In today's fast-evolving technological environment, the growth of mobile devices has provided businesses with additional knowledge on how to effectively communicate with their targeted audience. As big data generated by mobile users has become a valuable source for improving communication, users’ location data has provided an additional parameter to take into account while trying to enhance the effectiveness of digital marketing campaigns. This paper presents a comparative study of the location-based marketing field and tools. It provides an overview of different exploitation methods of location-based mobile services and data for effective digital marketing campaigns and guidelines for future research.

The development and application of NFTs has gained great attentions. Especially, with the eyes on the potential of Metaverse and Web 3.0, NFTs are regarded as one of the foundational parts of the future internet. The main contribution of NFTs is the innovative solution for creating digital uniqueness through its property of non-fungibility. With this property, the ubiquity caused by replicable data on the current internet can be advanced with NFT-backed uniqueness, which can assist in certifying authenticity, authorship, and possessions of contents, products, and assets online. This has tremendous meaning for the luxury brand industry, which has been struggling with the ubiquity of the internet for years. The emergence of NFTs, however, represents hope and a potential mean to represent scarcity in a digital context. By the use of NFTs, luxury brands’ conservative digital marketing strategies and their ways of production design, marketing, consumer management could be fundamentally changed. This study aims to discuss the NFT marketing strategy from the perspective of luxury brands. Particularly, the study will investigate the desirability strategies in these luxury NFT cases. To do so, the study uses a socio-technical perspective to understand how luxury brands embody the desirability strategy through NFTs, by considering the technical factors of NFTs (i.e., design, issuance, and ecosystem functioning) and social factors of desirability (i.e., exclusivity, rarity, prestige, and creative leadership). The study explores applicable strategy of how to realize luxury desirability through NFT technics. As a result, this study investigates 39 luxury NFT cases from 2021 to 2022, including the NFTs launched by famous luxury brands such as Gucci, Louis Vuitton, Burberry, Dolce & Gabbana, and KARL LAGERFELD. The study showcases three within-case analyses to exhibit vivid examples of NFT innovations. Besides, the study generates a common framework by a complete cross-case analysis. The framework contains three domains and seven dimensions to guide further luxury NFT innovations and contributes to theory development in the field of NFT marketing and branding.

The wide application of digital media technology in fashion shows has become the epitome of the development and innovation of today's fashion industry, enabling designers to break through the constraints of time and space, changing the performance of today's fashion shows, and making them present unprecedented new features. With the development of information technology, the integration of emerging digital technology and the fashion industry is accelerating. So far, separate studies have been carried out in various academic fields on the combination of Metaverse and NFT, but the current status and nature of relevant research are still incomplete. Furthermore, the current research on virtual fashion shows and NFT in China's apparel industry is limited. The purpose of this study is to investigate the influence of digital fashion marketing stimulation on consumer brand attitudes using the stimulation-organ-response (SOR) framework model. By analyzing 77 cases of virtual fashion shows in China, this study obtained antecedent variables and designed a research model. An online sample of 300 Chinese Gen Z consumers was collected and analyzed using SPSS and FSQCA. This research hopes to provide valuable information for the sustainable development of China's fashion industry, and to help Chinese fashion brands confirm the future market development direction of Metaverse and NFT.

B2B marketers increasingly encounter a pressure to be digitally present in digital channels and to generate content that is tempting in driving potential customers to interact with the company online (Wiersema, 2013; Andersson & Wikström 2017). This is what B2B lead nurturing is about as the objective of lead nurturing is to provide the audience with relevant and valuable content which leads to an increased brand interest and awareness, with the goal of bringing in new customers (Marketo, 2023). To better understand how prospects and leads react to digital content, companies can build lead scoring into a strategic tool for the salespeople to qualify the prospective customers down to a list of leads, meaning prospects who are considered the most likely to convert to a positive business outcome and to be contacted in person by the salespeople (Järvinen & Taiminen 2016; Paschen et al. 2020).

A secure digital platform (SDP) can provide B2B marketers with confidence to use communications technology (CT) and engage in information sharing that facilitates resource utilization. Interlinked digital platforms constitute the company’s ecosystem and barriers in the form of a lack of skills and knowledge in relation to governance and compliance can be overcome through organizational intervention that is external to an individual’s capability of control. A framework for an SDP was developed by utilizing network theory and data were collected via an online survey and analysed (n=207) using SEM, AMOS. Organizational intervention through an SDP can help B2B marketers to increase the organization’s resource capability through improved interaction. It can also help individuals to become pro-actively compliant and be less at risk from various threats (e.g., fake news) as the organization provides a safer digital environment.

