While social media marketing opens a variety of new windows for enlightening brand–customer relationships, a gritty puzzle is that brand recognition does not invariably echo with customers’ perceived value. This provokes the need to uncover the missing pieces in bridging the gap between brand recognition and customer perceived value. This research falls within the innovative new work in the marketing literature in positing co-creation as a crucial mediator in facilitating the impact of brand recognition on customers’ perceived value. Based on social identity theory, we also investigated how co-creation is moderated by virtual communication identification in influencing customers’ perceived value towards a brand. We conducted a survey via a sample of 386 current Gogoro customers. Gogoro is the biggest and most well-known Taiwanese producer of electric scooters. Our findings contribute to the extant marketing research by emphasizing that the key stimulus of increased customer perceived value towards a brand is active co-creation initiatives via virtual brand communities, and that the effects of co-creation are further strengthened when customers’ virtual communication identification is high.

Consumers may not be fully aware of the level of personalization used in brand placements in digital advertising. Personalized brand placements use customer data to select and insert preferred brands into digital media content, such as having Coke appear in a YouTube video for someone who favors Coca-Cola. This personalization can enhance the consumer experience (Trifts & Aghakhani, 2018) but may also backfire if placements don't account for changes in brand preference or when personalized placements are co-consumed with a person whose preferences strongly diverge from one’s own (e.g., one’s romantic partner; Brick, Fitzsimons, Chartrand, & Fitzsimons, 2018). Brands have a significant impact on how people perceive each other. Brands convey social information and symbolic meaning (Keller, 1993; Levy, 1959) and can influence behavior (e.g., Fitzsimons, Chartrand, & Fitzsimons 2008) and provide a source of affiliation (Escalas & Bettman, 2003). However, less is known about how brands affect basic social connections like empathy. This notable gap is relevant to the evaluation of the impact of brand placements in digital advertising as brand logos are quite visible in brand placements and can be the first piece of information someone observes when forming an attitude towards another person. For example, imagine an Instagram post of a person wearing a Harley Davidson baseball cap. What kind of person did you imagine? Does your impression change if, instead, the brand was People for the Ethical Treatment of Animals, or the Trump Organization? Moreover, how likely would you be to engage with media showcasing a person supporting this brand. In the current research, we propose that personally disliked brands create a negative bias in person perception and consumer judgment, a phenomenon we coin “brand negativity bias.” Our results show that disliking a brand can reduce empathy for others and substantially bias attitudes toward a digital product associated with but not created by the brand. Specifically, we show process evidence that suggests disliked brand placements reduce (1) empathy toward others through reductions in perceived similarity and (2) attitudes toward a digital product through perceived similarity and empathy, as serial processes. In addition, although we do not empirically test an overall mechanism that explains the negativity bias in its entirety, we speculate several reasons that underlie the broad influence of personally disliked brands (e.g., symbolic, ideological, or moral). From a societal point of view, our findings inform the public to be mindful of how simple consumption cues can bias people’s decision making, which holds implications beyond consumer judgment in domains involving first impressions.

This research seeks to unveil how YouTube influencers and digital interaction can contribute to the process of customer-brand relationship and engagement. Based on in-depth interviews of female Youtubers devoted to the lifestyle categories, we aim to comprehend the engagement factors that influencers should rely on to promote engagement between their followers and the brands they advocate.

Today, the fashion business environment of the 4.0 generation is changing based on fashion technology combined with advanced digital technologies such as AI (Artificial Intelligence), big data and IoT (Internet of Things). “Digital Transformation” means a fundamental change and innovation in a digital paradigm including corporate strategy, organization, communication, and business model, based on the utilization of digital technology. Thus, this study examines digital transformation strategies through the fashion brand Burberry. The study contents are as follows. First, it examines the theoretical concept of digital transformation and its utilization status. Second, it analyzes the characteristics of Burberry’s digital transformation based on its strategies. For the research methodology, a literature review was performed on books and papers, aligning with case studies through websites, social media, and news articles. The result showed that first, Burberry has reset their main target to Millennials who actively use mobile and social media, and continues to communicate with them by utilizing digital strategy in the entire management. Second, Burberry is quickly delivering consistent brand identity to consumers by internally creating and providing social media-friendly content. Third, they have started real-time product sales and services by using IT to enhance access to brands and to lead consumers towards more active participation. In this study, Burberry’s case shows that digital transformation can contribute to increased brand value and sales, keeping up with the changes in the digital paradigm. Therefore, the study suggests that digital transformation will serve as an important business strategy for fashion brands in the future.

