HOW EXACTLY BRAND CAN COMMUNICATE IN THE ERA OF INTERNET?

Communication lives its maximum complexity and selling product it’s not enough, by now.

Fashion and luxury brands need more than ever to re-build the dream, to create an imaginary, to
tell stories of content that yesterday were lled by the store’s presence, by the direct relationship
with customers, by touching the product etc.

SIMON SINEK - analyst of e ective communication

Uses a model called The Golden Circle to explain how legendary leaders like Steve Jobs, Martin
Luther King Jr., and the Wright brothers were able to inspire, rather than manipulate, in order to
motivate people.

The power of WHY is not opinion. It’s biology.

The Golden Circle is more than a communications hierarchy. Its principles are deeply grounded in
the tenets of human decision making. How the Golden Circle works maps perfectly with how our
brain works. The Golden Circle can be used as a guide to vastly improve leadership, corporate
culture, hiring, product development, sales and marketing. It explains loyalty and how to create
enough momentum to turn an idea into a social movement.

PEOPLE DON’T BUY WHAT YOU DO BUT WHY YOU DO IT

Understanding empathy
Simon emphasises the importance of empathy and perspective in leadership, in particular, and
demonstrates just how damaging the consequences can be when companies ignore this. For
Simon, there is a crucial di erence in how many people approach being a leader, between being
in charge and taking care of people in our charge, for which empathy and perspective are so
important.

To be a good leader in any job is to be able to look after those in our care rather than just
being a boss to people.
We are often taught tasks – to do certain things within our roles but when we progress forward
there is not much teaching for leading the people taking over what we used to do. There is
uncertainty in progression. But we must take the responsibility that comes with this and practice
each day like any other job role.

Perspective - Game theory

Finite games - know players, xed rules, agreed upon objective

In nite games - known and unknown players, changeable rules, objective is to keep the game
going

In nite vs in nite = balance. Finite vs nite = balance

Finite vs In nite = One is ghting to win the other to keep playing

No winning the game of business cause we haven’t agreed to the rules

The exceptions that play the in nite game frustrate their competition (they’re not trying to win)

Microsoft want to beat apple = obsessed with their competition

Apple speak about future =obsessed with where they are going

TO BE A GREAT LEADER STRAT WITH EMPATHY AND CHANGE YOUR PERSPECTIVE TO PLAY
THE RIGHT GAME

KEN ROBINSON - most e ective communicator of TEDtalks

Humanities vs STEM (science, tech, engineering, mathematics)

Robinson stressed the importance of creativity in education. Creativity should be treated with the
same status as literacy in education. He was a vocal critic of contemporary educational systems,
believing that they educated students to become good workers, rather than creative thinkers.

IF YOU’RE NOT PREPARED TO BE WRONG, YOU’LL NEVER COME UP WITH SOMETHING

ORIGINAL

Marketing is made of values

STEVE JOBS

1984 apple (Macintosh) ad, one of the best ads in the world, one of the most expensive, directed
by Ridley Scott (same agency of Thunk Di erent)

ELEVATOR PITCH = shot value proposition speech

If you’re not unique you’re week

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 Structure:

-Start w/ problem (hook, a reason to listen)

-ampli cation of the problem (quick examples)

-o er solution of the problem (data, proof, credibility, facts)

-CTA call to action (visit web, like page, sign contract)

WORDS: You, money, save, new, results, easy, safety, proven, guarantee

KNOW YOUR CUSTOMER AND THEIR PROBLEMS

It’s the only way to participate to Hackathon (3-5 min speech)

Holy Grail - the search for advertising e ectiveness

ENGAGEMENT = new parameter to measure media e ectiveness

Conde Nast rst introduced engagement to Italy -> 2006 presented a research on engagement
top the market for women’s magazines in Italy

For the st time a measurement was made of the intensity of the relationship that readers declare
w/ their favourite title.

Conde Nast titles have the highest level of engagement -> they can better in uence the
perception of the advertising that they carry.

