Luxury Brands’ Storytelling on Social Media

on Social Media

Master’s Thesis 30 credits Department of Business Studies Uppsala University

Spring Semester of 2019

Date of Submission: 2019-05-29

Klara Ekebring Catarina Mellqvist

Supervisor: Leon Caesarius

Title:

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Luxury Brands’ Storytelling on Social Media 29th of May 2019

Klara Ekebring, Catarina Mellqvist Leon Caesarius

2FE840, Master Thesis, 30 ECTS

Purpos The purpose of this thesis is to explore how luxury brands are communicating through brand storytelling on social media. Hence, this study is conducted from the perspective of luxury brands with the aim to provide academic and managerial indications of how luxury brands perceive storytelling of luxury value on social media platforms.

Methodology: This thesis performs qualitative research and utilises an abductive research strategy in order to conduct exploratory research. Data is collected through the use of both primary and secondary data sources.

The primary data collection is made by the implementation of semi- structured interviews that are formed and analysed through a thematic method of analysis and the satisfying principle. The secondary data is collected through an observation of social media accounts of the brands taking part in this study.

The data collected present features on social media that the brands are recognising when communicating through storytelling on the platforms. By informing followers about the brand by telling stories, emotions, mental connections and meaning is established. Further, the interaction that is supported on social media platforms is considered by the luxury brands and influences the role followers have in the communication process.

The present study has found indications that the luxury values’ brands communicate through storytelling remains unchanged and how luxury values are told through stories are adjusted to the context of social media platforms. This suggests that luxury brands communicate their luxury value through storytelling on social media platforms by recognising the features of the context and the interaction, which is argued to be fundamentally supported on the platforms. Hence, elevating the role followers have in the communication process.

Brand Storytelling, Luxury Brands, Social Media Platforms, Interaction, Luxury Value

Sorytell

Storytelling,

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Acknowledgements

Thank you to Grant Andrews, Marlene de Jong, Simon Jobson, Angela Ubis Lupión, Sander van Dijk and Steven Wade for your contributions to this study. Without your participation, insights on the topic and your expertise, this research could not have been successfully conducted.

We would also like to give a special thank you to Leon Caesarius for your guidance and useful critiques for this research work.

Finally, we would like to thank the fellow students in our seminar group for your input and useful comments.

Klara Ekebring Catarina Mellqvist

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Table of Content

1. Introduction ... 5

1.1 Background ... 5

1.2 Problem Discussion ... 6

1.3 Purpose ... 8

1.4 Research question ... 8

1.5 Scope ... 8

2. Theoretical Framework ... 9

2.1 Brand Storytelling ... 9

2.2 Storytelling for Luxury Brands ... 10

2.2.1 Luxury Brands and Luxury Value ... 10

2.3 Storytelling on Social Media ... 11

2.3.1 Interaction on Social Media Platforms ... 12

2.4 Analytical Framework ... 13

3. Method ... 15

3.1. Research Purpose ... 15

3.2 Research Strategy ... 15

3.3 Research Approach ... 16

3.4 Data Collection ... 16

3.4.1 Primary Data Sources... 16

3.4.1.1 Selection Process of Interview Participants ... 17

3.4.1.2 Interview guide ... 18

3.4.1.3 Operationalisation ... 19

3.4.2 Secondary Data Sources ... 20

3.5 Qualitative Data Analysis ... 21

3.6 Trustworthiness of Data ... 22

3.7 Critique of Methods ... 23

3.8 Ethical Considerations ... 24

4. Empirical Data ... 25

4.1 Storytelling on Social Media ... 25

4.2 Storytelling for Luxury Brands ... 29

4.3 Interaction ... 32

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5. Analysis ... 34

5.1 Luxury Brands’ Storytelling is Influenced by Social Media Characteristics ... 34

5.2 Perception of Luxury Value is Shaped by Social Media ... 35

5.3 Storytelling by Luxury Brands is Impacted by Interaction on Social Media ... 36

5.4 Discussion ... 37

6. Conclusion ... 39

6.1 Contributions to Theory ... 39

6.2 Contributions to Practice ... 40

6.3 Limitations ... 40

6.4 Recommendations for Further Research ... 41

References ... 42

Appendices ... 47

Appendix 1 ... 47

Appendix 2 ... 48

Appendix 3 ... 50

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1. Introduction

Within the following section, the motivation for this research is defined. A background is given to explain the meaning of storytelling, luxury brands and social media platforms. This section concludes with the purpose, research question and scope of this study.

1.1 Background

Storytelling, or the art of telling stories, is stated by several researchers to be a paramount tool for luxury brands to communicate symbolic value, unique history and portray emotional triggers (Hagtvedt and Patrick, 2009; The SAGE Encyclopedia of Corporate Reputation 1st ed., 2016; Hughes, Bendoni and Pehlivan, 2016; Lund, Cohen and Scarles, 2018). In addition, Kapferer and Bastien (2012), explain that storytelling is essential for luxury brands as it is key for their existence. The reason for this, is that luxury brands are not only founded on delivering high-quality products, superior service and high value but are also argued to be driven by the story that a brand is telling (Joy, Wang, Chan, Sherry and Cui, 2014). Because as asserted by Kapferer and Bastien (2012), how is it known that Louis Vuitton began as a suitcase maker or that Ferrari makes high-performance sports cars? This information is communicated through stories to build myths around luxury brands and convey luxury value.

Luxury value is explained by Hennigs, Weidermann and Klarmann (2012), to be founded on financial value, functional value, individual value and social value. In addition to these, the concept of luxury is asserted to be established in conveying luxury characteristics of a desired dream, great quality, restrained accessibility, high point pricing, exclusivity, aesthetics, heritage and differentness, in order to to promote sales (Dubois, Laurent and Czellar, 2001;

Kapferer and Bastien, 2009; Tynan, McKenchie and Chuon, 2010; Heine 2012; Som and Blanckaert, 2015). Stated by Hagtvedt and Patrick (2009), storytelling can be used to support the communication of feelings and hedonic associations connected to luxury brands.

