facebook or virtual collaborative communities like TripAdvisor, there are very few studies about Instagram (Hanan & Putit, 2014). This study focuses on “Beautiful Destinations” as the leader on Instagram and an example of destination management organization (DMO), where they have more than 3,100 publications and 4 million followers in 180 countries, becoming the world’s largest travel influencer on Instagram. The dependent variables are taking from several studies (Dagostar & Isotalo, 1992; Stabler, 1987; Timothy & Groves, 2001). Ordinary least squares models were estimated to assess the relationship of characteristics of the photo with the number of likes among photos published on Instagram. If a photograph has people, water, took during afternoon, self-centric and other centric have effects in the number of likes and comments. While if a destination has the purpose of the engagement of the consumers with several comments, people appearance has a positive impact in the number of comments and if the pictures is doing in the afternoon has a negative impact. By analyzing the contents of information provided by the uploaded photographs, this study provides clues for destination in order to enhance the engagement with potential customer and users of Instagram.

The recent addition of Instagram feature, ad labels for sponsored posts, enables users to explicitly identify sponsored posts, increasing the level of transparency of posts (O’Brien, 2017). In sponsored posts in social media, followers are aware the marketing efforts that go on behind the user generated contents and message threads. Thus, the impact of postings on the followers’ behavioral response may vary depending on the levels of trust that followers have with the brand sponsored Instagram posts. In that regards, retailers implementing Instagram platform have faced creating more persuasive postings that can build the posting credibility and generate positive responses toward the brand. Grounded upon the Elaboration Likelihood Model (ELM) (Petty & Cacioppo, 1986), this study attempted to identify determinants of persuasive postings that build the message credibility of brand sponsored Instagram posts and positive responses toward the brand and to examine how the levels of trust followers have with the brand sponsored Instagram moderate the persuasion process when followers elaborate the postings. Data was collected via online survey and a total of 263 responses were determined to be usable in this study. Structural equation modeling was used to test the study hypotheses. The study results showed that post popularity and the argument quality of the post were determinants of the persuasive posting, increasing message credibility and yielding positive response towards the sponsored brand. Interestingly, post attractiveness was not a persuasive post characteristic. The results implied that post popularity and argument quality of post increased Instagram post credibility. These characteristics of posts have persuasive power to increase the post credibility, leading to a positive response toward the sponsored brand. Consumers’ levels of trust on the Instagram post sponsored brand moderated the persuasive process. The result supported that consumers with a low level of trust on the Instagram post sponsored brand carefully read a wide range of information and pay more attention to argument quality of posts, which consisted of the post content and other followers’ input regarding the product. Through the lens of Elaboration Likelihood Model, this study suggests that retailers should pay particular attention on the argument quality of a post and post popularity. The argument quality of a post is the influential factor determining persuasive and credible posts, further leveraging post credibility for consumers with a low level of trust on the sponsored post.

