luxury brands’ storytelling on social media1330243/fulltext01.pdf · brands perceive storytelling...

Luxury Brands’ Storytelling on Social Media

Master’s Thesis 30 credits Department of Business Studies Uppsala University Spring Semester of 2019

Date of Submission: 2019-05-29

Klara Ekebring Catarina Mellqvist Supervisor: Leon Caesarius

Abstract

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Methodology:

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29th of May 2019

Klara Ekebring, Catarina Mellqvist

Leon Caesarius

2FE840, Master Thesis, 30 ECTS

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

Methodology: This thesis performs qualitative research and utilises an abductive research strategy in order to conduct exploratory research. Data is collected through the use of both primary and secondary data sources. The primary data collection is made by the implementation of semi-structured interviews that are formed and analysed through a thematic method of analysis and the satisfying principle. The secondary data is collected through an observation of social media accounts of the brands taking part in this study. The data collected present features on social media that the brands are recognising when communicating through storytelling on the platforms. By informing followers about the brand by telling stories, emotions, mental connections and meaning is established. Further, the interaction that is supported on social media platforms is considered by the luxury brands and influences the role followers have in the communication process. The present study has found indications that the luxury values’ brands communicate through storytelling remains unchanged and how luxury values are told through stories are adjusted to the context of social media platforms. This suggests that luxury brands communicate their luxury value through storytelling on social media platforms by recognising the features of the context and the interaction, which is argued to be fundamentally supported on the platforms. Hence, elevating the role followers have in the communication process. Brand Storytelling, Luxury Brands, Social Media Platforms, Interaction, Luxury Value

Sorytell

Storytelling,


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Acknowledgements Thank you to Grant Andrews, Marlene de Jong, Simon Jobson, Angela Ubis Lupión, Sander

van Dijk and Steven Wade for your contributions to this study. Without your participation, insights on the topic and your expertise, this research could not have been successfully conducted.

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

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

Klara Ekebring Catarina Mellqvist


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Table of Content

1. Introduction .......................................................................................................................... 5

1.1 Background ....................................................................................................................... 5

1.2 Problem Discussion .......................................................................................................... 6

1.3 Purpose ............................................................................................................................. 8

1.4 Research question ............................................................................................................. 8

1.5 Scope ................................................................................................................................ 8

2. Theoretical Framework ....................................................................................................... 9

2.1 Brand Storytelling ............................................................................................................. 9

2.2 Storytelling for Luxury Brands ....................................................................................... 10

2.2.1 Luxury Brands and Luxury Value ........................................................................... 10

2.3 Storytelling on Social Media .......................................................................................... 11

2.3.1 Interaction on Social Media Platforms .................................................................... 12

2.4 Analytical Framework .................................................................................................... 13

3. Method ................................................................................................................................. 15

3.1. Research Purpose ........................................................................................................... 15

3.2 Research Strategy ........................................................................................................... 15

3.3 Research Approach ......................................................................................................... 16

3.4 Data Collection ............................................................................................................... 16

3.4.1 Primary Data Sources............................................................................................... 16

3.4.1.1 Selection Process of Interview Participants .......................................................... 17

3.4.1.2 Interview guide ..................................................................................................... 18

3.4.1.3 Operationalisation ................................................................................................. 19

3.4.2 Secondary Data Sources .......................................................................................... 20

3.5 Qualitative Data Analysis ............................................................................................... 21

3.6 Trustworthiness of Data .................................................................................................. 22

3.7 Critique of Methods ........................................................................................................ 23

3.8 Ethical Considerations .................................................................................................... 24

4. Empirical Data .................................................................................................................... 25

4.1 Storytelling on Social Media .......................................................................................... 25

4.2 Storytelling for Luxury Brands ....................................................................................... 29

4.3 Interaction ....................................................................................................................... 32


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5. Analysis ............................................................................................................................... 34

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

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

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

5.4 Discussion ....................................................................................................................... 37

6. Conclusion ........................................................................................................................... 39

6.1 Contributions to Theory .................................................................................................. 39

6.2 Contributions to Practice ................................................................................................ 40

6.3 Limitations ...................................................................................................................... 40

6.4 Recommendations for Further Research ........................................................................ 41

References ............................................................................................................................... 42

Appendices .............................................................................................................................. 47

Appendix 1 ........................................................................................................................... 47

Appendix 2 ........................................................................................................................... 48

Appendix 3 ........................................................................................................................... 50


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1. Introduction

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

1.1 Background

Storytelling, or the art of telling stories, is stated by several researchers to be a paramount tool

for luxury brands to communicate symbolic value, unique history and portray emotional

triggers (Hagtvedt and Patrick, 2009; The SAGE Encyclopedia of Corporate Reputation 1st

ed., 2016; Hughes, Bendoni and Pehlivan, 2016; Lund, Cohen and Scarles, 2018). In addition,

Kapferer and Bastien (2012), explain that storytelling is essential for luxury brands as it is key

for their existence. The reason for this, is that luxury brands are not only founded on

delivering high-quality products, superior service and high value but are also argued to be

driven by the story that a brand is telling (Joy, Wang, Chan, Sherry and Cui, 2014). Because

as asserted by Kapferer and Bastien (2012), how is it known that Louis Vuitton began as a

suitcase maker or that Ferrari makes high-performance sports cars? This information is

communicated through stories to build myths around luxury brands and convey luxury value.

Luxury value is explained by Hennigs, Weidermann and Klarmann (2012), to be founded on

financial value, functional value, individual value and social value. In addition to these, the

concept of luxury is asserted to be established in conveying luxury characteristics of a desired

dream, great quality, restrained accessibility, high point pricing, exclusivity, aesthetics,

heritage and differentness, in order to to promote sales (Dubois, Laurent and Czellar, 2001;

Kapferer and Bastien, 2009; Tynan, McKenchie and Chuon, 2010; Heine 2012; Som and

Blanckaert, 2015). Stated by Hagtvedt and Patrick (2009), storytelling can be used to support

the communication of feelings and hedonic associations connected to luxury brands.

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

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

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

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

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

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


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Along with technological developments, the context where stories are told has expanded to

social media platforms (Lund, Cohen and Scarles, 2018). These platforms involve

applications on the Internet, including blogs, content communities, social networking sites or

virtual spheres that allow for individuals to create content and take part in information

exchange online (Kaplan and Haenlein, 2010; Van Looy, 2016; Lund, Cohen and Scarles,

2018). Utilising social media platforms allow for businesses to deliver a great amount of

information fast, because of its extensive global implementation (Michaelidou, Siamagka and

Christodoulides, 2011; Van Looy, 2016). In business practices, both brands and users of the

platforms use communication on social media, which includes luxury brands’ storytelling, to

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

2012).

1.2 Problem Discussion

Luxury brands’ telling their stories on social media platforms, have resulted in additional

possibilities for the brands to communicate their luxury brand values (Kim and Ko, 2012; Lee

and Walkins, 2016). Whilst the fundamental principles of storytelling remain, digital

developments and social media have impacted how these stories are distributed (Irwin, 2014;

Canella, 2017). Albeit, in the past, luxury brands have been hesitant to incorporate social

media strategies in their businesses due to the fear of losing important value associations

(Okonkwo, 2009). However, argued by Kim and Ko (2010), Kim and Ko (2012) and Arrigo

(2018), luxury brands have implemented social media strategies to meet market demands. For

example, Park, Song and Ko (2011), present how several luxury brands, such as Alexander

McQueen, Dior, Louis Vuitton and Ralph Lauren, have implemented social media strategies

as they have realised the importance of being present on these platforms.

