jewellery marketing case study

Jewelry Marketing Case Study 2024: Amplifying E-com Success

A U.S.-based reputable jewelry brand, which serves as the focal point of our jewelry marketing case study, has been making strides in the online market for some time. With a strong foundation of loyal customers who discovered the brand organically—without being prompted by flashy advertising campaigns or promotional deals—they have managed to build a respectable online presence.

This group of online customers, mostly made up of people who keep coming back, shows that the brand’s products are really good and attractive.

Despite the brand’s longevity in the online space, they encountered several obstacles impeding their expansion. Their main issue centered on a lack of a clear, strategic plan for customer engagement and advertising organization. 

This lack of good communication and ad planning held back the brand’s chance to grow more on the internet.

Approach & Strategy

To address these issues as part of our jewelry marketing case study, our team set out to construct a comprehensive and far-reaching ad campaign that would span numerous websites and applications, creating more widespread awareness of the jewelry brand. In the spirit of innovation, we didn’t limit ourselves to traditional methods but also experimented with a variety of promotional strategies. This approach allowed us to test different channels and techniques to identify the most effective ones.

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Results & Milestones

Within a span of merely two months, our efforts bore fruit, resulting in an impressive near-doubling of our online income. From February to April, their revenue saw an increase from 19,834 USD to 34,564 USD, suggesting room for more substantial growth. But that’s not where the success story ends in this jewelry marketing case study. We also observed a significant influx of new customers joining our long-time loyal clientele. Specifically, we saw a 25% surge in first-time buyers, indicating a successful reach beyond our established customer base.

Upon identifying the strategies that yielded positive results, we amplified our focus on those areas while concurrently exploring fresh, innovative ideas. Our primary objective is to continue to accelerate growth while ensuring a healthy return on ad spend ( ROAS ). We intend to strike a balance between expansion and profitability to ensure we’re getting an optimal return on our advertising investments. This strategic focus is guided by the ROAS benchmark that we mutually agreed upon with our client.

In the end, this jewelry marketing case study illustrates how we managed to leverage the right advertising strategies to transform an established brand’s online presence. Through strategic planning and experimentation, we managed to not only increase it’s revenue but also attract a wider customer base. We will continue to refine our strategies and test new ones to ensure sustained growth and profitability for this jewelry brand.

NOTE : Our client has agreed to share these insights without naming the brand in this jewelry marketing case study. The brand represents a luxury sterling silver jewelry line in the US market, inspired by Mediterranean and Middle Eastern culture and patterns. The prices range from 50 to 150 USD.

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4.3x ROAS for Fast Growth Jewellery Brand

Treaty Jewellery first came to us after being a predominantly wholesale business for the past 10 years, knowing the time was right to really drive more revenue direct to consumer. With sales coming in small waves organically, they needed a team who could create a solid paid social & creative plan to really start scaling them up!

Client Goal: Achieve a ROAS of at least 3x.

What We Did

Firstly our Paid Social and creative strategy team came together to build out our full-funnel approach.

Using Treaty's existing assets & in-house creative resources, we consulted on how they should build their video creatives to convert on Facebook & Instagram Ads .

Whilst working with them, we have achieved:

• 4.3x ROAS, beating their original 3x goal.
• Helped them build a profitable & sustainable B2C business, diversifying them from wholesale.
• 2500% increase in average monthly orders.

Current Status: To this day we still manage all of Treaty Jewellery's paid social activity and thoroughly enjoy working alongside their team.

"We're incredibly happy of the results Social Shepherd have been able to produce, and can't wait for our future growth with them"

The Results

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The young designers disrupting the $368 billion jewellery market

By Lucy Maguire

This article is part of our Vogue Business Membership package. To enjoy unlimited access to Member-only reporting and insights, our NFT Tracker and TikTok Trend Tracker, weekly Technology and Sustainability Edits and exclusive event invitations, sign up for Membership here .

After Danish jeweller Maria Black completed her four-year goldsmith course in London in 2010, she sold jewellery from an East London market stall every Sunday. “I would haul my suitcase with all my stuff and have to consider how I presented it,” she says from her Copenhagen studio. “I was speaking with people, I saw what they reacted to, what they didn't like. And I understood price points and what was missing from the marketplace.”

Black saw a gap in the market for a contemporary jewellery brand that was fashion-forward but at a more accessible price point. “I looked at what was available and just said, why are we doing it this way?” she says. When starting out, what she saw on the market was typically reserved for gift-giving. “It was usually very conventional. If you wanted to have fun and wear something playful, you had to buy something made from plastic or gun metal, which is such a shame because precious metals can be recycled.”

Twelve years later, Maria Black is a global jewellery business with predicted revenues of between €12-14 million for 2022 and 500 stockists, according to the brand. She’s known for her fun, accessible jewellery pieces and high-end piercing studios, and creating an “ear party” of dainty diamond studs.

Jewellery has completely changed in the last decade, says Ida Petersson, buying director at British luxury retailer Browns, with the introduction of new brands including Foundrae and Sophia Bille Brahe challenging fine jewellery brands found on traditional shopping streets like London’s Hatton Garden or Bond Street in the early 2010s. With the rise of social media platforms, including Instagram and TikTok, consumers are able to discover new brands more easily and hop onto jewellery trends, she adds.

“Jewellery has now become a fashion statement that can follow trends,” she says. “Men buying into it very heavily has evolved the market, too. It’s now a unisex category.” Pearls are a good case study, having surged in popularity after being worn by stars such as Harry Styles and Tyler the Creator in recent years. The #pearls hashtag has now reached over 1 billion views on TikTok . And it’s showing in sales, Petersson says, with pearls from A Sinner In Pears and genderless label Hatton Labs among high performers over the last couple of years.

