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.

consumption, has been attempted to replace with sharing economy which is consumer-to-consumer’s activity of obtaining, giving, or sharing the access to goods and services (Hamari et al., 2016). Research argued that the sharing economy develops based on information and communication technology (ICT) as it is an emerging economic-technological phenomenon, proliferation of using social networking site (SNS) (e.g. Instagram, Facebook, YouTube), and increased consumer awareness (Belk, 2014; Hamari et al., 2016). SNS refers to a digital environment that allows individual to create his/her space where sharing and constructing relationship with others are possible (Lin & Lu, 2011). Among the numbers of SNSs, Instagram is gaining notable attention as powerful marketing tool which may especially be important for fashion industry. Hutchins (2017) reported that number of its daily active users exceeds 400 million, and 90% of users are under 35 who may be familiar with the idea of the sharing economy. In terms of marketing, 53% of Instagram users are found to follow their favorite brands (Hutchins. 2017). According to Ryan and Deci (2000), consumer behavior of using information technology such as Instagram was influenced by extrinsic and intrinsic motivations. Although numerous researches have done with the sharing economy and SNS respectively, despite the recognized role of SNS in the sharing economy, comprehensive and empirical study of the sharing economy and SNS is very limited. Hence, the purpose of this research is to investigate consumer’s motivations to use Instagram for participating sharing economy by developing research framework based on the motivation theory (Ryan & Deci, 2000) perspective.

In the fashion industry, online opinion leaders (e.g. fashion blogs) that may be a source of advice for other consumers have emerged since the beginning of the century. Nowadays, among the several social networking sites (SNS) available, Instagram is also experiencing a steady increase in the amount of active users related to the fashion industry. Taking into account the relevant role of social influencers in the fashion industry (Wiedman et al., 2010) and the increasing use of Instagram by influencers and their followers, this study is thus designed to identify some of the antecedents and consequences of opinion leadership in a fashion Instagram account. First, we consider the perceived characteristics of the account (originality [H1a], uniqueness [H1b], quality [H1c] and quantity [H1d] of the contents posted) as the main antecedent factors of opinion leadership. Second, since opinion leaders are thought to have a great understanding of a specific product category (Thakur et al., 2007), we propose that opinion leadership may influence consumer behavioral intentions (Park, 2013). Specifically, opinion leadership will influence the intention to interact with the Instagram account (H2a), the intention to recommend it (H2b) and the intention to follow the advices obtained there (H2c). Finally, online interaction propensity will reinforce the influence of opinion leadership on interaction (H3a) and recommendation intentions (H3b), and the influence of opinion leadership on the intention to follow the advice will be reinforced when the contents of the account match the consumer personality and interests (i.e. personal fit) (H3c). Data to test these hypotheses was collected from an Instagram account focused on fashion in which a potential influencer posts pictures related to new trends in the fashion industry and that could be imitated by the followers of the account. Specifically, this account has more than 62.000 followers, who were invited to participate in the research. Finally, 808 participants answered a questionnaire including measurement scales adapted from previous literature, using seven-point Likert-type response formats, which respondents rated from 1 (“strongly disagree”) to 7 (“strongly agree”). Partial Least Square was used as the estimation procedure. First, we analysed data to check validity of measures in order to confirm the factor structure, guarantee its internal consistency, and check both convergent and discriminant validity. After that, results of the proposed model reveal that opinion leadership is positively affected by perceived originality (β=.380, p<.01) and uniqueness (β=.298, p<.01), supporting H1a and H1b. However the influence of both perceived quality and quantity is non-significant. In turn, opinion leadership has a significant influence on the intention to continue interacting in the account (β=.558, p<.01), the intention to recommend the account online (β=.482, p<.01), and the consumer intention to follow the advice received in the Instagram account (β=.232, p<.01). As a result H2a, H2b and H2c are supported. Finally, while the interaction effects of online interaction propensity and opinion leadership are not significant, the interaction effect of perceived fit with personal interests and opinion leadership on the consumer intention to follow the advice received in the Instagram account (β=.078, p<.01) is significant. Therefore, H3c is supported. In sum, this study confirms that opinion leadership in the Instagram context may influence consumers and finds that originality and uniqueness are the key variables to develop this leadership and become influential, which suggests several implications for management.

