John Lewis Case Study - How does a company's brand communication strategy perform in a digital world?

How does a company’s brand communication
strategy perform in a digital world?
Rupinder Dosanjh / S11734461
MA Design Management /
Placement / Case study Module / DES7028 / April 2012
Word Count: 3578

MA DESIGN MANAGEMENT / PLACEMENT / CASE STUDY /
DES7028 / 2012 / RUPINDER DOSANJH
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Contents
List of Figures 2
Introduction 3
Literature Review 5
Research Methodology 11
Primary Research Findings 13
Conclusion 25
Appendix 27
References 40
Bibliography 43

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List of Figures
Fig. 1. Mind map of digital communication activities as recommended in Interbrand’s
‘Digital Mastery to Brand Mastery, Strategizing for a post-digital age’ (2012)
Fig. 2. Mind map of digital media. Generated from Interbrand reports (2012), Young
(2012) and FT Digital Media Conference (2012).
Fig 3. Mind map of traditional media. Generated from Interbrand reports (2012),
Young (2012) and FT Digital Media Conference (2012).
Fig. 4. Consumer Decision Journey, Eldemen (2010).
Fig. 5. An adapted version of Beuker’s ‘Design Layer’ model (Beuker & Abbing 2010)
Fig. 6. Interbrand’s ‘Brand Quadrant Model’, (Interbrand 2012).
Figure 7 & 8. John Lewis desktop website.
Fig. 8. Image of iPhone application with QR code links to iPhone application and
mobile website).
Fig. 9. John Lewis’ Twitter profile (Twitter, 2012)
Fig. 10. John Lewis’ YouTube channel (YouTube, 2012)
Fig. 11. Young’s theory on how media planning has moved towards a more holistic
approach of communications planning (Young 2012).
Fig. 12. John Lewis Facebook Brand Page 2012).
Fig. 13. Using the timeline feature, John Lewis, like many brands, have been able to
go back to when the business was founded and establish a ‘brand story’ detailing it’s
brand values and evolution (Facebook 2012).
Fig. 14. Consumer enquiry (Facebook 2012).
Fig. 15. Complaint lodged to John Lewis and swiftly dealt with (Facebook 2012).
Fig. 16, 17 & 18. Shots from live Q & A session with John Lewis experts about
laptops and tablets. (Facebook and John Lewis, 2012).

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Introduction
This case study will investigate branding and digital communications and the role it
plays in creating a presence for a brand in a digital space.
According to Jez Frampton, CEO of Interbrand a brand is a ‘living, breathing, asset’
(2011) and has moved from being a creative tool to express product values, to
expressing a company’s value, ethos and it is now possible to attach a financial
value to it.
Recently, there has been a trend for companies to increase their advertising
investments in digital media. WPP increased their client advertising spend in Google
from ‘£1.6billion to £2billion’ and their Facebook advertising spend to ‘£400mil’ (BBC
2012). WWP’s CEO, Sir Martin Sorrell stated that ‘30% of (WPP’s) business in now
digital’ (BBC 2012).
The aim of this exploratory study is to investigate why there has been a shift towards
digital media. By taking an in-depth look into primary research interviews and
conducting consumer journey mapping analysis of a retail brand’s brand
communications strategy in a digital world.
Definition
Brand communications strategy has been created to promote the ‘aesthetics’ of the
brand.
Brand communications strategies seek to:
• Create perceptions and sensory experiences
• Motivate action
• Enable learning
• Make connections, create conversations and form relationships with
consumers
(Macrae 2007)

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Research Questions
1. How does a company effectively implement an existing brand communication
strategy into a digital environment? (Means and processes)
2. What can a digital communications strategy do that a traditional
communications strategy cannot?
3. How does a company’s digital communications strategy engage with its
audience in an online and offline capacity?
4. What influence does a digital communications strategy have on the
company’s overall business model?

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Literature Review
The purpose of a literature review is to reflect and identify theories or observations
already in existence within secondary sources. This case study will attempt to build
upon the already existing knowledge that has been published (Denscombe 2007).
A variety of resources were collated such as books, podcasts, journal articles, videos,
website articles, blogs, commentary from the recent FT Digital Media Conference
2012 and references from panel sessions from the conference.
The findings began to address the research questions and areas of further
investigation leading into conducting primary research:
• Business Strategy
• Brand Strategy
• Communication Strategy
• Digital Strategy
• Consumer Engagement
1, How does a company effectively implement an existing brand
communications strategy into a digital environment?
The Internet has been in existence for at least fifteen years and Social Media has
been active for approximately eight years (FT Digital Media Conference 2012).
Today’s communication environment has extended beyond traditional brand
communications of ‘telling a brand story’ and one way conversations (Edge and
Milligan, 2009).
Interbrand’s Podcast, ‘Brands in the Social Network, Part 2, Demand and Desire’
(2011) – explains how brands must go back and examine their ‘brand values and
ideas’, create an effective digital strategy that reinforces a company’s brand idea and
begin a dialogue with consumers.
Interbrand’s report ‘Digital Mastery to Brand Mastery, Strategizing for a post-digital
age’ (2012) finds that consumers are living in a ‘post-digital age’ and ‘digital is part of
our daily life, as the air we breathe.’ The report addresses how a company’s overall
brand strategy encompassed with a solid digital strategy will help drive companies to
connect and engage with audiences. It also explains how viewing a digital strategy
as a ‘tool to integrate into a larger brand strategy’ with a list of digital activities that

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companies can use to help adapt and implement their brand communications
strategy in a digital environment (figure 1).
Fig. 1. Mind map of digital communication activities as recommended in Interbrand’s ‘Digital Mastery to Brand
Mastery, Strategizing for a post-digital age’ (2012)
The TNS Digital Growth Strategies Report (2012) comments on mobile platforms,
social media, mobile technology trends and areas of implimentation for companies to
explore. The report also highlights the use of digital less as a ‘blunt broadcast
instrument’ and more of as a platform of creating ‘one to one engagement’ with
consumers (2012).
Adobe’s ‘The Impact of Tablet visitors on Retail Websites’ report (2012) addresses
the question of what types of technology a company's target audience use. Both
reports identify three types of platforms: Smartphone users, Tablet users and
Desktop/laptop users.
Interbrand’s ‘I’ll be your Mirror’ (2011) report explores at a deeper level how
consumers use these three platforms. The report, discusses how companies can
develop digital brand communication strategies to that engage with the audience via
channels to give them a more emotional ‘deeper and personal level’ of interaction.
2, What can a digital communications strategy do that a traditional