By Laure Guilbault

Jewellery is also performing very well on Mytheresa, according to the company. “We are seeing fine jewellery offering more of a fashion aesthetic and developing into something that is for everyday wear and not just for special occasions,” says buying director Tiffany Hsu.

The global jewellery market is worth $368 billion according to Euromonitor, and has long been dominated by legacy brands. Now, challenger brands such as Maria Black and Éliou, plus new players like MJ Jones, Sister Morphine and Tiny World, are tapping into trends and producing genderless, youthful and edgy collections at more accessible price points, with a focus on direct-to-consumer sales. As young people invest in jewellery, new fine, demi-fine and costume jewellery brands could be primed to win market share. However, faced with a challenging economic climate, volatile precious metal pricing and potential subdued demand, it can be challenging for them to scale.

Targeting unique consumer groups to get a head start

As people of all genders invest more in jewellery, Matthew J Jones saw an opportunity. He launched his fine jewellery brand MJ Jones in 2020, with £2,000 made from reselling a watch. The brand expects revenues of £5 million this year, up 40 per cent on 2021, with the bulk of revenues coming from high-end collections and bespoke jewellery for sports stars like footballers Marcus Rashford and Lionel Messi. “We don’t want to just be an underground disruptive brand that the celebrities know anymore,” he says. “Our vision moving forward is we want to offer it to a bigger demographic.”

MJ Jones started out as a celebrity-focused jewellery concierge and bespoke jeweller. Now, he’s targeting the general public with new store openings and more accessible price points.

Jones began his career launching a sneaker concierge service that sourced footwear in 2007. Then, armed with a black book of celebrity names, the entrepreneur pivoted to watches, launching watch concierge service MJJ Exclusive in 2012, where he’d source and personalise watches with all-black finishings or rare stones. In 2020, he started designing his own fine jewellery under MJ Jones, using Instagram to advertise his piece to existing watch clients (the account has around 8,000 verified followers — indicating a hefty celebrity cachet).

Founder of Paris-based jewellery brand Sister Morphine, Sarah Lamsika, gifts her bright coloured, edgy and sculptural resin earrings to more niche brand muses, including American singer Kelsey Lu and model Raya Martigny, aiming to be seen by “urban, connected people” in major cities. Named after The Rolling Stones song, the label was one of a handful of Paris-based fashion jewellery brands that entered the scene in 2020, Lamsika says, with a fresh approach to jewellery design beyond the conventional fine jewellery styles the city is known for. Two years on and she runs a direct-to-consumer business, produces bespoke pieces and is stocked at six stores across the world, including Paris concept store Elevastor and stores across Los Angeles, London and Berlin. Revenues are below €150,000 but from 2021 to 2022, its second year, Sister Morphine sales grew 47 per cent.

Sister Morphine launched in 2020 as an edgy, fashion-centric alternative to more classic Parisian jewellery brands.

“There are many jewellery brands that are not really in fashion,” Lamsika says. “Sister Morphine is. Once you buy one of my pieces, you always remember them and you know it’s me, which helps the brand to be seen.” Her goal is to expand the business’s stockist network, with sights on Canadian e-tailer Ssense as well as physical stores in major cities like New York and LA. “For now, I kind of like the mystery; I like that you can't find them everywhere.” She aims to expand to New York, Milan, London and LA soon, which she feels suit the bold style of her pieces more than her native Paris, perhaps.

Aligning trends with DNA

Today’s jewellery customers now construct a jewellery wardrobe to complement their outfits, rather than investing in a few pieces to wear all the time, Black says. “Before, you would buy your jewellery and wear the same pieces for years. Now, you can buy something that's cottagecore, you can buy something that's a bit more streetwear. There's a lot of different styles to create what you're trying to communicate.” Maria Black pieces start at £17 for an ear cuff and go up to £2,106 for a 14-karat gold chain, part of the fine jewellery collection she launched in 2020, allowing her to create bigger, more sculptural pieces in precious metals, rather than her more delicate demi-fine wares.

Maria Black saw a gap in the market for accessible, fashionable fine and demi fine jewellery.

Fledgling jewellery label Tiny World launched during the pandemic as founder Gracie Khoury paused her career in film to isolate and protect her vulnerable parent. Each brightly coloured resin ring is handmade and only sold in small collections, so the final products are essentially one-of-a-kind and direct-to-consumer clients can choose the sculptures set inside. Khoury made £10,000 in Tiny World’s first year and after a small hiatus for a film job in 2022, she’s looking to continue building the brand.

Tiny World has a personal touch that’s important to young consumers, Khoury says, particularly as pandemic restrictions eased. “I do think the isolation gave many people time to reflect on what they have been consuming in regards to fashion, furthering the already growing interest in supporting the creative small businesses emerging out of lockdowns,” she says. “The lack of interpersonal connections encouraged a want for more personal products, especially when you're able to see exactly who's making them.”

MJ Jones is “constantly” bringing out new collections in response to fashion trends and feedback from bespoke clients, the founder says, to stay ahead of the curve. His Pearl Skies collection, released last year, has been a hit, he says, as pearls continue to trend on social media and with luxury retailers. The brand is partially known for its “black gold”, a sleek ultrablack coating on 18-karat gold pieces. He’s also experimenting more with non-precious materials including enamel and bright-coloured stones.

