As social media becomes increasingly integrated into our everyday lives, it influences simple elements of our daily routine such as the clothes we wear. Today’s current fashion sphere is more connected than ever before thanks to social media, as Autumn Wilberg explains, “fashion is more fluid and interactive than ever before – changing the way fashion brands connect with their core audience” (Wilberg, A. 2018). Another way of describing connecting with the core audience is networking. Networking in any area of work is necessary but particularly prominent within the fashion industry as it is vital for career progression, reputation management and audience engagement (Gregg, 2011 p.13). However, navigating audiences can be a difficult task and lack of control over how content, such as fashion marketing campaigns/promotions, flow through social media can result in “disclosures that travel beyond the imagined audience”, occasionally causing serious complications (Quinn, K. and Papacharissi, Z. 2018, p. 361). An example of this is the fashion company Sunny Co. Clothing campaign in 2017 promoting a Baywatch-themed swimsuit. The clothing line announced through Instagram that any individual who reposted and tagged their swimsuit picture on their own social media account within the first 24 hours would receive a free $64.99 swimsuit. The promotion went viral and resulted in the company not being able to keep their promise and forcing them to cap the promotion leaving customers outraged. The incident has been debated by consumers and commentators with the overarching conclusion being that the promotion was a scam and a ‘social media fail’.

The Sunny Co. Clothing line was created by two students, Alan Alchalel and Brady Silverwood, who were both seniors attending the University of Arizona at the time of the viral promotion. In May of 2017 the team announced on their Sunny Co. Clothing Instagram account a promotion of their titled ‘Pamela Sunny Suit’ inspired by the hit TV series Baywatch. The contest idea originally sought to generate engagement for their Instagram account, posting an image of a model wearing the swimsuit with the instructions of the promotion in the description.

The description read, “EVERYONE that reposts and tags us in this picture within the next 24 HOURS will receive a FREE Pamela Sunny Suit Offer only valid in US Promo ends 5/3/17 @ 3pm MST *Must pay shipping + handling* This promotion is sponsored by @twazerapp  After 24 hr. everyone who reposted and tagged us will be receiving a code and they will be able to use it on our website for the free check out” (Fratella, D. 2017). The post also declared that for every picture shared with the hashtag #sunnycares a $1 donation would be made to an Alzheimer’s foundation. The promotion went viral within a few hours of it being posted, garnering over 346,000 shares and tags. The Sunny Co. Company quickly decided to end the promotion marking the swimsuits as ‘sold out’ on their website and stating that they had the right to cap it due to “the viral volume of participants” (Gollin, M. 2019).

After the incident customers began angrily flooding the company’s social media accounts and the company directors private Facebook accounts with complaints and demanding refunds for shipping costs but reportedly none received a reply. People began labelling the promotion as a fraud and a marketing scam, going to extremes like threatening the company. Some women reported that even though they purchased the swimsuit using the promo code they were still charged full price for the swimsuit. Others claimed that when they went to purchase the swimsuit on the website they were being charged an extra $1 that was not donated to charity by Sunny Co. Clothing.

The primary contributing factor of this ‘social media fail’ is a term called the connectivity conundrum, which means a common discourse where social media assists to connect individuals and share information. When content promotions like the Sunny Co. swimsuit was first posted it quickly gained attention with individuals sharing the post, resulting in the company not being able to manage the flood of mass audiences and inevitably losing control over the situation (Graham, T, Dr. 2019). While some, like Justin Kelsey from the Medium Corporation argue that this promotion was a marketing ploy to gain attraction and was actually a success, a discussion of ethics arises on whether their marketing tactics were unethical and in bad taste. Through integrating the popular Baywatch ideology into their promotional swimsuits Sunny Co. Clothing leverages off that particular ‘aesthetic” and people become immediately engaged with that specific ‘look’. To boost their social status and adopt self-consciously constructed personas into their products the Sunny Co. company were able to market themselves taking advantage of contemporary consumer capitalism and gain “visibility and attention” (Marwick, A. 2013 p. 5).