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It is important to identify the differences between digital and traditional medias.
Briefly, traditional uses ‘TV, radio, print, outdoor’ and digital uses ‘web, SEO, social
media, tablets and apps’ (Edge and Milligan 2009).
There are many differences between the two, due to constraints, this review will
highlight the main points.
Digital can ‘reach out’ and offer ‘real-time reactions’ (Interbrand 2011) whereas with
traditional communications is used to create awareness of a brand (Young 2012)
(figure 2 and 3).
Fig. 2 & 3. Mind map of digital and traditional media. Generated from Interbrand reports (2012), Young (2012) and FT
Digital Media Conference (2012).
Digital gives the opportunity for companies to use metrics to measure a campaign’s
performance. Online measurement tools such as Google Analytics. Google Insights
(Google 2012) can track a campaign’s ‘owned’ media strategy. The use of Social
Mention and Twitrrati can help companies track any positive or negative comments
about their brand being communicated through ‘earned media’ (e.g. social media,
third party blogs, review sites) (Young 2012).
By using metrics, digital campaigns can be measured and adjusted in real-time. It
also allows for communications to be targeted better towards a growing segmented
market of consumers (e.g. Geo locations, platforms, user profiles) (Rollins 2009).

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To summarise, digital and traditional communication strategies use different ideas,
tactics and processes to deliver a brand’s idea and both need to form ‘part of an
overall communications strategy.’ As both medias cannot do everything separately,
they need to have an integrated approach to a company’s brand communication
strategy (Young 2012).
3, How does a company’s digital communications strategy engage with its
audience in an online capacity?
Rollins (2009) suggests that there are four levels of experiences that users engage
with, these are described as ‘on-demand, personal, engaging, networked.’
These levels of experiences, along with appropriate use of platforms can help
companies to understand how their digital communications strategy will engage with
consumers and consumer thinking (Hess 2009).
Eldelmen (2010) suggests that companies should put consumers at the core of
establishing methods of engagement by conducting a ‘Consumer Decision Journey.’
This model can help companies understand that consumers have moved from
selecting products based solely on brands, to taking a more ‘iterative’ approach of
product selection. The model states that a consumer’s journey moves through four
stages as illustrated in figure 4: ‘Consider,’ ‘Evaluate,’ ‘Buy,’ ‘Enjoy, advocate and
bond’ (Eldelmen 2010).
Fig. 4. Consumer Decision Journey, Eldemen (2010).
Interaction and engagement brings the digital brand communications back to putting
the consumer at the centre of the experience and aligning with the brand idea. Young

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suggests planners need to ‘deliver more engaged communications, fuel brand
conversations and target more relevant messages to audiences’ (2012).
4, What influence does a digital communications strategy have on the
Borja de Mozota states that:
‘modern marketing emphasizes customer orientation, required coordinated efforts by
all departments…to provide customer satisfaction as a long-term profit goal.’
(2003)
Young (2012) suggests that the key is to ‘translate the business goals into
communication goals’ in four steps:
• Break down the business goals into specifics
• Identify how and where media can help
• Quantify what success will look like
• Prioritise the goals
Young (2012)
At the FT Digital Media Conference 2012, a panel discussed how companies can
develop multi platform, multi device strategies and realign their strategies to fit into a
more connected world.
Much was discussed about advertising across devices and a conversion to digital
advertising. All panelists agreed that essentially ‘consumers and user experience is
above all devices’ (2012). Another key theme from the talk was the importance of
getting the content right. This echoes various reports, podcasts from Interbrand and
articles have discussed about using content to engage with the consumer and build a
relationship.
In The Brand Gap, Neumeier explains that that:
‘All brand innovation, whether for a website, a package, a product, an event, or an ad
campaign, show be aimed at creating a positive experience for the user. The trick is
in knowing which experience will be the MOST positive…’
(2003)

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The digital strategy combined with the overall larger communications strategy can
help a brand ‘increase market share and grow the bottom-line’ (Interbrand 2012).
From a business strategy point of view, investing and promoting its brand values,
customizing those values via the various platforms and channels will influence
consumer relationships and reinforce the brand’s value propositions.

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Research Methodology
Denscombe (2007) suggested that case studies tend to focus on one or two
instances and provide an ‘in-depth account of events, relationships, experiences or
processes occurring in that particular instance.’ Brand strategy is a broad subject,
and after an interim review, this was further narrowed down again to focus on digital
brand strategy communications.
This reinforced the research aim of ‘how does a company’s brand strategy perform in
a digital world’ in what Denscombe suggested by using a research strategy to
‘illuminate the general by looking at the particular.’
Data Collection Methods
Data was collected through interviews. A visual analysis using the Design Layer
model constructed by Ralf Beuker (Beuker & Abbing 2010) on selected channels of
digital brand communications of the John Lewis brand was also performed.
Qualitative data collection methods were employed as the research questions dealt
with understanding the meanings, processes, the creation of strategies and ideas.
Interviews
Three 45 minute, semi structured, face-to-face interviews were planned. It was
important to generate a narrative from figures that worked in marketing, digital
communications and branding.
All three interviews were successfully conducted. However, due to busy work
schedules, Lincoln Fan (Marketing Executive of Laney) was interviewed via email
and Rupert Faircliff (Brand Strategist at Interbrand) was interviewed over the phone.
The final with Jacob Dutton (Client Partner Director at 383 Project) was a face-to-
face interview.
The interview with Dutton was the most successful as it was possible to read body
language and control to flow of the interview. The telephone interview with Faircliff
was insightful and descriptive. He was sent a brief overview of the research
description and research questions to be investigated. Due to this being a telephone
interview it was not possible to record the interview and notes had to be written
during the interview. This led to gaps during the interview and disrupted the natural

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flow. The interview with Fan went into greater detail and expanded beyond strategies
to discuss media consumption, lifestyle trends and the current state of the retail
sector.
Design Layer model
This method was selected because it was a suitable way of analyzing a consumer’s
experience of using various digital communication channels that John Lewis uses.
The original method was used to analyse the aesthetics, interaction, performance,
construction and meaning of the channels (figure 5). The aesthetics and interaction
layers were focused on as this case study was dealing with ‘communication design’
(Beuker & Abbing, 2010).
Fig. 5. An adapted version of Beuker’s ‘Design Layer’ model (Beuker & Abbing 2010)
Sample
Due to the short nature of this case study, two platforms were analysed. Smartphone
and Desktop/laptop. The channels chosen that were investigated were the John
Lewis’ retail website and one social media channel, Facebook (see figure. 1 for full
list).
Facebook was chosen as the brand engages with consumers using this channel
most often.