Jones has just 19 employees for now, making his team more agile. “Because we are not such a large corporate company, we have the ability to change things fast and adapt to fashion trends,” he says. “They're constant and they're always moving and new things are coming out. We like to create new products and if I have a new idea I can turn it around within a couple of weeks.”

On the business side too, jewellery players need to pivot. “From 2010 to now, whether it’s online shopping or influencer marketing, the world is changing by the minute,” Black says. “In the eighties maybe you could start a jewellery company and you could run it the same way for 10 or 20 years and be fine. You can't do that anymore. You need to follow what's happening and be able to pivot and do things in a new way.”

As Tiny World has mainly grown through Instagram, navigating the ever-changing and unpredictable nature of the algorithms has definitely been an ongoing challenge, says Khoury. “You're constantly balancing the fear of losing engagement without oversharing your process and paving the way for imitations from ultra-fast fashion brands,” she says. It can also be challenging to run a brand alone. For Khoury, balancing increased demand with work or her mother’s cancer treatment has required understanding from her customers. “I've found maintaining an honest dialogue with the customers about my progress has helped to relieve the pressures of consumerism, keeping production at my own pace to continue creating the personal, delicate jewellery expected.”

Meeting challenges head-on

Even with unique positioning in the market and growth potential, reliance on resources like precious metals exposes young jewellery designers to price volatility, founders say. And, with the looming recession in Europe and the US, it’s becoming even harder for jewellers to survive, says Black.

“The gold price fluctuates with demand. So, whenever there's [economic] instability, people invest in gold and the price goes up,” she says. “At the same time, people have less disposable income now, so it’s a perfect storm. Your materials go up, but people can't afford to pay more for them — everyone has the same problem.”

Black sources 30 per cent of her gold from fair-trade suppliers, making all her sourcing information open source for other jewellers to use. Ethical sourcing is more important in these times, she adds, than seeking the lowest price on metals. “If you’re sourcing to drive prices down, guess who’s going to pay? It’s a person who works in the workshop, or a miner.”

Costume jewellery is perhaps an easier field. Sister Morphine founder Lamsika is somewhat immune to price fluctuations as the majority of pieces are made from locally sourced resin. Silver prices went up slightly she says, but nothing else.

The majority of MJ Jones products are set in 18-karat gold, says the founder, but as it targets a wider customer base, the business is looking at other precious metals that are more affordable. “We’ve got a silver line coming soon with the same ultra-black coating, using the same technology but allowing more people to fall in love with the brand,” Jones says. MJ Jones uses computer-controlled production machines, VR and AR design and 3D printing, alongside handmade techniques. The “black gold” is created using “diamond-like carbon”, a derivative process more typically used in the military, engineering (F1, Nasa) and bio-engineering, due to its low-friction protective qualities.

Jones is also launching more accessories, including an armoured watch box and new models of its armoured safe, to build out his collections. Jones plans to open a London boutique in the next year; then an outpost in Europe, its biggest market; followed by both America and Brazil.

“The biggest challenge for us is, we have such an unbelievable clientele, but we now need to tell the world that we have this amazing product and truly scale the business,” he says. “We are disruptors in the industry and I do truly believe that we can have boutiques and once we have the boutiques, it's going to give people a lot more access to the products.”

Key takeaway: The jewellery industry has become more trend-led in recent years, with young consumers seeking multiple aesthetics and fashion-forward pieces across fine, demi-fine and costume, to build a jewellery wardrobe. This has opened up opportunities for small, innovative and accessible jewellery brands to win market share. However, the economic downturn, variable prices and ever changing social media landscape means young founders must stay on their toes to get ahead.

Comments, questions or feedback? Email us at [email protected] .

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State of Fashion: Watches and Jewellery

Business of Fashion and McKinsey have collaborated on five annual State of Fashion reports analysing the global fashion industry and the trends shaping it. This report is part of a special-edition series and takes a deep dive into fine jewellery and watches over a five-year time horizon. Through extensive executive interviews, analysis of public and private companies, and proprietary insights, the report identifies six seismic shifts that will shape value pools in the fine jewellery and premium to ultra-luxury watches industries through 2025. The shifts cover a variety of perspectives ranging from consumer behaviour to business models to the products themselves. Additionally, the report spotlights watchlist trends on the horizon, with uncertainty around timing and level of impact to the industries, that industry players should continue to observe as they further materialise over the next years.

Bringing the sparkle back

With combined annual sales of more than $330 billion, fine jewellery and premium to ultra-luxury watches are an important part of the global luxury economy. Not only do these sectors make a meaningful contribution to business, but they also represent significant cultural assets that have for centuries reflected human preoccupations with creativity, symbolism, and self-expression, while being grounded in advanced technical know-how. Yet today, both the jewellery and watches industries find themselves at an inflexion point.

As uncertainty caused by the COVID-19 pandemic rippled across the globe and short-circuited demand, the fine jewellery and watches industries suffered revenue declines of 10 to 15 percent and 25 to 30 percent, respectively, putting further strain on slow-to-adapt players and crystalizing emerging trends in the market. Physical retail’s closure for extended periods revealed cracks in the jewellery and watches industries’ slow transition to digital—which lags far behind other luxury categories—with online sales representing 13 percent of the global market for fine jewellery and just 5 percent for watches. Meanwhile, the abrupt halt to global travel stifled fine jewellery and watches purchases made by consumers on trips abroad, which accounted for some 30 percent of the prepandemic market.

While there is little doubt that the market will continue to present tough conditions for both the jewellery and watches industries, the next five years also offer significant opportunities for players to rewrite the rule book across products, distribution models, and engagement strategies. Those that anticipate or at least embrace the changes in the marketplace can participate in setting a new gold standard.