Transmitting these luxury characteristics, are argued by Kaufman (2003) and Escalas (2004),

to influence customer emotions and feelings. Subsequently, storytelling is a prominent tool in

various branding practices. However, storytelling for luxury brands does differ from premium

and fashion brands as luxury brand communicate timelessness, brand heritage and dreams,

whereas premium and fashion brands’ communication can be linked to instant and rapid

changes of the market (Kapferer and Bastien, 2012).

6 Along with technological developments, the context where stories are told has expanded to social media platforms (Lund, Cohen and Scarles, 2018). These platforms involve applications on the Internet, including blogs, content communities, social networking sites or virtual spheres that allow for individuals to create content and take part in information exchange online (Kaplan and Haenlein, 2010; Van Looy, 2016; Lund, Cohen and Scarles, 2018). Utilising social media platforms allow for businesses to deliver a great amount of information fast, because of its extensive global implementation (Michaelidou, Siamagka and Christodoulides, 2011; Van Looy, 2016). In business practices, both brands and users of the platforms use communication on social media, which includes luxury brands’ storytelling, to convey experiences into meaningful and interconnected expressions (Bennett and Segerberg, 2012).

1.2 Problem Discussion

Luxury brands’ telling their stories on social media platforms, have resulted in additional possibilities for the brands to communicate their luxury brand values (Kim and Ko, 2012; Lee and Walkins, 2016). Whilst the fundamental principles of storytelling remain, digital developments and social media have impacted how these stories are distributed (Irwin, 2014;

Canella, 2017). Albeit, in the past, luxury brands have been hesitant to incorporate social media strategies in their businesses due to the fear of losing important value associations (Okonkwo, 2009). However, argued by Kim and Ko (2010), Kim and Ko (2012) and Arrigo (2018), luxury brands have implemented social media strategies to meet market demands. For example, Park, Song and Ko (2011), present how several luxury brands, such as Alexander McQueen, Dior, Louis Vuitton and Ralph Lauren, have implemented social media strategies as they have realised the importance of being present on these platforms.

Currently, as luxury brands are implementing social media as part of their marketing strategies, this becomes the context where stories are told. A growing body of evidence asserts that when brands are communicating through storytelling on social media platforms particularly, such as Instagram, Facebook, YouTube and Twitter, brands are increasingly defining their symbolic meaning and brand development together with the users (Tynan, McKenchie and Chuon, 2010; Kohli, Suri and Kapoor, 2015; Lund, Cohen and Scarles, 2018;

Ramadan, Farah and Dukenjian, 2018). The reason for this argued to be because social media

fundamentally supports interaction between users (Arazy and Gellatly, 2013; Kohli, Suri and

Kapoor, 2015; Shang, Wu and Li, 2017). This has according to Fournier and Avery (2011)

7 and Kohli, Suri and Kapoor (2015), shaped the perception of brands to be established collectively among followers. Followers are social media users consisting of both existing customers, potential customers and admirers of a brand that follows the brand on the platforms (Van Looy, 2016). These followers are also interacting and sharing personal stories through texts and images with peers on social platforms, making social networks the setting where followers essentially become storytellers (Canella, 2017; Lund, Cohen and Scarles, 2018). More specifically, the development of social media impact brands’ communication to be the result of followers dialogues on social networks, rather than founded on conventional marketing strategies, thus elevating the role of followers in the creation of brands (Fournier and Avery, 2011; Kohli, Suri and Kapoor, 2015).

When luxury brands are communicating through storytelling on social media platforms, empirical evidence defines that the adoption of social media strategies by luxury brands makes interaction and user engagement possible (Kim and Lee, 2017). This is argued by Kim and Ko (2012) and Kim and Lee (2017), to result in luxury characteristics to be established collectively on the platforms. How this is depicted when luxury brands are communicating through storytelling is in the present study not found to be widely disclosed in academic theory. Currently, there is limited previous research regarding how luxury brands’ actually communicate their luxury value through brand storytelling on social media, and if the exchange of information on social media has advanced the role of followers in this storytelling process. Previous academic research is limited to; luxury brands in the online environment (Hughes, Bendoni and Pehlivan, 2016), foundation for luxury brands implementing social media (Kim and Ko, 2010; Kim and Ko, 2012; Kim and Lee, 2017), and storytelling on social media platforms (Canella, 2017; Lund, Cohen and Scarles, 2018). Still, there is not sufficient foundation for how luxury brands are communicating through brand storytelling on social media platforms, to reason how they convey their value from the perspective of luxury brands and how the context of social media influences their storytelling.

Therefore, this research aims to provide an academic and practical foundation for how luxury

brands are communicating through brand storytelling on social media platforms. This research

can be valuable to luxury brands in regards to how they develop their storytelling strategies on

social media platforms and add to existing theory by providing further foundation on the

topic.

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1.3 Purpose

The purpose of this thesis is to explore how luxury brands are communicating through brand storytelling on social media. Hence, this study is conducted from the perspective of luxury brands with the aim to provide academic and managerial implications of how luxury value is communicated on social media platforms.

1.4 Research question

As storytelling is a central communication tool within the luxury industry and luxury brands are adopting the opportunities of social media strategies, the research question for this thesis is the following:

Research Question: How are luxury brands’ communicating their luxury values through brand storytelling on social media?

1.5 Scope

This study covers luxury brands that are present on social media platforms, which in this

research are downsized to include Instagram, Facebook, YouTube, LinkedIn, Twitter,

WeChat and Line. The selected brands, all post their own content to their own social media

accounts. Furthermore, the brands originate from Europe, although are active globally. These

delimitations are carried out in order to fulfil the purpose and answer the research question of

this thesis. The research explores luxury brands’ present use of social media during the spring

of 2019, as this is the time span of the conducted research.

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2. Theoretical Framework

The following chapter provides a theoretical foundation of Brand Storytelling, Storytelling for Luxury Brands, Luxury Brands and Luxury Value, Storytelling on Social Media and Interaction on Social Media Platforms. Conclusively, an Analytical Framework for this study is presented.