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Primary Research Findings and Analysis
1, How does a company effectively implement an existing brand
communication strategy into a digital environment? (Means and processes)
Faircliff (2012) explained how Interbrand use its ’Brand Quadrant Model’ (figure. 6)
and would not necessarily adapt a company’s existing brand communication strategy.
Interbrand would to go back to looking at the brand’s policy and values, work through
the quadrant and develop a digital communications strategy. This strategy would
then be implemented across platforms and channels that the brand’s target audience
uses.
Fig. 6. Interbrand’s ‘Brand Quadrant Model’, (Interbrand 2012).
Fan (2012) explained that Laney has been established for around ’45 years’ and its
‘expectations and values of the brand communication policy’ is firmly set. The case
for Laney is to ‘update and translate’ to appeal to its audience.
Dutton pointed out not all platforms and channels might not be suitable for some
clients and it is important to use the right ‘tools’ to convey a brand’s message (2012).
John Lewis has developed their digital brand communications strategy to span
across desktop/laptop, smartphones and tablets. The company’s app (available on
the iPhone and iPad) offers all the functionality of their corporate website, with added
in store benefits of scanning barcodes for product information and availability.

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Figure 7 & 8. John Lewis desktop website. Image of iPhone application with QR code links to iPhone application and
mobile website).
Their strategy conveys the brand values through a well-executed digital experience
(figure 7 & 8).
John Lewis established its social media presence across YouTube (figure 9),
Facebook and Twitter (figure 10) in 2010 according to their Twitter profile (Twitter

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2012). Their iPhone application was launched in 2011 (John Lewis Retail 2011)
along with their mobile site.
The John Lewis in-store shopping experience has been thoroughly translated into a
digital environment. Aesthetically, through its use of branding, layout and simple
interface it communicates the unique atmosphere that consumers of John Lewis are
accustomed to (Borja de Mozota 2003).
Figure 9 & 10. John Lewis’ Twitter profile and YouTube channel (Twitter and YouTube, 2012)

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2, What can a digital communications strategy do that a traditional
Dutton explained that digital should not be seen as an ‘advertising’ vehicle. It should
be seen as a tool to create and promote ‘experiences’ that push the brand’s ideas
(2012).
Faircliff believed that it was not a question of what digital and traditional can and
cannot do, it was more about creating ‘seamless experiences both online and offline’
(2012).
For John Lewis, its digital strategy has enabled the brand to engage in two-way
conversations with consumers via social media. This real time interaction creates a
‘deeper relationship between consumer and brand’ as mentioned in Interbrand’s
report ‘Digital Playback, I’ll be Your Mirror.’ (2012).
Faircliff also commented that ‘traditional media talks ‘to’ and digital talks ‘with’
consumers’ to ignite a ‘two-way conversation’ (2012). This point made by Faircliff tied
in with Young’s statement about how digital ‘expands brand communications’ and
leads to ‘interactivity and opportunity to personalize communication.’
When asked about growth areas in traditional communications, Dutton stressed that
there was a:
‘bigger need than ever for great, big audacious ideas that lead to everything else’
and that ‘If the idea is great, and it works well then let’s use online as a part of it. If
not, use TV, experiential; use everything that’s available to us’
(2012)
His view could be interpreted as a reflection of Young’s idea where he explains that
‘innovation is the very essence of the medium’ (2012) to be used, be it digital or
traditional.
All interviewees agreed that digital and traditional communications form part of an
overall ‘integrated marketing communications strategy’ (Dutton 2012). This correlates
to Young’s theory that the approach to media communications has gone from the
‘Media Planning era’ to the approach of ‘Communications Planning’ as detailed in
figure 11.

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Figure 11. Young’s theory on how media planning has moved towards a more holistic approach of communications
planning (Young 2012).

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3, How does a company’s digital communications strategy engage with
its audience in an online capacity?
By using Rollins’ OPEN Framework (2009), it is possible to assess John Lewis’ level
of openness with its audience. Their Facebook Brand Page was analysed in greater
detail to see which quadrant of framework this type of brand experience fitted into.
Also, it’s aesthetical and interaction layers to see how the brand engages with its
audience.
Aesthetically, all Facebook Brand Pages are a generic template that brands
customise using brand guidelines, applications, photographs and events. John Lewis
have done this in their cover photography by using their brand colour of green in the
behind a laptop, that is shot at an angle to make it appear as if it is floating in mid air
(figure 12). They have also used photographs, store locations and the ‘About’ section
contains information about the brand and contact information.
Fig. 12. John Lewis Facebook Brand Page 2012).

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Fig. 13. Using the timeline feature, John Lewis, like many brands, have been able to go back to when the business
was founded and establish a ‘brand story’ detailing it’s brand values and evolution (Facebook 2012).
With 374,000 fans of John Lewis, there is a high level of interactivity. Due to the open
nature of the page, consumer behaviour has to be closely monitored. It is possible for
consumers to ask questions in real time. These are managed by the ‘John Lewis
Facebook team’ (Facebook, 2012) in a prompt manner. An example is a complaint
that was dealt within then hour after it was posted (figure 14).
Fig. 14. Consumer enquiry (Facebook 2012).

