Most consumers rate shopping as a leisure activity, but it is one that they are increasingly combining with others such as watching TV or reading a magazine. Emma Herrod investigates how brands and retailers are turning impulse moments into retail opportunities.
Celebrity Endorsements must be a fashion retailer’s dream: Alexa Chung or David Beckham
on Instagram; a Kate Middleton moment for Warehouse; or Gary Barlow
wearing one of Marks & Spencer’s Best of British suits on X Factor.
In the body deodorant advert in which ‘Men can’t help acting on Impulse’ there’s always an attentive ﬂower seller nearby ready to capture that Impulse moment and sell the admirer a bunch of ﬂ owers. Are retailers, consumers and technology ready though to capture the impulse moment online and turn down-time
or leisure activities into a retail opportunity?
Supermarket and non-food retailers’ magazines have been transformed from print publications into interactive selling platforms with the addition of QR codes, hot spots, videos and augmented reality accessible online and via smartphones and apps. This lucrative industry has grown up around corporate publishing with technology,
retailing and editorial expertise coming together to turn every page ﬂ ick into a
retailing opportunity. Online, of course, offers a smooth transition from content to retail with a swipe of a ﬁnger on an iPad or a click of a mouse, enabling items seen on a digital page to be added to a shopping basket. The BBC ’s Good Food magazine, for example, includes links to Asda,
Tesco , Ocado and mysupermarket.com on its recipe pages so the reader can easily add the ingredients for each recipe to their preferred
shopping basket. From the publishing world, Grazia magazine – which is known for its ‘Who, What, Wear’ editorial focus – has enabled its digital readers to shop the magazine as they read their weekly edition on their tablet or smartphone. The digital version contains all of the editorial content seen in the print magazine with an additional shopping facility, enabling users to shop in-app, share via social channels and save to a cross-edition wish-list. All of the editorial and product content is driven by the Pugpig reader and a CMS system with links to the 200 or so products available to shop in each issue supplied by afﬁliate site, ShopStyle. On top of the additional revenue from sales, the Grazia team has been able to offer a new and diverse range of advertising options to its brands, ranging from sponsored links to product placements, tenancy deals and bespoke interactive pages. “Grazia has a reputation for being bold, brave and innovative,” says Victoria Harper, Special Projects Director Grazia and its publisher, Bauer Media. “We always had a vision for a magazine app that was more than just a simple PDF page turner.” The decision to build a new iPhone app followed the launch of Grazia’s award winning apps for iPad and Blackberry devices, both of which have been a resounding success with its readership, regularly attracting ﬁve-star feedback.
Car manufacturer Mercedes harnessed the dual-screen trend for the world’s ﬁrst
Twitter-led TV advert when it wanted to launched its A-class series to a younger, X
Factor-viewing audience. Using Twitter, viewers decided the action of a real-time
story told over three adverts aired during the X Factor. It was a pioneering move
that produced staggering results, explains Brewe; two months after the launch, the
A-Class represented 6.2% of the total hatchback market, brochure requests soared
by 140% after the campaign and 77,000 leads were generated overall. Crucially, the
average age of people enquiring about the A-Class was ten years younger than the
average for Mercedes-Benz as a whole.
TV – ADVERTISING, INTERACTION, DIRECT PATH TO PURCHASE
One area that has made great strides in engaging consumers during their leisure time is television. Whereas TV advertising used to be a one-way broadcast, technology is enabling interaction directly with the brand, other fans and even in the direction that adverts take creatively. The internet, social media and mobile apps, such as Zeebox and Shazam, are enabling viewers to get closer to their favourite programmes, interact with other viewers and the programme itself, and allow sponsors and advertisers to engage. “Smart brands are pushing interaction,” says Kristin Brewe, Director of Marketing & Communications, IAB UK. This is resulting in deeper analytics; viewers tweeting about an advert shows that brand messaging is right; second screening (using a mobile phone or tablet while also watching TV) is driving web visits for further information, viewers booking test drives, competition entries and direct sales.