Introduction Celebrities are actively capitalizing on their fame and credibility by launching their own brand extensions which are heavily promoted on Instagram. This situation is especially prevalent in Malaysia among many local Malay ‘celepreneurs’. While consumers’ constant involvement with a celebrity on Instagram is believed to result in the purchase of celebrity branded products, the central question of how a causal variable such as Instagram involvement has an effect on the outcome of purchase has been less explored in contemporary studies. The role of celebrity adulation and style conformity in the context of celebrity branding-cum-entrepreneurship deserves much attention given the strong influence celebrities exert on young consumers in this digital era of accessible information. Research framework Given the admiration that young consumers have towards the celebrities they follow on Instagram, celebrity worship, in both pathological and non-pathological form, is believed to be a crucial link between their involvement with the social media and their desire to imitate their favourite celebrity’s style. Eventually this paves the way for the purchase of celebrity brand products given that getting the products is an avenue for the young consumers to attain their celebrities’ style. Therefore in this study, four variables that mediate the relationship between Instagram involvement and purchase of celebrity branded products are examined: celebrity worship as manifested across three varying levels particularly entertainment-social (lowest form of worship); intense-personal (mid-level); borderline pathological (highest level); and style conformity. Method Data was collected from 226 Malaysian women of Malay ethnicity who are active Instagram users and fall under the technology-savvy Millennial segment using a self-administered questionnaire. This segment of consumers is technology savvy and has personalities and lifestyles (Gurau, 2012). They also tend to imitate their favourite celebrity in contrast to their male counterparts (Djafarova & Rushworth, 2017). Measures for the mediating variables were derived from McCutcheon et al.’s (2002) Celebrity Worship Scale and Park and Yang’s (2010) items on celebrity style conformity. A five-point scale (1=strongly disagree to 5=strongly agree) was utilized to capture the responses to the variables measured. Analysis and results Serial multiple mediation testing was applied on the data using variance-based structural equation modelling. The multiple mediation analysis showed that of all the three levels of celebrity worship which mediate the link between Instagram involvement and style conformity, only celebrity worship (entertainment-social) was found to be a significant mediator between Instagram involvement and style conformity (Indirect effect=0.127; t-value= 3.285, 95% Boot CI: LL=0.059, UL=0.216). In addition, the presence of a serial mediation was detected for the link between Instagram involvement-celebrity worship (entertainment-social)-style conformity-purchase of celebrity brand products (Indirect effect=0.04; t-value=2.954, 95% Boot CI: LL=0.02, UL=0.08). Conclusion The serial mediation testing in this study has demonstrated that celebrity worship and style conformity serve as the missing link between the involvement-purchase relationship. Furthermore, the multiple mediation testing has shown that only celebrity worship at the basic level functions as a mediator. The findings of this study imply that the use of Instagram is indeed a compelling marketing communication tool that fosters the purchase of celebrity brand extensions. Constant involvement in Instagram by following the celebrity, liking, reposting, commenting or hashtagging on the celebrity’s account builds a keen sense of devotion for the celebrity whereby the individual will constantly watch, read and learn about the celebrity. This then heightens the user’s desire to emulate the style of the celebrity which may well lead them to purchase the celebrity’s products in an effort to imitate the celebrity’s look and demeanour. strong desire for and high willingness to spend on branded products that match their

Modern luxury research draws upon the concept of conspicuous consumption, the act of publicly displaying luxury goods as a means of showing-off one’s wealth (Veblen, 1899). Millennials are considered to be the next generation of luxury consumers. Instagram being a highly visual social media platform creates an environment that is fit for setting the scene by displaying wealth. This study explores millennials’ display of experiential luxury through personal branding strategies on visual social media, looking at the case of ‘Millionaires’ of Instagram. We collected data through an anonymously curated platform on Instagram called “Rich Kids of Instagram”. We carried out a visual content analysis and a netnography. Findings revealed two main aspects of the personal branding strategies (Peters, 1997) adopted by wealthy micro-celebrities. First, the restrained use and lack of display of conspicuous luxury branded products. Second, an emphasis on experiential luxury through the use of geo-tags. These findings carry theoretical implications. Contrary to more ‘traditional’ luxury consumption theories (Veblen 1899), findings showed that wealthy millennials put an emphasis on more unconventional and immaterial - rather than material - aspects of their luxury consumption. The experiential nature of luxury consumption was exemplified by the almost systematic use of geo-tags. Followers seemed to be especially motivated by this aspect of the luxury consumption experience, which can be seen as a truer, more authentic, form of consumption experience. This study also contributes to the understanding of how millennials conceive luxury consumption in a broader sense. Experiential luxury, rather than luxury products (Hemetsberger, von Wallpach, and Bauer 2012), appears to be the main focus of luxury consumption for this new generation of luxury consumers.