Currently, as luxury brands are implementing social media as part of their marketing

strategies, this becomes the context where stories are told. A growing body of evidence

asserts that when brands are communicating through storytelling on social media platforms

particularly, such as Instagram, Facebook, YouTube and Twitter, brands are increasingly

defining their symbolic meaning and brand development together with the users (Tynan,

McKenchie and Chuon, 2010; Kohli, Suri and Kapoor, 2015; Lund, Cohen and Scarles, 2018;

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

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

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


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and Kohli, Suri and Kapoor (2015), shaped the perception of brands to be established

collectively among followers. Followers are social media users consisting of both existing

customers, potential customers and admirers of a brand that follows the brand on the

platforms (Van Looy, 2016). These followers are also interacting and sharing personal stories

through texts and images with peers on social platforms, making social networks the setting

where followers essentially become storytellers (Canella, 2017; Lund, Cohen and Scarles,

2018). More specifically, the development of social media impact brands’ communication to

be the result of followers dialogues on social networks, rather than founded on conventional

marketing strategies, thus elevating the role of followers in the creation of brands (Fournier

and Avery, 2011; Kohli, Suri and Kapoor, 2015).

When luxury brands are communicating through storytelling on social media platforms,

empirical evidence defines that the adoption of social media strategies by luxury brands

makes interaction and user engagement possible (Kim and Lee, 2017). This is argued by Kim

and Ko (2012) and Kim and Lee (2017), to result in luxury characteristics to be established

collectively on the platforms. How this is depicted when luxury brands are communicating

through storytelling is in the present study not found to be widely disclosed in academic

theory. Currently, there is limited previous research regarding how luxury brands’ actually

communicate their luxury value through brand storytelling on social media, and if the

exchange of information on social media has advanced the role of followers in this

storytelling process. Previous academic research is limited to; luxury brands in the online

environment (Hughes, Bendoni and Pehlivan, 2016), foundation for luxury brands

implementing social media (Kim and Ko, 2010; Kim and Ko, 2012; Kim and Lee, 2017), and

storytelling on social media platforms (Canella, 2017; Lund, Cohen and Scarles, 2018). Still,

there is not sufficient foundation for how luxury brands are communicating through brand

storytelling on social media platforms, to reason how they convey their value from the

perspective of luxury brands and how the context of social media influences their storytelling.

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

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

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

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

topic.


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1.3 Purpose

The purpose of this thesis is to explore how luxury brands are communicating through brand

storytelling on social media. Hence, this study is conducted from the perspective of luxury

brands with the aim to provide academic and managerial implications of how luxury value is

communicated on social media platforms.

1.4 Research question

As storytelling is a central communication tool within the luxury industry and luxury brands

are adopting the opportunities of social media strategies, the research question for this thesis

is the following:

Research Question: How are luxury brands’ communicating their luxury values through

brand storytelling on social media?

1.5 Scope

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

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

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

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

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

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

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


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2. Theoretical Framework

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

2.1 Brand Storytelling

Brand storytelling is, according to Herskovitz and Crystal (2010), the communication of

brands through stories, which is argued by the authors to be essential for businesses to inform

customers about their brand. Within brand storytelling, there are similar elements that are

applied in various manners and together comprise the basis of a story, which according to

Fog, Budtz and Yakaboylu (2010), includes the message, the conflict, the characters and the

plot. These four elements together, are argued by Denning (2006), to be formed to deliver the

value that is the basis for a story. Further, Herskovitz and Crystal (2010), assert that brands

consists of all corporate communication and actions that informs customers about the brand,

making storytelling significant to communicate these in a memorable way. In agreement, Fog,

Budtz and Yakaboylu (2010) defines that storytelling can also be used as a communication

tool for operational and strategic reasons, aiding in the creation of brands. Furthermore, the

authors explain that the stories that depict the central theme of brands, or the theme that ties

all communication together, is the core story of a brand. The core story is what describes the

progression of the brand and all brand communication, both internally and externally, making

it a strategic tool for brand management.

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

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

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

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

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

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

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

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

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

to form trust and a feeling of personal communication.


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2.2 Storytelling for Luxury Brands

Storytelling within the luxury industry is argued to be a prominently used tool since it allows

brands to communicate their symbolic value and unique history to consumers (Hughes,

Bendoni and Pehlivan, 2016). Communicating luxury values through stories, is argued by

Kaufman (2003) and Greene, Koh, Bonnici and Chase (2015) to be a successful approach to

convey a message and luxury brand values. Primarily, the stories are told from the perspective

of luxury brands, in order to provide insight and educate target markets about the brand

(Hughes, Bendoni and Pehlivan, 2016). Kapferer and Bastien (2012), assert that luxury brands

and the perception of them are not built on advertising but rather what people disclose to each

other. This is by the authors explained to be the reason of why luxury brands should

communicate their values through storytelling, as it will provide information about the brand

that people can communicate with.

The information luxury brands communicate through storytelling include anything that

enhances the perception about the brand (Kapferer and Bastien, 2012). For instance, it can

entail knowledge about the production process, the search of raw material, brand history and

information about the founder’s life. Hughes, Bendoni and Pehlivan (2016) further state that

storytelling is a practical tool for communicating luxury brands’ history and symbolic events

that develops the relationships between brand admirers and the brands. The authors continue

to explain that the stories told mainly encompass the brand characteristics that appeal to

customers. Further, Hennigs, Weidemann and Klarmann (2012), define that luxury brands

communication is founded on conveying characteristics of luxury.

2.2.1 Luxury Brands and Luxury Value

The term luxury describes attributions of great quality, restrained accessibility, high point

pricing, exclusivity, aesthetics, heritage and differentness (Dubois, Laurent and Czellar, 2001;

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

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

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

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

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

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

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


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perceptions, emerging from financial, functional, individual and social value, which together

create luxury value. Financial value concerns the price of luxury products and functional

value is the function a luxury product can create for a customer. Individual value refers to the

impact on customers aspired identities, which are founded in emotional needs. Lastly, social

value entails influencing customers identity in terms of social status and symbolic aspiration

of wanting to belong to a certain social group that is not accessible for everyone. These are

founded on characteristics of price, usability, quality, uniqueness, self-identity, hedonic,

materialistic, conspicuousness and prestige.

In parallel, Kapferer and Bastien (2012), claim, in their research that luxury value is is

comprised of six different notions. These involve (1) knowing that luxury is a hedonic

occurrence, (2) the price of an item surpasses the functional value of that object, (3) luxury is

attached to heritage and brand culture, (4) distribution is restricted and organised, (5) personal

service is of the essence and lastly, (6) luxury is connected to social status and maintaining a

sense of prestige. Asserted by Kapferer and Bastien (2012), characteristics such as creativity,

innovations and creation of dreams and emotions are relied upon to drive sales, where the

latter are important elements in the luxury strategy and what distinguish luxury from premium

and fashion. Moreover, Som and Blanckaert (2015), denote that luxury brands have developed

a strategy that promotes luxury associations such as heritage, craftsmanship, exclusivity and

rarity. Further, luxury brands are by Hagtvedt and Patrick (2009) stated to be connected to

customers’ emotions and hedonic associations. This is in line with research by Turunen

(2018), who claims that the perception of luxury depend on the interpretation of customers,

arguing that this makes the customer key in how luxury is defined.

2.3 Storytelling on Social Media

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

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

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

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

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

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

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

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

Segerberg, 2012; Johnson, 2018).


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

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

In the process of various individuals sharing content and interacting on social media, users are

essentially storytellers, given that the practice of sharing stories is a tool for forming social

connections (Lund, Cohen and Scarles, 2018). On social media platforms, where multiple

entities are producing and consuming stories, these structures become interconnected and not

dual dispositions. If the stories told by luxury brands contain certain features of appeal, it can

potentially spread over geographical locations through online networking platforms

(Okonkwo, 2009; Lund, Cohen and Scarles, 2018). Consequently, attractive storytelling on

social media can dominate a conversation and lead to influence and power (Lund, Cohen and

Scarles, 2018).