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This quick responsive time reassures the customer that they are being listened to.
From a brand point of view this limits the possible damage to the brand image (figure
15).
Figure. 15 Complaint lodged to John Lewis and swiftly dealt with (Facebook 2012).
Dutton spoke about the use of metrics and social media. He explained that social
media campaigns should be used to drive sales and design to ‘convert people to sale’
(2012). He believes that social media conversion rates stem from good design that is
a ‘joy for people to be able to use and easier to use’ (Dutton 2012).
During the analysis of the Facebook page, John Lewis was hosting an interactive
session offering users a chance to ask questions to experts about laptops and tablets.
Experts responded with acknowledging the user, offering a tailored product
recommendation for the users requirements and direct links to the product on the
John Lewis online store and optimised mobile website (figure 16, 17 and 18). This is
a good example of how John Lewis are using a social media channel that can be
accessed via desktop/laptop and smartphone platforms that could lead to a direct
sale.

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Fig. 16, 17 & 18. Shots from live Q & A session with John Lewis experts about laptops and tablets. Experts would
respond with tailored recommendations of products with direct links to purchase on the John Lewis website
(Facebook and John Lewis, 2012).

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With reference to the ‘Consumer Decision Journey’ developed by Eldelmen (2010),
John Lewis has successfully managed to put the consumer at the centre of the
engagement by ‘understanding’ their needs, determining suitable ‘touch-points,’
allocating resources to listen to these needs and offering input for consumers to
engage with to reach a final decision.
John Lewis managed to control the four states of ‘consider, evaluate, buy, and enjoy,
advocate, bond’ (Eldelmen 2010) within an online capacity.

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4, What influence does a digital communications strategy have on the
Fan commented on the ‘general acceptance’ by businesses that digital acts as a
major platform to reach consumers due to a change in ‘media consumption and
lifestyle trends.’
Fan pointed out that businesses that ‘failed to embrace effective, brand and business
strategy that reflect contemporary lifestyle and consumer trends’ (2012) have
struggled to keep up with growing online businesses.
When Dutton was asked:
‘How do you justify the cost of a digital campaign to clients? For example, if a client
doesn’t understand digital strategies, the outcomes and the ROI – how do you
explain those costs?’
He replied with explaining that depending on the size of the client, there are two
routes to take:
‘One is that campaigns can make brands famous, and as a consequence of that
you’ll see a rise in desire and action around sales. The other view that we take is that
actually clients without the kind of budgets that can make them famous, need to see
some fairly immediate results.’
Dutton (2012)
Dutton went on to explain that they are ‘agents of sales’ and only present metrics that
mean something to the bottom line’ (2012).
An example he gave was an online campaign to drive consumers from enquiring
about the product, to the official Polar website, to finally purchase. He said the
original ‘conversion rate from visitor to site to purchase was 5%’ and after the agency
researched the communications architecture, user journeys and redesigned the
website the conversion rate for sale was ‘15%,’ a 10% increase in conversions
(Dutton 2012).
This example correlates with Young’s recommendation to ‘translate business goals
into communication goals’ (2012). 383 Project identified Polar’s business goal of
increasing product sales and the agency translated that into creating an online
campaign.

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As emphasized earlier in the study, a solid integrated brand communications strategy,
particular with an emphasis on the diverse use of digital media can help a brand to
embrace a ‘trans-media’ approach to ultimately innovate and drive sales.

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Conclusion
To conclude, the fundamentals of traditional and digital brand communications
strategies are similar. The key differentiators between the two are tactics, logistics
and implementation. Digital platforms and channels essentially form part of the wider
communication landscape that make up a sophisticated media environment. For
example, with options to fast forward through television advertising campaigns
consumers can now decide what they choose to view.
Much of the research findings about communications and relationships was a
parallel with the ideas of Marshall McLuhan’s ‘The Medium is the Massage’ (1967)
broke down the effects of TV and radio and how these mediums form relationships
with consumers by provoking sensory experiences.
Brands have to work harder than ever to communicate messages of desire and
motivate audiences to purchase. Brands that were quick to try new digital formats
have now slowed since the ‘post-digital age.’ Companies are taking a more strategic
approach to digital communications. With the use of metrics, brands are aligning
digital campaigns with the bottom-line more than ever. Also, a greater awareness of
having a solid core idea to apply across various communication mediums forms part
of a more holistic approach to an integrated, experiential marketing mix.
Recommendations
The trends predicted this year in the various reports analysed indicate that mobile
commerce should be an area of focus. Their online website already has a good level
content and the brand could easily build upon that to expand into sub brands or
cobranding.
As bricks and mortar businesses fall victim to online businesses that out price them,
John Lewis has reinvented its business model to provide itself with new channels to
provide their audience with a seamless experience online and offline. One of its core
assets is its unique personalized, customer relationship that online businesses find
difficult to replicate.
Further areas of research
Further direction of investigation could have been conducted into customer
relationship management and how that impacts developing a brand communications
strategy. A deeper level of research into this particular area could have revealed

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more about the technological habits of the John Lewis target audience and if there
were any trends within demographics.
Highly detailed consumer journey maps across all social media platforms and the
iPhone application could have been used to compare and contrast touch-points. A
consumer map was conducting during analyzing the mobile website (see appendix 4),
however this approach was abandoned as due to its high level of detail and time
constraints.

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Appendix 1
Interview with Lincoln Fan
What is your job role? What does it involve?
Principle graphic designer and marketing executive for Laney Amplification, a
£60+ million multinational guitar amplifier manufacturer and Headstock
Distribution, a sister company of Laney Amplification that exclusively market and
distribute premier music instrument brands in the UK – Tama, HH, Ibanez and
Zildjian.
In a nutshell I look after the visual communication strategy and brand identity for
5 brands. My duties often involve working with different heads of department to
plan and produce coherent creative communication solutions to support product
launches, marketing and sales activities.
Does Laney have a digital strategy?
Yes. As an international business, digital strategy forms part of our overall
marketing mix.
In what capacity are digital platforms and channels used? (E.g. Web, TV,
Facebook, Twitter etc)
Due to the cliché nature of our market, mainstream advertisement is not
conducive, thus the use of social media digital platforms such as youtube, twitter,
facebook enables us to identify and reach out to our audience.
Another important point to note is the use of digital platforms to garner further
brand engagement through third-party channels. For us, we work closely with
international musicians who very often have their own fan-page and fan-base that
we can communication through.
Through this kind of contextual association, we recently achieved 1.2 million viral
reach with a mini promotional video that was produced in less than 2 hours. We
managed to reach so many not because of high creativity but by being
contextually relevant and inclusion of a well-known international celebrity and
having the video mentioned and linked established and highly-subscribed digital
platforms.
Finally, pertinent editorial industry press coverage and sponsorship of musicians
that enable our brand and products to be featured at gigs and music festivals and
music videos via various distribution platforms is another key strategy we deploy.
You can see examples here:
www.laney.co.uk
www.facebook.com/laneyamplification
www.youtube.com/laneytv
How does this integrate with their existing brand communication strategy?
Seamlessly, brand communication strategy is about how best to communicate to
our market, thus there is no fence between print and digital. Distilled down,