Due to the nature of the promotion, the content spread through the Instagram platform, enabling fast distribution and reappropriation of content. The spreadability of the post was extreme and the technical affordances of the Instagram account made it easier to circulate the content at a high pace (Green and Jenkins, 2011, p. 112).

This was another key factor in this ‘social media fail’ as the viral nature of the promotion saw other platforms such as Twitter and Snapchat become involved in the giveaway. Multiple Twitter accounts renowned for stealing tweets posted the promotion, as well as a number of copycat Snapchat accounts requesting people to follow an unknown Sunny Co. snapchat page. This caused problems not only for the company’s reputation but to the impressionable younger demographic that were interested in this product. The wider social media coverage ultimately secured the Sunny Co. Clothing line over 750,000 followers and its questionable intentions were deduced by most as a promotional masquerade and false advertising. The backlash was severe, consequentially leading the company to temporarily delete their Instagram account and put out a statement of apology explaining that they simply weren’t capable of producing orders of such a large quantity and “promising to send all the promotions’ participants their bathing suits and refund the suits of those who had to pay” (Nast, C. 2017).

This social media fail was a poorly thought out marketing campaign that severely backfired on a company who did not take into consideration the full repercussions of their marketing promotion and did not understand Instagram’s algorithms and user connectivity. The media strategy was effective in increasing the number of followers, however the failure was not limiting the scope of the promotion. If I was in charge of this media strategy for this organisation I would have focused attention on limiting the promotion to a level that allowed the company to fufill its obligations. I would have marketed the promotion as, the first 100 people to repost and tag the Sunny Co. Clothing Instagram account will win a FREE Pamela swimsuit plus pay for shipping and handling. For the next week anyone else who reposts and tags the Sunny Co. Clothing swimsuit will get a 25% discount on the full price of the swimsuit plus shipping and handling. This strategy will still increase the number of followers for the fashion Instagram account but it would be more pracitcal in terms of the company being able to produce and distribute the swimsuits.

References:

Fratella, D. 2017. Swimsuit company racks up 750,000 followers, makes small fortune from ‘giveaway’ – Social Blade. Retrieved from: https://socialblade.com/blog/swimsuit-company-sunny-co-clothing-viral-marketing/

Gollin, M. 2019. 15 of the Worst Instagram Marketing Mistakes by Companies. | Falcon.io. Retrieved from: https://www.falcon.io/insights-hub/topics/social-media-strategy/15-brands-most-embarrassing-instagram-marketing-mistakes/

Graham, T, Dr. 2019. KCB206 Social Media, Self & Society Week 11: New Media Ethics, Divides, & Non-Participation [Lecture recording] Retrieved from: https://echo360.org.au/lesson/080f8193-6704-4501-9540-bd6174aea94f/classroom#sortDirection=desc

Green, J., and Jenkins, H. 2011. “Spreadable Media. How Audiences Create Value and Meaning in a Networked Economy.” In The Handbook of Media Audiences edited by Virginia Nightingale, p, 112. Malden, MA: Wiley-Blackwell.  

Gregg, M. 2011. On Call. In Work’s Intimacy. Cambridge: Polity. p.13   

Marwick, A. 2013. “Introduction.”  In Status Update: Celebrity, Publicity and Branding in the Digital Age, 1-19. New Haven, CT: Yale University Press, p.5

Nast, C. 2017. People Are Actually Getting Those Red Swimsuits That Went Viral on Instagram. Retrieved from: https://www.teenvogue.com/story/sunny-co-clothing-bathing-suits-ship

Quinn, K. and Papacharissi, Z. 2018. Our networked selves: Personal connection and relational maintenance in social media use. In J. Burgess, A. Marwick, and T. Poell,(eds.) The SAGE Handbook of Social Media. London: SAGE. p. 361  

Wilberg, A. 2018. How Social Media and its Influencers are Driving Fashion. Retrieved from: https://digitalmarketingmagazine.co.uk/social-media-marketing/how-social-media-and-its-influencers-are-driving-fashion/4871

As we become more technologically dependent, we become more influenced by what we see online – particularly when it comes to fashion. With access to popular platforms today’s fashion sphere looks incredibly different than it did ten years ago – transforming the way fashion brands and designers connect with their audience.

