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Branded Imagery: prolonging social media presence through mood board influencers

Branded Imagery: prolonging social media presence through mood board influencers

Branded Imagery: prolonging social media presence through mood board influencers

Images are processed 60.000 times faster than words in the human brain. Pictures resonate within our mind and give us a chance to read between the lines of what isn’t written out. They remove language barriers, placing the sender in a non-market specific landscape. Compared to content that lacks a visual aspect, marketing content featuring images makes a scroller stop and look, double-tap, press share, and possibly add to their bag, according to the Nielsen Norman Group. The point is, with a picture you can include so much more information than with words and brands really need to invest in their visual assets online to have a recognizable digital presence. An impactful way to maximize the use of branded imagery, and prolong online presence, is by making use of the new phenomenon: mood board influencers. These influencers, also known as mood-boarders, have bubbled up in the last couple of years as an outcome of Instagram’s never-ending visual scroll. 

Content (combined with social-sharing) is king

Brands create content to gain visibility, increase brand awareness and help attract customers through a channel that isn’t focused directly on driving sales, says Mary Becker Marketing Director at the footwear brand Sperry. It’s useful to use an editorial mindset and put it towards an audience, writes Business of Fashion. We know that content and visual brand assets are important, but how do brands make the most of it? An answer to that, is to produce strong content with a clear branded aesthetic that can be shared and re-posted. In 2020, content is king, and people sharing a branded post will help your content stay on the throne. The new marketing asset, mood-boarders, are social-sharing experts and can increase your branded imagery’s lifespan. Mood boards prove that sharing pre-created content is a powerful marketing strategy.

 – Social-sharing means all the shares of one’s posted content on social media –

“When we click share,” explains social media expert Brian Carter, “we’re obviously saying “I like this so much, I wish I had created it myself. I want everyone I’ve connected with on social media to see it. I’m ok with my family, coworkers, supervisors, bosses and anybody else I’ve friended knowing that I like it”. 68% of people will share something because it aligns with who they are or who they want to be. Brands that succeed with social-sharing are those whose content ‘flies’, going viral online.

On Instagram an image has about 48 hours before it will no longer be shown in the feed. By then, 75% of all engagement is already commented or liked. Shares and reposts of content are what can prolong the lifespan and presence of a digital post. A new way of sharing pre-created content and curating it together in a squared feed on Instagram is when brands partner up with a new image sharing associate – mood-boarders.  

 

A new use for an old trick-of-the-trade

Traditionally, a mood board was a tool for creatives to capture a feeling, portray their aesthetics, and acted as a motif, the starting point of a design process. Fabrics, cut-outs from magazines and color samples were pinned to a corkboard. From 2011, Pinterest helped us create digital boards and pin our favorite images so we could carry around our own DIY mood boards, and we used them to show the hairdresser what we want to look like. Eventually, brands found their way onto the ideation platform that has the longest lifespan for posted content, up to 3 months. In 2016, Instagram launched the ‘save’ button so it was possible to collect our favorite posts in a private folder, in a kind-of-mood-board style.

With Instagram’s endless-scrolling capacity for its users, and with brands, creatives, and magazines moving their images online to give everyone access to enjoy their visuals, the mood board influencer was born. At first, it was for anonymous expression and shared inspiration, but with the rise of influencer marketing, the mood-boarders became another innovative possibility for marketers to get their brand and aesthetics out to the right audience. 

Moodboard influencers share already created and posted content, and put together a collection with the purpose to either educate, inspire or honor – or all three combined. The curation vs. creation approach is proving to pay off with the amount of followers and engagement that goes hand in hand with mood board influencers.

These accounts can represent sub-culture preferences and aesthetics with a niche interest, but in a limitless digital market. Brands can also easily spot what content has a viral capability, a tendency to trend, and what is being social-shared versus the content that is not shared. The problem that can occur is that these Instagram based mood boards are not controlled by the brands, it’s the curator behind the posts that have the power. This means that a brand’s visual assets – the content they are posting online – becomes of even higher value when you realize what social-sharing through mood board influencers can do for your content lifespan online.

 

How to speak “imagery”

So, how can brands speak “imagery” and take advantage of being shared and introduced to new audiences with fresh eyes through mood-boarders?

  • Brand characteristics, style and story should be able to be identified visually based on a simple picture, so the branded assets can go beyond their own account or logo. For example, Montana’s colorful storage and shelving solutions can easily be spotted in a feed without a caption.
  • High-quality photos need to be a given. If your images are low resolution, then the spectator might also think your products are of a low quality.
  • Open up and make visual brand assets accessible for industry insiders and your audience through a digital image bank. There is more about that in our article about the digital showroom boom.
  • Photo credit is not a joke. Follow these best practices and laws, because an original image is an intellectual and artistic property.  

Image: Montana Image Bank

The copyright aspect

When it comes to physical products, it is easy to understand what is who’s. When it comes to digital properties, however, the idea that everything online is public property is a common misunderstanding because it is so easy to screenshot and add the image in your own feed. Behind branded images are a production team, a marketing plan, and a budget. Moreover, the image came from professional people’s ideas and hard work. Therefore, reposting and sharing other’s work has to be done right. It is a protection and a safety net for both the one reposting, the mood-boarder, and the creator of the content, the brand. 

 

Sharing photos
If the platform has sharing features it’s typically accepted to share images within the platform. For example, reshares on Instagram stories are automatically credited to the creator, and the sharing action is only possible when someone has enabled those account permissions.

 

Reposting pictures in the feed
The best practice here is what copyright laws say, always ask for permission. This is an action required for both brands who want to feature UGC, user-generated content, and profiles that want to post other’s work in their own personal feed.
Instagram is very clear about this and states it in its community guidelines.
Everyone that has an Instagram account has agreed to it in their Terms of Use:


“Share only photos and videos that you’ve taken or have the right to share.
As always, you own the content you post on Instagram.
Remember to post authentic content, and don’t post anything you’ve copied or collected from the internet that you don’t have the right to post.

/
Instagram Community Guidelines, “The Long”.

 

Credit the image 
Crediting the image is not just a nice thing to do, it is a must since it could be a breach of the image copyright.It’s not enough to just tag the image owner in the image, preferably it should be written in the image caption. Writing “Source: Pinterest” for example, is a no-go since Pinterest did not actually produce the image.

 

Identify the image owner
Here’s a tip if you want to find the origin of an image: Google has a very helpful function calledsearch-by-image that can help you find the original source.
Visit Google Images and add the image URL to the search box or upload
a screenshot to discover the origin of your chosen photo.

 

This is not a full, in-depth guide to copyright law on Instagram.
For further information please read this educating article by Refinery29 or go onto Instagram’s page about copyright.