2.1 Brand Storytelling

Brand storytelling is, according to Herskovitz and Crystal (2010), the communication of brands through stories, which is argued by the authors to be essential for businesses to inform customers about their brand. Within brand storytelling, there are similar elements that are applied in various manners and together comprise the basis of a story, which according to Fog, Budtz and Yakaboylu (2010), includes the message, the conflict, the characters and the plot. These four elements together, are argued by Denning (2006), to be formed to deliver the value that is the basis for a story. Further, Herskovitz and Crystal (2010), assert that brands consists of all corporate communication and actions that informs customers about the brand, making storytelling significant to communicate these in a memorable way. In agreement, Fog, Budtz and Yakaboylu (2010) defines that storytelling can also be used as a communication tool for operational and strategic reasons, aiding in the creation of brands. Furthermore, the authors explain that the stories that depict the central theme of brands, or the theme that ties all communication together, is the core story of a brand. The core story is what describes the progression of the brand and all brand communication, both internally and externally, making it a strategic tool for brand management.

Moreover, storytelling is an effective tool for communicating the entire perception of a brand,

since it connects and provides associations (Fog, Budtz and Yakaboylu, 2010; Thier and

Russin, 2018). According to Herskovitz and Crystal (2010) brand storytelling strengthens and

creates emotional connections towards a brand. This is in line with Escalas (2004), who states

that communication though stories can forming emotional connections. Escalas (2004) also

defines that stories are mentally stimulating and can therefore be used as a communication

tool for establishing mental associations in customers memory. Using brand storytelling can

therefore result in loyalty, and engagement between the storyteller and the receiver (Escalas,

2004). This is also supported by, Kaufman (2003) who assert that a brand can use storytelling,

to form trust and a feeling of personal communication.

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2.2 Storytelling for Luxury Brands

Storytelling within the luxury industry is argued to be a prominently used tool since it allows brands to communicate their symbolic value and unique history to consumers (Hughes, Bendoni and Pehlivan, 2016). Communicating luxury values through stories, is argued by Kaufman (2003) and Greene, Koh, Bonnici and Chase (2015) to be a successful approach to convey a message and luxury brand values. Primarily, the stories are told from the perspective of luxury brands, in order to provide insight and educate target markets about the brand (Hughes, Bendoni and Pehlivan, 2016). Kapferer and Bastien (2012), assert that luxury brands and the perception of them are not built on advertising but rather what people disclose to each other. This is by the authors explained to be the reason of why luxury brands should communicate their values through storytelling, as it will provide information about the brand that people can communicate with.

The information luxury brands communicate through storytelling include anything that enhances the perception about the brand (Kapferer and Bastien, 2012). For instance, it can entail knowledge about the production process, the search of raw material, brand history and information about the founder’s life. Hughes, Bendoni and Pehlivan (2016) further state that storytelling is a practical tool for communicating luxury brands’ history and symbolic events that develops the relationships between brand admirers and the brands. The authors continue to explain that the stories told mainly encompass the brand characteristics that appeal to customers. Further, Hennigs, Weidemann and Klarmann (2012), define that luxury brands communication is founded on conveying characteristics of luxury.

2.2.1 Luxury Brands and Luxury Value

The term luxury describes attributions of great quality, restrained accessibility, high point pricing, exclusivity, aesthetics, heritage and differentness (Dubois, Laurent and Czellar, 2001;

Kapferer and Bastien, 2009; Tynan, McKenchie and Chuon, 2010; Heine 2012). According to

Hennigs, Weidemann and Klarmann (2012) luxury brands’ goods are mainly bought because

of what they symbolise and are vastly connected to a person’s individual perception in the

formation of luxury value. This corresponds to research by Berthon, Pitt, Parent and Berthon

(2009), who assert that value for luxury might not be similar for all individuals as luxury

value emerge from objective, collective and subjective features. Hennigs, Weidemann and

Klarmann (2012), continue to explain that luxury value is founded on the four value

11 perceptions, emerging from financial, functional, individual and social value, which together create luxury value. Financial value concerns the price of luxury products and functional value is the function a luxury product can create for a customer. Individual value refers to the impact on customers aspired identities, which are founded in emotional needs. Lastly, social value entails influencing customers identity in terms of social status and symbolic aspiration of wanting to belong to a certain social group that is not accessible for everyone. These are founded on characteristics of price, usability, quality, uniqueness, self-identity, hedonic, materialistic, conspicuousness and prestige.

In parallel, Kapferer and Bastien (2012), claim, in their research that luxury value is is comprised of six different notions. These involve (1) knowing that luxury is a hedonic occurrence, (2) the price of an item surpasses the functional value of that object, (3) luxury is attached to heritage and brand culture, (4) distribution is restricted and organised, (5) personal service is of the essence and lastly, (6) luxury is connected to social status and maintaining a sense of prestige. Asserted by Kapferer and Bastien (2012), characteristics such as creativity, innovations and creation of dreams and emotions are relied upon to drive sales, where the latter are important elements in the luxury strategy and what distinguish luxury from premium and fashion. Moreover, Som and Blanckaert (2015), denote that luxury brands have developed a strategy that promotes luxury associations such as heritage, craftsmanship, exclusivity and rarity. Further, luxury brands are by Hagtvedt and Patrick (2009) stated to be connected to customers’ emotions and hedonic associations. This is in line with research by Turunen (2018), who claims that the perception of luxury depend on the interpretation of customers, arguing that this makes the customer key in how luxury is defined.

2.3 Storytelling on Social Media

Storytelling on social media is argued to be an extension of the storytelling principle,

considering it refers to the sharing of information and meaning through digital channels

(Irwin, 2014; Canella, 2017). Digital storytelling serves as a tool for reciprocal

communication where stories are told through the application of digital resources (Couldry,

2008). In business practices, both brands and customers utilise storytelling on social media to

convey experiences into meaningful and interconnected expressions (Bennett and Segerberg,

2012). The reason for this is embedded in how social media platform offer storytellers the

tools to express the various dimensions of everyday life to a broad public (Bennett and

Segerberg, 2012; Johnson, 2018).

12 Social media is by several scholars explained to be a source of interaction (Barnes, 2010;

Killian and McManus, 2015; Valos, Habibi, Casidy, Barrie Driesener and Maplestone, 2016).