Social media has quickly becoming tools of choice for communicating between brand and their customers. Among all social medias, instagram is seen as the most effective one, especially for fashion brands. Instagram’s main function to share videos and pictures is suitable with visual communication methods that is often being used by fashion brands. Posts with high amount of likes and positive comments may increase brand awareness and can trigger positive e-WOM (Electronic Word of Mouth) among customers and potential customers. Why is communicating with consumers very important? Because in this era consumers are brands’ most trustworthy and loyal marketers for company’s products (Çukul, 2015). Customers are likely to believe review from their families and friends rather than reviews that is being written by the company itself (Chang, 2014). Realizing the importance of nurturing positive word of mouths among customers, this paper is going to use qualitative analysis to analyze Instagram posts of well-known local fashion brands to find out what kind of post that will generate the highest positive e-WOM feedback from the audience. Content of Instagram account of researched brands are being examined according to post type (photo / video), content type (9 elements), number of likes and reviews, photo type (amateur / professional), and shooting place (studio / outdoor / shops). Analysis is conducted to understand what kind of Instagram post that will give positive feedback from their customers. The result of this paper will serve as guidance for company to tailor interesting and engaging post hence increasing the probability of creating positive e-WOM that will increase brand image that ultimately will increase sales.

Content commerce, which combines commerce with SNS content, such as videos, photos, and images, is growing rapidly in various forms. Recently, content commerce has grown from an auxiliary means of introducing products or providing information about them to content commerce, which brings out the fun and empathy of the content further. andar Ltd., a medium-sized business, initially began with Instagram influencer Ms. Shin Ae-yeon. The influencer and her related brand can be seen using a variety of content creation strategies for mutual development. In one everyday picture of her, product information, brand philosophy, and her attitude toward consumers can be seen in the composition of the photo. In the published commerce content, various design strategies can be seen combined in multiple layers. In the published contents for commerce, it was shown that various areas of design strategies are combined in multiple layers. The foundation for of the andar Ltd.’s branding success was the activation of an SNS-based ‘cell- marketing’1) system in which individual influencers could channel, sell, and distribute. The author analyzed the latest 312 posts from andar Ltd.’s Instagram accounts, discovering a convergence design strategy in at least 10 areas, such as fashion design, fashion styling, advertising communication, creative advertising, public relations communication, photography, visual communication design, editorial design, information design, marketing, etc. As part of its advertising design, testimonials were displayed alongside series ads on the same page. The application of storytelling techniques to creative advertising was attractive to andar Ltd., as storytelling appeals to the company’s brand values. Celebrity endorsements have been also used. Ms. Shin Ae-ryeon regularly broadcasts live videos on Instagram. Having a space to communicate can attract more attention from consumers, leading to product purchases. The analysis of andar Ltd.'s case shows that recently, the consumption structure for content has rapidly moved from portal site searches to content commerce on SNS platforms. Nowadays, the newly changed distribution system and the status of converged design have come to apply as a whole to both the seller and the customer. The analysis also found that the number of views and comments for video content was greater than that for still photos. Furthermore, the ripple effect for video content and live videos appeared to be more pronounced.

본 연구에서는 한옥식음공간의 인테리어 디자인 기획 시 활용 될 수 있는 서비스스케이프 요인에 기반 한 디자인적 요소 제안을 목적으로, SNS상에 업로드 된 익선동 한옥 식음공간의 이미지들을 활용하여 공간적 특성을 분석하였다. 연구방법으로는 문헌조사를 통해 식음공간과 서비스스케이프에 대한 고찰을 실시하고, 식음공간의 서비스스케이프와 관련된 선행 연구를 조사하였다. 다음으로 이론고찰을 통해 도출된 서비스스케이프 요인을 기준으로 사례를 수집하였다. 사례 수집은 사용량이 많고 성장률이 높다고 조사된 두개의 매체에서 해시태그를 적용해 수집하였다. 173장의 이미지 중 이론고찰에서 도출된 서비스스케이프 요인에 해당하는 69장을 조사 및 분석을 실시하였다. 연구결과는 다음과 같다. 첫째, 매력성 요인에 서 외관은 한옥의 모습을 많이 변형하지 않고 내부공간을 현대적으로 스타일링 한 사례가 많아 현대의 라이프스타일 속에 조화롭게 구성 된 한옥 식음공간을 소비자들이 선호함을 알 수 있었다. 입구는 나무소재 그리고 간판은 전등을 사용하는 디자인이 다수였으며, 한옥식음공간 방문 후 가장 많이 업로드하는 이미지의 공간이 입구와 간판이라는 것을 보았을 때, 입구공간에 대한 중요성을 밝힐 수 있었다. 공간성요인으로는 기와지붕이 보이는 테라스 공간, 정보성요인에서는 개별 메뉴판과 장식이 없는 카운터 디자인에 대한 선호도가 높음을 알 수 있었다. 본 연구결과가 한옥식음공간을 기획 할 시 중요한 자료로 활용되기를 기대한다.