On social media networks, there are many competing storytellers desiring attention and the

appeal of their stories are what generate influence (Lund, Cohen and Scarles, 2018). Where

there is an excess of choice, personal and emotional storytelling is a valuable tool to

communicate with customers. Due to the mechanisms of social media platforms, Lund, Cohen

and Scarles (2018), argue that brand communications are in the storytelling process being

altered and are subsequently not consistent entities, but rather fluid perceptions. As more

people become a part of the storytelling process on social media, Killian and McManus

(2015), state that it is important for businesses to have coherence and integration across all

marketing communications on the platforms.

2.3.1 Interaction on Social Media Platforms

Online social networks are initiated in computer networks, which suggest that social

interactions and gathering various users are promoted fundamentally (Bagozzi, Dholakia and

Klein Pearo, 2007). The interactive mechanisms that exist within social media platforms,

enables individuals to connect, share information and obtain information in a collaborative

setting (Arazy and Gellatly, 2013; Shang, Wu and Li, 2017). Correspondingly, when various

users communicate within a network on social media, these individuals affect each other

directly, which is when online social interactions occur (Hartmann et al., 2008).

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

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


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al., 2016). The development of social media has shifted the manner followers behave and

interact on online platforms from being passive to actively creating and sharing content

(Mangold and Faulds, 2009; Kietzmann, Hermkens, Mccarthy and Silvestre, 2011). Followers

become more in command of the information flowing toward them and they can initiate new

information to various message senders, including brands and marketing agents (Kohli, Suri

and Kapoor, 2015). This has resulted in followers being influenced by its peers to a large

extent, which researchers argue that brands need to acknowledge (Gensler, Völckner, Liu-

Thompkins and Wiertz, 2013; Zhu, Wang, Wang and Wan, 2016; Smith and Taylor, 2017).

2.4 Analytical Framework

To answer the proposed research question, this study’s main theoretical basis is luxury

brands’ storytelling on social media. More explicitly, this research explores how luxury

brands’ communicate their luxury value through storytelling on social media platforms. To

research this, an analytical model is formed to connect the presented theoretical framework

and illustrate the communication process of storytelling in the context of social media

platforms, seen in Model 1., below. Illustrated in the model, luxury brands and luxury value is

positioned outside the context of social media platforms. The reason for this connects to the

aim of this study, which includes exploring luxury brands’ storytelling in the context of social

media.

Continuing, Hennigs, Weidemann and Klarmann (2012), assert that luxury brands

communication is based on conveying luxury characteristics. Luxury characteristics are

explained by the researchers to include price, usability, quality, uniqueness, self-identity,

hedonic, materialistic, conspicuousness and prestige, which forms luxury value. These are

depicted in Model 1. The luxury characteristics are also supported in research by Kapferer and

Bastien (2012), who connect luxury value to pricing, hedonic occurrence, history, culture,

scarcity, personal service and Som and Blanckaert (2015), who mention heritage,

craftsmanship, exclusivity and rarity. These are communicated through storytelling as it is a

tool to inform customers about a brand in a memorable way (Herskovitz and Crystal, 2010).

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

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

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

simulations and facilitates personal communication and connection. Achieving these


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simulations and connections is further stated by Escalas (2004), to promote loyalty and

engagement between storytellers and receives. Since these associations of storytelling are

created in the process of brand storytelling, they are positioned within brand storytelling in

Model 1. The associations create a connection to the luxury brand (Kaufman, 2003; Escalas,

2004; Herskovitz and Crystal, 2010), hence, as illustrated in the model, there is a link between

the associations of storytelling and the luxury brand. Further, when luxury brands

communicate through storytelling on social media, the communication occurs in a context

which allow individuals to connect, obtain and share information in an interactive

environment (Arazy and Gellatly, 2013; Shang, Wu and Li, 2017).

Model 1. Analytical model


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

3.1. Research Purpose

As denoted by Saunders, Lewis and Thornhill (2012), the research purpose defines the

objective for conducting research, which for this study involves an exploratory design.

Exploratory research refers to studies that are formed to investigate new insights of a

phenomenon and define what is occurring to provide an understanding of a problem. Since the

aim of this research is to provide a foundation of how luxury brands are communicating

through storytelling on social media and there is limited literature on the topic from which to

draw conclusions, the exploratory stance is preferred as it is associated with generating theory

(Bryman and Bell, 2012; Saunders, Lewis and Thornhill, 2012). The study intends to provide

an overview of the subject matter in terms of existing literature and interpretations of research

participants. Hence, the purpose is mainly not to establish conclusive assumptions, but rather

deliver basis for further research.

3.2 Research Strategy

A qualitative research strategy is used because the strategy is based on generating or testing

theories, which is applied within this study (Bryman and Bell, 2012). A qualitative strategy is

implemented to provide a foundation by exploring the topic, which is not applicable through a

quantitative research strategy, as the latter applies when researching clear results that can be

translated into a significant data set (Saunders, Lewis and Thornhill, 2012; Bryman and Bell,

2012). Moreover, according to research made by Bryman and Bell (2012), a qualitative

research approach is preferred over the quantitative approach in regards to market practices.

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

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

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

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

qualitative research strategy.


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3.3 Research Approach

For this study, an abductive research approach is applied and entails, according to Awuzie and

McDermott (2017) and Aliseda (2006), finding and explaining a set of perplexing

observations in current theory. Hence, conclusions are drawn from observations from primary

and secondary data sources, which leads to the development of theory. Therefore, this

research intends to find the most likely explanation for existing observations by utilising both

empirical and theoretical dimensions when delivering analysis (Aliseda, 2006; Awuzie and

McDermott, 2017). Considering the purpose of this study, deductions are established as a

result of the present findings in relation to previous observations and theory, which is

consistent with abductive reasoning. When applying an abductive approach, it should be

denoted that the premise of the provided theory is constructed around a concept, which is

formed around a specific phenomenon that might include different considerations (Aliseda,

2006). However, since the topic of research lacks fixed conceptual foundations, the aim is to

provide insight and conceptual underpinnings of the field of research and basis for further

studies.

3.4 Data Collection

The data for this thesis was gathered through both primary and secondary data sources to

provide further basis of the collected data and disclose supplementary foundation of the topic.

The primary data sources include semi-structured interviews, which is further reasoned below

with a description of the applied interview guide and its operationalisation. In addition, an

explanation is made of the secondary data, consisting of observations of the Instagram

accounts of the brands participating in the study.

3.4.1 Primary Data Sources

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

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

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

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

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

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

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

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


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discuss the topic (Bryman and Bell, 2012). Further, Saunders, Lewis and Thornhill (2012),

explain that semi-structured interviews are common in an exploratory research approach. For

the present research, where data is collected to explore how luxury brands are communicating

through storytelling on social media, this method allows elaborative data to be obtained from

the perspective of luxury brands. Further, as the topic is not widely explored, semi-structured

interviews provides unrestricted data. Subsequently, luxury brand managers and coordinators

are interviewed to fulfil the purpose of the study.

The preferred method to conduct the interviews was face-to-face, since it would decrease any

miscommunication that may occur (Bryman and Bell, 2012). The interviewees were located

outside of Sweden or had difficulties meeting in person, therefore the interviews was carried

out over the phone, Zoom Video Communication or Skype, in addition to email contact. One

of the participants who were unable to have an interview over the phone was kind enough to

answer the questions over email and any follow-up questions that arose. Because of this,

follow up questions during a conversation was not posed, but rather asked over email. As the

questions were open-ended, they permitted for elaborative answers in the email interview,

which provided sufficient relevant data for this thesis. Further, all interviewees had the

possibility to read through the interview guide in advance to have the chance to highlight any

concerns regarding the questions that they might have had. The interview method also

allowed the interviewees to develop their thoughts and answers depending on the

interpretation of the questions.

All interviews, apart from the one over email, were audio recorded and transcribed to simplify

the distinction of themes within an in-depth analysis and minimise loss of any essential

aspects (Saunders, Lewis and Thornhill, 2012). It is important to note that since the interviews

were in English, linguistic confusion could occur and associations to other cultural

backgrounds could arise. To decrease this, both two researchers listened through the

interviews in the transcribing process to ensure sure that both interpreted the data similarly.