Social media is part of dynamic culture of participatory media environments, content communities, user-generated content, and social networking sites. It is likened to the Web 2.0 and allows for consumers and users to, “play an active role in ‘spreading’ content” (Fuchs, Christian. 2014). Social convergence platforms such as Twitter, Pinterest, Snapchat, YouTube and Instagram have become the tool to a networked society and a method for professional opportunities. In particular, several social media platforms are used in the fashion industry, building online presence to interact with consumers and network with other industry specialists. Through the use of Twitter, designers/labels are able to gain mass followings and update audiences and consumers on their newest projects. Fashion labels and brands use Pinterest as a medium for fashionistas and buyers to browse the latest trends. Snapchat and YouTube are largely used for active fashion video content allowing viewers exclusive looks at designer’s events and sponsored fashion vlogs. However, Instagram is possibly the prime asset to the fashion industry (Green Buzz Agency. 2018). The visual representation of social networking sites allows brands to display their products while also selling a lifestyle and professional identity. Not only has the progression of social media completely transformed the fashion industry’s ideology it has also largely impacted the consumer relationship towards interaction and information, as well as the purchasing of products.

Social media platforms have facilitated an entirely new approach to the traditional systems of the fashion industry. Designers are becoming aware and understanding that most of their target audiences are online and want to be acknowledged. As part of a participatory culture, social media allows fashion consumers and media users to, “feel some degree of connection” and to, “believe their contribution matters” (Graham, Timothy Dr. 2019). Kelly Cutrone, owner of People’s Revolution simply explains, “People want to feel connected” which is why several major fashion labels and up and coming designers are embracing social media and learning how to humanise their brands without evading their mystique (Prabhakar, H. 2010). A viable shift in this new social media era in the fashion industry is that empowered new media audiences are now able to influence the fashions designers are producing.

One example of this is from Zac Posen’s Spring Summer Ready to Wear 2015 Collection where he created designs influenced by images he had posted on his Instagram account. The brilliant sunsets he shared intrigued followers and then ensued thousands of comments and suggestion from his audience to create designs inspired by the sunsets hues and colours. In an interview, Posen explains to the New York Times, “through the comments and pictures we got a new perspective about our creations” (Sellors, A. 2014).

The use of social media in the fashion industry is not only beneficial to consumers but also to marketers. With fashion brands/labels establishing their presence online, social media can often be used as a feasible business opportunity. Depicting a more authentic and transparent side to the fashion industry, social media marketing is proving extremely effective in establishing new forms of intimacy and trust with audiences. So much so that brands are beginning to invest in social media teams, employing people specifically to monitor their public social media accounts and to engage with customers and constantly update them (The Digital Age. 2017). As more transparent professional identities of fashion brands are formed online and mass followings continue to grow, a lack of control over what is being said and shared online is a prominent issue. This can sometimes blur the distinctions between producer and consumer, professionals and amateurs, and experts and fans (Grahan, Timothy Dr. 2019). Feeling somewhat troubled by this irrepressible phenomenon is Wesley R. Card the CEO of Jones Apparel Group as he quotes, “… you want to think that you have complete control over what is being said about you or your company, and you want to make sure what you are saying isn’t getting misconstrued. Even though I know we need to embrace it as a corporation, I am a little apprehensive” (Prabhakar, H. 2010).

Social media continues to revolutionise the pace of the retail industry and completely change fashion brands’ business models, relying on various forms of cross-media for sales outlets. These public networking sites will continue to become a more crucial part of fashion brands economic systems as designers continue to understand that “the immediate hit it has on the consumer is becoming more important. Campaigns are going to shift towards social platforms even more” (Roderick, L. 2019). Joshua Green and Henry Jenkins in The Handbook of Media Audiences explains, “the changes the internet has wrought … are shifting how we value audiences, how we understand what audiences do, and how they fit into the networks of capital, both economic and cultural, that constitute the current media landscape” (Green, J., and Jenkins, H. 2011). For many fashion brands, Instagram is the platform used most prevalently for coveted consumer engagement and sales. Leonie Roderick explains, “Instagram is no longer just a ‘gimmick’, used during fashion weeks to create a buzz, but a serious part of their social strategy” (Roderick, L. 2019). The efficiency of social media and the various functionalities it provides allows for brands to have long term strategic plans in this era of immediacy and the fast-paced world of the fashion industry. With the growing demand for immediacy, brands are adopting new fashion show formats to meet consumer expectations. Fashion brands and designers are broadcasting their fashion shows live on social media, marketing the designs and implementing new ways to purchase the products without waiting.

