News in, Jigsaw is closing its Bluebird concept. After 15 years, the majority of those spent at the quiet end of the Kings Road in Chelsea, it recently moved more central to the prime site of the refurbished ‘Carriage Hall’ on Covent Garden’s Floral Street.
Left - Inside Jigsaw's Shop At Bluebird, Carriage Hall, Floral Street closing this week
Named after the art-deco car garage it was once housed in, it relocated in May 2018 and was part of the landlord Capco’s relaunch of Floral Street alongside the first central London outpost of Petersham Nurseries.
Stocking a mix of designer labels and maison objets, after just over 18 months in this location, The Shop at Bluebird, to give it its full title, is closing its doors for good this week.
A concept store without a concept, its short spell on Floral Street clearly illustrates how a once thriving, premium fashion street in a central location is struggling to pull in the shoppers. The store will turn into a larger Jigsaw store format.
Right - Discrete sign advertising the brands on Floral Street
Floral Street, a charming cobbled street just off the busy James Street, has been a fashion destination since the late 1970s. A pioneer of the area, Paul Smith opened his first store in London at 44 Floral Street in 1979. Over the next 20 years, Floral Street became one of the coolest fashion streets in London. Agnès B, Nicole Farhi, Jones, a cult designer menswear retailer, and Jigsaw Menswear were just some of the stores to make this street blossom. It’s slightly off-the-main-drag location was part of its charm.
Today, many tourists and shoppers walk straight past to the busy market area with its plethora of beauty brands or upwards to the more high-street Long Acre. Peer down Floral Street and it doesn’t look like much is there.
Floral Street isn’t alone, the same thing has happened to South Molton Street in Mayfair. On a map they geographically look as central and in the mix as anything else, but they, seemingly, get so easily passed by. Since the millennium these streets have gradually lost their appeal and declined.
Even Browns, the main pull of South Molton Street is moving. It has occupied its collection of small stores since 1970 and is now moving out. Running from Bond Street Tube station, on the corner of Oxford Street, diagonally down towards Brook Street, South Molton Street has long been a stylish cut through. Today, it has become more synonymous with people giving out free mini samples of soap than chic retail destination.
Browns is closing its collection of awkward stores to move around to a new, singular location on Brook Street. Now owned by online giant Farfetch, Brown’s new store will open this summer in time to celebrate its 50th anniversary.
While not being able to comment on the reason they are moving out, Holli Rogers, CEO of Browns and CFO of Farfetch, says “it really is telling that we found this incredible location to be our new home as we also look to celebrate our 50th anniversary. It was important that we stayed in the heart of Mayfair bringing our clients on this exciting journey, whilst honouring the path we’ve been on and looking to the future of Browns as a pioneer of luxury multi-brand retail with a technology viewpoint. Being in one dedicated space, we are excited to be able to offer a vital and engaging customer experience that draws on the store of the future technology whilst also playing homage to the history and story of both the location and fundamentally Browns.”
Left - Paul Smith's original London shop opened in 1979
So what will become of South Molton Street as even more empty shops pile up? Landlord Grosvenor is proposing investment in a ‘South Molton Triangle’ as the delayed Elizabeth Line finally opens in summer 2021 bringing many hundreds of thousands of more people into the area. But, they’ll need to entice them to venture down South Molton Street and not lose them to Oxford Street.
Right - Landlord advertising Kent & Curwen's Floral Street on the busier James Street
Bounded by Davies Street, Brook Street and South Molton Street and well-known as the home of Grays Antiques Market, this part of Mayfair was always a pedestrianised break from busy Oxford Street.
Grosvenor launched a public consultation in the summer of 2018, no doubt expecting the new underground station and line to be finished sooner. Simon Harding-Roots, executive director, Grosvenor Britain and Ireland, said at the time, “Our proposals are at a very early stage and we want to encourage feedback on how new investment could best serve the community above and beyond the opportunity to better manage increased pedestrian numbers. It is important to us that local voices are incorporated into the planning submission we will ultimately make.”
“The West End is currently ill-equipped to cope with the levels of pedestrian traffic we already see every day, let alone the arrival of thousands of extra visitors expected from the Elizabeth Line. Many of Mayfair’s pavements are too narrow, routes were built for a different era and, perhaps counter intuitively, there are not enough services for those living in and visiting the area.
“We recognise the potential of the South Molton Triangle to address a number of the issues the local community faces. By proposing new investment here, we will be able to better protect and enhance the character and simple enjoyment of living and working in one of the most desirable places in London and the West End.”
Right - Glossier beauty pop-up open until February 9th
These areas need more than simply people management, new pavements and street furniture and it feels like landlords, Capco and Grosvenor, have been focusing on larger and juicer parts of their estates rather than these streets which are more on a Victorian and Georgian scale. At the same time streets like Chiltern Street and areas like Coal Drops Yard have developed and are doing what these locations used to do.
The American beauty brand Glossier recently opened a pop-up on Floral Street, open until February 9th, 2020.
These forgotten about fashion streets were once a destination for those looking for the new cool. Being surrounded by hugely popular shopping areas, there is no reason why they can’t return to this.
These streets need to find a new reason to be and then channel people accordingly. They need to work out and provide what is cool in 2020.
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On a chilly January Florentine night besides the swollen river Arno, the modernist Palazzo della Borsa played host to the first ever K-Way catwalk show. Known for it colourful and affordable rainwear and its signature yellow-orange-blue striped taping, this was K-Way’s way of celebrating the revamp of the brand and a sort of anniversary for them. (The brand was founded in 1965)
Left - The Classic pac-a-mac - K-Way's first catwalk show - Pitti Uomo 97 Jan. 2020
While many think of Pitti Uomo as a place for peacocks to pose by the curved pebbled concrete and classic made-in-Italy tailoring, the real money is being made by brands that offer mass appeal and big margins. This is aspirational, usually, made-in-China fashion, that has multiple variations on the same product. The consumer feels like and is happy that they have a lot of choice, while the brand’s core is simplified and strengthens the idea of ‘owning’ a category. Customers are clear on what they do, yet want to know what the new variations or collaborations are for each season. They are happy to have multiples of the same styles and shapes and have the same things as everybody else. It’s like joining a club.
It was founder Leon Claude Duhamel’s decision to brand the lightweight, nylon pac-a-mac that gave birth to K-Way after seeing people struggling in the rain through the streets of 1960s Paris.
At the Florence show, both Duhamel, and the Italian Boglione family, which now owns it, were present after a collection featuring youthful and fashion-lead rainwear. Italian influencers in Coyote-lined K-Ways watched as every variable of a K-Way was sent down the catwalk. These weren’t the pac-a-mac types of old, though it will sell plenty of those, but more the limited runs of fashion product with the K-Way DNA centre stage, even if it was taped prominently to the models’ flies.