3.4.1.1 Selection Process of Interview Participants

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

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

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

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


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

Nonetheless, there are distinctions between the participants perspective in terms of area of

expertise, experience and size of the company that may affect the result of the study, however,

this is not emphasized in this exploratory research. One of the brands requested to be referred

to as “One of the eight Specialist Watchmakers Maisons of Richemont Group”, which is used

throughout this thesis. Depicted in Table 1. below, are the primary data sources.

Table 1. List of Conducted Interviews

3.4.1.2 Interview guide

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

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

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

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

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

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

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

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

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

exploratory aim of this study.


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3.4.1.3 Operationalisation

The operationalisation for this thesis is based on the theoretical literature presented, which can

be further depicted in Appendix 2. Argued by Saunders, Lewis and Thornhill (2012), when

operationalising the concepts, theory becomes more tangible. Thus, the reason for connecting

literature to the interview questions is to have a basis for the questions asked and to ensure

that the right data is gathered to answer the research question for this thesis. The the

operationalisation is divided into four sections retrieved from the interview guide, excluding

the Introduction. The choice of excluding the Introduction was made since these are opening

questions that are not based on the theoretical framework. The sections for the

operationalisation thus include, Storytelling and Social Media, Storytelling for Luxury

Brands, Interaction and Conclusion. The purpose of the first section, Storytelling and Social

Media, was to collect data in regards to how the brand is telling stories on social media. This

is of importance to understand social media’s impact on brand communication and to answer

the research question of this study. Supporting literature for this theme explain the different

objectives for using social media, subsequently the first question is open for the brand to

define their particular purpose for incorporating social media strategies. Moreover, the

corroborative literature for this theme provide reasons for why social media is used among

businesses.

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

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

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

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

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

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

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

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

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

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

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

considering how storytelling on social media platforms influence the brand

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

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

storytelling.


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3.4.2 Secondary Data Sources

According to Saunders, Lewis and Thornhill (2012), secondary data entails observing existing

material that can be useful to answer the purpose of the research. For this thesis a secondary

data collection was implemented to provide further underpinnings of the collected primary

data. To present the foundation for the insights given by the interviewees in regards to their

use of storytelling on social media, an observation of the brands’ social media posts was

conducted. This decision was made, since the perspective of the interviews are mainly from a

managerial point of view and not solely operational. Hence, secondary data is used to provide

basis for the gathered data and the interviewees' claims. The selection of social media

platforms was delimited to Instagram, in accordance to research by Liebhart and Bernhardt

(2017) and Serafinelli (2017), stating that Instagram is a platform where storytelling is

facilitated through visuals where users can share photos or videos and interact with each

other. This was also supported during the primary data collection, where a majority of the

interviewees mentioned Instagram as their most important social media platform for

communication. The social media platform was in this thesis subsequently delimited to

Instagram, where storytelling is observed through visual data, which according to Gioglio and

Walter (2014), is an efficient tool for depicting complex material and support the discovery of

new insights.

The time of observation was from April 2019 to May 2018, where the first post of each month

was observed. This distinction was made to observe how the storytelling have been used on

the platform for the past year and provide further basis. Subsequently, the aim was not to

draw comparative conclusions of the selected social media post between the chosen brands,

but rather to provide a basis for the retrieved data that was obtained from the interviews.

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


21

Table 2. Illustration of the observed social media platforms

Each of the posts from the brands were examined by observing what type of content they are

posting, consistency of information, how they are describing their posts, if followers are

posting comments, how followers interact with each other in the comment section and how

the brands interact with customers by answering and liking comments. The reason for

observing this was in accordance with research asserting that brands and followers engage

with each other as a way of communicating on the platforms (Mangold and Faulds, 2009;

Kietzmann, Hermkens, Mccarthy and Silvestre, 2011; Kim and Ko, 2012). The description of

the findings for each brand's Instagram content, is denoted in text and found in Appendix 3.

3.5 Qualitative Data Analysis

For this study the satisfying principle and a thematic method of analysis are applied to uphold

the exploratory stance. The satisfying principle, or theoretical saturation, is explained by

Bowen (2008) and Morse, Lowery and Steury (2014), to be reached when no additional data

provides new information to the research, thus data is saturated. This criterion was met after

six interviews were conducted as no additional information was mentioned that would change

the interpretation of the findings. Furthermore, by implementing a thematic analysis, patterns

within the data are identified and analysed through certain themes (Braun and Clarke, 2006;

Nowell, Norris, White and Moules, 2017).


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The thematic analysis was conducted by denoting various categories found within the

empirical data by coding. The coding included defining various categories by using different

colours when reviewing the transcribed interviews. These categories was intended to be in

accordance to the sections within the operationalisation. After the six interviews were

transcribed and follow-up questions had been asked, the coding process was made instantly in

order to ensure that ambiguities was resolved before selecting the analytical themes. When the

transcriptions were coded, various themes was compared and three was selected for the

analysis. The selected themes include; Luxury Brands’ Storytelling is Influenced by Social

Media Features, Perception of Luxury Value Shaped by Social Media and Storytelling by

Luxury Brands is Impacted by Interaction on Social Media. This resulted in a discussion

connecting the analysis to the Analytical Framework presented in Model 1., to fulfill the

purpose of the study.

3.6 Trustworthiness of Data

In the process of conducting qualitative research there are issues that need to be highlighted

that may influence the transparency and trustworthiness of the study (Bryman and Bell, 2012).

According to Bryman and Bell (2012), there are four criterions that should be considered for

qualitative research in order to provide trustworthy research that is parallel to quantitative

research. These include credibility, transferability, dependability and confirmability.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

during the interview process.


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3.7 Critique of Methods

Critiques found when applying a qualitative method are problems regarding the generalisation

and lack of transparency, which also applies to the current study (Bryman and Bell, 2012;

Saunders, Lewis and Thornhill, 2012). According to Saunders, Lewis and Thornhill (2012),

generalisation refers to if the study’s findings are applicable in another context. Bryman and

Bell (2012) continue to explain that for qualitative research it can be difficult to know if the

study is applicable in another setting, especially when unstructured interviews are conducted

with a small number of people in a certain industry or context. For this research to be

generalisable, the method needs to be empirically tested in another context, which is carried

out in this particular study (Lee and Baskerville, 2003).

Moreover, as this research is founded on the observations of Instagram and findings from

interviews with six luxury brands, the data collected cannot be confirmed to be applicable for

the whole luxury industry. Hence conclusions within this thesis are not meant to be final, but

rather to explore a current phenomenon. Further, the interviewees have extensive experience

in field of luxury brands but it is not indicated if they possess comprehensive knowledge of

social media platforms. Therefore, to give foundation for the statements in the interviews

regarding the brands’ use of social media, secondary data is collected to support the claims

from the primary data. Further, critique regarding subjectivity is by Bryman and Bell (2012)

asserted to be common in qualitative research as the findings rely on what the researchers’

view to be of importance and of interest. This was considered in the present study and the aim

was to deliver impartial results by applying recognised research methods to minimise bias.

One other critique found is the lack of transparency (Bryman and Bell, 2012). Lack of

transparency entails how well the researcher or researchers explain how they did the study

and how they reached the conclusion. This is minimised with clear definitions about how the

method for this study was carried out and how the result and conclusion from the data were

reached.

With the conducted interviews was not face-to-face, criticism regarding misunderstanding,

misinterpretation and not being able to read the expressions of the interviewee can arise.

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

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

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

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


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the interview was adapted to the interviewees' preference, to support a comfortable setting and

freely discuss the topics. Further, the selected quotes in the study have been sent to the

interviewees for their approval to minimise misinterpretations of their answers, maintaining

the transparency and trust of claims.