This is called the “See Now Buy Now” scheme which was first introduced in 2015 by Burberry at London fashion week, involving all the designs that were showcased to be readily available to shop instantly through media sites (Digital Me Up. 2018). Following the success of Burberry’s initiative most labels have adopted the same tactic. Initiatives such as this demonstrate how social media platforms are influencing and modifying how the fashion industry identities reach audiences, market and sell their goods.

Social media is a part of a participatory culture, it has created an undeniably new attitude towards the customary systems of production, audience engagement and consumerism within the fashion industry. Social media is driving a revolution of change within the fashion industry, connecting major fashion labels and up and coming designers with audiences and evolving how they do business. The relationship between industry professionals and audiences is becoming a key aspect to success. Designers continue to embrace this new social media era, creating authentic and innovative ways to design, advertise and market fashion.  

References:

Digital Me Up. 2018. The Impact of Social Media on The Fashion Industry: The “See Now Buy Now” Model. Accessed March 25, 2019. https://digital-me-up.com/2018/01/06/impact-social-media-fashion-industry-see-now-buy-now-model/

Graham, Timothy Dr. 2019. KCB206 Social Media, Self and Society Lectorial 02 | Social Media + Society.” Lectorial Recording, March 4, 2019. https://echo360.org.au/lesson/0cbf04d6-2aca-45e2-9175-741405b3c3b0/classroom#sortDirection=desc

Grahan, Timothy Dr. 2019. KCB206 Social Media, Self and Society Lectorial 05 | Social Media & The World of Work.” Lectorial Recording, March 25, 2019. https://echo360.org.au/lesson/1fe57ff2-7a08-45fc-bd5a-faffe673ee5b/classroom#sortDirection=desc

Green Buzz Agency. 2018. “Social Media’s Effect on the Fashion Industry | Green Buzz Agency”. Accessed March 25, 2019. https://greenbuzzagency.com/social-media-effect-fashion-industry

Green, J., and Jenkins, H. 2011. “Spreadable Media. How Audiences Create Value and Meaning in a Networked Economy.” In The Handbook of Media Audiences edited by Virginia Nightingale, 109-127. Malden, MA: Wiley-Blackwell.

Fuchs, Christian. 2014. Social Media: A Critical Introduction: Social Media as Participatory Culture. London: SAGE Publications Ltd. http://dx.doi.org/10.4135/9781446270066.n3

Prabhakar, H. 2010. How the Fashion Industry is Embracing Social Media. Mashable. Accessed March 25, 2019. https://mashable.com/2010/02/13/fashion-industry-social-media/#eH3.Jm4m2aqT

Roderick, L. 2019. How fashion brands are taking Instagram from gimmick to strategic – Marketing Week. Accessed March 25, 2019. https://www.marketingweek.com/2016/02/17/how-fashion-brands-are-taking-instagram-from-gimmick-to-strategic/

Sellors, A. 2014. Social Media Influences on Fashion. Social Media Today. Accessed March 25, 2019. https://www.socialmediatoday.com/content/social-media-influences-fashion

The Digital Age. 2017. How social media disrupted the retail clothing industry. Accessed March 25, 2019. http://blogs.unsw.edu.au/thedigitalage/blog/2017/11/how-social-media-disrupted-the-retail-clothing-industry/

Vogue. 2014. ZAC Zac Posen Spring 2015 Ready-to-Wear Fashion Show. Accessed March 25, 2019. https://www.vogue.com/fashion-shows/spring-2015-ready-to-wear/zac-zac-posen/slideshow/collection#2