The Bogliones - who also own Petersham Nurseries in Richmond - own K-Way as part of their BasicNet business. This Italian sportswear group owns Kappa, Robe di Kappa, Superga, and, recently bought Sebago from Wolverine. The group produced consolidated revenue growth of 14.7% in the 2018 financial year. In the first three months, Q1 2019, revenue was €74.6 million, a 38.9% increase driven by the recent acquisition of Sport Finance, the group’s distributor in France, UK and Spain.
Right - More directional K-Way for AW20
BasicNet saw strong 2018 growth globally; USA revenue increased by 36%, Europe 13.4%, Asia-Oceania 17.1% and Middle East and Africa 56.3%.
The founder of BasicNet, Marco Boglione, was only 20 when he was invited to join the company Maglificio Calzificio Torinese (MCT). MCT specialised in hosiery and underwear until seeing the potential of designer jeans during the 1970s boom and came up with ‘Jesus Jeans’.
Marco applied himself to the sportswear side of the company and was part of the nascent industry of sponsoring athletes with branded product. Under the Kappa brand they sponsored American Carl Lewis as well as football teams such as Juventus, AC Milan and Barcelona.
Marco left MCT to start a company making football merchandise, but when MCT started to struggle he, along with his brothers, bought it out of receivership and created BasicNet in 1995. Since then it has been acquiring brands with K-Way having been acquired in 2004.
K-Way’s signature ‘Le Vrai Claude 3.0’ jacket is £75. Made in China of a simple, lightweight pac-a-mac material, the margins must be huge. Success breeds success and dominance in this sector of mid-priced branded sportswear. You can sell huge volumes and retailers like the ease of brands being clear on what they do. It’s also a fun and colourful product. The same could be said for brands such Crocs, Eastpak, Herschel and Sebago. Lots of colours and finishes in the same consistent, known and liked styles.
While many new fashion brands aim for ‘luxury’, it is too dominated by the three main groups - LVMH, Kering, Richemont - who will only increase their muscle and monopolies. The volumes are too small to grow quickly and too much money is tied up in less product. The ideal is to scale quickly and this is what BasicNet has cleverly done with its brands. It’s tapped into the desire for brands at a price people are happy to pay while making good profits.
While without the overt branding, a newish brand trying this idea of lots of colours with simplicity in styles is Colorful Standard. Made in Portugal, it recently opened a store with Oi Polloi in London. Founded by Danish entrepreneur, Tue Deleuran, in 2017, it is now sold by 500 retailers across Europe with stores in Paris and Zurich.
Colorful Standard organic T-shirts retail at €30 and the sweatshirts are between €60 and €80 in a rainbow of colours. Made in Portugal in a factory Deleuran bought in 2008, he also produces private label for many luxury brands.
Left - Colorful Standard for quality organic basics in lots of colours
Expanding, new Colourful Standard categories for AW20 include boxer briefs, socks and Oxford shirts. By having the illusion of lots of choice it entices the consumer to be happy to add to their 'collection'. It also becomes a go-to when the product is good and people are satisfied. Asking people to pay 4 times the prices of Uniqlo with feel good extras of organic cotton and charitable associations seems to be working. It looks Helvetica familiar and fills the American Apparel gap or that once held by the likes of GAP.
What these two examples illustrate is the opportunities in this mid-priced market. Healthy margins in large volumes is the dream for any fashion business. Despite the naysayers, people will still pay for product they like, it just needs to be good. Oh, and colourful!
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With a schedule now slimmer than one of the teenage models, London Fashion Week Men’s, or LFWM, needs to find a new reason for being. We’ve done diversity, inclusiveness and sustainability, but now, thanks to the BFC, there’s an over-riding umbrella term called ‘Positive Fashion’. Designers such as Nicholas Daley, Bethany Williams, Bianca Saunders and Ahluwalia all had PW (Positive Fashion) after their names on the schedule.
Launched in 2013, the BFC’s Positive Fashion initiative is “a platform designed to celebrate industry best practice and encourage future business decisions to create positive change”.
Left - The BFC's new LFWM graphics
Positive Fashion is led by 3 strategic pillars - sustainability, equality and diversity and craftsmanship and community - it says, In a statement from the BFC, “The BFC takes the lead in setting the standards for an industry that strives to represent equality and diversity on the global stage. Championing the importance of every person in the sector as a vital and valuable part of our industry entitled to be treated with respect and dignity.
“Supports the community of talent, skills and craftsmanship that make up our unique industry. Our initiatives are designed to develop connections and understanding between designers and manufacturers taking a holistic approach to the long term viability of the sector. We celebrate the wealth of talent and capability that is unique to British designer businesses.”
While this manifesto all sounds totally earnest and worthwhile it does reek of wishful thinking and what does it actually mean?The green movement is only going to get bigger and the fashion sector, said to contribute £32.3 Billion to the UK economy in GDP and supporting 890,000 jobs, is firmly on its naughty step. We’ve had a lot of lip service, but sadly, without government legislation, the industry will put off the difficult, and more costly, things until tomorrow.
To further ram home the point, the British Fashion Council has announced its intention to launch the Institute of Positive Fashion (IPF). “The BFC recognises that the fashion industry engages consumers daily, and whilst it is often seen as forward thinking, it also appreciates that through global supply chains the industry can have a negative impact on the planet.”
“Through the IPF, the BFC aims to create an industry blueprint by bringing together expertise from different areas to help brands in the industry navigate an often confusing to understand topic and kick-start a much-need comprehensive step-change. Informed by research, expert opinion, industry insights and the significant industry experience of individual businesses and organisations, the power of collective effort will amplify independent activity.”
It’s a lot of marketing speak, but it does have an influence if the costs aren’t too prohibitive. ‘Sustainability' has been a part of the BFC’s strategy since 2006. Their ‘Esthethica’ showcase put sustainable fashion at the heart of London Fashion Week before evolving into Positive Fashion in 2013. This is the first time I have seen it mentioned anywhere.
But, what has exactly happened over those past 7 years and how much carbon emissions, or however you want to measure it, has been saved?
Back to fashion week and many designers are thinking about how to minimise their footprint, but they’re also trying to survive very tough times. LFWM is currently very sustainable because nobody buys any of it. But jokes aside, the ambition is there and it feels like we’re in something of a technological and supply chain cul-de-sac. Patrick Grant’s premium E Tautz label was called ‘Brand New Second Hand’. In the show release he said, “As a designer I feel acute pressure to act. We need to change the message. No more fiddling while Rome burns. Big fashion can do ‘sustainable’, it can do ‘ethical’, it can do ‘conscious’. It all helps make consumers buy MORE.