3.8 Ethical Considerations

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

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

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

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

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

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

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

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

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

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

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


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

4.1 Storytelling on Social Media

Regarding the objectives of why the majority of luxury brands in this study are using social

media is mainly asserted to be to communicate the brand values and their products. Further,

the platforms are a channel where the brands can own and distribute their own content, which

can be connected to the overall digital content strategy. Angela Ubis Lupiós (Loewe, 2019),

states that social media used for communicating value through storytelling, which is further

stated by all interviewees to be fundamental when conveying their brand values. The

interviewees assert that the brand values they communicate, does however, not change to

social media and the majority state that how the brands are communicating when using

storytelling is what is adjusted to the context. Grant Andrews (Paul Smith Ltd., 2019), explain

that in regards to social media’s impact on a brand’s storytelling that, “I think social still is its

own entity which is anyone saying that social haven’t impacted how a brand communicates a

brand are probably lying or they haven’t used social to communicate their brand value.”

Regarding the same topic Sander van Djik (Spyker Cars, 2019), asserts that social media is

used as a communication tool, but it does not impact how they communicate their brand

values. Spyker Cars does not adjust their brand to social media or how they communicate.

Further, he explains that most of their customers are not using social media and that they do

not target the customers that do not know who they are. From the secondary data Spyker Cars

have posted one photo during time of observation.

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

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

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

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

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

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

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

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

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


26

posting and trying to see what works.” Van Dijk at Spyker Cars states that social media, and

in particular the platform Instagram, is not time consuming for them.

With the majority of the brands constantly creating new content, which is illustrated in the

secondary data, the interviewees assert that there is a vast amount of information on social

media today and it can be difficult to reach through all the informational noise to

communicate with followers. Quoted by Marlene de Jong (One of the eight Specialist

Watchmakers Maisons of Richemont, 2019), “I think a struggle on social media is that today,

people has so much information on it, like maybe too much, so they will see the information

but they might not process it until they remember it.” To have the followers remember the

information the brand is posting, de Jong explains that the brand communicate similar

messaging for a longer periods of time, in order for followers to be exposed to the same type

of message. The same visuals are not used, but the a similar message is communicated, which

is denoted in the secondary data.

Continuing, the interviewees explain by communicating their brands on social media they

allow customers and followers to engage both with each other and with the brand directly.

This is visible in the secondary data, as in all of the brands social media interaction between

users occurs, in addition to users interacting with the brands. From the primary data, the

interviewees state that the brands interaction includes commenting on content posted, liking

images and sending direct messages, which is also depicted in the secondary data. Ubis

Lupión (2019), explains that the generations today want to feel included and have the freedom

to interact and comment on what brands are doing, quoting “you are giving people total

freedom to interact and comment and I think that is what the generation of you and me and

looking for is to give our opinion. To feel free and say if like it or don’t like it. During the

interview with Andrews (2019) from Paul Smith Ltd., he explains that the brand can benefit

from the interaction and engagement between followers and brand as they can solve

complaints in real time and have a direct conversation with followers. From the secondary

data, Paul Smith Ltd. does use their social media as a tool to guide users or provide them with

information directly.

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

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

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


27

social media is that when giving followers freedom to interact you cannot always control what

it being said about the brand, he quotes “you do not always have control of your own

reputation. You can control what you say, but you cannot control what other people say. You

can only try to mend that. So, that is definitely a challenge, reputation management.” Ubis

Lupión asserts that when including followers and allowing for them to give their opinion and

commenting on content posted, brands need to be aware that not everyone might like what the

brand is doing. This is something the brand need to accept, and they need to take care of the

consequences. She continues by explaining that the conversations between various followers,

in addition to between followers and brand, which can result in new ideas. The interviewees

further mention that followers are influencing each other to a great extent on social media and

that brands are the result from the engagement between followers on social media platforms.

Another aspect that interviewees are acknowledging to exist on social media is the instant

feedback brands can receive from its followers by looking at how the posts resonates with the

market, meaning if the follower like or dislike the posts. Ubis Lupión (2019), states that the

feedback that the brand receive in regards to likes and comments, influence how they will

create future posts on social media, “most of the times we respect those of them that are not

that successful and sometimes when something is super successful we try to repeat the

formula.” One other aspect of social media brought up during the interviews is the possibility

to provide instant information to followers. De Jong (2019), explain that they communicate

information directly to followers and that storytelling is used to inform followers about the

brand, “we really use storytelling to educate them in a way, for them to understand where

value of the product that they are going to buy, is coming from.”

Further, Simon Jobson (Aquascutum, 2019), asserts that Aquascutum are aware that they have

different followers on different social media platforms and that they adjust the message to be

appealing to the right target group. By doing so, he states, that it will increase engagement and

in turn drive sales. Ubis Lupión (2019), argues that Loewe are flexible regarding adjusting the

message to different regions and settings in order for the brand to be meaningful and relevant.

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

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

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

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

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


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have a certain tone of voice that is adjusted to target group, the platform and what the brand is

communicating in order to avoid misunderstandings, “What we probably do the most is to

adjust the tone of voice...we trade more video content on social but we more adjust the tone of

voice to attract a younger or more mature audience depending on what we are trying to

advertise.“

Moving on, the interviewees coherently state that they are posting more visual content on

social media platforms and some of the brands explain that they are considering social media,

prior to other marketing activities. It is further argued during the interviews that the brands are

nowadays emphasizing on creating content that they own and are using social media

platforms to direct customers to their own content. De Jong (2019), explains that for social

media they adjust their content and that the brand aims to “keep things short but clear with a

picture and with the wording, is definitely a new way of communication and it is great to tell

short messages that still has an impact, by adding visuals and text that is kept at only a few

words.” The interviewees also assert that social media support the usage of visual content

which aids in the communication of the brands.

Furthermore, factors regarding the global reach that exists on social media and its targeting

capabilities are mentioned as strengths by the interviewees. Social media is asserted to have a

massive reach to users all over the world and to reach the audience wherever they are and to

whatever device they are using. Ubis Lupión (2019), explains that social media can also be

used to target certain markets, which she argues to be a strength of the platforms. With the

interviewees asserting that social media facilitates the possibility to target certain markets,

there is a possibility of personalised communication. This is highlighted by Andrews (2019),

who denotes that being able to personalise content for followers is one of the benefits, quoting

“that [personalisation] is the best thing about social. Not that it is an interaction in person but

it is more personalised that it has ever been able to be on digital.” With the enhanced

possibility to reach larger markets and to target certain groups Ubis Lupión (2019), explains

the importance of having consistency across all channels the brand is active on, referred to as

omni-channel, “what is very important is the omni-channel experience. No matter which

device or where you are looking at about the brand you need to feel as it all feels the same.”

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

summarised in the table below;


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Table 3. Factors on Social Media Platforms

4.2 Storytelling for Luxury Brands

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

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

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

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

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

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


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(2019), it is necessary for brands to create meaning in order for customers to connect with the

brand on an emotional level. She continues by stating that the more you know about a brand

the stronger emotional connections customers can make and the brand becomes meaningful.

Ubis Lupión (2019), quotes that “nowadays luxury brands need to be meaningful, the brand it

is not just an expensive product, today's generations want to engage with the brand and you

might buy a bag not just because it is expensive but because it means something to you.”

This is also stated in the interview with Andrews (2019), who asserts that developing

marketing activities that resonate to the target market, will create mental connections among

people that support future sales. The importance of creating mental and emotional linkages to

a brand is further explained by the interviewees to be established through storytelling, by

making the message exiting and appealing to the followers. Andrews (2019), states that

emotions are connected to how followers interpret the content, quoting that “for me it is really

down to the person’s view of the content to kind of tell us if it resonates on that on an

emotional level”. On this note, Wade (2019), explains during the interview that emotion is

communicated through visual content and storytelling which facilitates the interpretation of

the brand, which is further illustrated in the secondary data.

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

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

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

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

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

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

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

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

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

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

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

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

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

founded on quality, customer service, craftsmanship and storytelling.