Despite of its strategic role in shaping corporate image, Instagram predicts that 70% of its contents are not seen by users due to content overload and saturation problems. As more than 95 million photos are shared on Instagram on daily basis, when accessing Instagram, users are bombarded with a lot of visual information and consequently tend to selectively choose photos to pay attention to. Therefore, it is important for marketers to design an ads that has the ability to stop consumers and hold their attention for enough time to be processed cognitively before they scroll up or down to see other photos. This study investigates how visual aesthetic, vividness, and message type of pictures posted on Instagram affects customer responses. A content analysis of 3,952 brand content posted between July and December 2017 was conducted from the official Instagram accounts of seven global luxury brands. The top-listed brands on the Luxury Fashion Social Index namely Burberry, Calvin Klein, Chanel, Gucci, Hermes, Louis Vuitton, and Prada; were investigated as they were considered as good representatives of luxury brands with good social media presence. The coding guide in this study included the numbers of consumer responses (likes and comments), visual aesthetic (classical and expressive), vividness (high and low), and message type (literal and symbolic). For the independent variables, binary coding was used. ANOVA was used to test the hypotheses. Findings suggest that brand posts using expressive aesthetic image received more likes and comments on Instagram than the ones with classical aesthetics. Brand posts with high level of vividness receive more likes and comments than the ones with low level of vividness. Brand posts adopting using symbolic message receive more likes and comments than the ones implementing literal message. The results also suggest that there was a significant interaction between visual aesthetics, vividness, and message types in generating likes Brand content on Instagram using a combination of expressive aesthetic, high vivid, and symbolic message generates more likes and comments than any other combinations. Instead, the content adopting a combination of classical aesthetic, low vivid, and literal message produced the least responses. From theoretical perspective, findings can extend and modify media richness theory to luxury brand and social media contexts. Instagram can be used to display brand contents with various levels of vividness. This study imply that luxury consumers favor expressive aesthetics and symbolic message more positively indicating that they tend to have high level of need for cognition in consuming brand messages. Luxury brand marketers can increase their cognitive load by increasing the level of information complexity increasing the number of colors or patterns, using metaphoric statements, or crafting symbolic messages when creating brand posts on Instagram.

Consumers are increasingly using social networking sites to get information about their interests. Among them, Instagram has recently reached 800 million active users (Instagram, 2017) and has a higher rate of engagement compared to Facebook or Twitter (Locowise, 2017). Despite its growing relevance, the academic research related to Instagram is still scarce. To go a step further in this topic, this research aims to examine the role played by creativity and positive emotions in driving users’ behaviour on Instagram. On the basis of the Stimulus-Organism-Response (S-O-R) framework (Donovan and Rossiter, 1982; Mehrabian and Rusell, 1974), we propose that perceived creativity (stimulus) applied to the uploaded photos or videos on Instagram results in developing positive emotions (organism) [H1]. In the same way, the use of creative posts can also affect human responses on that account, as affective commitment [H2] and interaction intention [H3]. Additionally, as a consequence of processing the information posted on Instagram account, positive feelings may arouse, resulting in greater affective commitment [H4] and interaction intention [H5]. Finally, users who experience an affective commitment with an account may tend to be more involved by interacting in the account [H6]. Data to test these hypotheses was collected from an Instagram account focused on fashion due to the relevant role that creativity has in this industry and the increasing use of this social networking site among fashion companies (Casaló et al., 2017). We obtained a sample of 808 participants which answered a questionnaire including several multiple-items measurements scales adapted from previous literature. We used a seven-point Likert-type as the response format, from 1 (“strongly disagree”) to 7 (“strongly agree”). Data analyses were carried out using SmartPLS 2.0 (Ringle et al., 2005). First, we analysed data to check validity of measures so as to confirm the factor structure, ensuring internal consistency and both convergent and discriminant validity. Results of the proposed model revealed the positive influence of perceived creativity on positive emotions (H1: β=.24, p<.01), affective commitment (H2: β=.40, p<.01) and interaction intentions (H3: β=.60, p<.01). In addition, positive emotions affect both affective commitment (H4: β=.15, p<.01) and interaction intentions (H5: β=.18, p<.01). Finally, affective commitment is also positively related to interaction intentions (H6: β=.25, p<.01). This study confirms the key role that both perceived creativity and positive emotions have on users’ responses in the Instagram context. These findings have interesting implications for management of Instagram accounts suggesting the development of creative content as well as generating positive emotions to engage followers to a greater extent in the account.