In the process of various individuals sharing content and interacting on social media, users are essentially storytellers, given that the practice of sharing stories is a tool for forming social connections (Lund, Cohen and Scarles, 2018). On social media platforms, where multiple entities are producing and consuming stories, these structures become interconnected and not dual dispositions. If the stories told by luxury brands contain certain features of appeal, it can potentially spread over geographical locations through online networking platforms (Okonkwo, 2009; Lund, Cohen and Scarles, 2018). Consequently, attractive storytelling on social media can dominate a conversation and lead to influence and power (Lund, Cohen and Scarles, 2018).

On social media networks, there are many competing storytellers desiring attention and the appeal of their stories are what generate influence (Lund, Cohen and Scarles, 2018). Where there is an excess of choice, personal and emotional storytelling is a valuable tool to communicate with customers. Due to the mechanisms of social media platforms, Lund, Cohen and Scarles (2018), argue that brand communications are in the storytelling process being altered and are subsequently not consistent entities, but rather fluid perceptions. As more people become a part of the storytelling process on social media, Killian and McManus (2015), state that it is important for businesses to have coherence and integration across all marketing communications on the platforms.

2.3.1 Interaction on Social Media Platforms

Online social networks are initiated in computer networks, which suggest that social interactions and gathering various users are promoted fundamentally (Bagozzi, Dholakia and Klein Pearo, 2007). The interactive mechanisms that exist within social media platforms, enables individuals to connect, share information and obtain information in a collaborative setting (Arazy and Gellatly, 2013; Shang, Wu and Li, 2017). Correspondingly, when various users communicate within a network on social media, these individuals affect each other directly, which is when online social interactions occur (Hartmann et al., 2008).

As social media is a source of interaction (Barnes, 2010; Killian and McManus, 2015; Valos,

et al., 2016), it has caused traditional marketing communication models to change (Valos et

13 al., 2016). The development of social media has shifted the manner followers behave and interact on online platforms from being passive to actively creating and sharing content (Mangold and Faulds, 2009; Kietzmann, Hermkens, Mccarthy and Silvestre, 2011). Followers become more in command of the information flowing toward them and they can initiate new information to various message senders, including brands and marketing agents (Kohli, Suri and Kapoor, 2015). This has resulted in followers being influenced by its peers to a large extent, which researchers argue that brands need to acknowledge (Gensler, Völckner, Liu- Thompkins and Wiertz, 2013; Zhu, Wang, Wang and Wan, 2016; Smith and Taylor, 2017).

2.4 Analytical Framework

To answer the proposed research question, this study’s main theoretical basis is luxury brands’ storytelling on social media. More explicitly, this research explores how luxury brands’ communicate their luxury value through storytelling on social media platforms. To research this, an analytical model is formed to connect the presented theoretical framework and illustrate the communication process of storytelling in the context of social media platforms, seen in Model 1., below. Illustrated in the model, luxury brands and luxury value is positioned outside the context of social media platforms. The reason for this connects to the aim of this study, which includes exploring luxury brands’ storytelling in the context of social media.

Continuing, Hennigs, Weidemann and Klarmann (2012), assert that luxury brands communication is based on conveying luxury characteristics. Luxury characteristics are explained by the researchers to include price, usability, quality, uniqueness, self-identity, hedonic, materialistic, conspicuousness and prestige, which forms luxury value. These are depicted in Model 1. The luxury characteristics are also supported in research by Kapferer and Bastien (2012), who connect luxury value to pricing, hedonic occurrence, history, culture, scarcity, personal service and Som and Blanckaert (2015), who mention heritage, craftsmanship, exclusivity and rarity. These are communicated through storytelling as it is a tool to inform customers about a brand in a memorable way (Herskovitz and Crystal, 2010).

For the brands’ information to be considered as memorable, research asserts that storytelling

is a tool to establish emotional connections (Herskovitz and Crystal, 2010). This is also

supported by Escalas (2004) and Kaufman (2003), who argue that stories create mental

simulations and facilitates personal communication and connection. Achieving these

14 simulations and connections is further stated by Escalas (2004), to promote loyalty and engagement between storytellers and receives. Since these associations of storytelling are created in the process of brand storytelling, they are positioned within brand storytelling in Model 1. The associations create a connection to the luxury brand (Kaufman, 2003; Escalas, 2004; Herskovitz and Crystal, 2010), hence, as illustrated in the model, there is a link between the associations of storytelling and the luxury brand. Further, when luxury brands communicate through storytelling on social media, the communication occurs in a context which allow individuals to connect, obtain and share information in an interactive environment (Arazy and Gellatly, 2013; Shang, Wu and Li, 2017).

Model 1. Analytical model

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3. Method

The following sections explains the how the research was conducted and how data was analysed. Conclusively, discussions are made on the selected method of this study.

3.1. Research Purpose

As denoted by Saunders, Lewis and Thornhill (2012), the research purpose defines the objective for conducting research, which for this study involves an exploratory design.

Exploratory research refers to studies that are formed to investigate new insights of a phenomenon and define what is occurring to provide an understanding of a problem. Since the aim of this research is to provide a foundation of how luxury brands are communicating through storytelling on social media and there is limited literature on the topic from which to draw conclusions, the exploratory stance is preferred as it is associated with generating theory (Bryman and Bell, 2012; Saunders, Lewis and Thornhill, 2012). The study intends to provide an overview of the subject matter in terms of existing literature and interpretations of research participants. Hence, the purpose is mainly not to establish conclusive assumptions, but rather deliver basis for further research.

3.2 Research Strategy

A qualitative research strategy is used because the strategy is based on generating or testing theories, which is applied within this study (Bryman and Bell, 2012). A qualitative strategy is implemented to provide a foundation by exploring the topic, which is not applicable through a quantitative research strategy, as the latter applies when researching clear results that can be translated into a significant data set (Saunders, Lewis and Thornhill, 2012; Bryman and Bell, 2012). Moreover, according to research made by Bryman and Bell (2012), a qualitative research approach is preferred over the quantitative approach in regards to market practices.

Conclusively, to achieve meaningful and interpretive results, this research applies a primary

data collection through semi-structured interviews and a secondary data collection in form of

observations of Instagram accounts. By collecting data using both primary and secondary data

sources, the aim is to explore and not draw any definite conclusions hence the choice of a

qualitative research strategy.