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For Paul Smith Ltd. Andrews asserts that heritage is not a great focus, but rather looking

forward and creating something new. Depicted the secondary data, it appear that Paul Smith

Ltd. mainly does not discuss their history on their social media, but rather focus on their

products and the design process. For Koenigsegg who is a relatively young brand, heritage

and history is not communicated to large extent, but rather the performance. And if the brand

do communicate the history, Wade explains that it will be fairly short, hence he states that the

brand focus on communicating the capabilities as well. In regards to exclusivity, several

interviewees denote that it is communicated through the brand’s rare processes in producing

products, scarcity, small quantities and that products are made though high craftsmanship and

special knowledge. This is depicted in the secondary data, as all brands communicate one or

more of these factors on their social media account. De Jong (2019), explains that since the

manufacturers of the brands’ products are passionate about what they do and with the brand

originating from location that is of value, it creates a sense of exclusivity. Moreover, Jobson

(2019) states, regarding communicating exclusivity, that it is done though craftsmanship and

brand ambassadors. For Koenigsegg, Wade (2019), argues that the brand mainly are exclusive

by virtue because of they do not produce many cars per year.

Lastly, social and individual value are mentioned by the interviewees to be of importance to

communicate through storytelling. Andrews explains that using the founder, Paul Smith, as a

part in the brand’s storytelling does to some extent create individual value in the sense that

customers and followers can relate to him and want to identify themselves to be more like

him, which is also depicted in the secondary data. De Jong (2019), asserts that “if you buy an

iconic product from a certain brand, and it is the only brand that makes this type of product,

you are kind of saying something about yourself.” Describing that when purchasing a product

from a luxury brand that has a sense of the meaning of being iconic it will say something

about the customers’ identity, hence create individual value. Regarding social value, van Dijk

states that products from luxury brands are generally produced in a very limited amount

which naturally makes them accessible for a small group and thereby creates a sense of social

belonging. Social value is also mentioned by Andrews in the context of social media, to be

created when the brand is working with influencers who have a group of followers. He

explains that they want the influencer to interpret the brand, as it is the influencers’

interpretations that the followers are interested in.


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4.3 Interaction

Depicted form the interviews, all interviewees are aware that social media platforms

fundamentally support interaction, however, in terms of the extent they consider the

interaction to influence their communication on the platforms differ. Jobson (2019), explains

that “back in the days, brands were what corporates told people what they stood for whereas

now, brands are what consumers are telling each other what they stand for.” Ubis Lupión

asserts that by engaging with followers on social media it give brands a voice and the

possibility to communicate with the followers they have on their social media accounts. This

is depicted in the secondary data to include liking and answering followers’ comments. She

further, states that each follower and user of social media platforms will influence other users

which is important for brands to acknowledge and have respect towards. The brand tries to

have a balance between the interaction on social media and the effect it has on the brand’s

communication. She explains that the brand will not compromise the message with only

having beautiful imagery, they need a combination of them both. One important aspect the

interviewees highlight is how to view the engagement and interaction on social media and

how it impact their future communication on the platforms. Viewing the level of engagement,

likes, comments and number of impressions are used to see if the story has been successful.

Van Dijk (2019), quotes “if the story is continued being told, it is working.” De Jong asserts

that the brand view and consider the response they receive on social media when developing

and creating new content. Although, they do not base their communication on the feedback

and interaction followers have on social media, however, they do take it into account.

De Jong additionally describes that the brand has a team and use software that aims to answer

questions by customers or redirect them to the brand website. Further, the brand is sometimes

liking comments made by followers on social media and does sometimes answer the

comments directly if it is short questions, which is defined in the secondary data. Moreover,

Andrews asserts that the followers on the brand’s social media accounts are quite vocal but

the brand does not use that enough today to their advantage. Denoted in the secondary data, it

is depicted that Paul Smith Ltd. do answer and like comments posted by followers, in the

comment section of their posted content. Even though the majority of the interviewees assert

that they try to include followers in the communication, both Andrews and Jobson explain

that they do not include them enough. Although they both are working on finding tools to

observe social media users’ dialogues and gather their feedback, Jobson (2019), quotes that “I


33

think that brands who only use their social channels to push out linear broadcast and brand-

generated content are missing a trick. Brands should use their followers and the content that

they generate to share amongst like-minded individuals.” Andrews (2019), further asserts that

when viewing the success of a story the real indication is not the number of interactions but in

number of sales, quoting “when it comes to actual real pure measurements the way for a

fashion brand to really tell if something resonates it through a story is really how many things

you have sold.”


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5. Analysis This section analyses the empirical findings in regards to the theoretical framework which are presented within the following themes; Luxury Brands’ Storytelling is Influenced by Social Media Features, Perception of Luxury Value is Shaped by Social Media and Storytelling by Luxury Brands is Impacted by Interaction on Social Media. Conclusively, this results in the Discussion.

5.1 Luxury Brands’ Storytelling is Influenced by Social Media Characteristics

From the presented theory, social media platforms are researched to possess certain features

which are; engagement (Mangold and Faulds, 2009; Kietzmann et al., 2011; Arazy and

Gellatly, 2013; Kohli, Suri and Kapoor, 2015; Shang, Wu and Li, 2017), global reach (Lund,

Cohen and Scarles, 2018), peer influence (Bennett and Segerberg, 2012), consistency (Killian

and McManus, 2015), noise (Lund, Cohen and Scarles, 2018), instant information (Irwin,

2014; Canella, 2017), instant feedback (Bennett and Segerberg, 2012) and followers having

more control (Arazy and Gellatly, 2013; Kohli, Suri and Kapoor, 2015; Shang, Wu and Li,

2017). These align with the features found in the empirical findings to exist on social media

when communicating luxury value through storytelling, alongside visual content, tone of

voice, time-consuming and constant development. The mentioning of these features found in

the empirical data are analysed to be founded from how social media platforms are

constructed. The features are discussed by the interviewees in this study and are explained to

have an impact in how the brands tell their stories on the platforms. This is in agreement with

claims asserting that the context impact brands’ storytelling on social media platforms (Lund,

Cohen and Scarles, 2018). The afore aligning with research by Bagozzi, Dholakia and Pearoet

(2007), stating that social media are created on online networks where social exchange is

fundamentally promoted. Hereof, it is analysed that these claims is the fundamental purpose

of the platforms. Social networking can be considered as the basis of all actions on social

media platforms and communication is created to fit in this setting, hence indicating why

these features are mentioned in the empirical data.

In regards to how the brands are communicating on social media, one interviewee explains

that social media is only used as a distribution channel and does not impact how the brands’

luxury values is conveyed. This contrasts with the result from the other brands and previous

research (Lund, Cohen and Scarles, 2018), stating that storytelling is influenced by social

media. Further the interviewee argues that the brand’s customers are not active on social


35

media, hence it is analysed that this might be the reason why the brand does not adapt social

media in their communication strategies to a large extent. The other brands interviewed

explain that their luxury values does not change to the context, but that social media influence

how they use storytelling to communicate luxury values, which is in line with studies made by

Canella (2017) and Lund, Cohen and Scarles (2018). This indicates that the luxury values

remain unchanged and it is how the values are told through storytelling that is influenced by

social media.

5.2 Perception of Luxury Value is Shaped by Social Media

Denoted in the theoretical framework, luxury brands are founded on luxury values and

characteristics such as emotions, dreams, heritage, exclusivity and creativity (Hagtvedt and

Patrick, 2009; Kapferer and Bastien, 2012). Researchers further assert that stories become

important to convey information and knowledge about the luxury brand (Kapferer and

Bastien, 2012; Hughes, Bendoni and Pehlivan, 2016). Storytelling is therefore argued to be a

tool that allow brands to communicate their symbolic value and history as well as provide

information to educate target markets about the brand (Hughes, Bendoni and Pehlivan, 2016).