Summary 

Visual assets and content creation are taken as a given these days, and all brands have to be producers and be present online. Mood board influencers are a great collaborating partner if a brand wants to make their visual assets and created content last longer and have a wider reach beyond their own controlled channels online. Brands can take advantage of this digital marketing associate by making their visual assets available online, either through an image bank or a direct Instagram collaboration. Make sure that the content produced by your brand carries a recognizable story and aesthetic so that in a feed of beautifully curated imagery, the viewer can spot your brand and product right away.

 

 

Josefine is the Swedish Design & Fashion Researcher at VOCAST. When not working Josefine can be found studying communication at KEA, dancing to Abba music, or searching for Copenhagen’s finest vintage denim.

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Streetwear: Fashion x Culture  with insight from London, Paris, and Milan

Streetwear: Fashion x Culture with insight from London, Paris, and Milan

Streetwear: Fashion x Culture with insight from London, Paris, and Milan

Streetwear is a common term often thrown around without much thought to what it really means, what its values are, or where it comes from. Many genres of fashion can be defined with a general understanding and consensus that most of us subscribe to. It isn’t too difficult to separate luxury from high-street, bespoke from fast-fashion, formal-wear from leisure-wear. But fashion genres that are not made for the consumer rather curated and developed by the consumer, can sometimes be hard to define.

Understanding what streetwear is, where it comes from, and what it means to community insiders is essential to create and promote top-selling collections that are not only current, but timelessly rule-breaking. Because of its community-based nature, streetwear influencers, editors, and stylists are a voice of respected authority and therefore make very valuable brand partners. Streetwear is a dynamic genre of fashion, open to creative brands sharing meaningful messages to the world through their designs.

Unintentional Fashion Pioneers 

What is Streetwear?

Hypebeast defines streetwear as “fashionable, casual clothes”, but explains that this definition undermines the “multi-billion dollar” industry that streetwear has become. Streetwear as we know it today originated in the ’90s, in the hip-hop scenes of New York, the surf-skate and graffiti culture of Los Angeles, and within the nightlife of Japan. James Jebbia has said that his influence as a designer “was definitely the young skaters in New York. Also traveling to Japan and seeing their great style. Traveling to London. It was a combination of that.” Designers like Jebbia and Shawn Stussy pioneered streetwear in the US with their brands Supreme and Stüssy, and designers such as Nigo and Hiroshi Fujiwara aka “the godfather of Harajuku”, led the movement across the Pacific.

It is important to view streetwear as a movement, not as a trend because it is a cultural phenomenon. 90’s graphic tees, loose-fitting jeans, and statement sneakers were created purposefully as an expression by their consumer: the rapper, the skater, and the rebel. In the ’80s and ’90s, many traditional brands would not dress some musicians or sports stars, so the community had no choice but to make their own clothing and define what fashion meant to them. Virgil Abloh expressed this community shift in an interview last year: “I grew up in the 80s and 90s and in that generation we had our own idea of what a fashion designer is, and we had our own idea of what a musician was”. Still today, streetwear is lead by a close-knit group of musicians, skaters, artists and now social media influencers, who create clothing and curate looks for themselves as an act of self-expression, culture, and community knowledge.

An Ever Growing Movement

Why is everyone talking about streetwear?

Streetwear has risen in mainstream fashion over the past few decades. Unlike most other fashion genres, this growth was not pushed by brands, rather brands were sought out by consumers wanting to be “in” on the exclusivity of streetwear clothing. Exclusivity in the form of capsule collections, limited editions, and artistic collaborations are defining signatures of streetwear. Many luxury brands now use limited editions as a sales tactic, aiming to promote the feeling of exclusivity for the consumer.

Traditionally, luxury brands promoted the feeling of exclusivity with their high price ranges through authoritarian top-bottom communication. Streetwear has taught the industry that limited editions do promote a sense of exclusivity, not through prices, but community spirit. Brands like Off-WhiteNikeBalenciaga, and Palace, have been acting as an inspiration for traditional brands to design “fashionable, casual clothes” and established luxury fashion brands are releasing streetwear-inspired collections more and more often.

What is a streetwear collaboration?

The Louis Vitton x Supreme collaboration in 2017 was unmatched, GQ called Kim Jones’ collection “one of the collaborations of the century”. It’s no surprise that Jones blessed sneaker-heads again this year with Dior x Jordan, British Vogue wrote that Air Dior’s were “the most-wanted trainers of all time”. Inevitably, as the consumer base for streetwear clothing grows, the definition of streetwear is changing. For example, as more women began wearing streetwear, the male looks begun to be worn with a bold feminine twist. This created a space in the market for female-run streetwear brands that catered to the women who had been wearing clothes designed for men, by men. This is one of the reasons that today, streetwear has a very unisex feel.

For more insight on what streetwear means to its community, VOCAST’s British and Italian researchers spoke to three leading industry insiders. These women are authorities in their fields and work in three of fashion’s most influential cities. 

Insight from the Fashion Capitals: London, Paris, and Milan

LONDON: 

Simone Beyene is a 25-year-old stylist and visual artist working with photography and film. She currently works as Mabel’s stylist and will be graduating from Central Saint Martins next summer.

Being around the music scene has been exciting as it does have a big influence on streetwear, especially in London because it’s a very lively and fun city. I think streetwear, in general, has a very heavy base in skate culture, it’s a big part of what we would call streetwear today. In London, there are brands like Palace and Places+Faces that started as young guys printing t-shirts. The core of streetwear for me is a printed t-shirt that’s been washed a million times. Rock culture and band t-shirts are a big part of streetwear, but bold colors and prints that are a bit crazy or quite funny show there is a humor to it as well.

Streetwear in London is also based off of early hip-hop in New York, and how rappers used to dress in the ’80s and ’90s. Many musicians that loved skating, like Pharrell, were known to brands as friends so these brands could just give out clothes. We all want to look like our celebrity idols or people who we love and I think that’s how streetwear became big and exploded. Especially because music travels all over the world.

I think what’s very interesting as well is that, for me, streetwear is more of a unisex look. It’s quite fun to take oversized things and make it more girly by playing with the proportions, cropping baggy clothes, and creating feminine shapes. “Matchy-matchy” tracksuits and crop tops with gold body jewelry is a big part of female streetwear too, and we saw it a lot in the late ’90s with celebrity hip-hop brands.

Now, luxury brands are taking on streetwear and are making clothes that they specifically did not use to make. You can see that luxury brands, like Louis Vitton, Dior, and Gucci, are using a lot of monogram and it sells well because streetwear is very popular and people want to be a part of the culture: streetwear is a youth culture, it’s the way that the youth dress and these kids never wanted to look like anything except their version of what was cool. Now for the first time in a long time, brands are employing more people from the culture and giving references to where their collections come from. It’s important to remember the kids that created this style that brands are now profiting off of.

PARIS:

Selma Kaci Sebbagh is a Creative Director, Press Contributor, and influencer. Her impressive sneaker collection, which she features daily on her Instagram, has caught the eye of several high profile publications. 