Authenticity is an important topic in business activities and society at large. Sustainability management and marketing activities are required as consumers become more interested in society. The consumer evaluation of brand authenticity is a crucial factor in a brand’s reputation and long-term growth, which affects brand loyalty, electronic word of mouth (eWOM) and purchase behavior. With this latest trend, luxury brands are paying attention to sustainability activities, but consumer confidence in the sustainability of luxury brands is still low. Experts emphasize that building trust with customers by promising authenticity is a key challenge. Meanwhile, luxury brands are actively communicating with consumers through SNS, such as Instagram. Social media marketing directly and indirectly influences brand authenticity, as well as purchase intentions and eWOM. Nevertheless, there is little exposure to sustainability activities in the social media accounts of luxury brands. Therefore, the purpose of this study is to examine the relationship between the sustainability activities on the social media of luxury brands and brand authenticity, as well as the effects of brand authenticity on eWOM and purchase intention. For this study, we conducted an online survey targeting individuals with ages of 20–30 years and who are highly interested in society while actively using social media. The collected data were analyzed using the SPSS 21.0 software package. The main finding of this study reveals that consumers are more aware of brand authenticity when they see an Instagram post that includes messages about sustainability rather than a post without any such messages. In addition, brand authenticity has positive effects on eWOM and purchase intention. These findings suggest that sustainability marketing by luxury brands leads to positive consumer response, and the broadcasting of messages about sustainability via social media is effective for the marketing strategy of luxury brands.

Many fashion brands have established brand pages or accounts in social media platforms as a vehicle to promoting brand and managing customer relationship. Customers’ interaction in social media with other customers and brand page maintainers could attract their attention of the brand and inform their purchase decision. Despite the significance of the interaction in social media, there has limited attention on the social media using experience specified in fashion brand area. Drawing on theories and concepts from diverse areas including social media marketing, consumer psychology, and fashion brand management, this study propose four dimensional of social media using experience to understand how the experience with fashion brand page could enhance customers’ fashion consciousness and status consumption behavior. Data collected from customers who following main fashion brand pages in Instagram and used to test the hypotheses. Implications for research on social media marketing of fashion brand are discussed.

The phenomena of fashionable hijabi - headscarf-wearing women - who crowded social media has been seen in the past three years. Social media is progressively penetrating daily media using (Hinton & Hjort, 2013). Indonesian hijabis also use social media to show her creativity in styling their outfit and hijab and share it to others thus like-minded people are inspired to do the same thing too, to combine the fashion and faith. Indonesia, as the largest Muslim majority country has benefited this booming of hijab fashion in articulating the Muslim lifestyle. This trend is triggered by 30 young Muslim women who then formed Hijabers Community. One of them was Ria Miranda, who is known as one of hijab fashion movers in Indonesia, is then now a prominent Muslim fashion designer in Indonesia. Ria Miranda is actively using social media for her marketing strategy from the booming of blog, Facebook, Twitter then now Instagram and the newest one is YouTube. Her team is using many forms of social media to engange with customers. She has her own Instagram under the name @riamiranda which has more than 500.000 followers as for personal branding including her daily activities, her family story which is considered now as "family goals" and also her designer life. Her husband under the name @pandurosadi serves as her co-branding which sometimes tell a "behind-the-scene" of her designer wife's activities, his family and his romantic words to her wife. She also has an instagram as for the information about her brand named @inforiamiranda which has more than 80.000 followers. She builds a very good relationship with her customers who then claimed to be Ria Miranda Loyal Customer or RMLC. These customers are die-hard fans who always hunt her products and they also sometimes serve as