“But what big fashion cannot do is small. It can’t slow down. What they will never do is tell you to ‘buy less, keep for longer, cherish, repair, pass on’. That however is exactly what we must do and what we’re asking you to do. E Tautz clothes will not change so much from season to season that you feel you need to buy something new. In fact we’re suggesting the opposite.”
Grant has worked with Astco, one of the UK’s largest clothing recyclers, to make new pieces from unwanted textiles. He’s also enlisted the Rolls-Royce of darning, the Royal School of Needlework, to give them that patched/repaired feel. What he should have done is shown last season’s samples with the repairs from actual wear and tear from being lent out to the industry. It’s fine to talk about buying less when a coat costs £1500, but when the collections are often funded by more affordable, high-street collaborations it can often sound hypocritical.
But, everything fashion does is hypocritical. The idea of replacing something while it is still perfectly useful will always put fashion into the negative fashion bracket. ‘Positive Fashion’ could easily go the way of ‘sustainability’ and become as meaningless as it sounds. Nobody is going to disagree with making fashion positive, it just needs to be explained. We want detail.
“The world is burning. Fashion plays a BIG part in this.” said Grant in his show's press release, “But as Ranieri sings in ‘Oh My Love’ ‘from nature we should learn, that all can start again’. Even Fashion.”
Not all high streets are created equal. The government has just announced the first 14 high streets to receive financial support as part of a pilot called the ‘High Streets Task Force’, which will be rolled out across the country over 2020. Each will receive up to £25million worth of “training, face-to-face support and access to research” from industry experts who will team up with local leaders.
Left - Huyton Town Centre in Knowsley set to get £25 million of investment
In July the £3.6 billion ‘Towns Fund’ was announced by the government, including this £1 billion High Streets Fund to “help high streets adapt and evolve while remaining vibrant places for their community”.
“This government is investing £3.6billion in our great towns, including £1billion to help our high streets to adapt and evolve while remaining vibrant and safe places at the heart of our communities." said Communities Secretary, Robert Jenrick said last week.
“Having announced the first 101 high streets that can benefit from £25 million each back in the summer, I am announcing support from our new High Streets Task Force for a further 20 places and naming 14 of these today.” he said.
So, the government has a ‘Future High Streets Fund’ and a ‘High Streets Task Force’ each giving high-streets £25 million to boost their local economies. This is fantastic, but, is this spreading the money too thin? While any money is welcome, wouldn’t the government be better targeting fewer towns with more money to really have a lasting and deeper effect to stem the bleed from our high-streets?
Many of these high-streets are lost and are never going to thrive while there are many that are simply declining, can be saved and just need an injection of cash and energy.
On the recently announced list of 14 high streets is Thornton Heath in Croydon in South London. Apart from being the home of Stormzy, the majority of people would have never have heard of it. Thornton Heath hasn’t had a thriving high-street since the 1950s. Apart from a 1970s Tesco there really is nothing there and never will be. Being a realist, the area doesn’t have much money and is far down on the list of being gentrified. The local council recently spent money on paving and planting so it has had some grass roots investment to boost its apperance. Supporting businesses which don’t have the customers to pass the baton onto is pointless. Thornton Heath is more a local parade of shops than a ‘high-street’. The government would be better off targeting the larger and more connected Croydon high-street nearby which is in desperate need of investment especially with the wobbling of the proposed Westfield shopping centre project
Looking at the announced list some look like tertiary high-streets such as Swinton Town centre in Salford, Stirchley in Birmingham and Huyton Town Centre in Knowsley. And while it’s great to give these areas a refresh, the future of high-streets is fewer but better. The places announced will benefit from bespoke support and guidance from the new ‘High Streets Task Force’, announced by the government in response to recommendations of an expert panel on the high street chaired by Sir John Timpson. The High Streets Task Force will give “face-to-face support, access to cutting-edge research, new online training, and local footfall data to give businesses that vital edge and transform local town centres”. The government says it wants to "level" up towns and regions, “ensuring prosperity and opportunity are available to everyone”.
But, can "up to £25 million" be anything more than cosmetic?
Minister for the Northern Powerhouse, Rt Hon Jake Berry, said, “Every place has its own unique strengths and challenges but all our town centres and high streets have one thing in common – they are the lifeblood of communities.
“The tailored support from our new High Streets Task Force and up to £25 million each from the Towns Fund for 100 places gives communities the money and support they need to unleash the potential of their towns.
“This people’s government is backing people across the Northern Powerhouse and every part of the UK to succeed no matter where they live.” he said.
Right - Thornton Heath in the London Borough of Croydon has already had recent investment to its high street with new pavements and planting
The high-street ‘Task Force’ is run by the ‘Institute for Place Management’ on behalf of the government, and is holding an open recruitment for a Board Chair to provide expert leadership to this programme. The Task Force brings together a range of expert groups on reinventing and restructuring places, including the Royal Town Planning Institute and The Design Council.
The government is also seeking views on whether an online register of commercial properties would make it easier to bring empty shops back into use. It wants to understand people’s experiences of leasing commercial property – with a view to making ownership of high street properties more transparent, making it easier for businesses and community groups to find space and supporting investment in local areas.
This recent announcement builds on ongoing government action to support high streets, including cutting small retailers’ business rates bills by 50% from April, following more than £13 billion of business rates support since 2016.
The recent 2019 Conservative manifesto promised, “we will cut the burden of tax on business by reducing business rates. This will be done via a fundamental review of the system”. They pledged to increase the business rates discount available to businesses with a rateable value below £51,000 from 33 per cent to 50 per cent in 2020-21. They also plan to extend the discount to “grassroots music venues, small cinemas and pubs.” The changes to business rates would only apply to England as Scotland, Wales and Northern Ireland set their own business rate regimes. The discount is set to last for just one financial year.
Public money should always be a catalyst for private investment. The government investing money into local high-streets is a welcome initiative, but spreading it too thin and wasting money on high streets which look like they will never grow or thrive is a wasted opportunity. While new pavements and a cosmetic tart up does change perceptions, it will be small businesses and start-ups that will really change these areas together with private landlords. This is where a reassessment of business rates will be needed. The new money will be a boost, but will it be enough in the right places? Ideally it needs to ripple out into the local economy and help high-streets to survive the threat of online and reduced footfalls long after it has gone.
So, where should the government be putting its money? AskTraders, a company providing detailed information about share trading and brokers, conducted an analysis of the UK’s high streets, looking at ATM, bank branches, retail store closures and ONS % growth of the retail sector over the course of 2019. It found the “most declining” high streets were to be Poole, Blackpool - Blackpool is on the government list of 101 high streets announced in the summer - Warrington, Manchester and Swindon. Poole High Street has seen overall retail growth fall by four percent in 2019. Stopping the decline is just as important as providing a boost and maybe these larger centres would be a better investment to stop the rot.