Streetwear is hard to define right now in 2020, I would say that 10 years ago it was easier to actually define. Streetwear is something that can be mixed, it can be worn by women and by men as well, which means it’s something that can be shared. I used to think that the term streetwear could be negative somehow because maybe it was an easy way for people to say something’s stylish. Streetwear is wearing the brands behind the clothes, not just a huge logo with no meaning behind it. Often, I have asked brands about where their clothes come from and how they are made because it’s important to think about the impact on the planet.

In the French market, especially for the young generation, there is an awareness about sustainability and people want to make a change. I do honestly believe that the new trends in streetwear will be focused on being more sustainable. When it comes to Parisian streetwear there is not an exact style; social media gives us a sense of not having any borders which enables us to look around beyond one style.

Something that is changing the definition of streetwear is that there are more and more women’s brands growing, especially through social media. Seeing girls and women being allowed to actually change the way that they want to dress every day allows us to have a different vision of style and streetwear. It stops brands from being closed-minded so that they do more for us, which I think is great.

MILAN: 

Amanda Margiaria is an editor at i-D Italy, one of Italy’s most prominent publications focusing on streetwear fashion and culture. She writes about everything from fashion weeks and industry news, to culture, politics, and music.

There is no single definition for Milanese streetwear because this style encompasses many different social layers and subcultures. The Milanese skaters wear streetwear, the Milanese hype-kids wear streetwear, the Milanese influencers wear streetwear, but their clothes have little to do with each other. The fil rouge, though, can be found in the attitude of all these people. They wear what they wear because they’re making a clear statement. Their clothes say:

We don’t want to homologate to the Italian style, something you’d associate to tailor-made suits, eccentric hats, and the Pitti Peacocks. We are unique, we are outcasts and we wear streetwear because we want to be underdressed in every social situation.

Streetwear is all about the message you want to convey. If you wear streetwear, you refuse to meet the expectations of society. Streetwear was born out of rejection for social norms, and this rebellion will always be the key element of streetwear. From a style point of view, though, I think streetwear is going towards more unique and sustainable clothes and accessories, because what’s better than an Off-White sweater? A custom-made sweater, made of recycled Off-White textiles. Streetwear can survive only if the customers’ expectations are met; so it will still be something exclusive and at the same time very democratic because, as we stated in a recent article, if this style wants to stay relevant, a political and social commitment is of foremost importance.

Listen to the People 

As streetwear establishes itself in the mainstream fashion market, driven by the force of consumers, it is clear that the genre can no longer be reduced to an “urban style” or something not-applicable to established fashion Maisons. Streetwear is the true voice of the fashion consumer, which makes for an indispensable expression that should be reflected in contemporary fashion brands and their product portfolios. Streetwear will always seek to embark upon new grounds and break outdated practices as consumers are increasingly conscious about issues related to equality and sustainability. Therefore, openness to cultural phenomena and a transparent approach to the related issues, is the key to the streetwear consumers heart, worldwide.

Georgina is the Lifestyle Researcher for the US and UK Market at VOCAST, responsible for both American and British fashion and lifestyle research. Along with her work at VOCAST and studies at Copenhagen Business School, she is passionate about conscious fashion reform in the industry.

Olivia is the Italian Market Coordinator at VOCAST. She studied Fashion Marketing & Communication at IED in Milan, where she also began working with fashion marketing and PR. When not at VOCAST, she can be found in her kitchen developing recipes, dealing with the transition from pizza to rye bread.

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Update – Lockdown status in Scandinavia, Europe and the US

Update – Lockdown status in Scandinavia, Europe and the US

Update – Lockdown status in Scandinavia, Europe and the US

The Lifestyle Team at VOCAST is made up of native researchers, with specific knowledge about what is happening across international markets. In the current situation with COVID-19, different countries are taking different precautions. As each country struggles in various ways, it might be beneficial to focus on markets that are more open. Here is an update on the lockdown status of our 10 markets.

The latest updates as of 03/08/2020 are underlined and in bold:

Fashion Weeks/Fairs status in 2020:

Copenhagen Fashion Week has been pushed forward by a few days and is set to be held from the 9th to 12th of August in a hybrid format, meaning that some shows are running as usual (physically on the catwalk). However, some brands prefer to create a digital show presentation that will be prepared beforehand. This will allow them to be agile no matter what happens. Fashion trade fairs are scheduled to be held during the same days. Initially scheduled in May, Denmark’s annual design event, 3 days of design, has been postponed and will be taking place from the 3rd to 5th of September.

Paris Fashion Week Haute Couture and Homme was held from the 6th to 13th of July and was digital. However, Paris Fashion Week Womenswear (from the 28th of September to the 6th of October) will be presented in a hybrid form and will have both physical and digital shows. In September, both Première Vision (4th – 7th) and Who’s Next (15th – 17th) fashion fairs will take place as usual, Maison&Objet will be a digital fair (4th – 8th).

Milan Fashion Week was held from July 14th to 17th, the first “hybrid” digital fashion week featuring both men’s and women’s pre-collections for Spring Summer 21. For the September fashion week, the women’s and men’s agenda have also merged to the same week and will take place in September (22th – 28th) featuring the Spring-Summer collections of 2021. The 2020 edition of Salone del mobile has been canceled and the next edition will take place in April 2021 (13th – 18th). Pitti Immagine Uomo has announced that this year’s trade show will be done digitally, launching a new platform and format called Pitti Connect. The calendar has been moved and compressed into two days of digital activities taking place in September 2020 (2nd – 4th).

London Fashion Week took place in June, and it was the first major fashion week to present digitally. What should have been London Men’s Fashion Week became a digital platform on London Fashion Week’s website, showcasing fashion for all genders. Virtual showrooms, films, podcasts, and playlists were used to showcase British fashion along with the new hashtag #LFWreset. London Fashion Week is scheduled to continue digitally in September.

Stockholm Fashion Week is making a return via a digital platform from the 25th to the 27th of August. The new fashion week embraces a 360-degree format, setting the stage for SS21 presentations and shows, live-stream Q&A sessions with designers, interviews and panel discussions, wholesale showrooms, consumer activities focusing on the current season’s collections, and much more.

Berlin Fashion Week and most major fashion and design fairs have been postponed to 2021.

As of now, no official announcement has been made for New York Fashion Week.

Scandinavia

Denmark:

Lockdown status: Denmark has, since mid-April, been opening up parts of the country gradually. This has now resulted in the country almost being back to normal. Private offices, retail stores, restaurants and education and cultural institutions are all open. Gatherings are currently limited to 100 people, but are likely to be increased to 200 people shortly if infection rates are controlled. Due to the increase in infection globally, Denmark is now recommending all passengers on public transportation to wear masks. 