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irrelevant of whatever platforms, it is down to cost versus return on investment. It
is all purely dependent on the ‘communication landscape’ the company and
brand operates in.
Have you noticed any changes in the Business’ attitudes towards digital
media?
General acceptance of digital media, notably, social media as key channel to
reach the market.
This is lead mainly by changing media consumption and lifestyle trends.
You can see the digital trend changing the social and consumer landscape; take
for example the recent demise of GAME group and looking further back,
numerous demise of ‘brick and mortar’ shops, Woolworths and HMV…
The above demises are mainly caused by out dated business models that did not
respond positively to changing consumer trends due to the emergence and
growth of digital economy in the UK… This is a global trend that is being
replicated other economies.
How do work out what relevant digital platform is appropriate for the brand
message or idea?
Communication Landscape; by thoroughly understanding the customer journey
and pulse of our market and looking at trends that are being set by leading
competitors and markets, It is a dedicate balance of osculating between a being a
trend setter and trend follower when it comes to digital platforms in our market as
we’re not a wealthy agency with multi million budgets. What does this mean…
lets just say when possible, we often experiment with new digital platforms and
see whether it is viable. Example of this is our quarterly digital company
magazine. The platform enabled use to condense and distill all our international
marketing activities into a simple digestible format that our B2C and B2B
audience can readily consume. Finally, due to positive uptake of this new digital
magazine, it has now been translated to 5 different languages to better service
individual markets.
http://www.laney.co.uk/justplayit.php
What is the brand’s spend ratio on strategies? Traditional brand
communication VS digital?
5 years ago there was such distinction, but not anymore, as mentioned above,
the budget is decided based on merit of cost versus return on investment. Other
aspect that affects digital communication is manpower (resource).
Have you identified any growth areas in digital strategies whilst working on
communication strategies? (e.g. mobile commerce, AR etc)
With the uptake of tablet computers and smart phones, in particular ipad, the
format of media consumption has changed. We recently began producing digital
company magazine that fuse our social media apparatus and digital assesses.
From the feedback thus far, it’s been pretty positive.
But again, irrelevant of format, ultimately, it is pertinent content distributed in the
most widely accepted and available platforms that drives appeal.
Where do you think the role of traditional advertising and promotion will go
in this post digital age?

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Digital has already become the dominant channel but there is still a place for
traditional advertising and promotion. Individual platforms are merely tools within
a toolbox for marketing communication professional. An integrated marketing
communications strategy is simply a must.
What do you think of digital media’s role in brand communications strategy
as a whole?
Same as above
Is it a question of ‘adapting’ or ‘integrating’ an existing brand
communications strategy to/with digital media?
A somewhat outdated question that was relevant perhaps 5 years ago.
How do you go about designing a brand’s digital experience? Is this kept
in-house or outsourced?
For a brand that has been around for more than 45yrs, the brand’s expectation and
essence of the brand’s communication policy is already set. The task is to update
and translating these ‘values’ so that is up to date and appeals to the masses.
In terms of production of digital assess, to minimize cost, we like to do things in
house, but we also understand the need for external expertise and resource. Thus
our upcoming website will be produced by an agency but closely directed by us to
ensure brand continuity.
How do you demonstrate the link between the benefits of a solid digital
strategy, the brand and their business strategy?
Digital, brand and business strategy go hand in hand, an integrated approach is key.
If you are looking how this join-up approach can be a success, I recommend you look
in the opposite direction, look at major businesses that have fallen because they
failed to embrace effective digital, brand and business strategy that reflects
contemporary lifestyle and consumer trends.
Social Media is embedded into our daily digital lives. How does the brand use
social media to engage with consumers?
The simple answer is that social media enable us, as brand to engage and interact
intimately with individual, easily. This is unique to social media, by scale, reach,
speed and scope.
Does the brand have a Social Media Policy? Or a guide to how to best use
social media to promote their brand?
We don’t have a written guide as such, being a close and small team with a diverse
mix of marketing communications experience. We rely on, and augment previous
policies and PR experiences as well as keeping up to date with best social media
practice to tackle social media activities. It’s a continuous learning curve.

30
Appendix 2
Interview with Rupert Faircliff
Due to the nature of the telephone interview, the field notes have been summarized.
1, Rupert said that Interbrand use a ‘Brand Quadrant Model’ and wouldn’t nessarrily
‘adapt’ an existing brand strategy. Interbrand would go back to brand values, use the
quadrant model and build a digital strategy.
2, ‘Every brand has different touch-points’ – use quadrant model to implement and
measure success. Tailored approach. Does the message match the brand?
3, Communicate, influence customers at a deeper level. Brans as a whole influence
behavior and people. It’s what ‘type’ of behavior and people we want to influence
through digital. What do we want them to do. The desired effects.
4, Always ask, ‘how do we ensure a seamless brand experience online and offline?’
5, Next new trends to investigate are: internal engagement within brands. How do
you design internally and externally? Healthcare, hospitality, luxury.
6, Technology: Agencies must ask ‘is it relevant to our client’s message?’
7, Always think ‘efficiency and experience’