Small, independent and privately owned luxury companies face a number of challenges in today’s globalized and increasingly digitalized luxury market dominated by big luxury groups. However, the Internet and Social Media also create new opportunities. They enable luxury brands with limited resources to reach out to an international clientele and build brand awareness. Moreover, new channels and platforms allow for multifaceted storytelling, interactive communication with customers and data analysis for quick and continuous learning and improvement of strategies. While many luxury brands have long struggled in the digital sphere, which in many cases represents the exact opposite (e.g. openness, accessibility, dynamic change, etc.) of what luxury stands (or stood) for, a growing number of young and daring luxury brands with no legacy and heritage, embraces digital technology as an important, if not vital part of their business model from day one. Given the often high investment needed to start and sustain a company in the luxury segment, “born digital” luxury start-ups need to show a great deal of creativity, pragmatism, flexibility and a good sense for the actual tastes and preferences of their globally dispersed target group in order to be successful and cut out their share of the market in due time and despite fierce competition. By analyzing the case of VAULT, a Swiss luxury watch brand founded in 2014, the present study explores the main challenges of the young luxury brand with regards to positioning, communication, distribution and business development and the role of the Internet and Social Media for the company’s success. By deriving recommendations for similar brands, the study aims at a practical, but also a theoretical contribution.

This research investigates the effect of digital advertising on the customer-brand relationship, looking at the mediating role of privacy risk perceptions on consumers’ purchase intentions. Through an online experiment, authors show how the source of the customized promotion via e-mail (known source vs. unknown source) has implications on privacy risk perceptions which in turn influence purchase intentions. Theoretical and managerial implications are discussed.