Local councils can change parking restrictions and charges, or work with transport providers to make it easier for people to visit the shops. Local people will be glad to see investment on their high streets, but it will be profitable and sustainable businesses with customers spending money which will leave the lasting legacy.
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As we wave goodbye to another decade, it’s time to assess where we’ve been and what the next 10 years will have in store for the retail sector. It’s hard to think back to 2010 and not somehow feel it is closer than it really is. Nine years’ later and you’d think online had virtually replaced traditional retail, but it is still under 20% of total retail sales. About 7% of total retail sales were online in 2010 rising to 19% by 2019 as a percentage of total retail sales.
At the start of the decade, in June 2010, there were 1.97B internet users, by 2019, that figure had reached 4.54B users, 58.8% of the world’s population. Virtually all adults aged 16 to 44 years in the UK were recent internet users (99%) in 2019, compared with 47% of adults aged 75 years and over.
And this is before the roll out and connectivity of 5G. We’ll probably look back and feel we were living in the dark ages when it came to internet speeds when we finally have uninterrupted data and mobile signal.
Left - Autonomous vehicles will be the future of deliveries
While online sales have grown nearly 3 times as a proportion of retail sales over the decade, it’s interesting to look at the growing monopoly of the internet. In the USA, the top five online retailers own 64.7% of sales, (data via Statista).
While online retail sales growth appears to be slowing nobody knows the final plateauing retail mix in numbers yet. One recent report by the analysts ‘Retail Economics’ for the law firm Womble Bond Dickinson, says online shopping could more than double its share of the retail market by 2028. The internet is expected to account for 53% of retail sales in 10 years’ time as younger people who have grown up with the internet become more than half the UK’s adult population according to the report.
Richard Lim, of Retail Economics, said: “Successful retailers have always had to reinvent themselves to stay relevant. However, the pace of change will inevitably prove too fast for many. It definitely feels like the digital retail revolution is only just getting started.”
Arguably the most important revolution in the coming decade will be automation and automated vehicles. Take the human out of something and it instantly becomes far cheaper and more flexible.
The automated car is coming, it’s just a matter of when. Elon Musk, CEO of Tesla said that he anticipates completion of fully autonomous technology by the end of 2019 with their self-driving vehicles being so advanced in 2020 that the driver can basically take a nap. He said, “I think we will be ‘feature-complete’ on full self-driving this year, meaning the car will be able to find you in a parking lot, pick you up, take you all the way to your destination without an intervention this year.”
There will be rigorous testing and legislation for this to happen, which will take time, but once vehicles become fully driverless and trusted we’ll be able to have everything delivered at anytime for very little cost. It will revolutionise delivery and the volumes of deliveries. Things will no longer be a hassle to return and as such, will be easier to buy. You'll never be out when you know exactly when your delivery is to arrive.
Right - Secure and cheap deliveries without the human
Fashion will become a service. We’ve seen the idea start this year with the rental and secondhand markets growing recently, but it will be with automation when the business model will make sense. Fashion companies will sell ideas and consumers will buy or borrow those ideas. At the end of life, these items will be returned and disposed or recycled responsibly. The new affordability automation allows will make it cheaper than buying regular clothes. This is when the idea will reach a tipping point.
Having large fulfilment centres servicing larger numbers of people will also be more efficient and reduce wastage, particularly in food. The idea that every supermarket has to guess what that individual store will sell that day or week and it doesn’t leave that store unless it is sold, reduced or thrown away makes no sense in the 21st century. Retailers and brands will like this reduced wastage and more full price sales. Consumers will get fresher items and greater convenience.
The environment will become increasingly important and efficiencies will be driven by green ideas. I think it’s naive to expect consumers to buy less and retailers don’t want that either, it’s going to be about cycles and closing the loop on goods and services.
It will be about knowing more with regards to what to make and when, with fewer sales and less wastage. When The H&M Group is estimated to sell three billion articles of clothing per year, made in 40 countries, using 275 factories in Bangladesh alone, the scale and potentials for efficiencies is huge. Consumers being able to order exactly what they want and it will be a boon for retailers as well as the environment.
Left - What will the first automated vehicles look like?
How fashion dictates how we look throughout all this will be anyone’s guess, but luxury brands are getting bigger and more dominant, though never underestimate consumer’s desire for change and the human characteristic of becoming bored and moving on relatively quickly.
Whether we will still be wearing sportswear in 2029 is yet to be seen…but the future will definitely involve less humans.
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Without doubt the most famous menswear street in the world, for the uninitiated, Savile Row could be something of an anti-climax. While the name is known the world over as the home of male sartorial elegance, the reality of the street is something quite small, higgledy piggledy and with little on show to inspire or buy. It’s a mishmash of designer brands, traditional tailors and workshops, and empty shop units.
Left - Drake's new Savile Row store
A small side street behind elegant Regent Street, Savile Row has become much bigger than the place itself, and while brands desire to be able to put Savile Row in their addresses and on the sides of their bags, it can a difficult place to make money. There just isn’t that much traffic.
While nothing new, the street has seen something of a brand churn of late. Chester Barrie is closing down, Hardy Amies disappeared and the short lived Abercombie Kids store in the old Beatles’ Apple building is being pushed back into the larger Burlington Gardens store over the road while it turns itself back into offices for their European business.
I was recently invited to drinks at the Kilgour store on Savile Row and while on the way over I wanted to check out the new Drake’s store which had taken over from Alexander McQueen’s menswear store.
One of the bright spots of British menswear, Drake’s, the colourful accessories and preppy menswear business, has just moved around the corner from Clifford Street to a larger space and has built up a strong brand with locations from New York to Tokyo. Here, the new store has cosy striped window-type seats and an entire library of books. It looked like the kind of place you’d want to hang out in, or, heaven forbid, want to spend time in. It's welcoming. The product isn’t cheap, but it’s done properly.
Contrast this with the Kilgour store, which looks like a designer Swiss morgue, and these two juxtapositions perfectly illustrate the new mood in retail design. One reeks of personality and is overflowing with the owner’s touches, while the other is strict to the point of being a retail vacuum.
There was a time, a few year’s ago, when the majority of Savile Row brands were being snapped up by Chinese conglomerates. Fung Capital, the private investment vehicle of the Fung family that controls Hong Kong sourcing and apparel mega-corporation Li & Fung, bought the most including Gieves & Hawkes, Kilgour, Hardy Amies and Kent & Curwen. While they splashed the cash and moulded each for a particular type of customer at the beginning, things have become tougher and they show a tiring of interest. They placed Hardy Amies into administration in January, while selling to Trinity, another Chinese group, the Italian/French tailoring house Cerruti who cancelled their catwalk show and stopped the designer collection’s entire production.