31
Appendix 3
Interview with Jacob Dutton
RD: If you can give me a background into what your job role is and what it
includes please?
JD: I’m a Senior Client Partner at 383 Project. What we realized about 6 months ago
was that when it comes to complex digital campaign delivery and digital builds, what
we were actually asking account people (account execs, account managers etc.) was
to be both left and right brain. So we were asking them to have real technical
understand of digital platforms and technologies and deliver campaigns and
platforms based on those. We were also asking them to have really good strategic
understanding of clients businesses’, client sectors, to be good sales people and
good relationship builders.
Those two mindsets don’t exist in one person. Around 6 months ago we split the
functions into project management (technically delivery, campaigns and platforms
etc.) and client partners (represent the clients interests within the agency, be
obsessive about their business and sector). The difficulty of clients on a day-to-day
basis is having the ability to zoom out and look at the broader sector and look at what
competitors are doing.
RD: The wider landscape of business
JD: Absolutely, from a client partner point of view is what we should be is a ‘clients
window’ on a wider world. Be there investment manager in terms of budget they
allocate to various things and to be a counsel and confident in terms of marketing
strategy and plans.
RD: A client can come to you and you’ll be able to look at efficiency and value
at the same time?
JD: exactly. It gets delivered technically by a project manager who is the most
detailed and meticulous minds in our business but strategy is shaped by strategic
minds, which are the client partners. On one hand, they get someone who
understands that sector as well if not better and in more of a digital context than the
client does, and they also get fantastic delivery. That’s been working particular well
for the last three months.
RD: that’s a very forward thinking way of conducting business.
JD: we could have carried on with account managers and execs trying to fulfill both
functions but ultimately that would lead to a loss in business. It’s adapt or die for a
small business or agency of 22 people. It doesn’t take us a lot of time to make that
change. It happened overnight. What we’re really focused on is getting processes
right when we’re this size so when we’re bigger they don’t have to be retrofitted.
RD: is that a hint that the agency could be expanding?
JD: Potentially, we’ve seen an average 75% year on year growth as an agency since
2009. Its huge.
RD: That’s big. The Design Council reported a small growth within digital and
even smaller growth across the board of traditional design businesses.

32
JD: Yeah, it would be far to say we’re probably the fastest growing regional agency.
RD: did you originally start out as a digital agency?
JD: No, the agency was founded by John Newbold and Sukhi Dehal. They both
worked at large agencies including Euro RSCG. They ultimately felt that some of the
processes were broken and that the agency was happy to be instructed and do as
the client wanted. Rather than what the agency thought was best for the brand. They
also felt that the agency didn’t have a viewpoint on many things. It was just what the
client wanted.
When they started 383 Project it was purely as a creative agency in a design based
business and wanted to have a viewpoint and to stand for something and for clients
to buy into that and do great work off the back of it. They hired a developer, quickly
became famous for digital work and its gone from there. From 2009/2010 we got
really famous for digital work very quick. We hired a lot of developers and a lot of the
output was digital.
Now what we’re seeing and this taps into what was said at the start of the interview is
that actually client spend is going back into integrated shops with a digital offer. That
happens for various reasons, A) the client is very much in thinking digital doesn’t live
on its own and it should be integrated with the rest of the marketing mix. Or its cost
efficiency things. Either way we need to adapt to that change in thinking, so while we
are positioned, as a digital agency the reality is that we are doing a lot of integrated
work globally.
For Polar (brand specializing in heart rate monitor watches) and for Chevrolet. What
you’ll probably see over the next 12 months is the reposition or the realignment of the
agency. We’ll have a digital centre for what we do. But actually what we create is
meaningful reasons to love brands, that can happen in any channel, anywhere that
good creative thinking can be applied providing you have great idea. Many channels
can work together.
RD: Do you feel that with the change in socio-economic climate that
consumers have more power and that brands now, especially agencies we
have to take a step back, and think more experientially, go back to the basics (I
refer to Paul Arden) of communications and tapping into people’s desires and
what people want?
JD: Mmm. I think in this kind of climate, the biggest shift we’ve seen from the
consumer in my point of view is towards bargain hunting and deal based behavior.
That deal-based behavior has implications for clients outside the media that they own.
So that the distinction that we make between ‘owned media’ – that might be a client’s
website, print material, magazines or social channels. The ‘earned media’, which is
earned, are third party, bloggers, and review sites talking about that client. All of a
sudden you’re into a PR area in terms of relationship management and blogger
outreach. The important thing to say is, to compare costs and to compare deals
when times are tight, household budgets are stricter – there are more tools for
people to do that.
So I think the key thing is, this has been true since day one, as an agency the only
thing you can do is market a great product. If the product isn’t there to start with, the
marketing is really inconsequential. Marketing’s role is to make people aware of
things. To create interest in that thing, and to create desire and to create action off
that thing and to ultimately to go buy it. Quite simply that’s how we distil marketing

33
down. I think if the product and price point isn’t right, then the promotion is
inconsequential in the long run really.
As an agency what we try and do is rather and going out for working for clients that
we’re not massively passionate about or don’t believe in the product, we’re able to
work with people like Chevrolet who have just released a new electric volt vehicle,
like Polar who invented the heart rate monitoring category, like Antony Collins
Solicitors who have built a law firm based on really strong values and social
conscious. We are in a privileged position as we’re an agency that can work with
clients where we believe in the product. As an agency unless we can believe in the
product, how can we promote it?
RD: It’s very hard to get under the skin of the brand if you don’t gel with the
client.
JD: Absolutely. Going back to the initial point of the socio-economic climate is that it’s
more important than ever for the product to be right first and for the price point to be
correct.
RD: How do you justify the cost of a digital campaign to clients? For example,
if a client doesn’t understand digital strategies, the outcomes and the ROI –
how do you explain those costs?
JD: Ultimately, there are two routes to take. My view would be marketing has gone
too far down the road of bean counting and immediate ROI. There are two views that
we take. One is that campaigns can make brands famous, and as a consequence of
that you’ll see a rise in desire and action around sales. The other view that we take is
that actually clients without the kind of budgets that can make them famous need to
see some fairly immediate results. The way that we demonstrate ROI is really simple.
As an agency I don’t know if we’re unique in this or not, we don’t present the client
with a set of metrics that are based around intangible KPI’s. We’d never present back
to Chevrolet after a Social Media campaign and say ‘your likes have gone up by
1000’ because that doesn’t mean anything. What we’d do meticulously is putting in
measurement tactics in place from day one so that we can see what that campaign
generated in terms of test drives and car sales.
As an agency, its fairly business limiting to not tie everything that we do to sales KPI
because we’re here to sell more stuff. We’re agents of sales. Personally, we don’t
present fluffy metrics we present metrics that mean something to the bottom line and
the bench mark for that is would we be comfortable presenting this in from of the
chief executive or the managing director, outside of the marketing function and them
to be happy with it and them to retain us going forward. If we weren’t happy with it,
we wouldn’t present it.
RD: I think it’s very difficult to put a value on design, especially in this day and
age when we have click through rates, Facebook likes, retweets etc. You can’t
put a value on that – can you?
JD: I think to an extent you can. The way that we view design is that design should
be a joy for people to be able to use and easier to use. Design is user centric. The
reason that design is user centric is because its there from a marketing point of view
to convert people to sale. If the design is confusing, irrational, or isn’t a joy to use
then those conversion rates drop. So the value that I would place on sale is actually
driving conversion rates.
To use an example, an online campaign drives customers who want to buy a heart
rate monitor watch to the Polar website. Before we got our hands on it, we worked