Introduction With most consumers in developed countries actively using Internet in their daily lives (International Telecommunication Union, 2017), and billions of monthly active social media users (Facebook, 2017; Instagram, 2017), businesses across the globe work to ensure their efficient representation in the online environment. For luxury brands, digitalization poses unique challenges. While some luxury brands fully embrace the digital environment, whether through designing memes for their social media campaigns (Gucci, 2018), or through selling their luxury products via online channels (Vacheron Constantin, 2018), other luxury brands avoid digitalization. Some marketers suggest that “digitalization of luxury brands” is somewhat paradoxical, since customers of luxury brands expect exclusive access, insider knowledge, and more personalized, intimate service than online environment can offer (Deloitte Touche Tohmatsu Limited, 2015; Hennings, Wiedmann, and Klarmann, 2012; Popomaronis, 2017). Considering that “one size” does not fit all in marketing, could it be the case that digital presence has favorable impact on some luxury brands, but not on others? Brand personality, culture and values of luxury brands can work to create a traditional, or a more modern, brand image (Azoulay & Kapferer, 2003; Madhavaram, Badrinarayanan, & McDonald, 2005). It seems reasonable to assume that more modern luxury brands are expected to modernize, even in a digital capacity, while traditional luxury brands are expected to be resilient to change. In other words, digitalization might be perceived differently by customers of traditional luxury brands versus modern luxury brands. However, luxury brand literature is silent as to how these brands should engage audiences online. The primary goal of this paper is to determine whether digital presence leads to differential consumer outcomes depending on the luxury brand identity. Theoretical Development It is universally accepted that the online environment is one of the key factors impacting consumer outcomes in our digital age (Darley, Blankson, & Luethge, 2010). Specifically, brand website quality, interface, experience and website satisfaction all have a strong influence on the consumer decision process, and determine how consumers engage with and obtain knowledge of a brand (see Darley et al., 2010 for a review). Moreover, navigation and convenience of the brand website environment were found to be important predictors of consumers’ attitudes (Childers, Carr, Peck, & Carson, 2001). In fact, when it comes to evaluating brands and their websites, consumers are driven by three factors: website functionality (e.g., navigation), psychological factors (e.g., trust and feelings of reliability/professionalism), and content (e.g., website design) (Constantinides, 2004). At the same time, these three driving factors in website evaluation (i.e., functionality, psychological factors, and content) help build the brand identity, and create a specific brand image through brand presentation style, and the relationships created with customers (Nandan, 2005). A strong component of brand identity is brand personality. Using Aaker’s (1997) brand personality dimensions as a starting point, Heine (2009) developed a luxury brand personality scale, identifying the following traits: modernity, eccentricity, opulence, elitism, and strength. The first trait, modernity, refers to the temporal perspective of the brand, ranging from modern to traditional. ”Traditional” can mean conservative, classic, and old-fashioned, yet luxury brand positioning is often based on tradition, which results in low modernity (Esteve and Hieu-Dess, 2005; Mutscheller, 1992; Vernier and Ghewy, 2006; Vickers and Renand, 2003; Vigneron and Johnson, 2004). The concept of a “modern brand,” on the other hand, elicits associations such as contemporary, trendy, and progressive. For luxury brands, while Donna Karan New York would identify as a modern brand, Hermes provides an example of the traditional brand. Past research indicates that modern brands are more symbolic, embody conspicuousness, and do not require luxury knowledge. Furthermore, modern brands are often deemed more exciting (Aaker, 1997) and creative (Roux, Tafani, and Vigneron, 2017). In contrast, a traditional brand requires craftsmanship, represents aesthetic possession, and requires knowledge (Pitt, Berthon, Parent, and Berthon, 2001). While Kapferer (1998) considers that tradition and modernity are part of luxury brand identity, and thus strategy, only recent evidence demonstrates that luxury brand image can influence consumer evaluations and decision making (Roux et al., 2017). We suggest that luxury brand identity should impact the digitalization strategy of the luxury brands. First, even though past research suggests that e-commerce and use of social media bodes well for luxury brand strategy (Godey et al, 2016; Lee and Walkins, 2016), we argue that for modern (vs. traditional) luxury brands, digitalization and social media presence is viewed more negatively. This is due to the fact that modern brands are more symbolic, that is a sign of affluence (Pitt et al., 2001), and linked more closely to the trait of exclusivity (Roux et al., 2017). When negative attitudes of the modern luxury brand consumers arise, they will result in lower evaluations of the brand digitalization efforts (e.g., brand website). Formally, H1: Exposure (vs. no exposure) to the brand’s social media page will lead to lower (vs. higher) brand website evaluations for the consumers of a modern (vs. traditional) luxury brand. Given that consumers can express love for brands and designate status to brands, their overall relationships with a brand can influence brand website evaluations. However, consumers could attribute higher or lower value to a brand’s identity in the online environment, thereby determining the success or failure of luxury brand digital strategy (Quach and Thaichon, 2017). More specifically, consumers might perceive brand website to be an integral part of a modern brand’s image, and might not see a website as a critical component of a traditional brand’s image. In other words, a website of a modern brand might be subject of higher scrutiny than that of a traditional brand, and thus might be more dependent on the overall consumer attitudes towards the brand. Therefore, we propose that brand love can attenuate the negative influence of digitalization on website evaluations for a modern brand. As such, H2: For a modern luxury brand, high (vs. low) brand love will increase (vs. decrease) website evaluations. No such relationship exists for a traditional luxury brand. Study 1 One hundred and forty-six French participants were recruited on social media (Mage = 28; 71.9% female) to participate in a survey conducted in French about luxury brands. Participants were randomly assigned to one of four conditions in a 2 (Luxury brand: modern vs. traditional) x 2 (Social media page: shown vs. not) between-subjects experimental design. After viewing the website for either the brand identified during the pretests as traditional (Hermes) or modern (Celine), participants in the “social media page: shown” condition viewed the target brand’s Instagram page. Participants in “social media page: not shown” condition immediately proceeded to the study questionnaire. Following this, all participants responded to the questionnaire measuring the dependent variable, Website