What looked like little, individual outfits on London’s Savile Row often had hundreds of branded stores in China, invisible to outsiders, but they’ve all become quite bland and lacking personality with no clear direction with a continual revolving door of creative directors or in-house design teams. All these brands have become faceless.
Another new bright spark on Savile Row is the new ‘J.P. Hackett No.14 Savile Row’ store in the elegant townhouse Hardy Amies restored. The new Hackett store is warm and welcoming, and is saying “come in”, “make yourself at home” and “relax” with its homely yet elegant interior by designer Ben Pentreath with input from Jeremy Hackett.
Right - Inside Kilgour Savile Row
What Drake’s and Hackett both have is a figure head who is involved and makes decisions and menswear has always latched on to these men who lead.
Michael Hill, the current creative director of Drake’s, who is responsible for the brand's full wardrobe offerings, has a great eye and taste, while Jeremy Hackett has nearly 40 years of experience in the vintage menswear trade and then creating his own eponymous label. And this is what it all comes down to, people. You need a singular, strong vision to offer direction and also a domestic homeliness.
Stark, cold and soulless retail spaces are being replaced by the perennial idea of a traditional shopkeeper welcoming customers into their worlds. Admittedly, Hackett previously had a store on Savile Row which didn’t work, but this new bespoke concept is hoping to elevate the standard Hackett product and, moving the wholesale showroom from Bond Street and combining it with retail, will probably see them save money while in a stunning Georgian townhouse which will look good the world over.
Savile Row can be so much better and it’s always worth remembering what you thought on your first visit there. These two recent additions are adding some colour and Britishness to a street which had become something neither designer nor tailored.
Savile Row needs to hold onto what is good, but also be open to try new things. In 2016, Westminster Council said only new stores will only be allowed to open if they do not replace “bespoke tailoring uses”; “sell bespoke, unique, limited-edition or one-of-a-kind products”; and are “complementary to the character and function” of the zone, but that doesn’t mean 'The Row' should be stuck in a timewarp.
Left - Inside the ‘J.P. Hackett No.14 Savile Row’ store
This isn’t about just preserving Savile Row, it’s about making it more successful. It should be welcoming to all British brands and not look down on commercialisation. The skills that have survived this long will continue to survive and these two new additions show its about individuals going back to the idea of being a nation of shopkeepers rather than anonymous 'brands'.
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I said it at the start of this year if you’re a brand or retailer and you can make it through 2019 and into 2020 then you’re probably going to be alright. This year has been tough, very tough, and we’re well into the most important segment of the year for some retailers. It’s do or die for many brands who are on their uppers while trying to flog customers theirs.
This period of physical retail contraction is more painful the larger you are and we’ve waved goodbye to some very well known retailers and brands this year which could no longer survive under the perfect storm of online competition, retail saturation and squeezed prices, increase in the minimum wage, Extinction Rebellion/consumption debate, Brexit uncertainty and a snap General Election, cost of returns, prolonged discounting and high business rates and rents.
Christmas has always been a crucial time for retailers, but if it’s your single focus and main time to make profits then you need to rethink your business model and marketing. Many businesses with this old fashioned idea are many of those disappearing or have disappeared. But, it still matters, and a bad Christmas period will see many more retail business announcing their demise come the new year.
The lead up hasn’t been good, but a lot of spend could be skewed by the juggernaut of Black Friday. Sales decreased by 1.3% in September 2019, the worst September since BRC (British Retail Consortium) records began in 1995.
The following month, high street shoppers bought 0.6 per cent more goods in October 2019, representing a drop from 1.3 per cent sales growth recorded in October 2018, but still representing the retail industry’s best performance since April, according to figures compiled by the BRC and KPMG. Looking at a three-month average, which allows for month-to-month fluctuations, total in-store sales of non-food items dropped 3.6 per cent, while food sales grew 1.6 per cent (or 0.5 per cent on a like-for-like basis).
According to Barclaycard, "consumer spending in November (2019) showed a muted 0.9% growth year-on-year as Brits plan for a frugal festive season”.
So far, so bad, but Black Friday was the biggest ever. According to retail intelligence firm Springboard, retail footfall on Black Friday was up 3.3% in comparison with the same day in 2018, with shoppers mostly hitting the shops after work. Black Friday spending rose 16.5% on 2018, Barclaycard said. They said spending was higher as of 10am that morning and “sustained” that high level throughout the day. They said the number of transactions then reached a “new peak” between 1pm and 2pm on Black Friday. Barclays, which has been monitoring real-time transaction data for Black Friday, processes almost £1 in every £3 spent in the UK.
“We recorded a new peak of 1,184 transactions per second between 1pm and 2pm, which is up on last year’s 1,087 by around nine per cent,” Rob Cameron, CEO of Barclaycard Payments told City A.M.
“The volume of transactions has been up all week and in terms of purchasing, we have seen a high level on spending from midnight all the way through.
“This is fantastic news for retailers, with our data showing that transactions have also been strong throughout the week,” says Cameron. “With many retailers spreading their deals out throughout the week, they will be encouraged to see this hasn’t cannibalised sales volumes on Black Friday itself.” he told City AM.
The volume of transactions on Black Friday rose 7.2% year-on-year, while the volume of transactions on Cyber Monday - the following Monday - was so far up 6.9%.
While this discounting could affect margins, it appears the hype of Black Friday and perceived discounts is something retailers are taking advantage of. The consumer title, Which? warned that few real deals were available, with most goods cheaper or available for the same price at other times. It found that just 4 of 83 products they studied last year were cheaper during the Black Friday promotions.
Black Friday benefited from falling on or just after payday this year with many people paid on 28th of the month. Black Friday has been big, but has is been big enough? The last few years saw many retailers see a wash of sales just before Christmas which allowed them to limp on into the next year. It appears that retailers are finally understanding how to play the Black Friday game; getting rid of unwanted stock while holding firm on in-demand products. It will be interesting to see the level of returns and this giant spike can be difficult to manage, especially for smaller retailers which less stock holdings.
The retail figures show a consumer holding tight until to Black Friday, and it will be interesting to see, now those purse strings have been loosened, whether it continues in the final few weeks until Christmas especially with the distraction of a General Election bang in the middle of that. See you in the next decade?
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Not to sound too much like Scrooge, though he is part of the problem, but have you noticed how all the Christmas adverts look the same this year?
Their nostalgic Dickensian approach of snow, jingle bells, street urchins and false bonhomie is strikingly similar and just doesn’t feel particularly fresh from retailers trying to smile through the pain of the current retail environment. It feels faker than a Trump press release and disappointing and safe from marketing departments crossing everything and hoping their brands make it through to the new year.