This aligns with insights from the empirical findings indicating that the brands communicate

information formed on craftsmanship, design, performance, heritage, lifestyle, culture and

exclusivity. In connection, the empirical data denotes that the more information that is given

about a brand to followers, the stronger the emotional connections is formed and meaning will

be created. As luxury brands’ goods are bought because of what they symbolise and because

of the feelings they evoke (Hennigs, Weidemann and Klarmann, 2012), inducing emotions

and establishing meaning is analysed to be important for luxury brands.

With luxury brands being connected to customers emotions, personal interpretation of

information and hedonic associations, customers and brand admirers become essential in how

luxury brands are defined (Hagtvedt and Patrick, 2009; Turunen, 2018). Seen in the empirical

findings and from research, emotions are created in the minds of followers from the

information brands communicate (Kapferer and Bastien, 2012). From this, it is analysed that

when telling stories on social media, where interaction is fundamentally supported (Barnes,

2010; Killian and McManus, 2015; Valos, et al., 2016), individual perceptions of brands’

communication is analysed to some extent be influenced by the conversation between

followers. Consequently, this suggests that the individual creation of emotional and mental

connections to a brand and the interpretation of the meaning brands have, is a result of the


36

communication between followers on social media platforms (Fournier and Avery, 2011;

Kohli, Suri and Kapoor, 2015).

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

According to Lund, Cohen and Scarles (2018), brands’ communication through storytelling is

influenced by the interaction on social media, which is fundamentally supported on the

platforms (Arazy and Gellatly, 2013; Kohli, Suri and Kapoor, 2015; Shang, Wu and Li,

2017). Moreover, Lee and Walkins (2016) and Arrigo (2018), explain that today’s customers

expect brands to be present on social media and to interact with followers of the accounts.

From the empirical findings this is acknowledged by the majority of the brands as they are

observing the engagement and interaction of their content. The storytelling by luxury brands

on social media, is thus the information that followers can engage with and form their

associations to a brand’s storytelling on. Since interaction occurs on social media and as

followers are argued to be influenced by peers on the platforms (Gensler, Völckner, Liu-

Thompkins and Wiertz, 2013; Zhu, Wang, Wang and Wan, 2016; Smith and Taylor, 2017),

suggesting that storytelling by luxury brands is influenced by how followers perceive the

storytelling collectively.

Further, Fournier and Avery (2011), assert that brands are the result of followers dialogues on

social media and Lund, Cohen and Scarles (2018), explain that when followers are engaging

with brands’ content on the platforms they are becoming storytellers. The empirical data is

supporting these statements as a majority of the brands are explaining that the interaction

between followers is crucial for them as the level of engagement with their content will tell

the brands’ if their storytelling has been successful or not. The luxury brands in this study

engage with followers on social media by answering comments, liking the followers'

comments, liking pictures posted by followers, adjusting the tone of voice, creating appealing

visual content and taking the followers response to content into consideration. This suggests

that followers have an elevated role in the communication process through storytelling, as

their engagement is observed by the brands on social media and adjustments of brand

communication are made accordingly which is supported by research from Fournier and

Avery (2011) and Kohli, Suri and Kapoor (2015). Further, visible in the empirical data, the

brands do observe the engagement and response to their content when using storytelling on

social media as denoted above, which implies that brands’ storytelling is influenced by

interaction on the platforms. This is also argued by Kim and Ko (2012) and Lund, Cohen and


37

Scarles (2018). The empirical findings denote that some brands are working on finding tools

to observe dialogues about them on social media platforms and gather followers feedback of

the brands, which further indicate that the interaction influence storytelling on social media.

However, this was not mentioned by the majority of the interviewees, which might indicate

that such tools are not widely implemented by luxury brands.

5.4 Discussion

The empirical data depict features on social media platforms to exist that are acknowledged

by the brands in their communication through storytelling but that these does not influence

luxury brand values. This was depicted in all interviews, which indicated that the luxury

brands in this study all saw it as crucial to maintain their luxury values the same as when not

communicating on social media platforms. One reason for this might have been that luxury is

deeply rooted in what the brands symbolise and in their characteristics (Hennigs, Weidemann

and Klarmann, 2012), hence, maintaining these intact will result in a clear brand identity. This

result derives from this study distinguishing what constitute what luxury brands aim to

convey and how it is communicated. The findings indicate that luxury value remain

unchanged and it is how these are communicated through storytelling as a communication

tool that is influenced by the context and its features. To what extent the features and the

context is acknowledged, is from the empirical findings different between brands depending

on the objectives of using the platform.

Further, Hagtvedt and Patrick (2009), Kapferer and Bastien (2012) and Hughes, Bendoni and

Pehlivan (2016), explain that luxury brands are founded on characteristics including emotions,

dreams, heritage, exclusivity and creativity and to convey these within stories is essential.

This study supports this reasoning by analysing that the empirical data provide basis that such

characteristics are communicated. These characteristics are according to Hennigs, Weidemann

and Klarmann (2012), forms luxury value and are connected to the luxury value perceptions

of financial value, functional value, individual value and social value. Storytelling is asserted

by Hughes, Bendoni and Pehlivan (2016), to be a communication tool that luxury brands use

to convey their values and inform customers and admirers about the brand. This is illustrated

in the empirical findings, which indicates that by educating the market about the luxury

brands, mental and emotional linkage between follower and brand will be formed. Creating

such linkages is, in accordance to the empirical data, analysed to create meaning. It becomes

plausible that the evidence of this study emphasize that telling stories makes it possible for


38

luxury brands to express their luxury characteristics and inform brand admirers about their

brand. This is told through stories that will create mental and emotional connections to the

brand and thereby, meaning for followers.

A growing body of evidence defines that social media supports the interaction between users

(Arazy and Gellatly, 2013; Kohli, Suri and Kapoor, 2015; Shang, Wu and Li, 2017). Hence,

the empirical findings indicate that all communication on social media becomes a part of the

interaction. This is evident for luxury brands communicating through storytelling as

researchers argue that brands become the result of followers dialogues on social media

platforms (Fournier and Avery, 2011) and that followers are in essence becoming storytellers

when interaction, creating and sharing content on the platforms (Lund, Cohen and Scarles,

2018). This study reinforces this reasoning, indicating that followers have a role in luxury

brands’ communication process and in the creation of brands through the interaction and

engagement with the content luxury brands post on their social media accounts. This is

denoted in the empirical data, implying that the luxury brands are observing how followers

react to their content and that the feedback the brand receives is considered when

communicating luxury values through storytelling. However, to what extent the brands are

acknowledging their followers in the communication process was difficult to detect from the

collected data, as all brands had very different answers to this. With this study, definite

reasoning cannot be stated as evidence of how luxury brands consider followers’ interaction

on social media when developing their storytelling, remains unexplored in academic research.

Depicted in the Analytical Framework in Model 1., and from the analysis, brands’ luxury

value is formed outside the context of social media platforms. The reason for this is as

supported by the empirical findings, that luxury value it is not adjusted to the context in any

way. However, the empirical data and theory, imply that how brands communicate their

luxury values on social media through storytelling, is adjusted to the features presented in

Table 3. and to the interaction sustained on the platforms (Lund, Cohen and Scarles, 2018).

From the theory and empirical findings, it is analysed that luxury brands communicate their

luxury value through storytelling on social media. More specifically, luxury brands consider

the features of the context, the platform supporting interaction (Lund, Cohen and Scarles,

2018), and that followers have an elevated role in the communication process (Fournier and

Avery, 2011).


39

6. Conclusion The following chapter summarises the results of this thesis and provides both theoretical and practical contributions. Lastly, this section discusses the limitations and provides further research on the topic.

The purpose of the study was to explore how luxury brands are communicating through

storytelling on social media platforms. This was researched by examining how luxury brands’

communicate their luxury value through storytelling on the platforms. The present study has

with the support of theory and empirical findings found indications that the luxury brands

within this research aim to evoke emotions and to establish mental and personal connections.