2025 industry outlook

Between now and 2025, we expect the jewellery and watches industries to rebound from the COVID-19 pandemic and grow globally at 3 to 4 percent per year (fine jewellery) and 1 to 3 percent per year (watches). We expect demand to increase from younger consumers as well as in domestic markets amid continuing restrictions on international travel and the rise of domestic duty-free zones in China. Already the biggest regional market, accounting for 45 percent of global fine jewellery sales and 50 percent for watches, sales in Asia are set to expand even further, with China leading the way. Looking forward to the next five years, we expect branded fine jewellery sales in Asia to grow 10 to 14 percent annually, while watch sales in Asia will grow up to 4 percent per year.

Fine Jewellery

Looking forward, we expect the global fine jewellery market to be more branded, more digital, and more sustainability-focused than ever before. For a market that has often historically been known as the opposite of those attributes, the path to 2025 is poised to send waves of change throughout the industry. On the forefront, branded fine jewellery will be on the rise, with an expected compound annual growth rate (CAGR) of 8 to 12 percent from 2019 to 2025. This means that branded fine jewellery will grow approximately three times faster than the total market. Because price points in branded fine jewellery can be around six times higher than for unbranded products, competition between established luxury jewellery brands, fashion brands, and new direct-to-consumer (DTC) companies will heat up as players compete to win customers who are turning toward brands that reflect their distinct points of view.

Many branded players will also find themselves well positioned for the expected growth of online sales; however, emerging DTC players will apply pressure and give established players a sense of urgency to move quickly. Global online fine jewellery sales are expected to increase from 13 percent to 18 to 21 percent of the total global market by 2025. The move toward online, however, must be carefully considered by jewellers to not discount the importance of humanizing digital experiences. Consumers will expect the same level of customer service and attention to detail online as they do in stores, and with about 80 percent of fine jewellery purchases still made in stores in 2025, seamless connectivity between channels will be paramount (Exhibit 1).

Meanwhile, we expect sustainability to play an increasingly important role in buying decisions. Purchases influenced by sustainability practices will triple in the years ahead, presenting an opportunity for the industry to make real, tangible strides toward important environment and social imperatives. To show consumers that they are credible and sincere about driving environmental and social progress, companies will need to establish more traceability and transparency in their supply chains and move beyond the performative marketing that has plagued the industry in the past.

In the premium to ultra-luxury watches industry, a comparatively slower growth rate of 1 to 3 percent per year compared with branded fine jewellery (8 to 12 percent per year) between 2019 and 2025 is a symptom of structural weaknesses that will dominate business agendas in the short to medium term. Shifting consumer demand will require brands to fundamentally rethink their go-to-market strategies. As a result of this and a broader reshuffle of deeply embedded market dynamics, approximately $2.4 billion in revenue will transfer from retailers to watchmakers, as DTC business models take centre stage. This will fundamentally upend the industry’s current structure and require brands to build client-serving capabilities, while multibrand retailers search for new ways to add value.

As brands forge closer relationships with their customers, they will also find opportunities to double-dip in the revenue pool by engaging in pre-owned sales. Driven by younger consumers in addition to collectors and cost-conscious shoppers, as well as an increasingly trustworthy and transparent supply by digital marketplaces, the pre-owned watch market is set to become the industry’s fastest-growing segment, reaching $29 to $32 billion in sales by 2025. With digital pre-owned marketplaces currently dominating, brands must urgently decide how they want to participate.

Finally, established midmarket players, mainly in Switzerland, will be squeezed at both ends—at the bottom by smartwatches, digitally native brands, and fashion players and at the top by a shift in demand to higher-value segments—and will subsequently risk foregoing $2.5 billion in revenue by 2025. Incumbents must breathe new life into both their products and brand narratives if they are to stem this revenue erosion (Exhibit 2).

Six seismic shifts in the fine jewellery and watches industries

The special-edition report presents three seismic shifts for the fine jewellery and premium to ultra-luxury watches industry (Exhibit 3).

The three seismic shifts shaping the fine jewellery industry are as follows:

1. Online magic. Fine jewellery sales are usually associated with bespoke services, quiet environments, and the reassuring presence of an expert close at hand. The challenge of replicating these elements in the online space arguably has slowed the category’s digital growth. That is now starting to change, with online set to account for 18 to 21 percent of the market by 2025. The onus is on brands and retailers, therefore, to create compelling propositions that connect the human—the emotion, customer service, and sense of magic—with the digital screen.

Online has allowed us to broaden demographics, geographics, and attract customers that might not have come to Christie’s before. Rahul Kadakia, Christie’s head of jewellery

2. Buying into brands. To many, the words “fine jewellery” are often synonymous with a Tiffany blue box or a Cartier red box. To others, they conjure up De Beer’s historic “A Diamond Is Forever” marketing campaign. Despite the prominence of these icons, branded jewellery remains the small minority of the market, making up only 20 percent of revenue. But looking forward, brands are on the rise. Branded jewellery will reach 25 to 30 percent of the market in 2025, and the dollars at stake are big—$80 to $100 billion are on the table.

It’s the biggest potential we have right now. Fine jewellery is one of the highest-growth categories we have, if not the highest. Michael Burke, chairman and chief executive of Louis Vuitton

3. Sustainability surge. Fine jewellery purchases influenced by sustainability considerations are poised for dramatic growth. By 2025, an estimated 20 to 30 percent of global jewellery sales will be influenced by sustainably minded consumers. Traditionally seen as a risk-mitigation topic, leaders must now also embrace sustainability to win the trust of younger consumers and carve out a leadership position in a previously slow-to-act industry.