Left - More urchins? Sainsbury's 2019
What started with wise men offering up gifts was hijacked by retailers and brands over the past century to make all their year’s profits in a few short months. Today's Christmas is, arguably, an American creation of commercialisation. It was Coca-Cola after all who changed Father Christmas from green to red to suit their branding.
This isn’t about taking Christmas back to its meaning, whatever that is, it’s about reflecting contemporary times and stripping the crap out of Christmas, which sits alongside Halloween and Valentine’s as commercial ‘Festivals of Crap’ with our overindulgence reflected in the bulging brown bin the days after.
Christmas needs a reboot to take it from Victoriana fake-fest to a simpler and more sustainable pagan and friends and family focussed festival to get us through the longest nights.
“Most of Christmas ads look almost identical because agencies and brands start from the almost same brief: ‘Lets create a piece of heart-warming storytelling that people will share online, so avoid pushing a specific product. Make it pretty’. says Marcio Delgado – Influencer Marketing Campaign Manager and Producer, www.marciodelgado.com
"On paper, for the purpose of approving production budgets months before Mariah Carey’s ‘All I want for Christmas is you’ climbs back the charts – again – it seems the perfect deal. However, when customers start being bombarded by similar content, exhaustively promoted within their social media feeds and favourite TV shows, it all starts to look too much of the same.” says Delgado.
Lesley Stonier, brand storytelling and marketing strategist. Founder of We Mean Business, London - helping women and entrepreneurs find their authentic voice and share their story with confidence, says, “I think for the last 5 or so years we’ve seen John Lewis and even more recently Lidl/Aldi do very well from a certain style and format of ad. I believe the briefs the ad agencies are receiving from these companies and their competitors now will be something like, I want what they are doing, but make it ours.
Right - More snow? John Lewis 2019.
“It just all feels very same-y and therefore it becomes difficult to distinguish who the retailers actually are. There’s no stand out brand this year. The ads all blur into one Christmassy mass with no distinction. Food, kids, 18th century nostalgia, it’s difficult to tell them apart now.” says Stonier.
Stephanie Melodia, marketing specialist, founder of startup marketing agency, Bloom says, “Persuasion is at the root of successful advertising, and the mechanism to this is by appealing to people’s emotions. As a nation that has become less religious and traditional over time, Christmastime no longer bears the same connotations as before. Instead, the “Dickensian nostalgia” plays to the magic and joy one can only achieve over the holidays - whether its spending time with loved ones, exchanging gifts, enjoying good food & drink, or all of the above! It’s worth noting the generations that the Dickensian style will appeal to have quite a vast age range, from the grandparents to the millennials, (thanks to Mr. Dickens' literary genius in itself, as well as the modern remixes, like The Muppet Christmas Carol - for example).
What can brands do to differentiate themselves more and make their marketing campaigns feel more contemporary? “Firstly, they could focus on what their unique perspective is on Christmas. Although I think that’s where the challenge ultimately lies. When it comes to retail, we now have promotions for Christmas starting 2 wks before Black Friday so it’s very hard to differentiate except via price.” says Stonier.
“John Lewis, for example, could have led the pack by taking a more sustainable approach to Christmas. Encouraging less packaging waste for example. Or a supermarket encouraging less food waste. That would be a different approach and that would have much greater stand out because you’re changing the story people expect to hear, and giving them something different to mull over, giving them a reason to choose to do something different and make that choice with you.” she says.
“Behavioural changes, especially at a large scale, take a long time to kick in (whilst there is still lots of impactful work happening at the moment!)” says Melodia. “Hardwired social traditions like exchanging gifts at Christmastime won’t go away any time soon, but people are definitely thinking a lot more about how and what they buy than before. Retailers need to have sustainability at the heart of their businesses (if they don’t already) and beware of the PR risk in greenwashing while doing so.” she says.
Left - Tesco's 2019 Christmas table
Will this type of Christmas survive Extinction Rebellion and people rethinking over consumption?
“I think shoppers will always shop on price discounts. But it doesn’t drive loyalty so the retailers are just creating a vicious cycle that is then difficult to extract yourself from.
“There’s a risk to a different approach, but I’m surprised no one has capitalised on the consumer demand for more sustainable approach to life, and taken Christmas, the season of excess as the time to put a stake in the ground.” says Stonier.
What will Christmas look like in the future for brands and retailers?
“I don’t have a crystal ball, but I can see us ironically returning to a simpler, less extravagant time, much like the Dickensian era. Where gifts are made rather than bought, and that we focus on the meaning and act of giving rather then needing, wanting and buying.” says Stonier. “The reality is there is very little we “need” now days in first world countries. We’re saturated. So what comes next? People search for meaning and purpose, and brands are doing good in the world, will be leading our hearts, minds and wallets in the future.” she says.
“We’ve already moved so far away from the religious and familial traditions from a mere century ago, the rate of change is only accelerating faster and faster. I believe people coming together and enjoying shared experiences will be the core festive factor that will remain for the foreseeable future, with the consumerist side of the holidays on the down.” says Melodia.
These Christmas ads are looking as done as the designer Christmas tree. This isn't about taking out the fun and the coming together of Christmas, it's about a fresher approach that is more reflective of where we are right now as consumers. The Christmas future looks simpler and less wasteful. ’Please, sir, no more!’.
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When was the last time you felt truly inspired by a luxury brand’s website? Regardless of the cute little illustrations or achingly cool ad campaign flipping past, mono-luxury e-tail hasn’t really moved on over the past decade. It’s as though they still feel the brand is enough.
People don’t dress like this, and just to replicate the physical store online is to create a glorified warehouse or catalogue, which doesn’t take into account the element of personality, pampering and leisure which makes physical shopping a pleasure for many and the reason most people desire these brands in the first place. It’s not seductive.
Left - Celine.com - Have mono-luxury sites moved on in the last decade?
During this same time period, multi-brand luxury retailers such as matchesfashion.com, Far Fetch and Net-A-Porter have grown their turnovers into the hundreds of millions of dollars thanks to their ability to tap into people’s desires for newness and vast amounts of choice. These retailers are basically online fashion department stores just minus the fridges and toasters. People like to skip between brands and cherry pick items across them in the most efficient use of their time. Going onto individual, mono-brand websites, especially if you don’t know what you want, feels like a blinkered process and like you’re not getting a full view of the fashion landscape. It also feels, on the majority of sites, as though there isn’t much on there. It is just isn’t very satisfying.