현 시대의 문화와 흐름에 맞춰 기업에서는 기존과 매우 다른 방식의 퍼스널 마케팅 전략으로 이어지고 있다. 개인들의 취향에 맞는 다양한 인플루언서를 활용하거나 소비자들의 유형을 세부적으로 분석한다. 이러한 흐름에 따라 본 연구에서는 인스 타그램에서의 이용 동기가 인플루언서 속성 및 관계유지에 미치는 영향을 조사하고자 한다. 또한 인스타그램 이용자들에게 정보를 제공하는 인플루언서의 속성으로 본 연구의 매개효과를 분석하기 위해 인스타그램 계정 및 게시물을 온라인 서베이를 통해 예시물로 제시하였다. 연구방법은 Amos 구조방정식을 통하여 변수들간의 인과관계를 분석하였다. 연구결과 이용 동기의 자기표현 동기는 관계유지에 유의한 영향을 나타냈으며 정보이용 동기는 관계유지에 유의한 영향을 나타내지 못하였 다. 그러나 본 연구의 핵심인 매개 역활을 하는 인플루언서의 속성인 매력성과 신뢰성이 자기표현 동기와 관계유지의 영향에 있어서 부분매개로 도출되었으며, 정보이용 동기와 관계유지의 영향에서는 완전매개로 도출되었음을 나타내었다. 이러한 연구결과로 인하여 인스타그램을 통한 이용자들과 관계유지는 인플루언서의 정체성을 표현할 수 있는 심리적인 동기가 더 크게 작용한다는 것을 알 수가 있다. 자신을 표현하고 공유하는 행위로 콘텐츠를 재생산해내는 능동적 행위로도 해석할 수 있으며 이용자들의 설득과 태도에 영향을 미치는 중요한 속성으로 해석된다. 이는 인플루언서의 매력성과 신뢰성이 인스타 그램 이용자들에게 그만큼 중요한 역할을 한다는 것을 알 수가 있다. 기업에서는 이러한 연구결과로 개인 소비성향이 강해지고 있는 소비자들에게 적합한 콘텐츠로써 인플루언서 전략을 활용한 더 나은 소비문화를 형성할 수 있을 것이다.

최근 패션 산업에서는 사진과, 동영상, 텍스트를 이용해 메시지를 간편하게 전달할 수 있는 인스타그램을 적극적으로 활용 하고 있다. 특히 시각적인 콘텐츠를 추구하는 패션 브랜드의 효율적인 마케팅 플랫폼으로 활용 가능성이 크다. 국내 패션 산업에서 인스타그램의 실질적인 운영 방안의 토대가 되어줄 로컬 계정 콘텐츠에 관한 연구가 필요하다. 이에 본 연구의 내용은 첫째, 스포츠 브랜드의 인스타그램 로컬 계정의 콘텐츠 활용 현황을 살펴보았으며, 이를 바탕으로 콘텐츠의 메시지 전략의 특징을 분석하였다. 둘째, 스포츠 브랜드 인스타그램 로컬 계정 콘텐츠 구성의 특성을 파악하였다. 셋째, 테일러의 메시지 전략 관점에서 인스타그램 로컬 계정 콘텐츠의 메시지 특성을 도출하였다. 연구 결과, 스포츠 브랜드는 인스타그램 로컬 계정 콘텐츠를 이용해 제품 정보 및 이벤트 홍보, 브랜드 컨셉을 전달하려는 목적으로, 제품 사진이나 비 스포츠 스타 를 모델로 기용해 이미지와 텍스트가 결합된 형태의 콘텐츠를 주로 활용하는 것으로 나타났다. 이 때 브랜드명을 해시태그 로 걸어 콘텐츠의 핵심어를 쉽게 전달하고 있었다. 이런 구성 요소들이 모여 이뤄진 인스타그램 콘텐츠의 메시지는 수용자의 감성을 자극하여 제품에 대한 정보나 특징을 편안하게 받아들일 수 있도록 하는 메시지 전략을 가장 많이 활용하고 있었다.