Younger consumers really care about corporate social responsibility. Lelio Gavazza, head of sales and retail at Bulgari

The three seismic shifts shaping the watches industry are as follows:

1. The DTC shakeup. Offline retail has been the life source of the watches industry for decades, with multibrand retailers owning the customer relationship. But as consumers demand to interact more directly with brands and expect better online shopping opportunities and brands aim for higher margins, watchmakers will grow their DTC channels and take control of the customer experience through a dynamic omnichannel approach. This will be a challenge for both brands and retailers, as $2.4 billion in annual revenues are set to transfer from multibrand retailers to brands by 2025.

DTC will be a challenge for a lot of companies. They are not store operators and, perhaps more importantly, they have not historically been consumer-facing, and so need a very different set of skills to manage those direct conversations. Thomas Baillod, cofounder and CEO of B2B watch database Watch Distributors Directory

2. A new era for pre-owned. Once the preserve of private dealers and small-scale retailers, the second-hand watch market is joining the mainstream. Not only that, it is set to become the industry’s fastest-growing segment, reaching $29 to $32 billion of sales by 2025. Brands must work hard to capitalise on this shift, and digital platforms need to sharpen their business models in an increasingly competitive environment.

The market has great potential—if brands with a rich history focus on leveraging pre-owned to showcase their brand’s heritage, you can have an interesting market. Michele Sofisti, ex-CEO of Girard-Perregaux

3. The midmarket squeezed. Amid intense competition from digital-native players, fashion brands, and the fast-growing smartwatch category, the traditional watch midmarket is under rising pressure. Many of the segment’s customers, meanwhile, are “trading up” into the luxury segment. If they do not react now to revitalize their segment, we expect traditional midmarket brands could decline by $2.5 billion in revenues by 2025.

Lower barriers to entry due to a rise in online retailing and digital marketing are favouring the entry segment. Silas Walton, CEO of pre-owned watch platform A Collected Man

While there is little doubt that the market will continue to present tough conditions for both the fine jewellery and premium to ultra-luxury watches industries, the next five years also offer significant opportunities for players to rewrite the rule book across products, distribution models, and engagement strategies. Those that anticipate and embrace the changes in the marketplace can take advantage of the glimmers of light that will exist amid a cloudy recovery period.

Download State of fashion: Watches & jewellery , the full report on which this article is based (PDF–48MB).

Achim Berg is a senior partner in the Frankfurt office; Alexander Thiel is a partner in McKinsey’s Zurich office, where Sabine Becker is an associate partner; and Tyler Harris is an associate partner in the New Jersey office.

The authors wish to thank the entire Business of Fashion team, and in particular: Imran Amed, founder, CEO, and editor in chief; Robb Young, global markets editor; Amanda Dargan, interim head of studio; and Hannah Crump, associate editor for special projects, for their collaboration in developing and delivering the report.

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5 Stellar Examples of Successful Jewelry Digital Campaigns

Launchmetrics Content Team Aug 02, 2018

Home / Blogs / Public Relations & Digital PR / 5 Stellar Examples of Successful Jewelry Digital Campaigns

The most successful jewelry digital campaigns are those that embody luxury, tell brand stories, and create a deep connection with customers. But for the world’s most prestigious luxury jewelry brands, there’s an added challenge: how to craft a digital strategy that respects the brand’s heritage while at the same time appealing to new generations of young consumers.

Here we’ll take a look at how five luxury fine jewelry houses are creating emotive, engaging, and buzz-worthy digital campaigns to win over audiences globally.

In this article you’ll learn…

5 Successful Jewelry Digital Campaigns

1. David Yurman

David Yurman is a brand that understands how to market jewelry online using social media. 

For a number of years the brand has been collaborating with popular Instagram influencers — like the bloggers behind Wendy’s Lookbook, Brooklyn Blonde and Atlantic-Pacific — to generate content across the blogosphere and social media. David Yurman also uses Instagram’s social shopping feature to drive sales from directly within the app.

<Pleated and stacked //new post today on Atlantic-Pacific with @davidyurman ❤️> Link in profile! https://liketk.it/2tIDV #liketkit @liketoknow.it #davidyurman #pleated #emerald #holidaystyle A post shared by Blair Eadie / Atlantic-Pacific (@blaireadiebee) on Dec 4, 2017 at 7:29am PST

In 2017 the brand partnered with Elle for the magazine’s first ever branded Facebook livestream . The partnership not only allowed them to reach Elle’s audience of 4.7 million Facebook followers in addition to their own, it also drew on the star power of two Instagram influencer hosts, Erica Hoida and Lucy Hernandez , who had a combined following of more than 880,000 at the time.

{new outfit post} styling some seriously stunning silver jewelry with @DavidYurman. See what makes these pieces so special on FashionedChic.com! (Direct link in bio) #DavidYurman #DYStyle https://liketk.it/2pVUk @liketoknow.it #liketkit A post shared by Erica Hoida • Fashioned|Chic (@fashionedchicstyling) on Dec 20, 2016 at 7:09pm PST

Part of David Yurman’s success is in knowing who to work with. Importantly, the brand only chooses to work with influencers who fit the brand image and appeal to the target audience they’re looking to reach. These influencers help demonstrate to younger customers how the brand’s pieces can be worn and styled. 

2. Van Cleef & Arpels

French jewellery maison Van Cleef & Arpels are famous for their impeccable artistry and century-old heritage. But that doesn’t mean they’ve failed to move with the times. In recent years they’ve embraced digital, using their e-commerce site to immerse users in interactive fantasy worlds custom created for each collection.