word-of-mouth on their social media platform especially on Instagram. They always wear Ria Miranda’s products and post their photos under the hashtags that of Ria also uses, they also put their biodata as “Ria Miranda Loyal Customers” which becomes a pride for them. Ria Miranda uses a several hashtag to differentiate her timeline feeds and the most used ones are #riamirandastyle, #RMLC and #riamirandasale. These hashtags are also used by unofficial sellers of her products because her producst are not easy to get thus there are many people who sell their items to others. Apart from only selling her fashion products, Ria tells a story, she tells her lifestyles as her digital strategy engagement. That is what Indonesian people are looking for, a role model. Her product was once only women’s clothes but now it also ranges to accessories such as eyeglasses, necklaces, shoes and bags. It is not only designed for women but also kids and the newest one is for men. So it is a family-package brand. In 2016, she makes several activations including private preview collection show to several big cities around Indonesia that has its store branches and this program also included to invite her customers to travel together and it ended up with fashion show and bazaar. No need to explain, her products were all sold out in minutes. Other events are Ria Miranda Trend Show which is an annual event, this year is the forth time. It was held on December for two days, not only about fashion show but also talkshows about trend in fashion, beauty, e-commerce, lifestyle, music and family. Before this main event, it held several pre-events about Beauty and Make Up class and talkshows about Fashionpreneur that were also crowded by her customers. The most interesting was that it also made a challenge in Instagram called #30dailychallenges that has been used for more than 5.000 posts in Instagram. This program was about a challenge to post our photos on Instagram with several thematic topic such as about the style, hijab outfit of the day that mostly knonw as #HOTD and other daily activities related to Ria’s products and other products that are collaborated with her such as cosmetics and e-commerce. Ria can be said as a good designer in Indonesia. I have a high curiosity about how she can make her customers loyal to her and always want to buy more and more. Besides that she made a good and high quality product, her clothes are not cheap but her customers are always willing to buy and even compete to have her products. They have created many words that are only understood among them, we need a dictionary to know the meaning of them such as #PPCi, #RMLCii, #RMTSiii. I want to analyze them too. This research will employ a qualitative research method which will use more words than numbers (Stokes, 2003) with non-participants observation and visual semiotics analysis. Semiotics is the study of signs that is useful to interpreting the text (Berger, 2014; Howells, 2003; Jensen & Jankowski, 1991; Stoke, 2003). In here I will analyze the Instagram's photographs, captions and also the hashtags that contain meaning behind their usings. Globally, Instagram has reached 500 million users and Indonesia is ranked as the third countries with most users after Japan and Brazil. 89% of instagram users are between 18 – 34 years old and dominated by women with a portion of 63% (Edwin, 2016). Instagram helps designers to show their product freely and got global exposure as long as they can provide a good quality of photos. Fashion and technology are the most popular products among Indonesian Instagram users and they must have ever made a shopping experience from their Instagram’s brands they follow. Apart from that, Indonesians use instagram to find inspiration, share their travel experience and to find information about new trends. I also use in-depth interview to understand more about this brand. I have been able to interview her husband who serves as Business Development and who creates the strategy behind this brand. I want to know deeper about the digital strategy of Ria Miranda brand as it is actively using social media to engange with customers and how it creates consumer culture for fashionable hijabi. Consumer culture is simply the tendency of people who consume what is available on the market through different types of shopping platforms such as on the Internet, retail and shopping malls (Lury, 2011). This research’s goals are to examine the digital strategy of Ria Miranda and team that has been used on Instagram. I hope that this research will contribute to the way how we use social media to make a profit, share positive things and to know more about the new digital strategy. The future work will be possible to analyze about YouTube video that Ria Miranda has newly engaged with.