Press status: Though the press has been highly affected by this pandemic, they are now all back to work and running daily tasks close to normal with photoshoots and events, of course, limited to the restrictions made by the government.
 

Retail status: All non-essential stores, department stores, and shopping malls are opened again. Distance limitation is mandatory to ensure social distancing between customers, and dispensers with hand sanitizer are placed at all entrances.

 

Sweden:

Lockdown status: With an increasing curve of infected cases, Swedes have been blocked to travel abroad by many different countries. Even to its Scandinavian neighbors, Denmark and Norway who are welcome to visit Sweden. On July 1st, the border opened up for 15 non-EU countries, and from July 15th Swedes were welcome to travel to some countries within Europe, but the Foreign Ministry’s advice against travel from Sweden still remains until August 31st. Five months after most of the world lock-downed, Sweden is still doing business as usual. However, some restrictions are still put in place: offices are still encouraged to work from home and a limit of 50 people is allowed at social gatherings. This means that weddings, graduation parties, and events are asked to keep this restriction in mind. The increasing curve is taking place in some parts of the country, specifically in Stockholm and the West coast.

Press status: When reaching out to Swedish contacts think about mentioning the good weather and the possibilities for a relaxing staycation in their own country. Be friendly and not irritated over the fact that the Swedish government has not put any further restrictions in place. Grab ahold of the opportunity that journalists are on their emails and phones much more than before, excited for new collaboration opportunities. Focus on products and messages that can work in a local, home, and outdoor context with Scandinavian summer in mind.

Retail status: Retail is rolling with early seasonal sales, but it is struggling to keep numbers green, and employees are continuously furloughed. Opening hours for shops are slowly going back to normal.

 

Norway:

Lockdown status: The summer is coming to an end in Norway and life is slowly but surely returning to the new, post COVID-19 normal. Public gatherings are allowed up to 200 people meaning that bars, stores, and other businesses have for the most part opened up again. In terms of leisurely travel, Norway have greatly eased up the travel restrictions and it is now possible to travel to most of Europe without risking quarantine upon return. Still, it is advised to not travel unnecessarily and many have chosen to spend their free time exploring their home country.

Press status: Press contacts and influencers are slowly but surely moving back into business as usual. However, July is the main vacation month in Norway and that includes most press.

Retail status: Even at the most crucial point of the pandemic, large malls were allowed to stay open granted they could maintain a distance between customers and employees. Despite this, most stores saw a decrease in sales of anywhere between 30 – 100%. According to several industry experts, this has laid the foundation of the most dramatic discount-summer ever as most stores have products in stock that they had expected to sell during the crucial springtime months. We are still in the beginning phase of this, but across the nation there seems to be optimism lurking as well as a newfound enthusiasm for supporting local stores and brands.

Europe

Germany:

Lockdown status: The contact restrictions in Germany have been slightly lifted. However, every state is still responsible for the implementation of federal regulations, which can slightly differ from each other. In some smaller regions, the infection rate has increased and local lockdowns have been implemented again. Hygienic regulations, such as a 1.5 meters distance and wearing a mask in public areas, still apply in all states. Germany has opened its borders. However, since July 27th, a new rule has been in forced that all travelers returning from risk areas will have to be tested. Around 130 countries are currently on the risk list worldwide – these include the US, Egypt, Israel, Turkey, as well as Luxembourg and Ukraine. Furthermore, to break the chain of infection faster, the federal government of Germany has developed a free corona alarm app. The idea is to determine if someone has been in contact with an infected person and whether this can result in a risk of infection.

Press status: Journalists and editors are still in short-term employment, out of the office, or on vacations. This means that people in the industry work fewer hours or are not working at all right now. However, all editorial offices are still reachable. The best way to contact editors is by sending them an email. In general, employees at big publishing houses, such as Gruner + Jahr, Burda, Condé Nast, and Axel Springer, still work from home. Photoshoots and magazine productions in studios are still ongoing – by following the official regulations. Even-though most offices and teams are slowly starting to come back to their office, the coronavirus pandemic has become a wake-up call for digitization in Germany, as many weaknesses in the digital solution of companies, schools and universities were revealed.

Retail status: Valid from the 1st of July until the end of this year, the German government has decided to decrease the VAT on products and goods from the usual 19% to 16%. The goal is to increase sales and boost the German economy, which has been hit by the pandemic in the last months. Since May, all shops and retail stores have been open. However, hygienic requirements must be followed. Access to the shop must be controlled, queues avoided and a maximum number of people (customers and staff) must be specified in the area. Contactless payments have massively increased in German stores.

 

France:

Lockdown status: As of July 20th, anyone 11 years of age and over must wear a mask in enclosed public places, anyone going against this rule will be fined €135. The French can freely travel again throughout the country, without distance limitations or carrying an authorization form. The Paris region (Île de France) is no longer in the red, but green zone. However, gatherings of more than 10 people are still prohibited, and wearing a mask in public transport is still mandatory. Starting on the 1st of July, tourists from Schengen area countries including the UK are allowed to enter France. Long-term residents from 14 non-EU countries: Algeria, Australia, Canada, Georgia, Japan, Montenegro, Morocco, New Zealand, Rwanda, Serbia, South Korea, Thailand, Tunisia, and Uruguay, are allowed to travel to France too. People coming from a high-risk country will need to quarantine for 14 days. With talks of a second wave, lockdowns measures are soon going to be discussed by the French government.

Press status: Receptionists in most publishing houses are picking up the phone, however, some journalists and editors are still working from home. Reaching out by e-mail is still preferable though their responding time may vary. Influencers on the other hand are still very responsive. Please keep in mind that the French holiday period is during August.

Retail status: The French government highly recommends online shopping as an alternative. Wearing a mask is now mandatory upon entry into stores and hand sanitizer dispensers are still made available at each entrance. Outdoor markets and covered halls are open again – unless the regional prefectures decide otherwise, it is, therefore, important to check each prefectures’ website for more information. Big shopping centers larger than 70.000 m2 such as Le Printemps and Galeries Lafayette were authorized to open again in Paris. Summer sales have started (July 15th) with deceiving numbers. L’Alliance du Commerce (department stores, fashion/ footwear brands alliance), reported a 38% drop in store visits compared to the start of the 2019 sales. The Covid-19 crisis has pushed retailers to demand the cancellation of rents for the duration of the lockdown, and rents to be adjusted until return to normal.

 

Italy:

Lockdown status: In Italy, the official state of emergency has been prolonged by the government until October 15th. This is because although the death rate and infections have decreased drastically, the virus is still circulating and many fear the second waves that have started to affect other parts of Europe. Domestic travels have been allowed since June 2nd and the borders have been opened for the EU and other European countries. Italians and foreigners are free to enter and travel, and body temperatures are measured by the borders and at airports. Public transport is open and allowed whilst practicing social distance. Masks are still mandatory once you step outside your house. Public offices are open, with restrictions involving distance, masks, and sanitary supplies. Other offices, however, need to be able to fulfill the same measurements as public ones to be kept open. Offices are therefore still partly closed but some are starting to regain normal pace. In general, Italians are increasingly positive in spirit and many are looking forward to their -domestic- vacations in August.