Van Cleef & Arpels use their social media accounts to spread the same coherent brand stories and generate excitement with followers. The brand cleverly uses Instagram Stories, for example, to step customers through animated fairytale narratives that not only present the latest collections in a visually-stunning and interactive way, but also to drive followers to their e-commerce platform to continue the experience .

As one of the most well-known high end jewelry brands, Bulgari has long been crafting successful jewelry digital campaigns that draw on style influencers. One of the biggest lessons to take away from Bulgari? That global brands need to adapt their campaigns to different local markets .

Bulgari does this by working with cherry-picked sets of influencers in different geographic segments. In 2015 Bulgari collaborated with Launchmetrics' influencer management platform , Style Coalition , to launch a campaign in North America for which they  tapped three major style bloggers for a Roman holiday, bringing the essence of the Italian luxury house to consumers in the USA. 

Fun this morning with @eatsleepwear @wendyslookbook today shooting with @bulgariofficial! 😍❤️💃💃💃#foreverome A post shared by Jane Aldridge (@seaofshoes) on Aug 28, 2015 at 6:30am PDT

This year the brand has worked with four major Arab influencers — actress  Tara Emad , model  Rym Saidi , and style influencers  Lama Al Akeel and  Fatma Husam — in a dazzling campaign directed at the Arab market.

Obsesssedddddd😍 Bvlgari’s new Serpenti Viper bangles ❤️✨❤️ @bulgariofficial #bvlgarijewellery #serpentiviper #bvlgari #viperbangles A post shared by فاطمة حسام - Fatma Husam (@fa6ma7sam) on Apr 23, 2018 at 6:27am PDT

Bulgari’s social campaigns are always neatly tied together by campaign hashtags as well as brand hashtags, which also incentivizes followers to create content of their own.

4. Buccellati

Buccellati is another high end jewelry brand winning at digital strategy. One of their most interesting recent campaigns was a collaboration with Noonoouri, a virtual influencer with over 86,000 Instagram followers .

Are you ready for an exclusive #Buccellati atelier tour with the lovely @noonoouri? Check out our Instagram stories! #noonoourixbuccellati #Buccellati A post shared by Buccellati (@buccellatimilan) on Jul 18, 2018 at 5:10am PDT

The forward-thinking move was most certainly designed to appeal to the social media generation, for whom a computer-generated fashion icon can be as influential as a real-life one. And because Noonoouri is known for wearing high-end fashion, Buccellati recognised that she was not only buzz-worthy, but also a good fit for the brand .

Buccellati balances out their youthful marketing content with more traditional campaign imagery featuring well-known models and celebrities.

For another clever strategy for marketing jewelry online, look to luxury Italian jeweler Damiani.

As well as posting content across all major social networks and driving sales through their e-boutique, Damiani multiplies their marketing efforts using real-world events . The brand’s prestigious 2017 exhibition at the Palazzo Reale in Milan was a perfect example: Damiani raised the curtains on the event by hosting an exclusive dinner for well-known faces on the fashion scene. Among the guests were Instagram influencers like Eleonora Carisi , Paolo Stella and Candela .

Blending with It. Continuando a sognare. È venerdì ✨✨✨ #PalazzoRealeDreamsDamiani #PalazzoRealeDreamsD #DreamsD @damianiofficial in @rochasofficial Bling Bling ⭐️ A post shared by Candela Pelizza (@candela_________) on Mar 24, 2017 at 1:48am PDT

On top of the buzz generated by the Italian social media muses, Damiani seized the opportunity for user-generated content . All guests attending the exhibition were encouraged to share pictures and videos using specific campaign hashtags.

5 Key Lessons To Take Away

These five successful jewelry digital campaigns can teach us a lot about how to create marketing strategies for online jewelry business. To summarize:

• Work with the right influencers . As we saw with David Yurman, it’s important to identify influencers who fit the brand image and are followed by the right target audience.
• Share brand stories coherently across channels . Between their main site, micro-sites, and social media accounts, Van Cleef & Arpels do this brilliantly.
• Customise campaigns for different markets . For global brands, like Bulgari, each market needs to be addressed based on their unique needs and desires.
• Tap into existing buzz by moving quickly on collaborations that are right for the time. Buccellati recognized the rise of virtual avatars like Noonoouri and jumped on board without hesitation.
• Use real-world events to generate content online . Launch events, exhibitions, openings and red carpets are all opportunities to cross pollinate between real life and the digital world.

Know of any other outstanding examples of luxury houses conquering the digital sphere? Share your thoughts with us in the comments below!

By Launchmetrics Content Team

The Launchmetrics content team is always on the lookout for new trends in the fashion and technology sector. We are geeks with style and lovers of good stories!

Let's talk about it Share with us your experience and opinion on the subjects by filling the form below. Cancel Reply

5 responses > join the discussion... “5 stellar examples of successful jewelry digital campaigns”.

GH November 8, 2019 at 16:28

Great Article!! Thank you!

Julia Cohen November 18, 2019 at 14:49

Thank you for your feedback!

Sheridan Kemplin December 5, 2019 at 19:09

Very well said.

Marie March 30, 2020 at 11:48

How can I improve the branding of my Diamond Jewellery Store in Dubai, Al Anwaar, apart from implementing Influencer marketing?

Julia Cohen March 30, 2020 at 12:10

Hi Marie! Thank you for your comment. There are a number of resources on our blog to help you understand more about building brand value and implementing a solid marketing strategy. I am also happy to connect you with a member of the team, using your email if you would like.