Analysis of engagement found that there is a relation between the title and the reader creating
a positive in uence to purchase the products advertised on it -> translated to buying behaviour.

They than analysed the path to purchase

Two phases = qualitative (preparatory, enrich interpretation) and quantitative (segmentation of

attitudes, complete descriptive pro le)

Positioning map of personality traits attributed to each title (readers and non)

Second phase= regular readers used to determine 1relationship and intensity of it 2capacity to
stimulate attitudes and buying behaviours to measure e ectiveness of adv investment.

VANITY FAIR = social currency -> authentic reference point, able to provide elements to become
an opinion leader.

The appeal is based on strong innovative spirit, evokes strong aesthetics and emotion
suggestions.

The magazine’s quality and innovation


are re ected in a perception of prestige in the advertising.
GLAMOUR = personal shopper

VOGUE = style icon

PATH TO PURCHASE behaviours identi ed

-attention = speak about it, place markers on page

-active search of information = address at the end of magazine

-use in purchasing = I buy based on magazine, show someone for gift, take page to store

Condé Nast titles, consequently, thanks to their personality and unique positioning, are shown to
absolutely outperform their competitors in their capacity to activate “Path of Purchase” across all
three levels

MAGAZINE HANDBOOK
Magazine readership continues to grow -> it’s an intimate experience -> average 43min

Magazines provide superior reach compared to TV programs for major target audiences

Bulk of paid circulation revenue comes from subscriptions.

Consumer invest in magazines -> have proven their commitment by spending hard earn money

Public Place copies build audience -> generate 19 readers per copy

Magazine readers want print and digital versions -> interested reading across platforms

Number of magazine websites continues to grow

Magazines are the medium of engagement -> magazines continue to score signi cantly higher
than TV or the Internet in ad receptivity

Consumers pay more attention to magazines -> they don’t engage in any other activity while
reading

Consumers trust and enjoy advertising on mag more than on other media

More than half (56%) of readers took action or had a more favorable opinion about the advertiser
because of magazine advertising
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 Ads are e ective all though the book (back just as e ective as front)

TOP REASONS TO ADVERTISE ON MAGAZINES

- Magazines audiences are growing

- Magazine audiences are expanding across platforms

- Mag advertising gets consumer to act

- Mag improve adv ROI

- Mag contribute most through the purchase channel

- Mag build buzz

- Mag spur web tra c and search

- Prompt mobile action.taking

- Magazine ads garner the most attention

- Mag adv is valuable content

- Mag supply credibility

- Mag deliver reach

- Mag audiences accumulate faster than you think

GRACE MIRABELLA From 1973 to 1979: circulation sky-rocketed from 400k copies to 1
mln: ADV revenues from 9 to 27 mln USD

Got her st job as trainee at Macy’s, then moved to assistant of sales Promotion Director
though she wanted to join the fashion department.

Met there Tatiana du Plessix (Limberman) and got an interview for vogue.
Recruited at 23yo in Vogue as Junior Responsible of editorial credit dept. The same day
Edna Woodman Chase quit the mag passing over to Jessica Daves

1959 Sam Newhouse Sr, owner at Advances Publications, Staten Island, bough a majority
stake in Condé Nast

Grace mentored by Jessica Daves, stars well and nds perfect balance between Ballard
(fashion editor) and Morton (executive editor)

Bettina Ballard surprisingly puts her in a liaison with a couple Italian designers,
Simonetta e Fabiani; Grace joins them in Rome and becomes friend of Tish Baldrige who
used to work with legendary Clare BoothLuce at US Embassy in via Veneto

Become good friend of Emilio Pucci, Irene Brin (Rome editor at Harper's) and dives in the
magic atmosphere made of Cinecittà paparazzi, Romana Holidays and Italian way to the
art of living.

Starts working as a freelance fashion editor with Sally Kirkland from Life magazine.
Accepts to go back to ny with a view to become soon Life Magazine fashion editor.

After the nal interview, publishers at Life rejected Grace Mirabella because of her look.

Jessica Daves calls her back and appoints her "shop hound" (sort of Retail director)
then Junior Fashion editor.