Press status: Publishing houses are still closed in general, and only a handful of editors have started to work from the office a couple of times a week. Journalists are not answering their work phones but are still responding to emails. Influencers are still very responsive. When contacting the Italian press, keep in mind that many Italians still haven’t regained the pace of normal life and many have been personally affected by Covid-19 in different ways. Signs of solidarity in relation to the pandemic is generally highly appreciated, especially in business-related matters. Keep in mind that most Italians go on vacation in August and that one can expect delayed email response during this month.

Retail status: Shops, hairdressers, and bars have been open since May 18th and have, to a large extent, gone back to normal routines and opening hours.

 

The United Kingdom:

Lockdown status: The UK has been hard hit by Covid-19, with high rates of infection, fatality, and economic loss. All four nations are now beginning to open up workplaces, domestic travel restrictions, and social distancing guidelines though it is now mandatory to wear a face mask in most public indoor places. Since July, there have been a few second-wave-lockdowns in specific regions and cities in England. Since July 4th, nonessential businesses such as pubs and restaurants, theatres and cinemas, museums, and galleries were able to open up for the first time since lockdown began. Additionally, from July 10th international travelers from some countries no longer needed to self-quarantine for 14 days upon entering England. However, countries that have rising numbers of Covid-19 cases have been put back on the list of countries where UK residents must self-quarantine after visiting. As of August 1st, Spain and Luxembourg are the only countries to be put back onto that list.

Press status: Although offices and other workplaces are allowed to open, many workplaces continue to work from home if they cannot upkeep the safety policies in place. Although many in the British lifestyle industry are eggar to start getting back to work if possible, major publishing houses such as Hearst and Conde Nast still encourage all employees to work from home. Editors and journalists can be contacted via phone and email but prefer to be contacted via email in general.

Retail status: The majority of high street retailers are now open and are back in business. Depending on the size of the store, only a few people may be inside at once. Face masks are now mandatory in all stores and hand sanitizers are present in entrances and exits.

 

The Netherlands:

Lockdown status: Tourists from the EU, Schengen Area, and the UK are allowed to travel to the Netherlands. People arriving from Sweden and the UK are strongly advised to quarantine for 14 days during their Dutch stay. The Dutch are allowed to travel within Europe, but only to ‘yellow’ or safe countries. This list is continuously updated and can have countries turn to a negative orange code at any given moment. Only essential travel is allowed outside of Europe, upon return of such a trip, two weeks of quarantine are mandatory. A new rule allows people to apply for their loved ones from other countries to enter the Netherlands for a period of maximum 90 days. The maximum indoor capacity since July 1st is 100 people, without employees. Venues like cinemas, bars, restaurants, theatres, and events like weddings and burials are allowed more than 100 guests but only if attendance is notified in advance and health checks are possible. Outdoor capacity is at 250 people, though similarly it can be exceeded if attendance is noted beforehand for example, through restaurant reservations. All seats have been available on public transport since July 1st, but it is mandatory to wear a mask.

Press status: The government still advises people to work from home whenever possible and for workers to avoid public transport during rush hour. This means that some journalists are responsive and answering their emails while others are less available due to filled mailboxes.

Retail status: Non-essential stores and shopping malls are all open, which was already the case as The Netherlands hasn’t enforced any official lockdown. Social distancing measures of 1.5 m are still required to keep safety, but some professions where this isn’t feasible such as hairdressers are exempt from the rule.

 

Belgium:

Lockdown status: It is mandatory to wear a mask in indoor public places. Because of a rise in cases, the number of social contacts has been reduced again. Every household is allowed five close contacts and group activities are limited to 10 people. The private social bubble has been expanded to 15 different people per week. Everything has reopened except for nightclubs and mass events like festivals, bigger sport, cultural or ceremonial events. As of August 1st, a maximum of 400 people indoors and 800 outdoors. People are free to travel to Belgium but need to wear a mask when using public transport. Travel abroad is permitted, but strongly discouraged. Belgium has opened its borders to all EU countries and the UK, Switzerland, Liechtenstein, Iceland, and Norway. People returning or entering from countries marked red are tested upon return and quarantined for two weeks. The colour-coded map is updated every day on the Belgian website for Foreign Affairs.

Press status: Working from home is strongly encouraged again. Keeping a social distance of 1.5 meters is required between colleagues if working remotely is not an option. Most journalists are still working from home, their response time may vary. However, influencers are still very quick to reply.

Retail status: Stores and markets are open again, following guidelines on how to do this safely. Wearing a mask and keeping 1.5m social distance is mandatory. A study by the Thomas More college and retail federation Comeos discussed on retaildetail.be notes that the pandemic has positively influenced the online shopping behavior of Belgians. Belgian consumers are said to be finally won over by e-commerce, but will also be shopping more in local stores. 30% of Belgians say they will continue shopping online in the future. 44% mentioned they consciously look for online shops of local retailers with a physical store in Belgium. 23% said they were planning on visiting the physical stores they had discovered online. 58% will avoid shopping in malls and 29% percent notes having a smaller shopping budget now. This market research was conducted with more than 3000 Belgians between 30th April and 10th May before the opening of non-essential stores.

America

The United States:

Lockdown status: The US has been badly affected by Covid-19, though the country never imposed a nation wide lockdown. Infection rates and unemployment rates are high nation wide. US residents can begin to travel internationally again, however, some countries are not permitting US residents entry. Anti-racist protests and natural disasters such as Tropical Storm Isaias and the California fires, are contributing to the difficulties that the US is currently facing when it come to the pandemic. The Black Lives Matter movement has been taking up form as protests across the US since the end of May. Nationwide protests are still ongoing and have taken place in all 50 states and has had effects on employees and businesses in the lifestyle industry. Due to the protests and looming natural disasters on top of the pandemic, it is important to be patient when in contact with individuals in the American market.

Press status: Industry professionals such as the press are reachable through email and sometimes on their personal phones, however, there can sometimes be delays due to teams working remotely. Different publishing houses have varying rules for their employees however, it is best to assume that employees are working from home.

Retail status: The US has not yet been in full countrywide lockdown, rather different states have imposed different lockdown rules and regulations for people and businesses to follow. The majority of the country is relatively open, but regulations are subject to change. This means few domestic travel restrictions, businesses deciding for themselves if their employees will work from home or not, and some retailers open on high streets.

What you should consider: 

Now more than ever, understanding what all these different markets are going through is essential. Decisions have to be taken carefully in order to maintain good business relationships. Brands can re-think the way they communicate by being creative, cost-effective, and sensible during these uncertain times.