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The role of storytelling in the creation of brand love: the PANDORA case

• Original Article
• Published: 06 October 2021
• Volume 29 , pages 58–71, ( 2022 )

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• Patrícia Dias   ORCID: orcid.org/0000-0001-7948-4439 1 &
• Rita Cavalheiro 2  

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The study of storytelling and brand love is justified by the need to understand the potential of storytelling as a tool that marketers have available to positively influence the love felt by the consumers toward a particular brand. In this case, we address the jewelry brand PANDORA as a case study. In our empirical research, we intend to understand the role of storytelling in the creation of brand love when it is used as a brand communication technique. In addition, we chose the brand PANDORA because its products are also associated with stories; thus, we also intend to investigate whether this use of storytelling contributes to the creation of brand love. The results demonstrate a positive impact of storytelling in the love felt by the consumers regarding the brand PANDORA. In addition, we conclude that the stories consumers associate with their own PANDORA jewelry make them like the jewelry and the brand itself even more, which shows that product narrative is an important concept to add value to the product and the brand.

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Introduction

In our global, fast-paced and connected society, brands face the challenge of standing out and being relevant, and many have undergone a path of humanization, aiming to build deeper connections with loyal consumers (Kotler, Kartajaya & Setiawan, 2017 ). As a result, the concept of brand love has been suggested to describe a long-term relationship between brand and consumers, which is based on “multiple interrelated cognitive, affective, and behavioural elements, rather than a specific, single, transient love emotion” (Batra et al., 2012 , p. 6). Furthermore, storytelling has been considered a useful tool for expressing brand values, for creating engagement between brands and consumers and consequently for nurturing strong bonds between them (Fog et al., 2010 ).

Previous research has demonstrated the efficiency of storytelling as a communication technique that prompts emotional connections to brands (Fog et al., 2010 ) and enhances engagement, particularly online (Signorelli, 2014 ), as well as motivates positive Word of Mouth (WOM) (Biesenbach, 2018b ). In parallel, previous research has also identified factors that lead to brand love (antecedents)—among which identification with the brand and self-expression are mentioned—and benefits that brand love delivers to brands—among which engagement in online communities, loyalty and positive WOM (Roberts, 2005 ; Carroll & Ahuvia, 2006 ; Batra et al., 2012 ). Despite some common points between the concepts of brand love and storytelling, previous studies have not, to our knowledge, explored the possibility of storytelling being an antecedent that leads to brand love. Investigating this possibility is important because stories, and the imaginary, emotions and values that are inherent to them, may be another tool available for brands to build brand love and harvest the resulting benefits.

This study addresses the jewelry sector, focusing on PANDORA as a case study. Jewelry is a type of product with a symbolic dimension, that, by itself, is able to tell a story, represent a memorable moment, or even a connection to a person. PANDORA is a relevant case study because it is a jewelry brand that uses storytelling in advertising and communication campaigns and, in addition to this, storytelling is present in its own products. Each PANDORA piece has a distinctive design that associates it with a certain narrative, or that allows consumers to interpret the piece associating it with a certain story, occasion, moment or person of their own life. Focusing on this brand allows our research to fulfill its main objective: Understand the role of storytelling in creating brand love when it is used in communication. But the specific nature of PANDORA also enables us to go further and explore to which extent products which, in themselves, tell stories, contribute to adding value to the brand by enhancing brand love. This becomes relevant, given that the concept of product narrative exists and is defined as “type of storytelling that is not about advertising products, services or brands, but that adds value to the product” (Dias & Dias, 2018 , p. 2).

Theoretical framework

Brand love and lovemarks.

One of the purposes of branding has always been building relationships with (potential) consumers (Fournier, 1998 ). One of the main goals of these relationships is prompting frequent and/or increased purchases, thus leading to loyalty (Swimberghe et al., 2014 ). Amaro et al. ( 2020 ) point to an important difference between satisfaction and loyalty: Satisfaction is a momentary cognitive judgment resulting from a transaction with a brand, while loyalty implies a long-term affective connection with a brand. However, Ghorbanzadeh and Rahehagh ( 2020 ) argue that a theoretical construct that explains “the regular and rational sequence of satisfaction ultimately leading to the formation of consumer loyalty” (p. 1) is lacking and point to emotional attachment and love as possibilities to explore.

In the last few years, as brands strive to stand out and build meaningful and long-lasting relationships with fans and customers, the concept of brand love has been suggested to describe this process, drawing on previous research in the fields of Psychology and Sociology about love for objects and fetichism (Sayers & Monin, 2007 ). In marketing, Fournier ( 1998 ) explored consumer–brand relationships and established that brands can take the role of active partners to establish and nurture a bond. Percy, Hansen and Randup (2004) identified an emotional attachment to brands, and later, Giovanis and Athanasopoulou ( 2018 ) argue that emotional connections are used in branding mainly for differentiating purposes, but when they lead to emotional attachment, customers express preference for the brand, and consequently loyalty over time.

Brand love is defined by Carroll and Ahuvia ( 2006 ) as “the degree of passionate, emotional attachment a satisfied consumer has for a particular trade name” (p. 81), that differs from simple attachment because of its long-lasting nature. It is a type of relationship that is built when consumers fulfill the following requirements: (1) passion for the brand, (2) attachment to the brand, (3) positive evaluations about the brand, (4) positive emotions and (5) declarations of love. Albert and Merunka ( 2013 ) add three fundamental elements in brand love, namely (1) identification with the brand; (2) trust in the brand; and (3) commitment to the brand. Batra et al. ( 2012 ) reiterate that brand love is a long-term relationship created between the brand and consumers, which is based on “multiple interrelated cognitive, affective, and behavioural elements, rather than a specific, single, transient love emotion” (p. 6). The authors also point out some distinctions between interpersonal love and love for a brand. While in the former there is a feeling of altruistic concern for the loved one, this is not true in the love for a brand, as there is only concern for what the brand can do for the consumer. In addition, interpersonal love is a mutual feeling, while love for a brand is unidirectional.