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3.3 Research Approach

For this study, an abductive research approach is applied and entails, according to Awuzie and McDermott (2017) and Aliseda (2006), finding and explaining a set of perplexing observations in current theory. Hence, conclusions are drawn from observations from primary and secondary data sources, which leads to the development of theory. Therefore, this research intends to find the most likely explanation for existing observations by utilising both empirical and theoretical dimensions when delivering analysis (Aliseda, 2006; Awuzie and McDermott, 2017). Considering the purpose of this study, deductions are established as a result of the present findings in relation to previous observations and theory, which is consistent with abductive reasoning. When applying an abductive approach, it should be denoted that the premise of the provided theory is constructed around a concept, which is formed around a specific phenomenon that might include different considerations (Aliseda, 2006). However, since the topic of research lacks fixed conceptual foundations, the aim is to provide insight and conceptual underpinnings of the field of research and basis for further studies.

3.4 Data Collection

The data for this thesis was gathered through both primary and secondary data sources to provide further basis of the collected data and disclose supplementary foundation of the topic.

The primary data sources include semi-structured interviews, which is further reasoned below with a description of the applied interview guide and its operationalisation. In addition, an explanation is made of the secondary data, consisting of observations of the Instagram accounts of the brands participating in the study.

3.4.1 Primary Data Sources

According to Saunders, Lewis and Thornhill (2012), primary data sources involve the leading

evidence and knowledge that is deduced within a research study. For this study, the primary

method of retrieving data is through semi-structured interviews. Interviews was chosen as the

method allows gathering in-depth information as detailed questions can be asked and

possible ambiguities can be resolved if needed (Bryman and Bell, 2012). The interviews were

semi-structured, which according to Bryman and Bell (2012) and Saunders, Lewis and

Thornhill (2012), include a list of questions, referred to as the interview guide. This approach

was chosen because it entails flexibility and the interviewees are given the opportunity to

17 discuss the topic (Bryman and Bell, 2012). Further, Saunders, Lewis and Thornhill (2012), explain that semi-structured interviews are common in an exploratory research approach. For the present research, where data is collected to explore how luxury brands are communicating through storytelling on social media, this method allows elaborative data to be obtained from the perspective of luxury brands. Further, as the topic is not widely explored, semi-structured interviews provides unrestricted data. Subsequently, luxury brand managers and coordinators are interviewed to fulfil the purpose of the study.

The preferred method to conduct the interviews was face-to-face, since it would decrease any miscommunication that may occur (Bryman and Bell, 2012). The interviewees were located outside of Sweden or had difficulties meeting in person, therefore the interviews was carried out over the phone, Zoom Video Communication or Skype, in addition to email contact. One of the participants who were unable to have an interview over the phone was kind enough to answer the questions over email and any follow-up questions that arose. Because of this, follow up questions during a conversation was not posed, but rather asked over email. As the questions were open-ended, they permitted for elaborative answers in the email interview, which provided sufficient relevant data for this thesis. Further, all interviewees had the possibility to read through the interview guide in advance to have the chance to highlight any concerns regarding the questions that they might have had. The interview method also allowed the interviewees to develop their thoughts and answers depending on the interpretation of the questions.

All interviews, apart from the one over email, were audio recorded and transcribed to simplify the distinction of themes within an in-depth analysis and minimise loss of any essential aspects (Saunders, Lewis and Thornhill, 2012). It is important to note that since the interviews were in English, linguistic confusion could occur and associations to other cultural backgrounds could arise. To decrease this, both two researchers listened through the interviews in the transcribing process to ensure sure that both interpreted the data similarly.

3.4.1.1 Selection Process of Interview Participants

The selection of interview participants within this study, was made in accordance to collecting

data from people with extensive knowledge about luxury brands’ communication and that

work with marketing at luxury brands that are present on social media. Further, the aim was to

provide foundation from the perspective of various luxury brands. The participants taking part

18 in the research work with marketing and communication at various luxury brands.

Nonetheless, there are distinctions between the participants perspective in terms of area of expertise, experience and size of the company that may affect the result of the study, however, this is not emphasized in this exploratory research. One of the brands requested to be referred to as “One of the eight Specialist Watchmakers Maisons of Richemont Group”, which is used throughout this thesis. Depicted in Table 1. below, are the primary data sources.

Table 1. List of Conducted Interviews

3.4.1.2 Interview guide

To collect data for this study an interview guide was utilised in order to thoroughly explore

the areas of knowledge that the thesis investigates. Seen in Appendix 1., the interview guide

consists of 22 semi-structured questions and designed to fulfill the purpose of how luxury

brands are communicating through storytelling on social media, in accordance to the

opernalisation that is further discussed below. The interview guide is divided into five

sections, which consist of the Introduction, Storytelling and Social Media, Storytelling for

Luxury Brands, Interaction and Conclusion. The sections are selected to categorise the

questions and the responses in addition to provide transparency and depict the data clearly to

fulfil the aim of the thesis. The questions were asked with the intention of maintaining the

exploratory aim of this study.

19 3.4.1.3 Operationalisation

The operationalisation for this thesis is based on the theoretical literature presented, which can be further depicted in Appendix 2. Argued by Saunders, Lewis and Thornhill (2012), when operationalising the concepts, theory becomes more tangible. Thus, the reason for connecting literature to the interview questions is to have a basis for the questions asked and to ensure that the right data is gathered to answer the research question for this thesis. The the operationalisation is divided into four sections retrieved from the interview guide, excluding the Introduction. The choice of excluding the Introduction was made since these are opening questions that are not based on the theoretical framework. The sections for the operationalisation thus include, Storytelling and Social Media, Storytelling for Luxury Brands, Interaction and Conclusion. The purpose of the first section, Storytelling and Social Media, was to collect data in regards to how the brand is telling stories on social media. This is of importance to understand social media’s impact on brand communication and to answer the research question of this study. Supporting literature for this theme explain the different objectives for using social media, subsequently the first question is open for the brand to define their particular purpose for incorporating social media strategies. Moreover, the corroborative literature for this theme provide reasons for why social media is used among businesses.