COVID-19 and the subsequent lockdowns had a very negative effect on retail, but have also opened up for more digital solutions for stores across all markets as we are seeing a boom in e-commerce. When it comes to reaching out to the press, rather focus on markets like Denmark, Sweden, Norway, and expect a longer response time for journalists in markets like Germany, Belgium, and the Netherlands, as they still have limited access to their working space. Instead, reach out to influencers, as they are still responding really well even in markets that are badly affected like Italy and France.

The United States and The UK are amongst the countries that are the most affected by COVID-19 worldwide. For these two markets especially, it is very important to remain patient and follow new developments in order to communicate sensibly.

 

Ines is the French Fashion and Design Researcher at VOCAST. After spending most of her life on the beautiful African continent she has chosen Copenhagen as her home-base. A self proclaimed “beauty addict”, she previously worked in the beauty industry and is now exploring her passion for digital marketing, fashion PR and design.

 

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Influencer Marketing: An ever-changing industry that is here to stay

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Influencer Marketing: An ever-changing industry that is here to stay

As social media becomes more rooted in people’s lives and takes on other functional roles beyond communication, the aspect of what an influencer means is set to grow. Influencers will become key intermediates, connecting brands with consumers on social media in resonating, authentic ways that can deliver in returns as e-commerce and social media blend together. It is an industry that is just as changeable as it is a given in brands marketing mix these days. The definitions and trends of how to utilize this force is a necessity if a brand wants to stay relevant and connected in the future. 

Today, the word ‘influencer’ is a term widely spoken about and generally tends to be misunderstood. According to the Cambridge Dictionary the word influencer has two different definitions. The first is the origin of the word, and explains that a person of influence is someone that can affect or change the way other people behave. The second definition is the occupation most of us associate the word with, a person that is paid by a company to show and describe its product or services on social media, encouraging other people to buy them.

An influencer, aka a creative, content creator and entrepreneur, is a person with the skill and knowledge of creating content that can affect people’s behavior. I would say something like: Though some may not understand the phenomenon of influencer marketing, brand ambassadors have been proven to benefit said brands by working alongside professional creatives with entrepreneurial drive, loyalty and of course, influence. By 2022, influencer marketing is expected to rise from $8 billion in 2019 to a $15 billion market, writes Business Insider Intelligence, based on Mediakix Data. Collaborating with an influencer is also a way for brands to establish new trends, which you can read more about in our previous DNA of trends article.

The ideas “reach” or “niche” are two factors to consider when deciding on what influencer to work with. Before making that decision, a brand needs to find out who their audience is, where they rank on socials and what aligning values are key drivers in the future partnership. Those components will determine if it is a successful collaboration or not. We at VOCAST have gathered ongoing and future trends when it comes to influencer marketing, that was embarking before the pandemic and also the changes that have been made in the light of Covid-19.

Vocabulary

 

Nano-Influencer
A niche influencer that could have less than 1,000 followers

Micro-Influencer
An influencer with a following from 3,000 – 100,000

Macro-Influencer
An influencer with a following from 100,000 and more

Collaboration
The action of working with someone to produce something, a partnership

Engagement rate
A metric that measures the level of engagement that a piece of created content receives from an audience (likes, comments, shares) 

Authentic
Of undisputed origin and not a copy; genuine. The
quality of being real or true

CGI
Computer-Generated Imagery 

Niche
Interesting to, aimed at, or affecting only a small number of people

Alignment
An agreement between a group of people who want to work together because of shared interests

Spotted trends before Covid-19


Nano-influencers with professional access and passionate artistic skills

In the beginning of the influencer boom, a large following was the most important factor, but today the market is saturated and filled with paid, fake followers which has led to distrust from followers towards influencers with big numbers. Then, brands turned their attention to micro-influencers that have about 3,000 to 100,000 followers. As the request for authenticity got stronger, the new person holding influence is the Nano-influencer, which could have a following of fewer than 1,000 people. This genre of influencer has a high impact on their community, has a strong recommendation power and generally has a higher engagement rate on Instagram (7,2%) than micro and macro-influencers. 

But why is that? According to Influencer Marketing Hub, it’s important to select an influencer that operates in the same social space as your audience as well as having the same values and culture, preferably with an expert position in their niche field. Some nano-influencers are industry professionals who just share what they actually work with and use the products in a genuine environment that is expert-approved. This is common in the field like cosmetics, athletics and interior design, says Amine Rahal, guest writer at Forbes. Kati Chirakorn at Vogue Business writes about the up and coming influencer-editor, who are editors working at popular magazines and have a big network and followers, consisting of both retailers and customers. 

The other side of nano-influencers are passionate and skilled people. To work with people with a passion like stylists, photographers, designers, sculptors, dancers, writers and musicians helps brands tap into micro-cultures where the person is an advocate with their own values, creating out of pure passion and interest. It is important to have the common niche audience align with both the brand narrative and the influencer narrative for a powerful and value-adding effect. 


New deals that are data-driven

Partnerships between a creator and a brand will see more pay per performance-based deals in 2020 like pay-per-click, pay-per-sale or pay-per-view according to Forbes Agency Council. With this data-driven approach, metrics will have a bigger impact on the decision-making process when it comes to starting a new partnership with a content creator or signing a long-term contract. Since brands spend a lot of their budget on influencer marketing, they need to validate what they get for their money hence data is a new focal point, for both parts. With this trend bort parts need to practice transparency and be honest about the goal or expectation when it comes to engagement, reach or ROI.


Expanding platforms 

According to Ismael El Qudsi, CEO at Social Publi, a leading influencer platform in 25 countries, Instagram is the biggest platform for influencer marketing today. Based on a study, 75% of 2,500 influencers ranked the channel as the top platform to carry out their business on. But with a younger generation leading the way on social media, new channels like TikTok and Twitch are emerging. Brands need to know where their audience spends time and who they look to for influence when it comes to promoting new products.


From looking to listening

Since a profile online has about 2,7 seconds to grab someone’s attention, immediate attention through video is crucial for getting a message across. Facebook Live, IGTV and Youtube are all visual tools that have proven to be successful for both influencers and brands and by 2021 video will represent 80% of all internet traffic, compared to 67% in 2016. Video includes the best out of two worlds for maximized storytelling, audio and moving imagery.

Audio and specifically podcasts is another niche market that is increasing in popularity and expanding its user base. With a podcast, the brand or influencer comes closer to their audience and communicates in a less formal way which breaks down barriers and a deeper relationship is established. 27% of all Americans, that is 73 million people, listen to podcasts monthly, with 85% of them finishing or almost finishing each episode. They are a great communication tool for a brand to highlight features, success stories and the brand’s benefit’s by collaborating with a niche podcaster.