Last week, Farfetch Chief Executive, Jose Neves, predicted that brands would pull out of multi-brand retailers online and operate as e-concessions on marketplaces instead, much as they have done in bricks-and-mortar department stores. And, last year, Kering announced it would take some of its biggest e-commerce websites in house, by the first half of 2020, putting an end to a seven-year joint venture with Yoox Net-a-Porter (YNAP).
Kering’s online sales made up just 6% - this is against 18% of UK retail as a whole - of its 6.4 billion euro turnover in the first half of 2018, but it did grow by 80 percent in the third quarter, faster than revenue growth in department stores or its own shops. If these brands want to reflect general online retail sales they will need to double or triple the percentage of sales coming from online.
Taking back control of the Alexander McQueen, Bottega Veneta and Balenciaga websites will allow Kering full access to information such as client data.While this is great for the brands and the back-end, tech side, customers will notice little difference unless they have a radical rethink of how they present their brands on the front-end. Consumers are used to scrolling and discount incentives to drive sales which many of these brands, outside of sales season, won’t offer. It can also feel very clinical.
According to a report by Deloitte “Big data may help luxury brands to provide personalized and superior customer service through consumer segmentation, behaviour and sentiment analysis, and predictive analytics. Several luxury brands, such as Louis Vuitton, Burberry, Tommy Hilfiger, Dior and Estée Lauder, have already started to take advantage of these technologies, using AI-powered technologies, such as machine learning and analytics, to offer more personalized and timely customer services. They implemented their own AI-powered chatbots and now can sell products using targeted marketing, personalization, and timely automation.”
In November 2018, Kering created a data science team at group level to improve the service and shopping experience of its clients. Kering intends to get real-time 360-degree view of its customers to deliver rich and personalised experiences and meet their specific needs. LVMH, doesn’t break out separate online sales information, but they did reveal that the group's online sales rose by more than 30 percent in 2018. Ian Rogers, the first ever chief digital officer of the LVMH group, told Wired, last year, that he doesn’t like the word "digital" and he has the very tricky job of matching the luxury online customer journey with the pampered, indulgent experience IRL.
“It’s not the case that luxury shopping becomes self-serve on the internet: if I do buy something I expect a high level of service, even if I’m remote.” he said “You can see it's definitely strategic for us to invest in remote customer support, and it's directly downstream of our Internet strategy. There's this nonsense land of digital transformation where people wave their hands and they talk in impractical terms. Keep drilling until you have something practical that works and then rinse and repeat. Lose these nonsense words like "digital", like "data", like "social media". You have to get rid of this digital umbrella because it's just too broad. When somebody says, "We're really behind on digital", my response is, "You're behind in every aspect of your business?” he said.
Right - Spot the difference - YSL.com
According to Kering’s Chief Client & Digital Officer, Grégory Boutté, “Digital can be many different things at once - a distribution channel; a platform for offering seamless omni-channel services to clients; a driver of brand image and visibility; and a tool for engaging with customers in a personalized way. Digital technology, data science and innovation provide a way of offering our customers the best possible experience – on every touchpoint” he said.
Online and off-line isn’t separate, most brands now offer services such as check availability, reserve in-store, make store appointment, pick-up in-store, return in-store, exchange in-store, and buy online in-store. Kering said it will continue to develop partnerships with third-party e-commerce platforms "when relevant", but we’re seeing the beginnings of a power struggle between brands and retailers. They both need each other.
Now these luxury groups are focusing on their websites they need to rethink the entire thing. Their rigid ‘aesthetics’ and branding doesn’t allow for personality. Mono-brand luxury sites are restricted by the volume of product and while it changes, it doesn’t change often enough to the levels today’s customers have become used to.
Brands, such as Prada, Saint Laurent and Celine, also sell a lot of black, which doesn’t shoot well and doesn’t make the most inspiring of online images. Add in ‘collab. fatigue’ and these brands really need to develop a new idea for websites if they want to increase sales and move away from multi-brand sites.
Luxury brands have built themselves a boring digital straight-jacket and need to start thinking differently. They could offer FaceTime with sales associates in people’s local stores, or offer a live view way of browsing in-store and matching to items online. It’s going to be about making the virtual real and vice versa. There are many possibilities, but they need to unthink the “brand”.
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It looks like they’re finally doing it. Instagram is about to push the delete button on ‘likes’. Instagram CEO, Adam Mosseri, has announced that the platform would begin testing the change in the US this week. It follows Brazil, Canada, Australia, Ireland, New Zealand, Japan and Italy, where Instagram has experimented with not displaying the number of likes to other users.
"Right now we're testing making like counts private, so you'll be able to see how many people liked a given photo of yours or a video of yours, but no one else will," said Mosseri. “It's about young people," Mosseri said. "The idea is to try to 'depressurise' Instagram, make it less of a competition and give people more space to focus on connecting with people that they love, things that inspire them."
While Instagram is citing users’ mental health and wellbeing as a reason for the change, cynically, could it be a way of Instagram disguising and masking falling engagement and growth across the entire app.?
We passed peak Instagram a while ago, and, with some users engaging in behaviour described as ‘clout chasing’, pursuing likes with the intent to become famous, and ‘sadfishing’, the act of someone making exaggerated claims about their emotional problems to generate sympathy and more attention and likes, it has become, to many, a dysfunctional arena for attention seekers.
Kayli Kunkel, Marketing Director for HYPR, an influencer platform since 2013, says “I don’t believe Instagram is suffering from a decline in engagement or that the motive behind hiding the likes is to make that less visible. If you believe Instagram, their motives are the well being of the users. If you are a bit more cynical you may argue that likes have been used as a driver to monetise Instagram without giving the platform a cut. Influencer marketing as an industry has become extremely reliant on likes as a metric. So its possible they are trying to reduce accessibility to this information for commercial reasons.”
“Regardless, it’s my belief that likes are a terrible metric to measure anything. No two likes are the same. You make like something because you intend to buy it or you may just be a person who likes a lot of photos. No information about the identity or intention of the likers is available, so marketers, influencers and audiences can’t really learn much from them except for a general “level of engagement” metric that helps our ego or makes us feel like we did some due diligence.” says Kunkel.
Rebecca Holloway, Social Media Strategist (@beccasocial), “I would like to think that the removal of like counts will mean fewer bots, however, it wouldn't surprise me if these became more prevalent in inflating follower counts. Along with the number of comments on a post, this will become one of the only ways brands will be able to see how engaged an audience is with influencers they may be considering working with.”
“Despite these changes making life trickier for brands and influencers navigating sponsorship deals, I do think it will have a positive impact on casual users of the platform. I expect that at first many will find it quite strange, but will adapt quickly, and soon forget that like counts are missing. I would hope that this has a positive impact on users' mental health and that they aren't posting for likes, but instead posting content they have really enjoyed creating.” she says.