34
the information architecture and user journeys. The conversion rate from visitor to
site to purchase was 5% and after we redesigned that site it was 15%. The value that
we place on that design was the 10% increase in conversions.
RD: You’re looking quite closely at the consumer journeys and mapping
those?
JD: Yeah and the distinction to make is creative is an ideas function and thinking
function. The design function is to create order out of chaos that the creative brings
to the table. The function of design is to make things people want to use and interact
with.
RD: Again through design you’re creating value for your clients?
JD: Absolutely. Design makes things more attractive for clients. It makes things
better for consumers. I came across the UK Governments set of ‘Digital Design
Principles’, which echoes design for the user. Don’t push pixels around a screen.
Use data to design and influence rather than aesthetics.
RD: That’s interesting, have you seen the ‘TNS The Impact of Digital on Growth
Strategies?’ That reports talks about using data to design, platforms and
where best to use it.
JD: Send that to me. Sounds interesting. The whole purpose of design is to make
things that people want to use. Whether that’s a website or a Facebook application or
mobile site or app or an outdoor ad. Its things that people take joy and pleasure from
– that’s what design is to us.
RD: What do you think of Social Media? When you’re advising clients on that,
do you draft a Social Media Policy for them? How do you tell them what’s the
best way to use this to build relationships and increase them with consumers?
JD: The first thing to say is that social media is important to some clients not all
clients. The reason for that is because the things that people within social networks
tend to engage with, the brand that they engage with are brands that portray an
extension of that individual’s personality. I’d like Aston Martin on Facebook because
that says something about me that I’d want other people to know. It’s a brand
extension of my personality. I wouldn’t like loo roll because what does that say about
me as a person? Do we attach much aspiration or desire to Charmin or Andrex?
Probably not.
Firstly, does the client have a brand that the people want to engage with on social
networks or would engage with as an extension of their personality? If they don’t can
we create an angle for that brand which would mean that they would. Secondly,
social media is not as fluffy as people make out. The conversation around brands is
going to happen whether its there or not.
There’s two parts of it for me. There’s the PR element of it in terms of managing
consumers, customer relations and feedback in which we put in place guidelines for
e.g. how to respond to people, the tone of voice to use etc. The other side is the
more marketing focus and campaign side. We’re actually asking people to interact
with applications on social platforms. To use people’s data sometimes in a way that
creates a joyful experience in the things that are around them in their social network.
Those are the two separate parts.
RD: I’ve been looking at digital technologies. One of the sectors that I’ve
looked at in a greater detail is the premium and luxury sector. I’ve looked at

35
Mercedes and they have used augmented reality to promote one of their cars
and a campaign last year. Escape the Map. What do you think about using
particular technologies like that to promote brands?
JD: To make brands famous let’s use whatever technology we can to delight and
wow people. To create sales, that are attributed to that activity let’s do things that are
less experiential. I think that from Mercedes point of view as a digital native I look at
that campaign and think ‘that’s quite cool and I like that they’ve done that! They’re
clearly cooler than what I gave them from credit for’ and so that in my mind would
move Mercedes around a little bit that Audi and BMW occupy too. I wonder at the
end of it at when the Account Director reports against sales, what the impact of that
was. There are brand-building techniques, there are things that we do to generate
incremental and fairly instantaneous sales and it wasn’t for the latter. It was very
much positioning Mercedes in the mind’s of the target audience. I would question
whether it had a massive impact on sales.
RD: The car that they were promoting was a C63 AMG. It’s selling aspirations?
JD: See, you had to think about the car. You recalled the model of the car. If you
can’t recall the model of the car that was being marketed during that campaign then
that says to me that it was more about the brand than the car.
RD: What’s your opinion on QR codes?
JD: It’s a technology that can be employed. The key thing to say is it is an area
where there are little or no take up, and that is the reality. It’s because a QR reader
doesn’t ship with a smartphone. Everyone with a mobile phone, then narrow that
down to a smartphone, then narrow that down with a QR code reader which is a very
small percentage of people. They are used in ridiculous places. Transport for London
used in them in an advert on the underground, and a, there’s no network coverage
on the tube and b, the advert was about not getting your valuables out in public and
protecting them. The key reason why it’s not great for marketing purposes is that it
relies on the user having that technology on the smartphone.
There are some occasions where they are valuable. The ability to go around Ikea
instead of taking a pencil and paper around with me, to be able to scan the product
using a QR code, store it into a list and go to the checkout is quite valuable. That
improves my experience as a customer. From a marketing point of view, point a link
online to the product, scan it, and go to the store. It’s easier than me to find it, write it
down and go to the store.
RD: It’s an incredibly long-term fad.
JD: It very much so is. It’s the same way clients felt about smartphones and mobile
applications a few years ago. Everyone needed one but they didn’t know what for. It
was a buzz thing at the time.
RD: Do you see any growth areas in traditional advertising and PR?
JD: there’s a bigger need than ever for great, big audacious ideas that lead
everything else. I think that’s the way it should be in terms of advertising because of
all the great things that we can do online. The big leading factor is how great the idea
is. If the idea is great, and it works well then let’s use online as a part of it. If not, use
TV, experiential, use everything that’s available to us. In terms of PR I don’t think
there is growth in traditional PR. The growth in PR agencies and professionals is in
that second strand of social media I was talking about. Which was about community
management and engagement online. If I was starting a PR agency tomorrow that’s