Virtual influencers

Lindsay Dodgson at the Insider says it is still a bit uncertain where this trend will go, but along with technology like AI, people are fascinated by so-called 3D art CGI influencers. This is a form of futuristic influencer marketing that brands should consider. These influencers are fiction and computer-generated personas who have realistic characteristics and personalities of humans. Brands and individuals with a skilled mind for technology are behind these creations and they are the ones managing their partnerships with brands and Instagram accounts. Two CGI influencers to have a look at are Lil Miquela (2,3 M followers) who attends red carpets and has collaborated with Prada and Shudu (201K followers) who was the first digital supermodel. 


Co-creators and communication experts

The influencer market has matured over the years and has equipped experienced storytellers and communicators who know how to engage an audience in a genuine and personal fashion. Ismael El Qudsi explains that the role of the classical influencer is evolving from a “pose as a salesperson with a product” partnership,to being an actively important associate in consulting and shaping campaigns as a co-creator alongside the brand. “Since they are social media experts this can help support brands in strategically navigate their social channels and engagement”, further explains El Qudsi. 

Another expert in the field is the platform, Instagram. They’ve been a part of creating and shaping the influencer market as it is today. Instagram’s new “Branded Content Ads tool” allows a business to “share their story from a creator’s point of view and use the authentic content in their ads”. This means that a brand can share and promote a creator’s post in stories and peoples’ feed as an ad, reaching beyond the creator’s own followers. This will give Instagram an even more important role as a third party in the relationship brand-creator.

Spotted trends in effect of
Covid-19


From employee to brand ambassador

This trend was spotted even before the outbreak of covid-19 but escalated during the pandemic. Employees on all levels are hidden in-house experts and a loyal asset in troubling times. It has also been shown that there is 8 times the engagement on the content featuring and created by employees shared on brand channels than other posts. Featuring employees gives a behind the scene affect that aligns with the transparency approach requested by consumers. GANNI is a brand utilizing this by featuring its staff wearing favourite pieces and utilising #GANNIWFH. By showing that the product is suitable for the current situation, the employees become ambassadors and a familiar face to the brand’s audience. This also builds on the image of being transparent. 

The realization of long-term partnerships

Forbes Agency Council talks about brands realising that short-term partnerships won’t get them the same kind of advocacy and trust-building that a long-term partnership with the right influencer will generate. This has proven very true in a season of crises like covid-19 placed the world in. A brand that could benefit from these partnerships is the Danish fashion brand Stine Goya. The brand has built a house of Goya-friends over the years, and in a reality where social distancing is dictating content creation, a brand with a lot of loyal friends does not struggle as much as a brand without. Stine Goya received a lot of support on social media and had a full house of loyal friends to help them create interesting and authentic content to share during these uncertain times.  

A is for Authenticity

While having brand employees and collaborating partners stuck at home with no place to go, the only thing to do was to open the lens to influencers homes, press “live” and make the private and sacred place called home, public. This has shown a new side of influencers when their followers have been invited into the bathroom for a sheet-mask session, the living-room for a 15-minute workout or the kitchen, making food together but apart. 

The classic influencer lifestyle with sponsored travels and sparkling events haven’t just been canceled, it has become irrelevant in the light of an ongoing pandemic. This “naked” and forced approach has sparked creativity for both brands and influencers and has led the way to more authentic partnerships being sealed. A match between brand and creator, made as a mutual adoration of each other’s skills, designs and talents. A close and organic relationship can help and works as a safety net that “can drive conversion even when ads aren’t running as normal” – says Kaleigh Moore at Vogue Business.

Industry perspective 

 

 

Eleonora Milella
@eleonoramilella
Micro-influencer from Turin, Italy.
Digital content creator.
Does collaborations with several Italian fashion and beauty brands

 

 

 

 

 

Victoria Bond
@victoriabond007
London based Make-Up Artist.
Industry professional.
Have been featured in British Vogue, Elle, L’Officiel

 

 

 

Have you noticed any changes in how brands approach you in the last couple of years?

 

Eleonora: “The most evident difference in fashion brands’ approach to us content creators, is undoubtedly linked with the authenticity and spontaneity of the content creation process: Brands are no longer giving guidelines, but instead leave it to the creators to express and narrate the stories in the way he/she thinks is best. It’s precisely based on these ways of being and communicating that brands choose who to work with on social media.”

Victoria:My relationships with brands tend to be organic. I will have worked with them for many years as a makeup artist and built up a strong relationship. I have noticed that more brands want authenticity and industry professionals. I think this is because the general public are realising that influencers are paid to say they like a product so don’t feel it’s genuine. Obviously this isn’t always the case but does tend to be the norm.”

 

When you create content for brands on social media, have you experienced a shift in audience engagement?

 

Eleonora: Linking back to the answer of the previous question, my followers have never asked me to change: I’ve chosen to gradually adopt a less “polished” approach to content, such as more authentic photos with imperfections, which then have received appreciation. In this way, I insert a product in an authentic context linked to everyday life. I think this approach has reached a peak now “thanks” to the times that we’re living: we found ourselves stuck in our homes without seeing the world that surrounds us, still having to use our minds to create. And what better location to narrate our everyday lives than our houses?!”

Victoria: “I think it’s harder to engage an audience. Instagram has a tendency to tinker with algorithms although if I’m honest I don’t know what that means. I just know it’s hard to get content seen to a wider audience. Any content I do create is purely because I think the products are great and I want to share the love/knowledge. I don’t receive any payments for this only products which are for my kit. Any products I recommend are tried and tested first on multiple people so I know it works!”

 

What does the future hold for you? Are you optimistic about what the influencer industry has to hold for creatives and artists?

 

Eleonora: “In the future I hope to continue to work in this industry, I find it stimulating and full of challenges. I’m optimistic because I believe there is always room for creativity and communication. We all want to feel inspired and inspire, and this industry allows us to do so.”

 

Victoria: “I think it might be the return of the expert rising like a Phoenix from the fire. A lot of professional Makeup Artists have been ignored or overlooked by some brands in favour of ‘influencers’ without a professional background. Although I definitely think there’s room for everyone as I do understand that an non expert can speak to people too. I just worry that their content can be technically incorrect and can lead to worrying trends. They also put on far too much makeup which is really misleading to the average woman looking for advice!”

 

Say whatever you want, influencer marketing is a creative asset for brands that’s here to stay. The role, format and expression, as we know it, will change as technology, social media platforms and the audiences’ demands and values evolve. But, the benefits from having a communicative expert and a friendly face connected to your brand will build vital interacting relationships. Consider digging into up and coming nano-influencers, videos on TikTok and long-term creative partnerships to stay up to date and relevant with future marketing initiatives. 

 

Image credit: Unsplash

 

 

Josefine is the Swedish Fashion & Design Researcher at VOCAST. When not working Josefine can be found studying design technology at KEA, dancing to Abba music, or practicing the art of creativity. 