As a contemporary, postmodern marketing strategy, digital storytelling is the virtual means by which a story can be organized. Less traditional than a conventional beginning, middle, and end narrative, the genre suggests that individuals connect the dots of a story by comparing their reading with others. This research examines Christian Dior’s Secret Garden IV campaign film as it is broadcasted on YouTube for six weeks and diffused through Instagram. Through a grounded theory approach we measure and analyze audience engagement and key themes expressed through user-generated content on YouTube and Instagram. Manual coding and three computer-aided text analysis programs are used to analyze the data and triangulate results. This research contributes to the literature on consumer engagement in digital storytelling, online brand communities, and celebrity endorsement. Introduction Digital technologies have improved the aesthetics of content creation, enabling brands to develop deeper levels of engagement with consumers through social channels (Merrilees, 2016). Every day hundreds of millions of hours of video are consumed on YouTube and the number of high performing channels has been increasing by 50% per year (YouTube, 2017). Instagram’s monthly active users have grown from 300 million in December 2014 to 600 million in December 2016 (Statista, 2017). Within the social media sphere, commercial and individual users connect through multiple platforms and devices to share ideas and information without the constraint of time and space (Gruzd & Wellman, 2014). The digitization of visual culture provides users with so much content that it may even result in information overload (Babin et al., 2017). This research focuses on the fashion sector and social media platforms that cater specifically to visual imagery and video content. The logic is twofold: the fashion industry is inherently visual and research on a study of eighty-three fashion brands indicates a shift from traditional advertising to video products, especially on social media (L2 Inc., 2016). We examine elements of French luxury goods company, Christian Dior’s Secret Garden omni-channel marketing campaign. As a collection of short films shown on YouTube and in other media, the campaign had four annual installments beginning in 2012. The Secret Garden series explores the brand’s past and present within the context of the 21st century Palace of Versailles. Our focus is on Secret Garden IV, launched in May 2015, featuring singer/songwriter Rihanna as the protagonist. Dior’s portrayal of Versailles throughout the Secret Garden series reflects undertones of its monarchial heritage and its high fashion prestige. In Secret Garden IV, there is a juxtaposition to this theme when Rihanna’s subculture persona and celebrity status (Fleetwood, 2012) presents a misalignment between luxury ideals and Rihanna’s position in popular culture. Table 1 provides an overview of the history of the campaign. This research measures and analyzes audience engagement and key themes expressed through users’ comments on YouTube and Instagram for the pre-launch and launch of the Secret Garden IV campaign. Through a grounded theory approach we identify, analyze, and validate keywords and group them into themes utilizing both manual coding and computer-aided text analysis (Lai & To, 2015). We utilize three software programs (Tableau, NVivo 11, and Leximancer) to triangulate results. The scholarly literature on fashion luxury goods is scant and this methodological approach is sound (Neuendorf, 2017). Five recent scholarly articles on luxury fashion goods and social media were identified. One relates to storytelling and is visually-focused (Megehee & Spake, 2012); three develop models (Kim & Ko, 2010; Kim & Ko, 2012; Brogi et al., 2013); and one uses the case study approach (Phan et al., 2011). This research fills both a theoretical and a methodological gap. We examine a digital storytelling campaign across social media platforms with the prospect of new theoretical insights. According to Snelson (2016) there is scant social media research on YouTube and Instagram and social media research using a grounded theory approach is also limited. Theoretical background Digital Storytelling Digital storytelling uses technology as an extension of oral and written stories “…to solidify our cultures and share knowledge for the future” (Irwin, 2014, p. 40), placing engagement with digital media as an extension of the self. People naturally think in narratives and stories, rather than arguments and paradigms (Megehee & Spake, 2012) and may use digital storytelling to order otherwise disconnected experiences into interrelated, meaningful episodes (Vannini, 2012). By connecting the dots of a story on social media users have the opportunity to formulate meanings of their own and build interpretations by comparing their “reading” with that of others. Social media has empowered the consumer by enabling communication that is multi-way, multi-directional, and led by the consumer (Tuten & Solomon, 2015). The fashion film on the internet has been viewed as “a genre that is not is not simply a tool to