Storytelling for Luxury Brands is the second section and aim to explore how luxury brands

use storytelling to communicate luxury values. Supporting literature for the questions defines

what constitutes as luxury values and explain how storytelling can be used to communicate

these. In accordance, what role storytelling have for the brand is asked during the interviews,

in addition to how storytelling is used to communicate luxury value. For the third section

which is Interaction, the purpose was to understand how social media impact the brand’s

communication. The supporting literature for this section explain how luxury brands

incorporate social media in their business and how followers communicate on social media

platforms. With social media platforms fostering interaction between its users, questions

regarding how the brand acknowledges the interaction and adjust to it were asked. The last

section is the Conclusion, which intends to summarise the interview with two last questions

considering how storytelling on social media platforms influence the brand

communication. These questions have theoretical foundation in regards to how the context

influence the communication of luxury values and what can be considered as successful

storytelling.

20 3.4.2 Secondary Data Sources

According to Saunders, Lewis and Thornhill (2012), secondary data entails observing existing material that can be useful to answer the purpose of the research. For this thesis a secondary data collection was implemented to provide further underpinnings of the collected primary data. To present the foundation for the insights given by the interviewees in regards to their use of storytelling on social media, an observation of the brands’ social media posts was conducted. This decision was made, since the perspective of the interviews are mainly from a managerial point of view and not solely operational. Hence, secondary data is used to provide basis for the gathered data and the interviewees' claims. The selection of social media platforms was delimited to Instagram, in accordance to research by Liebhart and Bernhardt (2017) and Serafinelli (2017), stating that Instagram is a platform where storytelling is facilitated through visuals where users can share photos or videos and interact with each other. This was also supported during the primary data collection, where a majority of the interviewees mentioned Instagram as their most important social media platform for communication. The social media platform was in this thesis subsequently delimited to Instagram, where storytelling is observed through visual data, which according to Gioglio and Walter (2014), is an efficient tool for depicting complex material and support the discovery of new insights.

The time of observation was from April 2019 to May 2018, where the first post of each month was observed. This distinction was made to observe how the storytelling have been used on the platform for the past year and provide further basis. Subsequently, the aim was not to draw comparative conclusions of the selected social media post between the chosen brands, but rather to provide a basis for the retrieved data that was obtained from the interviews.

Illustrated in Table 2. below, the name of the Instagram account for each brand is portrayed.

21 Table 2. Illustration of the observed social media platforms

Each of the posts from the brands were examined by observing what type of content they are posting, consistency of information, how they are describing their posts, if followers are posting comments, how followers interact with each other in the comment section and how the brands interact with customers by answering and liking comments. The reason for observing this was in accordance with research asserting that brands and followers engage with each other as a way of communicating on the platforms (Mangold and Faulds, 2009;

Kietzmann, Hermkens, Mccarthy and Silvestre, 2011; Kim and Ko, 2012). The description of the findings for each brand's Instagram content, is denoted in text and found in Appendix 3.

3.5 Qualitative Data Analysis

For this study the satisfying principle and a thematic method of analysis are applied to uphold the exploratory stance. The satisfying principle, or theoretical saturation, is explained by Bowen (2008) and Morse, Lowery and Steury (2014), to be reached when no additional data provides new information to the research, thus data is saturated. This criterion was met after six interviews were conducted as no additional information was mentioned that would change the interpretation of the findings. Furthermore, by implementing a thematic analysis, patterns within the data are identified and analysed through certain themes (Braun and Clarke, 2006;

Nowell, Norris, White and Moules, 2017).

22 The thematic analysis was conducted by denoting various categories found within the empirical data by coding. The coding included defining various categories by using different colours when reviewing the transcribed interviews. These categories was intended to be in accordance to the sections within the operationalisation. After the six interviews were transcribed and follow-up questions had been asked, the coding process was made instantly in order to ensure that ambiguities was resolved before selecting the analytical themes. When the transcriptions were coded, various themes was compared and three was selected for the analysis. The selected themes include; Luxury Brands’ Storytelling is Influenced by Social Media Features, Perception of Luxury Value Shaped by Social Media and Storytelling by Luxury Brands is Impacted by Interaction on Social Media. This resulted in a discussion connecting the analysis to the Analytical Framework presented in Model 1., to fulfill the purpose of the study.

3.6 Trustworthiness of Data

In the process of conducting qualitative research there are issues that need to be highlighted that may influence the transparency and trustworthiness of the study (Bryman and Bell, 2012).

According to Bryman and Bell (2012), there are four criterions that should be considered for qualitative research in order to provide trustworthy research that is parallel to quantitative research. These include credibility, transferability, dependability and confirmability.

Credibility refers to how convincing the results are of a study. To ensure the credibility of the

findings, the aim is to guide the reader through each stage of the research process, openly

define existing literature and clearly present the findings. By observing Instagram posts for

each brand, the claims of the interviewees are supported. Transferability depicts how the

findings are applicable in other settings, which is supported in this study by utilising existing

theories as a basis for the interview guide and thus validating that the findings can be applied

in the intended business context. However, it is of essence to note that the research is formed

mainly for luxury brands. The dependability of the research defines if the results are relevant

at other times. With the purpose of this thesis being to explore a current phenomenon, the

investigation is primarily made to investigate the topic at the time of research. The last

criterion, confirmability, indicates if the researchers have allowed their values to interfere

with the conducted investigation. To reduce this established research methods are used

throughout the process since the objective is to provide impartial findings, which is supported

by Thomas and Magilvy (2011) to promote objectivity. Moreover, all researches are present

during the interview process.

23

3.7 Critique of Methods

Critiques found when applying a qualitative method are problems regarding the generalisation and lack of transparency, which also applies to the current study (Bryman and Bell, 2012;

Saunders, Lewis and Thornhill, 2012). According to Saunders, Lewis and Thornhill (2012), generalisation refers to if the study’s findings are applicable in another context. Bryman and Bell (2012) continue to explain that for qualitative research it can be difficult to know if the study is applicable in another setting, especially when unstructured interviews are conducted with a small number of people in a certain industry or context. For this research to be generalisable, the method needs to be empirically tested in another context, which is carried out in this particular study (Lee and Baskerville, 2003).