1962-1963 an earthquake called Diana Vreeland was named editor of vogue magazine.
Grace rst interview on Diana: “Vreeland was a pure product of the Parisian Couture. Her
tastes were as aristocratic and European as mine were democratic and American. Her
disdain for the middle class was as strong as her distaste for the concerns of everyday
life...She called sportswear –boiled wool- and said that ready-to-wear fabric was like –the
covering of an old tennis ball-”.

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 After a few di cult shootings where Diana rejects large majority of the editorial output,
nally they come to a Frank conclusion: "always tell me what's wrong in here, Gracie, you
are the only one I can trust. Be straight to me like I am with you.

Vreeland asks Mirabella to become her assistant on the day-to-day running of the
magazine.
Diana is then free too to create "duh-vine" stories while Grace trains to become a 360
editor of the most important fashion magazine in the world.

1971 Liberman and Si Newhouse Jr re Vreeland. “Lieberman had for years begging her
to rein in her spending, to strive for more -accessible- look in her fashion pages. He was
allergic to money talk. He had always been backed up by management in his belief that
Vogue could a ord to lose some money to the cause of remaining on the cutting edge of
art and style. But Vreeland’s Vogue was losing so much money that even a cash cow like
Glamour couldn’t sustain it anymore”.

Pro tability-wise. 1) strong decrease in Vogue single-copy sales 2) -40% in Advertising
Revenues

GRACE BECOMES EDITOR. HER MANIFESTO WILL KEEP UP FOR 16 YEARS

"I want to bring Vogue a sense of ease, emo.on, a sense of life. The age of Beautiful People was
over"

"I wanted to give Vogue back to real women"

"I still wanted to create a new image of reality that would show women working, playing, acting,
doing things that mattered in the world and wearing clothes that allowed them to enjoy them"

"I wanted to make Vogue democratic - not middle class in the sense of pedestrian or narrow-
mindedly moralistic or downmarket, but in being accessible to women like me"

From 1973 to 1979: circula.on sky rocketed from 400k copies to 1 million: adv revenues
from 9 to 27 million dollars.

THE 80s: THE RISE OF THE NEW ERA AND THE FALL OF MIRABELLA OF VOGUE

"My troubles with Vogue started at just about the time that Christian Lacroix burst onto
the scene: you have such a seventies way of thinking" Alex Liberman started to say.

A new way of using the camera: Bruce Weber and Patrick Demarchellier.

On the other hand the happy marriage with Bill Cahan has given Grace a strong self-
con dence she had never had. She starts becoming demanding and asks for a role of VP
within Conde Nast organization.

First signs of change in vogue climate; she loses the battle with her publisher on
refusing cigarettes ADS and on tobacco editorial coverage.

Perception in the 80% was more important than content.


Arrival of Elle in 1986: young, light, trendy

"If we played someone's else game we were sure to lose". Si and Alex Liberman
disagreed, Si began thinking to make Vogue younger, cuter and jokier.

Anna Wintour come to NY in 1976 working for Harper's as a Junior Editor but was red
then, at 26yo, moved to Bob Guccione's "VIVA" (sort of penthouse for women) but again
lost her job as the magazine closed.

Then joined for some time Murdoch’s “New York” and was caught by the eye of Liberman

THE 80S: Anna Wintour to replace Grace at Vogue US

1983 Anna Wintour was nally hired by Conde Nast as Creative director of vogue USA,
reporting directly to Liberman.

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In 1986 was sent to England as Editor in Chief of Vogue UK, her revamping being a
success.

1987 back to New York, remaking House & Garden, this time with awful results (-20% Adv
Revenues).

1987 Si Newhouse decided to solve this problem by promoting Wintour Editor in Chief of
Vogue America.

LET'S GO BACK TO GRACIE, WHO GOT THE SACK BUT WAS FINALLY FREED FROM
VOGUE

After one week from ring she got an interview with magnate Rupert Murdoch, at that
time owner in the US of many newspapers and magazines such as New York, New
Woman, Elle (50% partner and licensee with Hachette), Premiere.