stimulate consumption, but is something that is set to change our notion of fashion as a moment in time” (Khan, 2012, p. 236). In her review, “100 Years of the Fashion Film,” Marketa Uhlirova posits that contemporary technologies aimed at a film’s “potential to promote fashion” turned into “the medium’s ability to recast consumption as seductive visual entertainment,” devaluing a fashion film’s potential for not only entertainment and visual pleasure, but also for experimentation and innovation (Uhlirova, 2013, p. 140; p. 153). Online Brand Communities As a hub of value creation in the consumer marketplace, brand communities are an enthusiastic, passionate group of customers who express similar commitment towards a brand or product and may not be geographically bound (Muniz Jr. & O’Guinn, 2001; McAlexander et al., 2002). In brand communities created by marketers, organizations may stimulate engagement, brand loyalty and the expression of positive emotions and trust (Bagozzi & Dholakia, 2006; Jung et al., 2014). Customer engagement behaviour pertains to a variety of online and offline behaviours (e.g. word of mouth, blogging, customer reviews) that are not transactional, but can be measured (Verhoef et al., 2010). Although positive word of mouth and brand advocacy are not guaranteed, an organization’s most engaged social customers have the potential to communicate messages that are perceived as more credible than those generated by the organization (Kozinets et al., 2010). A high level of engagement may be described as delight or joy. Engagement requires strong emotional and relational bonds (commitment and trust), and may transform customers into loyal “fans” or co-creators of value (Hawkins & Davis, 2012). A study of customer engagement behaviour in a social media environment is complex because engagement behaviour in different channels may vary considerably, with a different effect on value creation or purchase intent. For example, if a customer tweets on a mobile device his/her engagement and purchase intent may differ from engagement and purchase intent as a result of interaction with a video or blog (Libai et al., 2010). Celebrity Endorsement A celebrity endorsement is defined as “an agreement between an individual who enjoys public recognition (a celebrity) and an entity (e.g., a brand) to use the celebrity for the purpose of promoting the entity” (Bergkvist & Zhou, 2016). Celebrity endorsements previously were associated primarily with consumer goods and services advertised through traditional media, such as print and television. More recently, these endorsements encompass any mode of communication as well as business-to-business goods and services. This update is significant considering the addition of advertising on the Internet, in social media, “stealth marketing” on TV talk shows (Kaikati & Kaikati, 2004) and red carpet appearances (Carroll, 2009). Theories related to celebrity persuasion that have application to the fashion industry have examined the way consumers process information from marketing communications and relate it to their self-concept (Carroll, 2009). To the consumer, the celebrity represents a meaning, based on the recognition s/he has received in the symbolic environment and his/her persona. This meaning is transferred to the product when the celebrity is seen in the marketing communication. In the final stage, the meaning moves from the product to the consumer, who transfers the meaning into his/her notion of the self-concept (Carroll, 2009). This transference effect benefits the brand (Tuten & Solomon, 2015) and the consumer who may use products to reveal their self-concept to others (Babin, et al., 2017), especially in high involvement consumption situations (Ahuvia, 2005). Method Sample Instagram and YouTube data were collected using Netlytic (Gruzd, 2016) for the period May 14 – June 24, 2015 for the purpose of capturing data before and after the official release of the film (May 18, 2015). A total of 8,986 records (uncleansed) are in the Instagram (#SecretGarden4 and @Dior) database and 426 records (uncleansed) in the YouTube database. Multiple URLs were used for YouTube because there were four previews, and short and long versions of the film. Procedures The data was cleansed (236 YouTube posts; 6,763 Instagram posts). To measure sentiment and engagement, a text analysis was performed using an adaptation of Dann’s Twitter (2010) classification. Through a grounded theory approach (Lai & To, 2015) key words, concepts and themes were identified and triangulated using Tableau, NVivo 11, and Leximancer software programs. Concluding Remarks As a multi-year campaign, Dior’s Secret Garden was meticulously crafted to project an understanding of Dior’s brand image and to create an air of anticipation for consumers. Within the context of digital storytelling we delve deeply into how the last installment of this campaign resonated with consumers who watched the film on social media and responded to Dior’s Instagram initiatives. Through our mixed methods research approach, we develop theoretical and methodological contributions that benefit academics and fashion marketers.