 

 

Our lifestyle researchers constantly create and update curated lists with handpicked media, experts and high profile contacts from the fashion, home interior and lifestyle industries in 10 different markets. We provide contacts from Denmark, Sweden, Norway, The UK, The US, France, Germany, The Netherlands, Belgium and Italy.

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Rise of the Plantfluencer: Bringing the Great Outdoors Home

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The urban jungle trend has been around for some years now, but the confinement due to the recent pandemic has brought people closer to their leafy friends than ever. To help interior and lifestyle brands find their green fingers: A brief introduction to the plantfluencer phenomenon and how they’re bringing the great outdoors home.

In times of social distancing and home confinement, the balcony has taken centre stage. We all remember the viral videos of Italian and Spanish neighbours joining voices on the few square metres of outdoor space they were allowed to frequent during the toughest phase of the Covid-19 related lockdown. Whether one has a garden, terrace, balcony or just a simple window: People have started bringing the outdoors indoors, swapping their social life for a life with plants.

Trends come and go, but some really grow on us. So we reached out to Lina Juvens, researcher with the Belgian trend research and marketing agency Trendwolves, to find out just how relevant the urban jungle trend is. Who are the plantfluencers and how can interior and lifestyle brands benefit from engaging with them?

Urban Jungle Trend

“The urban jungle trend has been around for a while and has its roots in the city where people living in small spaces were looking for quiet and peaceful retreats. They ended up creating those spaces in their own homes”, explains Lina

Back in 2017, The New York Times writes, almost a quarter of the American houseplant shoppers were between 18 and 34 years old. “Part of this millennial indoor generation that is home in vibrant but often polluted cities, was also attracted by the air-purifying qualities of plants, following the advice of a NASA report”, Lina adds. The space agency actually conducted its ‘Interior Landscape Plants for Indoor Air Pollution Abatement’ study in 1989, but the green trend picked up and dusted it off decades later to find out about the clean air benefits of the Peace lily and the Florist’s chrysanthemum.

Plantfluencer Phenomenon

One can trace back the revival of the houseplant to around 2014, when social media channel Instagram had truly taken off as a hub for millennial home décor inspiration. Friends Igor Josifovic and Judith de Graaff  are some of today’s biggest plantfluencers. Their @urbanjungleblog started as a monthly green thumb section on their interior website in September 2013, but grew out to be a true Urban Jungle Bloggers™ community with over a million followers, its own trending #urbanjunglebloggers and selling books like Plant Tribe: Living Happily Ever After With Plants at Urban Outfitters.

The plant boutique The Sill is just as successful. Funded by a 12,000 dollar Kickstarter campaign, Eliza Blank started her current global plant brand from her New York apartment as an online concept in 2012, The New York Times writes. Now, it offers online workshops, hosts other community events such as cocktail parties, sells all sorts of trendy plant gear, totes and tees included.

Other plant influencers followed similar paths. Darryl Cheng from Toronto, Canada is the green creative mastermind behind @houseplantjournal and the author of The New Plant Parent. Alana Langan and Jacqui Vidal launched their botanical wares studio Ivy Muse in Australia back in 2014 which commits to, as they write on their website, ‘enhancing wellbeing through the use of plants’. One can do so in style, as they too released a book titled Plant Style. Last but not least, Londoner Emma Sibley had a passion for gardening, but no green space in the UK capital and so started her London Terrariums in 2014. The renaissance of houseplants gave her startup the perfect boost and her Little Book of House Plants and Other Greenery has become a guide to many.

A Plant Lifestyle

Compared to 2016, in 2019 US house plant sales had increased by 50 percent according to the National Gardening Association. The plantfluencer phenomenon was born, bringing the plant lifestyle to the millennial masses who choose to become ‘plant parents’ to their ‘plant babies’. Not only do they hord houseplants and book deals, but totes, tees, and home interior accessory collections too. 

The urban jungle trend brings a new boho vibe to home décor and anything that matches green leaves goes: tapestry, printed textiles, vases, pottery, macramé hangers, and wicker chairs. Interior design brands expand their annual outdoor furniture collections with accessories that cater to the plant lifestyle, like Yves Klein Blue and millennial pink planters (in fact, artist Lotte van Baalen founded @plantsonpink, a whole account dedicated to leafy green and millennial pink combos from around the world), brass watering cans and brilliant plant stands and shelves that bring the plant #shelfie to new heights – literally. It is safe to say that these leafy friends have overshadowed the previous green lover of the gram: the avocado brunch.

Green Escape

“However, where the trend was initially popular with interior design lovers, the current Covid-19 crisis has definitely led to a broader audience. Most people have been forced to spend more time at home which makes us more aware of our living space. We have the urge to make that space more comfortable and inviting and the home has become a place to escape the everyday craziness and insecurity more than ever”, says Lina.

In Belgium, where citizens could hardly leave the house if not for essentials like grocery shopping, the government went as far as to open garden centres alongside supermarkets. Several online plant retailers have seen the pandemic cause a sales boom, and local businesses say they ramped up their deliveries.

Plant Pandemic

In the US, in a matter of two days back in March, online sales jumped 25 percent, as ABC News reported. Online grocery shopping was the main driver, but a rise in sales of homeware contributed to the increase too. Unfortunately, a global brand like The Sill that was born online and noted a 5 million dollar revenue in 2018 with 70 percent of its sales coming from online purchases, is not the norm. “Garden centres and furniture designers may have been the categories that were the least prepared for a near-total switch to e-commerce, but these recent developments might just be the push they needed for digital innovation and realising this growth potential”, Lina says. We already touched on the urgency of digitalisation in the fashion industry in a previous article, but it is clear that other categories like home interior would benefit from such innovative solutions too.

Whether the pandemic will have a lasting impact on people’s growing love for houseplants is but the question. “Big trends are born from big events, like what happened with the important American trends post 9/11. Now, we will speak of the post Covid-19 trends in the consumer world. However, it is too early to say what those exact shifts will be”, Lina concludes. “Will this crisis be long and deep enough to sustainably integrate these new habits? Or will we just return to our old ones?” As we previously wrote in our DNA of Trends article: Brands need to keep their finger on the pulse of societal developments in order to evolve. Read more about the world of trends and how to implement change here.

 

Photo credits: Unsplash.

Wided is the Lifestyle Researcher for the Belgian and Dutch markets at VOCAST. She’s a Belgian editor and author with a background in journalism. In London, she established a career in digital marketing for fashion and interior design brands. When she’s not working or studying for her Master’s, you’ll find her in front of a canvas, paint brushes in hand.

 

 

Embracing the green lifestyle, our researchers have handpicked plantfluencers, experts and media with green fingers as well as a passion for sustainable living for seasonal home interior lists in Denmark, France, Germany, The US, The UK, The Netherlands, Belgium and Sweden.

Find them in our database and ready to use for your press send-outs.

 

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