In November 1988 she nally decided to choose for the uncertain and accepted
Murdoch’s offer to launch a different kind of female magazine named “Mirabella”.

Not being a fashion magazine was how Mirabella was born. This new concept has some
key-questions to be answered:

-  How to show timeless clothes without looking out-of-date? 


-  How to be heady without being heavy? 

-  And, nally how to attract fashion advertisers without a fashion content? 

Unfortunately both Grace and Murdoch's management couldn't predict that Vogue
executives and, at a broader extent, Conde Nast did put an embargo on whoever tried
to get in touch with this editorial work in progress: photographers, models, hairdressers,
make-up artists.

Nor Bill Cunningham, nor Arthur Elgort nor Steven Meisel were brave enough to accept
Mirabella's o ers. 


Despite Vogue’s embargo MIrabella was lunched successfully in June 1989.

New faces, new photographers, new style

After a very promising start Grace had to make an agreement with Murdoch’s team for the
cigarettes ads -> Major British tobacco company threatened to embargo all new corp
publications.

1991 economic depression started affecting namely the publishing business.

Mirabella -16% adv

Elle -23%

Vogue -15%

Circulation kept growing (up to 40 000 copies) but rumours of Mirabella going out of
business were more and more evident.

1992 Amy Gross quieted Mirabella to become Editor Director of ELLE taking with her 3
key people therefore a ecting seriously the health of the magazine.

May 1995 Murdoch decided to close Mirabella.

REFUNDATION OF GIOIA
Gioia was positioned among elder people very depen ng by the newspaper.

The aim was to get younger readers.

How to manage advertiser is the main goal of the editorial director

Advertisers needed to be reassured.

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 The new concept started in november 2012 the nal release on spring/summer 2013.

In january a video teaser was released for b2b (attract advertiser)

Most of advertiser stayed with the magazine, a new art director was enrolled, the dummy
issue (numero zero) leaded too. Market research both quality and quantity carrying it in 3
di erent parts of Italy.

Other B2B were: road show (meeting advertisers)

One to one meeting with top designers (ex.marketing directors of famous brand)

The nal launch was on june with tv campaign and radio campaign

Tv was chosen to generate reach

Radio was used to generate frequency

Advertising e ectiveness is measured by GRP (reach x time= frequency)

Also a new site and app were released on dicember

It was carried out a desk top analysis on readers of female magazines

B2b

Tv commercial

Party

Gioia box

Digital platform

App

Radio commercial

DUNCAN EDWARDS - MONTHS TO MOMENTS

How fashion publishing is facing digital challenge

Months to moment explain why they are already into the process of think about the
monthlies frequency using social media.

Months to moment is about transition

The core of month to moment strategy is CMS (content management system) complexity
is the enemy of pro tability so hearst publication house created a unique system of
management with a proprietary tool that allows all the publisher of all over the word to
access to the same content using a speci c tool with a drug and place strategy. (Copia e
incolla). [Media os= media operating system]

In usa competitor prefer to compare together against digital to demonstrate to advertiser

that magazine are still valuable and can be complementary to digital media.

In Italy instead competitors are too focused to compete one against each other rather
than meet together to face the common problem.

Publisher are now in the content business not in the communication business
anymore.

The key business is a digital rst and mobile rst company delivering high scale contents
to media brands.

Print needs a new business model popularity must be measured on how much people
consume

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 Magazine and media 360 has been a cooperation between magazine was about
rethinking audience with the usage of digital media

It's important to learn how to sell audience not just circulation.

The mobile connecting internet is probably one of the most important revolution in
communication.

Content strategy has to change if wants to keep up gaining the attention of mobile-
generation.

A group of publisher is embracing a new media opportunity.

New publisher boosting on to the scene do not have any roots, even tough they are very
performant.

Building a brand voice takes time, it's hard for mobile platform to challenge the history
and experience of printed magazine.

Even though both customers and advertiser appreciate printed magazine and assure
them pro tability, there's the need to change something for magazine.

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