By June 2018, Instagram had reached the 1 billion monthly user mark. In the US, influencer fraud, including purchasing fake followers, likes and creating fake personas, is estimated to cost businesses $1.3 billion a year, according to research from cybersecurity firm Cheq. US companies spend an estimated $8.5 billion annually on influencers according to influencer marketing firm Mediakix. On a good day, roughly 15% of the corporate dollars spent are lost to fraud it is estimated.
William Soulier, CEO and co-founder of Talent Village, who conduct influencer campaigns for brands, says, “Digital metrics have allowed brands to measure the performance of all promoted content on Instagram and ultimately judge the success of their social campaign. Therefore by Instagram removing a vanity metric such as "likes" on in-feed posts, both users and brands should hopefully become focused on less tangible metrics, but arguably more important factors such as the quality of the content produced.
“The problem is that it's very difficult to measure something like "quality", and therefore it seems inevitable that brands will shift their focus to the next quantifiable metric such as engagement. By hiding likes on the user’s feed, Instagram is giving a chance for content to stand out for its quality and not for its engagement.” he says.
Araminta Sheridan, founder of Araminta Marketing says, “This is a great decision from Instagram. Instagram used to be an anti-media, an authentic experience. Whilst so many incredible things happen through Instagram every day (mental health movements, communities are formed, body positive beauty), it has become so curated. I look forward to people using the platform more openly, less concerned about what other people think. I think this will result in a reduction in toxic behaviour and an increase in genuinely good content. I also think people will start to socialise through the platform again. Less passive ‘double tap’ behaviour, more conversation.” she says.
“Instagram is like a game for some people, people will always find ways to ‘beat the algorithm’ so that they can compete alongside people and companies who can afford to advertise. Changes may solve some problems and cause others to arise. Like most businesses, it's a game of whack-a-mole.” says Sheridan.
Some people are saying upstart Tik Tok is more authentic? “Maybe, it is newer which make authenticity easier.” says Sheridan. “The ‘better’ an app gets, the ‘better' people get at it. How will they avoid their own authenticity problems? Watch this space I suppose!”
Nikki Hesford of www.hesfordmedia.co.uk, a digital agency specialising in FB and IG, says, “Tik Tok is growing massively but it still isn’t that mainstream and most brands haven’t worked out yet how to leverage it into sales. If it does stay the course, the early adopters of the platform who are using it now will see the greatest benefit, as with all platforms, it’s easier to make an impact when you’re there at the start. I think many brands are ambivalent about whether to put the effort into Tik Tok or if it will fizzle out – but like most videos on the internet, a lot of planning, and staging from media agencies has gone into making it look authentic and ‘off the cuff’!” she says.
While, for many, it is hard to believe that Facebook, Instagram’s parent company, is doing anything altruistic, it still wants to keep its cash-cow healthy with a thriving population active both physically and mentally.
Hannah Elderfield, Associate Insights Director at Canvas8, says, “Hiding likes is something that has come about primarily to help protect the mental health of everyday users. But the assumption has been that ‘hiding’ likes may negatively impact brands and ‘influences’, for whom such ‘engagement’ has been an important metric - that’s not necessarily the case though.
“When ‘performance metrics’ are displayed publicly, it sometimes dictate what type of content gets posted or shared - especially on certain platforms. And that’s contributed to a rise in ‘cookie cutter’ posts - influencers know what ‘works’ for their audience and often repeat what’s performed well in the past, but many feel that that’s led to a lack of creativity in this space. Removing likes may well free up brands and influences to try new and interesting things, freed from the shackles of public endorsement.” she says.
“There’s another element here in that ‘virtue signalling’ (or a lack by which to do so if likes are ‘hidden’) could give a more accurate view of what people are enjoying. For example, people will no longer be able to like things to be seen to like them. They’ll only be able to signal directly and that’s a very different dynamic which could result in more authentic and honest interactions online.” says Elderfield.
Hesford says, “My view is that actually, it’ll make very little difference. For a long time “likes” have become meaningless both in terms of performance algorithm, and public perception - the only people who will be affected by this are those seeking validation from “like counting” (usually young, impressionable and quite vulnerable girls and boys) so this can only be a good thing.
“You may have noticed a lot of brands post stories 5-6-7-8 times a day, yet publish a “post” only once every few weeks, due to the nature of how obsolete they are becoming.” she says.
“Facebook - who own Instagram - is similar to Apple in that they’re at the cutting edge of innovation – they aren’t reactionary. They don’t ask people what they want, they just do it. People always complain at the introduction of every dynamic new change, but ultimately people accept it and it makes the platform a better place. For Instagram to keep growing, it needs to clean up it’s image of ‘fakery’ before consumers become too sceptical of the authenticity of the content they are exposed to and start to become fatigued. Click farms and bots can ‘like’ images very easily, but it requires a more sophisticated set up to automate fake commenting, so the intention here is to reduce fake interaction, which of course will make it stronger.”
“Whether FB/IG genuinely cares about its users’ mental health, or whether it’s a PR strategy with commercial aims – only they know! But in any event, it is clear to most regular users of IG that the platform causes feelings of inadequacy. While they may not cause mental health problems, there is no doubt they trigger existing sufferers of depression, anxiety, eating disorders and self-harming, when vulnerable people are bombarded daily with messages that say ‘everyone else is achieving more than you, are slimmer than you, more beautiful than you, have more money than you’ etc.” says Hesford.
“Influencers probably hope that their followers will express their thoughts and approval with more meaningful interactions such as commenting, in the absence of tapping a like button. If that were to be the case, it would create a more authentic metric on which to measure the influencers who have a real following versus those who paid for theirs. Those who have built a genuine following will be pleased about this change. It could see smaller influencers with maybe 20-30k followers emerging as having more commercial opportunity than others with 100k+ because it will become obvious to brands, which ones actually have an engaged audience.
“As a marketer for brands wishing to spend money with influencers, it can be incredibly difficult knowing whether the influencer you plan to pay even has any real people watching their content.” says Hesford.
There are many people and businesses invested in the success of Instagram influencer marketing. It’s big business. They’re, obviously, going to put a positive spin on any changes and are going to still cite the importance and influence of individuals paid to post.
Instagram is due a refresh because it has become quite boring and samey. Deleting visible likes could be a positive move to remove what has become a digital shackle for some users. But, could all the attention just turn to the numbers of followers? Deleting all metrics could be the answer if they really care about people's mental health. Removing likes could take some of the steam out of people’s mental and emotional desire for validation and attention. Digital platforms need users to come often and stay longer and injecting newness is all part of the process. What this does to the influencer market is yet to be seen and do they even care? Is it time to say goodbye to the flat-white?!
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