Zeebox, for example, which offers viewers links relevant to the TV programme they are watching along with tweets via its mobile phone app, is able to deep dive into the analytics of user engagement and help brands ﬁnd other places where they can reach the same consumers and where their interests overlap, such as which Strictly viewers also watch Britain’s Got Talent. Talent and reality shows with their large audiences and ongoing stories are ideal opportunities through which brand sponsors and advertisers can fully engage with potential customers. Brewe says that consumers “want to see advertising that’s right for me”. As lon as the balance and tone are right they don’t mind being sold to. Indeed, the majority of consumers rank shopping as a leisure activity, 50% of young people say they shop when they are bored and over half of the adult population watches television while also using their smartphone or tablet; 81% of tablet owners multi-task while watching TV, according to Ofcom. Immersive, interactive experiences are the way forward for advertising and television.
YOU HUM IT
“Engagement happens on many levels,” comments Miles Lewis, VP for EMEA and
APAC Sales, Shazam, and music is just one of them. In the UK, at least 8 out of 10 adverts use commercial music that can be tagged with Shazam and purchased. For example, the music from 2013’s John Lewis Christmas advert was tagged 31,000 times in the ﬁrst weekend after its launch broadcast.
Add a Shazam logo to an advert and this can be tagged to link second screeners to further content, to book a test drive or as a direct path to purchase. The same is true with TV programme content, whether it’s being watched at the time of original broadcast or at a later date. In fact, 80-85% of all TV programming is still viewed live, according to
Bleyleben. The biggest audiences for TV – and correspondingly for Zeebox – are sporting events, and reality and talent shows, which are generally watched live, he explains.
Zeebox is not used by brands in isolation,though, and is generally being used to extendtheir reach as part of a wider campaign combining TV programme sponsorship and other marketing channels. One such campaignwas Amex’s sponsorship of US reality show ‘LifeAfter Top Chef ’ on the Bravo network. Throughthe Zeebox app, viewers could discover moreinformation about the programme and the chefs, be vocal socially and interact, as well asaccess ecommerce offers.
According to Lewis, viewers can get involved with 95% of all US television output.
This content can be anything from music, screensavers, feedback, cast listings, links to
IMDB (the Internet and Movie Database), or to download the next episode.
In fact, with a Shazam tag consumers are effectively bookmarking a call to action link so they can return to it at a later date. It is effective with UK audiences, too. Online makeup retailer Beautybay.com sponsored the 2012 TV documentary about Girls Aloud, ‘10 Years at the Top’. By tagging audio at relevant times during the programme, viewers were given access to the ﬁrm’s digital hub through which they could view exclusive unseen footage and interviews with the band members, buy a special edition Ten album and enter a competition to meet the band at a secret gig. Shazammers were also treated to Beautybay goodies, including a 15% online store discount on all of its products, plus make-up tutorials and beauty advice which was shareable via social media. Through its sponsorship and the Shazam link, Beautybay increased web trafﬁc by 235% and saw a 48% increase in sales compared to the preChristmas week in 2011, with 20% attributed to Shazam and ITV.
Against these successes though Bleyleben believes that TV audiences and brands are not yet ready for direct paths to purchase through a second screen to be the norm. “We’re 6 – 12 months away from it becoming normal for
brands to sell in this way,” he says. Brands are still ﬁnding their way and experimenting with how
to engage and interact with TV audiences through the second screen, but the interaction
is still about engagement rather than selling.
However, 6 – 12 months will be just in tim to tie in with the major sporting events of Jun and July 2014: the football Worl Cup (whic has already attracted 100,000 posts in English on Facebook and Twitter and is of interest to 71% of men); Wimbledon; the Commonwealth Games; and the Tour de France.
Coca-Cola is already raising the social noise levels around the 2014 World Cup Trophy Tour showing that you can’t leave engagement until kick off.
“Messages and marketing around events can be made ready for every eventuality,” say Savv Marketing’s Isla Kirby, so it appears that they are reacting to impulses. There will be true impulse moments, too – such as Oreo’s tweet that “you can still dunk in dark” when the power went off during the Super Bowl. “These windows of opportunity can be quite short,” adds Kirby.
Sponsorship of the World Cup will be a whole new ball game because of the rise o smartphones, social and second screening. It will be a brave new world full of opportunities for those who plan and connect but also can’t help acting on impulse.