As cryptocurrencies continue to gain viability as an asset class, institutional investors and publicly traded firms are beginning to enter into positions in digital currencies. While generating profits may be the primary purpose, corporations also wish to advertise to their stakeholders that they are keeping up-to-date with latest technological developments, trends, and cutting-edge investment opportunities in enhancing the wealth of the shareholders. The marketing and financial signals with the involvement in blockchain platforms and digital currencies intend to demonstrate the efficiency of corporate operations, and the agility in the utilization of the retained funds. What firms may not be considering however, is the effect these assets may have on their risk profiles. This paper aims at measuring the effect of digital currencies on the risk and returns of publicly traded companies, deciphering the motives behind holding a cryptocurrency as an asset, and determining whether one reason for holding is more impactful than another. Four largest publicly traded holders as well as four of the most prominent digital currencies are explored. The findings from the study contribute to the literature in corporate risk reporting, in marketing and financial motivations of digital currency holdings, and in digital currency risks. The conclusions of the study also make a case for firm transparency through detailed reports of the risk effects of digital currency holdings.

This qualitative research aims to explore the challenges faced by rural youth entrepreneurs in conducting digital marketing. Digital marketing activities carried out by them are still limited in social media and e-commerce applications. The challenges are fraud, internet infrastructure, delivery services, the development of digital technology adaptation and work-life balance.

Influencer marketing for the past decade has proven to have a powerful voice for brands in the age of digital marketing. The role of influencer(s) continues to have the ability to motivate social attitudes and behavior within their online community towards the brand(s) endorsed by the influencer. The communities built by these social media influencers continue to gain social acceptance with their authentic voices and aspirational content. There has been much research on the effectiveness of social media influencers for brands the past decade, and in this research, we will look towards virtual influencers (VIs), which are not human but are digital recreations with levels of human likeness. In our study, we want to get a better understanding of whether VIs are capable of achieving comparable success to the traditional influencer, as well as the advantages and shortcomings of both types of influencers hold.

This research paper examines the role of adaptive capability and absorptive capability in the development of digital marketing capability that, in turn, influences the firm performance. The results reveal that both adaptive and absorptive capabilities have a positive influence on digital marketing capability that positively contributes to customer relationship, new product and financial performance of the firm. The adoption of new digital technologies such as smart products, the Internet of Things (IoT), Artificial Intelligence, and machine learning will change markets, competitive landscapes, business models and consumer behaviors, new thinking about marketing capabilities becoming critical to succeed in today complex environment (Day, 2011; Kannan & Li, 2017). To remain competitive and survive, organizations have to develop new marketing capabilities to harness the potential of these technologies in supporting marketing functions and processes (Trainor, Rapp, Beitelspacher & Schillewaert, 2011). Despite the rapid diffusion of digital technologies in business practice, only few previous researches was focused on theoretical and empirical aspects of marketing capabilities needed in digital-empowered environment. To fill this knowledge gap, we develop the digital marketing capability construct, and explore its antecedents and consequences on performance.

Marketing academics and practitioners have discerned the evolution in the prominence of digital, social media and mobile marketing based on technological innovations. Digital marketing has evolved over time from a specific marketing of products and services using digital channels to activities, institutions and processes facilitated by digital technologies. From an inclusive perspective, digital marketing refers to an adaptive, technology-enabled process by which firms collaborate with customers and partners to jointly create, communicate, deliver and sustain value for all stakeholders. Digital technologies allow the new adaptive process, institution and processes in marketing communication. The adaptive process creates value in new ways in new digital environments. Institutions build foundational capabilities to create such value jointly for their customers and for themselves. Processes create value through new customer experiences and through interactions among customers. The purpose of the assessment is to establish the current status of research evaluating digital marketing communication and to show how digital technology has shaped marketing communication evaluations. This study provides a broad disciplinary review of key cited works in digital marketing communication research and examines the effectiveness of various evaluation approaches, including new directions designed to capture meaningful insights and marketing communication value in digital marketing communication.