Moreover, as this research is founded on the observations of Instagram and findings from interviews with six luxury brands, the data collected cannot be confirmed to be applicable for the whole luxury industry. Hence conclusions within this thesis are not meant to be final, but rather to explore a current phenomenon. Further, the interviewees have extensive experience in field of luxury brands but it is not indicated if they possess comprehensive knowledge of social media platforms. Therefore, to give foundation for the statements in the interviews regarding the brands’ use of social media, secondary data is collected to support the claims from the primary data. Further, critique regarding subjectivity is by Bryman and Bell (2012) asserted to be common in qualitative research as the findings rely on what the researchers’

view to be of importance and of interest. This was considered in the present study and the aim was to deliver impartial results by applying recognised research methods to minimise bias.

One other critique found is the lack of transparency (Bryman and Bell, 2012). Lack of transparency entails how well the researcher or researchers explain how they did the study and how they reached the conclusion. This is minimised with clear definitions about how the method for this study was carried out and how the result and conclusion from the data were reached.

With the conducted interviews was not face-to-face, criticism regarding misunderstanding, misinterpretation and not being able to read the expressions of the interviewee can arise.

When conducting semi-structured interviews over the phone, issues regarding terminating an

interview too soon and being able to observe body language may occur (Bryman and Bell,

2012). However, this is considered in the process of conducting the interviews by ensuring the

possibility to ask for follow up questions during the data collection process. The method for

24 the interview was adapted to the interviewees' preference, to support a comfortable setting and freely discuss the topics. Further, the selected quotes in the study have been sent to the interviewees for their approval to minimise misinterpretations of their answers, maintaining the transparency and trust of claims.

3.8 Ethical Considerations

In this study, the ethical principles lack of informed consent, invasion of privacy and

deception are relevant concerns (Bryman and Bell, 2012). In order to minimise ethical

concerns, information about the purpose of this research and themes of the interview guide is

sent to the interviewees in advance. This is in order to provide the interviewees with the

opportunity to raise any concerns. Additionally, questions regarding permission to record the

interview and how the use the interviewee’s name and position are asked. With one of the

interviewees wanted to be have the brand anonymous and referred to as “One of the eight

Specialist Watchmakers Maisons of Richemont Group” which was fulfilled throughout the

study in order to minimise invasion of privacy and support informed consent. The

interviewees are informed regarding which citations that presented study, to decrease ethical

problems concerning lack of informed consent (Bryman and Bell, 2012).

25

4. Empirical Data

The successive chapter presents the collected data of this research. The findings are categorised into Storytelling on Social Media, Storytelling for Luxury Brands and Interaction, to serve the purpose of this study.

4.1 Storytelling on Social Media

Regarding the objectives of why the majority of luxury brands in this study are using social media is mainly asserted to be to communicate the brand values and their products. Further, the platforms are a channel where the brands can own and distribute their own content, which can be connected to the overall digital content strategy. Angela Ubis Lupiós (Loewe, 2019), states that social media used for communicating value through storytelling, which is further stated by all interviewees to be fundamental when conveying their brand values. The interviewees assert that the brand values they communicate, does however, not change to social media and the majority state that how the brands are communicating when using storytelling is what is adjusted to the context. Grant Andrews (Paul Smith Ltd., 2019), explain that in regards to social media’s impact on a brand’s storytelling that, “I think social still is its own entity which is anyone saying that social haven’t impacted how a brand communicates a brand are probably lying or they haven’t used social to communicate their brand value.”

Regarding the same topic Sander van Djik (Spyker Cars, 2019), asserts that social media is used as a communication tool, but it does not impact how they communicate their brand values. Spyker Cars does not adjust their brand to social media or how they communicate.

Further, he explains that most of their customers are not using social media and that they do not target the customers that do not know who they are. From the secondary data Spyker Cars have posted one photo during time of observation.

The interviewees identified several features on social media to be important to consider when

communicating a story successfully. One feature that was brought up by the majority of the

interviewees was the platforms requirement of constant development and social media being

time consuming because brands continuously have to post new content in order to stay

relevant. From the secondary data, it is observed that all brands, except for Spyker Cars, post

new content regularly. Regarding the constant development of social media, Andrews (2019),

states it to be a negative aspect explaining; “in terms of weaknesses, it is really just one main

one for me and it is that it is always on. You cannot just start a channel and then expect it to

make money or continue to grow. It is a constant process for us of creating content and

26 posting and trying to see what works.” Van Dijk at Spyker Cars states that social media, and in particular the platform Instagram, is not time consuming for them.

With the majority of the brands constantly creating new content, which is illustrated in the secondary data, the interviewees assert that there is a vast amount of information on social media today and it can be difficult to reach through all the informational noise to communicate with followers. Quoted by Marlene de Jong (One of the eight Specialist Watchmakers Maisons of Richemont, 2019), “I think a struggle on social media is that today, people has so much information on it, like maybe too much, so they will see the information but they might not process it until they remember it.” To have the followers remember the information the brand is posting, de Jong explains that the brand communicate similar messaging for a longer periods of time, in order for followers to be exposed to the same type of message. The same visuals are not used, but the a similar message is communicated, which is denoted in the secondary data.

Continuing, the interviewees explain by communicating their brands on social media they allow customers and followers to engage both with each other and with the brand directly.

This is visible in the secondary data, as in all of the brands social media interaction between users occurs, in addition to users interacting with the brands. From the primary data, the interviewees state that the brands interaction includes commenting on content posted, liking images and sending direct messages, which is also depicted in the secondary data. Ubis Lupión (2019), explains that the generations today want to feel included and have the freedom to interact and comment on what brands are doing, quoting “you are giving people total freedom to interact and comment and I think that is what the generation of you and me and looking for is to give our opinion. To feel free and say if like it or don’t like it. During the interview with Andrews (2019) from Paul Smith Ltd., he explains that the brand can benefit from the interaction and engagement between followers and brand as they can solve complaints in real time and have a direct conversation with followers. From the secondary data, Paul Smith Ltd. does use their social media as a tool to guide users or provide them with information directly.