36
all I would focus on monitoring social media, conversations and a really great social
media agency.
RD: What brands really stand out to you in regards to their great use of digital
media and their digital strategies.
JD: Old Spice from Wielden + Kennedy. That works really well because it’s a really
great idea which can naturally live online. Brands that do well online, tend to do that.
Brands that don’t do well online, are brands who have no leading idea or proposition
and try to retrofit campaign ideas into online. That is why the need for big ideas is
bigger than ever. Old Spice do it well. Chevrolet are doing well particularly in the
States because the ATL is very strong there. In terms of the stuff they do around
Superbowl was very good indeed. Automotive do a good job of online as a sector.
Other web based business such as Asos have got a good online presence, not
necessarily from a big campaign point of view but actually the consideration and the
focus that it places on user experiences, shopper journeys and creating user
generated content and advocacy online for that brand is very admirable.
RD: You’ve just mentioned consumer journeys and user journeys, when
creating a strategy, do you find that it’s very important to go back to the basics
and really map out the touch-points that every consumer will interact with.
JD: Absolutely and this is why digital agencies will become more integrated and why
integrated agencies have to become better at digital because ultimately, it has to
start with the customer. If that customer is for Saga Insurance for example, they’re
60+, live in the North East of England and income is limited. Why would it be
necessary to create an iPad application for that customer? The key place to start is
to take that customer, develop a persona, understand the demographics of that
customer and map out the kind of things and places they might do or visit and where
they might interact. This is why research is so important. There are assumptions we
can make about customers. As a digital agency for now, what the digitally interesting
area is something called Technographics. It’s the study of how people of certain
demographics use technology and entertainment devices in their day-to-day lives.
What you’re effectively able to do is to look at a boy who’s 18-25, who lives in a
country and map against that his techno graphics so his graphics might be iPhone,
laptop, TV, dual screen viewing watching TV and tweeting at the same time. In terms
of the technology and then we look at the platforms that exist e.g. Facebook,
Pinterest, Instagram and for the digital aspect of the campaign that’s really important.
As important as getting a traditional media-planning point of view e.g. what TV shows
and TV channels do they watch?
RD: So from using Techno graphics you can really narrow down the digital
platforms and channels that a target audience uses to target campaigns?
JD: Yes, the key thing to say is brands need to start with the customer, look at what
that customers life is in terms of consumption – it used to be TV, outdoor and
newspaper. Now it’s multiplied by 100. Its more important that ever to get that right,
so this is ‘our’ customer, this is ‘everywhere’ that customer can choose and out of
those places, this is where its most important for us to be and to interact for the best
results. If that’s not online for that Saga customer then fine. Let’s start with the
customer for everyone’s sake. There’s nothing more frustrating seeing campaign
ideas launch Facebook applications. A campaign idea is to have a great idea or
proposition or story around a certain product and to look at what that user’s
landscape looks like and see if it flows as a story into those various digital devices

37
and platforms they might be on. It’s not good enough to create platforms and fit it
back into something the user might be doing.
RD: Do you think that’s very lazy approach? We have our last jigsaw piece and
will fit it into any shape. However it won’t.
JD: Yes. Absolutely
RD: Earlier in the interview you made a point about smartphones. Is that something
that the agency is looking at right now and thinking this is a growth area?
JD: Yes. We spotted that as a key consideration. We do a lot in terms of web
analytics and interpretations. We looked at a client where 8% of the traffic in 2009
came from mobiles. By the end of 2011 that was 18%. We’re getting close to a
quarter of the traffic. This is why as an agency we’ve evangelized mobile accessibility
and mobile web over applications for a lot of the time. Apps are great if they are
entertaining and useful. It’s actually another job to market an app in what is now a
busy app store. The key thing is to get right is to get mobile web presence sorted.
Think about the user experience and usability of that design. What is essential to
have there, what isn’t and how do you tap into the functionality of the hardware i.e.
the smartphone within that design to make things integrated and easy to do.
RD: You’re looking at a variety of devices, android, apple, blackberry, and
opera
JD: What we tend to do is use a piece of code that has a mobile web view that will
direct users to the right mobile view for their device. It will recognize the browser it’s
using and serve them the view to that. The big opportunity is to use the platforms and
hardware within those device. To ignore mobile in particular, especially mobile web
and mobile advertising I think is a big mistake.
RD: We live in an incredibly digitized society. 15 years ago we would be using
a Yellow Pages to take our time to find a number. Nowadays we’re tapping into
our phones via Google. Do you find that with applications on mobiles and
tablets those consumers have to really sit down, take their time with that? It
could be an indicator for the decrease of application? That’s where mobile web
will grow. One of the reasons it could be successful, or growth found within
that is its because its so fast. People are after real time reactions.
JD: Especially with 4G looming. Yes we are a very digital society now. As an agency,
we’re digital people. Some of us need a ‘data diet’ but the reality is outside of this
agency, outside this industry we have to remember, from a consumers point of view
there is no digital or offline. It’s just an experience that consumers have with that
brand. The key thing to say is if advertising has always been bombarding people
then now branded content, entertainment and messages coming from everywhere.
Its natural that the multiplication of places to consume media. There’s a multiplication
of methods to digest. We’ll start seeing people going on ‘data diets’ and going to
places where the choice architecture is offers them something straight away.
I saw a site called ‘Justbuythisone.com’ – and did away with all the reviews. It was a
website with pictures saying ‘this is the best toaster’ and says that 49,000 ratings
across the whole Internet gave it 5 out 5. This is the best microwave; this is the best
TV etc. So the research is already done for you so go and get it. That tells a story
about the fatigue people are getting keeping up with Facebook, Twitter, Instagram.
Checking In. we’re fast-forwarding through TV, Radio and magazines. The role that
digital can play is to create better brand experiences for consumers. It’s not always
about digital as an advertising medium.

38
RD: Do you have much input into the business strategy side when it comes to
brand strategy and the product?
JD: For clients? The Creative Director has a lot to do with brand strategy; I have a lot
to do for marketing strategy for clients. There’s lots of involvement and the role of the
client partner is to help to shape that strategy to help the client to zoom out of the day
to day and understand the wider landscape and the options available. We have to
make sure the investment goes into the right places.

39
Appendix 4
Consumer Journey Map of John Lewis Mobile Site
Orange notes indicate the main pages clicked from logging onto the John Lewis
website to adding purchase to basket. Yellow notes indicate sub information (e.g.
special offers, reviews etc).

40
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