This paper builds on issues that surround the interface between entrepreneurial and digital marketing. In particular, it proposes a conceptual framework that relates digital market knowledge, market representation and decision making in the context of entrepreneurial SMEs. Thus, the paper contributes to the understanding of how entrepreneurs deal with digital market knowledge, and how such knowledge contributes to changes in representing markets and decision making. A growing awareness of the importance of entrepreneurship and innovation to marketing, and of marketing to successful entrepreneurship, has led to attempts to combine the two disciplines as “entrepreneurial marketing”. Scholars debate on the role of marketing in the entrepreneurial process (Schindehutte et al., 2009), and consider the marketing content of the entrepreneurial role (Guercini, 2012). It is argued that entrepreneurial marketing emphasizes the adaptation of marketing to forms that are appropriate to small and medium‐sized enterprises (SMEs), even if entrepreneurial relates more in general to the marketing-entrepreneurship interface and the idea that marketing and entrepreneurship are fundamentally intertwined and necessary to the other. Marketing and the entrepreneurship take place in a context in which information technologies, data communication and data processing technologies are tools to manipulate, organize, transmit, and store information in digital form. More specifically, one of the major changes undergone by traditional marketing is determined by the emergence of digital marketing, which provides several tools and metrics, such as web analytics, for decision makers. However, it is yet not sufficiently clear how entrepreneurs deal with this type of knowledge emerging in a digital context, and how they use it in their decision making. The paper proposes a cross-case analysis based on in-depth interviews with entrepreneurs from SMEs in the fashion industry, a relevant empirical context that has experienced, before others, the implementation of digital marketing strategies. The analysis suggests the existence of different entrepreneurial profiles based on the approach adopted in dealing with digital market knowledge, as well as the existence of different types of relationships between entrepreneurs and digital market knowledge and alternative consequences in terms of decision-making processes.

Digital technological development has created different new possibilities. New products and services are developed to cater the needs and wants of these digital consumers (or digital natives). It has also changed the means of marketing communications. Social media has become an integral part of many people’s lives, thus social media marketing is found in the marketing strategy of every brand. Western social media platforms like Facebook, YouTube, Twitter and so on are banned in China. In their places, Weibo, WeChat, Youku and more are the main social media channels in China and thus the main battlefields of social marketing for brands entering China Market. WeChat is the largest social network in China, with over 900 million users daily. Chinese users spend an average of over 70 minutes a day using WeChat, for nearly all types of services, including booking flights, restaurant table reservation, shopping, paying bills, hailing taxi, transferring money, and posting Moments on their walls, etc. Not only that, WeChat allows companies and celebrities to create official accounts to generate content for promotional purposes. Moreover, WeChat allows one-to-one personalized interaction between brands and the users. To cater the needs of the new generation of Chinese digital natives, a mobile app eM++ was developed that creates new customer services and enables tailored fashion marketing. The eM++ app has three components. The first core component is 1Measure, which users can obtain their body measurements by skimpily taking two photographs of themselves in normal clothing anywhere and anytime. Without the involvement of expensive equipment, users can enjoy similar benefit of body scanning but more flexibility and convenience, they not only instantly receive their measurements but also have their digital body model and a shape analysis report. Based on this information, the second component of the app eShop allow users to shop fashion items currently available in different online fashion stores like ASOS, Zara, and H & M, etc. In eShop, users are suggested the right sizes to order for different fashion items, based on their measurements and shape information, and also mix-and-match recommendations. The last component is eTailor, where users can order clothing like suit jackets, pants and shirts that tailored made for them, but save the need to take body measurements in a physical store. This new digital service will first be launched in China as there is high demand on Made-to-Measure fashion and marketing through WeChat social media platform. This paper will discuss how to market this new digital service using social media like WeChat in China and consumers’ reactions to this new business model in this digital world.

Fashion and apparel industry is facing difficult challenges due to several factors such as technology development, environmental changes, inherent characteristics of fashion industry itself, fast changing demands, supply chain, and consumer’s expectation of seamless purchase process. Consumers have the power in that fashion retailers need to provide variety and new products, to build brand loyalty, to provide corporate responsibility and sustainability, and to develop inventory intelligence (Beswick 2016). That said, enhanced efficiencies in those will grant fashion retailers and firms with sustainable competitive advantages. Such efficiencies are often based on digital technology development, creating a new trend. In this study, we examine and compare three big trends in the fashion industry along with an advance of technology in digital marketing. First, Ritzer (1993) observed a process by which the four principles of the fast-food restaurant began to increasingly dominate several aspects of American society. The four principles are efficiency, calculability, predictability, and control, based on the observation of McDonald’s daily operation. He labeled this process and phenomenon as McDonaldization. In other words, any society or subsectors of society can be very successful with the four principles of McDonaldization, including the fashion industry. Second, in addition to McDonaldization, Netflix added one more, yet an extremely important aspect of such operation, that is personalized suggestions. Personalization becomes essential for most services and even for lots of products (personalized T-shirts, bags, etc.). Based on customers’ history of what they had watched, Netflix provides personalized suggestions of next movies, dramas, or episodes. More importantly, instead of physical DVD, Netflix provides online streaming services with personalized suggestions. Thus, an online order system with personalized suggestions for clothes would be an important aspect of fashion industry and retailers, which can be called as Netflixization. Lastly, from the case of Stitch Fix, we’d like to propose a new concept, that is, Netflix of fashion. Stitch Fix is an interesting firm in the fashion industry. The firm uses customized stylists for each customer based on the responses from style quiz. Thus, it focuses on personalization of what customers really want and need in terms of occasions and preferences. Second, it delivers, by mail, five clothes to customers so that customers can choose one or more from the five clothes or choose nothing. By doing this, the firm provides not only convenience, but also choice options for customers. Third, the firm guarantees customer satisfaction with an easy return policy. A more important thing is the fact that the firm can accumulate intelligence based on the customers’ feedbacks of why customers did not like the suggest clothes and decided to return. Thus, the firm can build a “Big data” for better understanding of customer’s needs and wants. In other words, the firm develops a new concept of “your fix.” I would label the whole process of Stitch Fix as Stitchfixization. In sum, any fashion industry and retailer that adopts the concept of Stitchfixization of efficiency, calculability, predictability, control, personalization, feedback, convenience, and intelligence building, would be well accepted by current tough customers throughout the world.