This is done by communicating luxury values through storytelling to inform customers and

admirers about the brand which create meaning. Meaning is suggested to be important for

luxury brands to establish as their products and services are bought because of what they

symbolise. Further, the analysis indicates that meaning and brand perception is formed

collectively through followers’ dialogues and conversations with each other. The possibility

for this is due to that social media platforms fundamentally support interaction, engagement

and exchange of brand information. Hence, this study indicate that the role followers have in

luxury brands’ communication process is elevated.

Continuing, the luxury values that brands communicate through storytelling is indicated from

the analysis to remain unchanged. It is rather how the luxury values are told through stories

that is suggested to be adjusted to the context of social media platforms. Hence, this research

fulfils the purpose of the study, implying that luxury brands communicate their luxury value

through storytelling on social media platforms by recognising the context and the interaction,

elevating the role followers have in the communication process.

6.1 Contributions to Theory

This study contributes to previous research by providing a valid explanation by how luxury

brands communicate their luxury value through storytelling on social media platforms.

Previous research concludes that storytelling is evident for luxury brands to communicate

luxury values, that social media platforms have certain features and that the platforms support

interaction. This study not only strengthen previous research, but also provides theoretical

foundation by providing how luxury brands use storytelling as a communication tool on social


40

media platforms. The findings provide scholars with academic foundation which adds to

theoretical understanding luxury brand communication. Thus, this research provides new

perspectives on the topic and contributes with new foundation in the field of research by

illustrating how luxury brands’ tell stories in an era of social media communication.

6.2 Contributions to Practice

This study provides practical contributions of how luxury brands’ communicate their luxury

value through storytelling on social media. The greatest managerial implications are that the

result improves the understanding of how social media platforms influence luxury brands’

communication of luxury values through storytelling. Further, the study offers an

understanding of how interaction has elevated the role of followers and how luxury brands

should consider this when communicating on the platforms. Hence, the findings regard that

followers are becoming a part of luxury brands storytelling and what role they have in the

creation of brands communication. These contributions provide insights for luxury brands to

understand comprehend the context further. Continuing, it is indicated that luxury brands can

communicate through storytelling without adjusting their luxury value to the context, rather

how the stories are told is influenced by social media.

6.3 Limitations

With the industry of luxury brands and social media platforms constantly developing, this

research is limited to the market at the time of research. This study is limited to the overall

perspective of luxury brands and does not divide the different brands it into several categories

within luxury as the aim was to explore and provide initial foundation of the topic. Thus,

differences and similarities between luxury brand categories are not researched but rather how

luxury brands communicate in general. Moreover, the brands in this study are not categorised

in terms of size or year of establishment, consequently these factors are not distinguished. In

addition, this study researches a global phenomenon, however the brands are founded in

Europe and mainly have a European perspective. Furthermore, with the scope of this research

being to detect general findings of social media platforms, no differences or similarities

between them are identified. These limitations are made due to the specific time frame of five

months; hence time was restricted.


41

6.4 Recommendations for Further Research

The result of the current study indicate that there are notions where further research could be

made on the topic of storytelling by luxury brands on social media. Research in regards to

defining the various categories within the luxury industry to depict similarities and differences

between them, in addition to categorising which social media platform that is used could

provide insights to the topic. Developing this further could depict additional features on social

media platforms that might influence luxury brands’ storytelling. With the data collected for

this study indicating that a few brands aim to implement tools to measure and view follower

engagement, this could be researched to develop the findings further. To explore what extent

the brands are acknowledging their followers in the communication process, could provide

further contributions to the research topic.


42

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Appendices Appendix 1

Appendix 1. Interview Guide


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Appendix 2


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Appendix 2. Opernatisation Table Part 1 and 2 * For question 10, regarding the social, financial, individual and functional value, several authors state that these four factors are what creates luxury value. Social value concerns social status a certain product can create and constitute in certain groups of individuals, financial value concerns the price, functional value concerns the function a product has e.g. for watches it can be telling the time, and lastly, individual value concerns the impact on customers aspired identities, founded in emotional needs. So, the question is about how you are using storytelling to communicate these values.


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Appendix 3

All descriptions of Instagram posts below are retrieved on the 1st of every month and are observed in the year that follows, starting with the 1st of April 2019 to the 1st of May 2018. If no post was made on the 1st, the post closest to that date is observed.

3.1 Aquascutum Aquascutum is a fashion label and by observing the brand’s Instagram account their main images are professional photographs of their products or the design process. Detail images are also used on certain aspect of their products and the manufacturing process. The description of each post is short and used to provide information of the products and design process. Mainly references are made to their company history in visuals and in the description. New posts are made every few days during the time of observation. The brand does not appear to like the comments made by users on the brand’s posts, or reply to the responses in the comment section. Followers do however, like and comment on each other’s’ comments, in addition to tagging other social media users in the comment section.

3.2 Koenigsegg Koenigsegg is a luxury car manufacturer and on the brand’s Instagram account, the posts mainly include images of their cars in extravagant locations or sometimes, images of the founder. The main focus is to depict details, features of the cars and the cars’ performance. The description is used to add explanation of the image with the use of hashtags or tags. The brands have posted new content a few times a month during the time of observation. The brand does not like the comments by follower on the observed post or answer questions made in the comment section. Followers do however like and comment on each other’s comments. Furthermore, followers also tag each other in comments on the observed posts.

3.3 Loewe Loewe is a luxury fashion label, specialising on clothing and leather accessories. By observing the post of Loewes Instagram account, the brands publish professionally taken images that present their products or details of their products. The other main themes of the post include depicting the craftsmanship of how the products are made and the artistic references. Loewe also use brand ambassadors or celebrities as part of the images on Instagram, and they use the description to tell a short story and give the reader information behind the image. If followers post a question on the observed Instagram posts that relates to their products the brand replies in the comment section. The followers interact with one and other mainly through tagging other followers and social media users on various images, liking and replying to each other’s comments, but the latter happens less frequently on the observed posts. From the beginning of 2019, the brand likes almost every comment made by followers on their various post, but is not observed to do so in 2018. They post content on their Instagram account almost daily and on certain dates. There are many post made on the same day.


51

3.4 One of the eight Specialist Watchmakers Maisons of Richemont

Per request, this brand is unspecified and therefore only a general description of the observed posts is given. When observing the Instagram post of the given brand, professional images are used which are mainly close up on certain products or features, in addition to the craftsmanship and innovation behind the manufacturing and design process. This is very consistent throughout the time of observation. On occasion, images with brand ambassadors or celebrities are also posted. The description is short and discusses the feature in the image. Further, hashtags are used. The brand does not generally like the comments made by followers in the comment sections, but have done so on some posts of 2018 in the end of the observation. The brand does reply to questions however made by followers that relate to their products by redirecting them to their website. The brand post content frequently with new posts almost daily. The followers interact with each other in the comment section though liking and tagging each other in comments. The tagging of other followers does however not happen as frequently in the observed posts.

3.5 Paul Smith Paul Smith Ltd. is a clothing label and on the brand’s Instagram account, the main imaging used is professional photoshoots that depict their products and recent collections. Moreover, images of Paul Smith, the founder, occurs in addition to behind the scenes material and design. The description is used to provide more information of the image and design references or to refer to their company website. Hashtags and tags are also used in the description. The brand publishes new posts almost daily during the time of observation. The brand likes most comments made by users in the comment section throughout the time of observation. Further, they also reply to comments and questions that relate to their product or brand. Followers interact with each other by liking, tagging and responding to the comments in the comment section.

3.6 Spyker Cars Spyker Cars is a manufacturer of luxury automotive and on Spyker Cars Instagram account, only one image exists from the time of observation, which is posted in April of 2018. The image depicts their product and the description provide the viewer with information about the product. Further the description refers to a car event where the brands’ cars will be displayed, followed by hashtags. The brand has not liked or replied to any comments made by followers on the observed post. Followers interact with each other in the post's’ comments section, by mainly replying to each other’s comments and liking them.

luxury brands’ storytelling on social media1330243/fulltext01.pdf · brands perceive storytelling...

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