When giving the freedom to followers to comment and engage with the brand on social

media, the interviewees bring up a concern regarding the difficulties to maintain control over

what is being said. Steven Wade (Koenigsegg, 2019), explains that one negative aspect of

27 social media is that when giving followers freedom to interact you cannot always control what it being said about the brand, he quotes “you do not always have control of your own reputation. You can control what you say, but you cannot control what other people say. You can only try to mend that. So, that is definitely a challenge, reputation management.” Ubis Lupión asserts that when including followers and allowing for them to give their opinion and commenting on content posted, brands need to be aware that not everyone might like what the brand is doing. This is something the brand need to accept, and they need to take care of the consequences. She continues by explaining that the conversations between various followers, in addition to between followers and brand, which can result in new ideas. The interviewees further mention that followers are influencing each other to a great extent on social media and that brands are the result from the engagement between followers on social media platforms.

Another aspect that interviewees are acknowledging to exist on social media is the instant feedback brands can receive from its followers by looking at how the posts resonates with the market, meaning if the follower like or dislike the posts. Ubis Lupión (2019), states that the feedback that the brand receive in regards to likes and comments, influence how they will create future posts on social media, “most of the times we respect those of them that are not that successful and sometimes when something is super successful we try to repeat the formula.” One other aspect of social media brought up during the interviews is the possibility to provide instant information to followers. De Jong (2019), explain that they communicate information directly to followers and that storytelling is used to inform followers about the brand, “we really use storytelling to educate them in a way, for them to understand where value of the product that they are going to buy, is coming from.”

Further, Simon Jobson (Aquascutum, 2019), asserts that Aquascutum are aware that they have different followers on different social media platforms and that they adjust the message to be appealing to the right target group. By doing so, he states, that it will increase engagement and in turn drive sales. Ubis Lupión (2019), argues that Loewe are flexible regarding adjusting the message to different regions and settings in order for the brand to be meaningful and relevant.

Both Andrews and de Jong mention that they have different Instagram accounts for different

markets to be able to adjust the content and information to the market. Moreover, de Jong

(2019), explains that on social media the brand is describing the products in a different way

than for example in press releases, using clear and straight to the point descriptions in the

posts. Andrews (2019), asserts that when communicating on social media, it is important to

28 have a certain tone of voice that is adjusted to target group, the platform and what the brand is communicating in order to avoid misunderstandings, “What we probably do the most is to adjust the tone of voice...we trade more video content on social but we more adjust the tone of voice to attract a younger or more mature audience depending on what we are trying to advertise.“

Moving on, the interviewees coherently state that they are posting more visual content on social media platforms and some of the brands explain that they are considering social media, prior to other marketing activities. It is further argued during the interviews that the brands are nowadays emphasizing on creating content that they own and are using social media platforms to direct customers to their own content. De Jong (2019), explains that for social media they adjust their content and that the brand aims to “keep things short but clear with a picture and with the wording, is definitely a new way of communication and it is great to tell short messages that still has an impact, by adding visuals and text that is kept at only a few words.” The interviewees also assert that social media support the usage of visual content which aids in the communication of the brands.

Furthermore, factors regarding the global reach that exists on social media and its targeting capabilities are mentioned as strengths by the interviewees. Social media is asserted to have a massive reach to users all over the world and to reach the audience wherever they are and to whatever device they are using. Ubis Lupión (2019), explains that social media can also be used to target certain markets, which she argues to be a strength of the platforms. With the interviewees asserting that social media facilitates the possibility to target certain markets, there is a possibility of personalised communication. This is highlighted by Andrews (2019), who denotes that being able to personalise content for followers is one of the benefits, quoting

“that [personalisation] is the best thing about social. Not that it is an interaction in person but it is more personalised that it has ever been able to be on digital.” With the enhanced possibility to reach larger markets and to target certain groups Ubis Lupión (2019), explains the importance of having consistency across all channels the brand is active on, referred to as omni-channel, “what is very important is the omni-channel experience. No matter which device or where you are looking at about the brand you need to feel as it all feels the same.”

All the social media features identified by the brands in the data collected presented are

summarised in the table below;

29

Table 3. Factors on Social Media Platforms

4.2 Storytelling for Luxury Brands

Regarding storytelling and luxury brands the interviewees are asserting that it is used through

everything they do and they are communicating luxury values and characteristics about the

products through stories to create meaning. These luxury values are asserted by the

interviewees to be innovation, product development, design, lifestyle, performance, scarcity,

exclusivity and culture. This is claimed during the interviews to be important as it will

enhance the emotional connections followers have with a brand. According to Ubis Lupión

30 (2019), it is necessary for brands to create meaning in order for customers to connect with the brand on an emotional level. She continues by stating that the more you know about a brand the stronger emotional connections customers can make and the brand becomes meaningful.

Ubis Lupión (2019), quotes that “nowadays luxury brands need to be meaningful, the brand it is not just an expensive product, today's generations want to engage with the brand and you might buy a bag not just because it is expensive but because it means something to you.”

This is also stated in the interview with Andrews (2019), who asserts that developing marketing activities that resonate to the target market, will create mental connections among people that support future sales. The importance of creating mental and emotional linkages to a brand is further explained by the interviewees to be established through storytelling, by making the message exiting and appealing to the followers. Andrews (2019), states that emotions are connected to how followers interpret the content, quoting that “for me it is really down to the person’s view of the content to kind of tell us if it resonates on that on an emotional level”. On this note, Wade (2019), explains during the interview that emotion is communicated through visual content and storytelling which facilitates the interpretation of the brand, which is further illustrated in the secondary data.

Craftsmanship is also mentioned in order to communicate luxury characteristics, according to

the interviewees. By telling stories about how the products are made it does not only

strengthen the mental connections and associations towards a brand but it also informs the

customers and followers about the brand. Ubis Lupión (2019), argues that craftsmanship is

important for Loewe to communicate because it supports the creation of meaning, quoting

that “there might be someone younger who might say I don’t love this bag but I love the

brand because they are something else than just bags and shoes. That is what I meant with

meaningful.” Observing the Instagram account of Loewe, it is depicted that the brand actively

communicates craftsmanship and the story behind how the products are made. Craftsmanship

or development process is also observed to be communicated by other brands in the secondary

data. De Jong also explains that another element that the brand communicates through their

storytelling is heritage, which also is illustrated in the secondary data. Moreover, Jobson

asserts that luxury brands are focusing more on creating experiences for customers that are

founded on quality, customer service, craftsmanship and storytelling.