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 virtual reality market is already creating new added value across the industry and it is expected to change the way we live and work. Currently, virtual reality marketing is actively applied to the game industry and marketing methods are diversifying. Moreover, this marketing it will be widely applied in various fields such as medical care, defense, and entertainment in the future. In this paper, we analyze the marketing strategy of virtual reality industry which is expected to grow in the future combined with existing 4P analysis and 4C analysis.

This research aims at analyzing the role of digital technologies for communication in the personalization of cultural heritage visitors’ experience and the potential of such technologies in valorizing cultural heritage sites. In order to explore such a phenomenon through a pilot study, a conceptual framework has been developed in the attempt to better conceptualize the modern notion of digital cultural heritage. The theoretical foundations are experiential marketing (Schmitt, 1999), authenticity in visitors’ experience (Neuhofer et al., 2014), and engineering studies on successful application of technologies in cultural heritage sites (Sparacino, 2004). From the proposed conceptual framework some relevant insights have emerged. In particular, main findings deal with digital technologies being characterized by three particular kinds of artificial intelligence, namely (a) perceptive intelligence, (b) interactive intelligence, and (c) narrative intelligence. Specifically, perceptive intelligence allows a digital technology to seize visitors’ movements inside the museum (Barrera et al., 2013). Interactive intelligence is the kind of intelligence that permits a digital technology to elaborate visitors’ preferences (Sparacino, 2004). Narrative intelligence, finally, enables a digital technology to communicate with visitors (Karaman et al., 2014). Technologies with such features, then, may potentially stimulate positive feelings and emotions in visitors. Particularly, the storytelling of digital personalization of cultural heritage sites can effectively personalize visitors’ experience and uplifts the visit toward an authentic and unique experience (Frow and Payne, 2007; Sani, 2011). Since these technologies could help visitors in fully understanding their personal interests towards arts and cultural heritage, they can also act as instruments of cultural heritage sites promotion. Specifically, these technologies can suggest visitors’ successive cultural heritage sites and also stimulate visitors to suggests others to visit particular sites due to their positive experience (Sweeney et al., 2012).Finally, this study stresses the importance of digital technologies as instruments of experiential marketing by improving visitors’ experience. Moreover, digital technologies for cultural heritage may be interpreted as a key competitive advantage for cultural heritage sites. In particular, digital technologies may be interpreted as strategic levers in order to stimulate the diffusion of word-of-mouth marketing in cultural heritage.Finally, this study stresses the importance of digital technologies as instruments of experiential marketing by improving visitors’ experience. Moreover, digital technologies for cultural heritage may be interpreted as a key competitive advantage for cultural heritage sites. In particular, digital technologies may be interpreted as strategic levers in order to stimulate the diffusion of word-of-mouth marketing in cultural heritage.

Under the current wave of digital marketing, profound changes are taking place in the e-commerce marketing model in various industries. The basis of rural revitalization is the development of rural industries. Aiming at the advantages of quick and convenient, networking, low cost and no time and space limitation of electric business, which can effectively carry out the integration of online and offline resources, in the context of rural revitalization, with the help of rural electric business as an important means, through online sales channels, revitalize the circulation of agricultural products and improve the enthusiasm of farmers’ participation, so as to realize the construction of a new rural good life. Therefore, rural e-commerce as a new opportunity for rural industrial development has injected new vitality and provided endogenous power for rural revitalization. There are also many problems that require in-depth analysis and research.