evaluations, on a 3-item 7-point scale (“How would you rate this website on the following features: design, navigation, and professionalism”, 1 - very negative and 7 - very positive; α = .94; Constantinides, 2004). Next, participants responded to two covariates, including two 7-point Likert-type items to capture Luxury brand knowledge (e.g., “I know more about luxury brands than most other people”; r = .96; p < .001; Mueller, Francis, & Lockshin, 2008), and one item measuring Luxury shopping habits (“How often do you buy luxury goods?”, 1 - more than once a month and 7 - never). Social media usage, as it pertains to this study in particular, was measured as a covariate on a one-item scale (“How often do you use social media?”, 1 - several times a day, 4 - at least once per month). Lastly, demographics were captured. An ANCOVA with the Luxury brand (0 - traditional brand, 1 - modern brand) and the Social media page (0 - not shown, 1 - shown) as the independent variables, Luxury brand knowledge, Luxury shopping habits, and Social media usage as covariates, and Website evaluations as the dependent variable yielded a significant 2-way interaction (F(1, 144) = 3.91; p = .05), driven by main effects of Luxury shopping habits (F(1, 144) = 5.28; p = .02) and Social media usage (F(1, 144) = 6.75; p = .01). The means revealed directional support that the traditional brand website was evaluated more favorably (M = 5.59) than that of the modern luxury brand (M = 5.38). Planned contrasts revealed that for those who saw the social media page, the Website evaluations were higher for the traditional brand (M = 5.56, SD = 1.48) than the modern brand (M = 5.10, SD = 1.88; F(1, 144) = 1.76; p = .06). For those who did not see the social media page, Website evaluations did not differ for the modern (M = 5.68, SD = 1.52) or traditional luxury brand (M = 5.63, SD = 1.53; F(1, 144) < 1). Moreover, for the traditional brand, the social media page did not influence Website evaluations (M = 5.56, SD = 1.48 vs. M = 5.63, SD = 1.53 for shown vs. not shown; F(1, 144) < 1). On the other hand, for the modern brand, Website evaluations were lower for those who saw the social media page (M = 5.10, SD = 1.88) versus did not see the social media page (M = 5.68, SD = 1.52 F(1, 144) = 2.61; p = .02). Thus, the modern brand was more influenced by digital strategies than the traditional brand, such that for the traditional brand, viewing the social media page did not influence the website evaluations. In contrast, viewing the Instagram page of the modern luxury brand had a negative influence on luxury website evaluations. The modern brand website, specifically, was viewed as less aesthetically pleasing, and less professional, after viewing the brand’s Instagram page. We speculate that this is because the luxury brand was seen as less rare, and special, after viewing its social media page, and these negative associations affected downstream consumer judgments when evaluating the brand website. Study 2 To formally test hypothesis two, European consumers speaking English were recruited via social media to participate in a study on luxury brands. An experiment using a 2 (Luxury brand: modern vs. traditional) x (Brand love, continuous) between-subjects design was undertaken. The Luxury brand variable was manipulated by exposing participants (N=128; Mage = 21; 60% female; 63% German) to one of the two brands recognized as either more modern (Chanel) or more traditional (Hermes). The dependent variable, Website evaluations, was measured as in study 1 (α = .77). Participants also responded to two 7-point Likert items measuring Brand love (e.g., “I love the brand whose website I just visited”; r = .75; p < .001; Bagozzi, Batra, and Ahuvia, 2014), and two covariates of Luxury brand knowledge (r = .9; p < .001) and Luxury shopping habits. Lastly, demographics were captured. A regression using PROCESS Model 1 with the Luxury brand (0 – traditional brand, 1 – modern brand) and mean-centered Brand love as the independent variables, Luxury brand knowledge and Luxury shopping habits as covariates, and Website evaluations as the dependent variable yielded a significant 2-way interaction (β = .38; t = 1.82; p = .07) driven by a main effect of the Luxury brand, so that the website of the traditional brand was evaluated more favorably (M = 5.85) than that of the modern brand (M = 4.88; β = - .98; t = -3.13; p = .002). Planned contrasts revealed that when Brand love was low, Website evaluations were greater for the traditional brand (M = 5.84) than the modern brand (M = 4.28; β = -1.56; t = -3.86; p = .0002). However, there was no difference in Website evaluations when Brand love was high (M = 5.87 vs. M = 5.47 for traditional vs. modern, respectively; β = -.40; t = -.82; p > .4). Moreover, for the traditional brand, Brand love did not influence Website evaluations (M = 5.85 vs. M = 5.87 for low vs. high brand love; β = .01; t = .08; p >.9). On the other hand, for the modern brand, Brand love had a positive impact on Website evaluations, such that evaluations were higher when Brand love was higher (M = 5.47) versus lower (M = 4.28; β = .39; t = 2.40; p = .018). Thus, luxury brand websites emanating from traditional brands are more widely accepted than those from modern brands. Additionally, these results support hypothesis two that brand love attenuates lower website evaluations for the modern luxury brand while not influential of evaluation of the luxury brand website for traditional brands. Important for the modern luxury brand, brand love should be high for brands pursuing digital strategies. Conclusion In sum, the findings from the two experiments indicate that digital techniques employed by traditional luxury brands are more widely accepted than those of modern brands. Specifically, the findings reveal that while social media pages can detract from the evaluations of the modern luxury site, they do not influence the evaluations of the traditional luxury site (study 1). Given that one of the benefits of luxury brands’ sharing of content in a digital environment involves facilitating brand love, it is imperative for modern luxury brands to garner high brand love. After all, brand love increases site evaluations for modern luxury brands (study 2). Using appropriate brand identity interface to communicate brand identity to the brand contacts is important in building brand equity (Madhavaram et al., 2005), especially in the domain of luxury brands, where brand equities amount to billions of dollars (Quach and Thaicon, 2017). Therefore, understanding how best to use digital interfaces is paramount to luxury brand strategy.

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.

The recent introduction of numerous outstanding tabletop games from Europe and America, coupled with the thriving domestic tabletop game crowdfunding platforms, highlights the huge potential of the board game market in China. Additionally, studies have demonstrated that board games not only provide leisure and entertainment, but also have a positive impact on children’s education, corporate management, and the medical field. However, the Chinese board game industry is facing certain challenges in the digital age. The lack of excellent domestic board game works, designers, and brands are hindering its development. This paper examines the Chinese tabletop game brands from a digital perspective and offers suggestions for the building of strong Chinese board game brands.