As research moved on to explore the factors that lead to brand love—usually referred to as antecedents—and to demonstrate the benefits that brands harvest when they are the objects of brand love—usually referred to as consequences—becoming a “lovemark” became a goal for many brands worldwide (Sayers & Monin, 2007 ). Roberts ( 2004 ) coined the term “lovemark” to describe a brand capable of creating emotional bonds and personal relationships with the communities and social networks it develops. They are brands capable of triggering respect by being transparent and trustworthy, but others go beyond that by being intimate, mysterious and seductive. Lovemarks understand that love is built upon respect, and these are brands that strive to create strong emotional bonds with their (potential) consumers, offering them more than mere rational arguments or product benefits. Edwards and Day ( 2005 ) add that lovemarks have three fundamental features: (1) They are brands with active and inspiring beliefs, and this is because this type of brand seeks to make the world a little better place than this would be if the brand did not exist; (2) they have confidence rooted in their ability to do things: “Confident brands are sexy. They are the ones everyone wants to be seen with” (p. 79); and (3) they remain vibrant despite the changes the world is undergoing because they tend to have a high capacity for adaptation, managing to move in time, remaining faithful to themselves and their history. Thus, brands need to work on brand love antecedents to become lovemarks, and only then can they harvest the benefits of being the object of brand love.

Antecedents and consequences of brand love

Different studies have mapped out several factors that lead to brand love, exploring them as antecedents of this feeling/relationship between a customer and a brand. However, there is no consensus on this matter, as different studies reveal different aspects. Some authors highlight aspects that are also integrated in the concept of brand equity (Aaker, 1991 ), and therefore add value to brands. That is the case of perceived quality, as Batra et al. ( 2012 ) found that people tend to be attracted to things that provide them with the necessary benefits and demonstrate high quality, arguing that it is challenging to generate love for a brand that does not afford quality. Bairrada, Coelho and Coelho 2018 also refer to perceived value as the evaluation that consumers make regarding the utility of the brand based on the comparison of what they get from it (functional or symbolic characteristics) to what they give (monetary or non-monetary costs). The authors argue that prestige, the degree of status or esteem that consumers associate with a brand (therefore, allied to its most symbolic dimension) leads to brand love. Carroll and Ahuvia ( 2006 ) highlight, as Roberts ( 2004 ), the hedonistic features of the products themselves, that is, “the consumer’s perception of the relative role of hedonic (as compared with utilitarian) benefits offered by the product” (p. 82) and highlight fun and pleasure as the ones that are most connected to brand love. Junaid et al. ( 2019 ) add escapism as another feature that leads to brand love. Recently, Safeer et al. ( 2020 ) corroborated that sensory and affective brand experiences have significant impact in triggering brand love, while intellectual and behavioral experiences (related to perceived quality, for example) do not have significant impact. Fernandes and Inverneiro ( 2020 ) also highlight the importance of brand experience. The authors add that brand experiences that are perceived as authentic are the ones with the most positive impact on brand love, thus identifying authenticity as an important antecedent. In reverse, Rodrigues and Borges ( 2020 ) found that distrust and negative emotions have a negative impact on brand love, reiterating the importance of authenticity. Bairrada, Coelho and Coelho ( 2018 ) also mention brand uniqueness, that is, the degree to which consumers feel that the brand is distinct from competitors. The human being tends to like the feeling of standing out from the rest, and thus, the choice of unique brands is of high relevance. Bergkvist and Bech-Larsen ( 2010 ) stress the importance of the identification with the brand, as the closer the consumer self-image is to the brand image, the higher is the level of identification with the brand. Fernandes and Inverneiro ( 2020 ) reiterate the connection between brand identification and brand love. Carroll and Ahuvia ( 2006 ) also mention self-expression as an antecedent of brand love, as consumers value “the degree to which the specific brand enhances one’s social self and/or reflects one's inner self” (p. 82), and thus prefer brands that help create and reinforce their identities and its expression. Finally, Keller ( 2013 ) mentions the sense of community, the “phenomenon in which customers feel a kinship or affiliation with other people associated with the brand” (p. 121) as a feature that nurtures brand love. However, Fernandes and Inverneiro ( 2020 ) found that engagement in social media brand communities does not lead directly to loyalty (at least among Millennials). People who engage with brands online may feel brand love and be fans without being consumers. Nevertheless, brands can still harvest positive eWOM from these fans. Palazzo, Delgado-Ballester and Sicilia ( 2019 ) refer to self-brand connection as the result of the identification with one brand leading to engagement in its communities, arguing that both these factors foster brand love. This rich strand of research shows us that different studies have identified numerous antecedents that lead to brand love. Some of them, such as perceived quality/value, hedonistic features of the brand, self-expression and identification with the brand, are mentioned more often, and others, such as brand uniqueness and authenticity, appear in, so far, standalone studies and require further exploration. It is possible to conclude that brand love only stems from a complex combination of factors, but the impact that each of the factors has on the creation and nurturing of brand love is still unclear, as well as the interdependencies or synergies between the different factors.

On the other hand, brands strive to generate and nurture brand love because of the benefits it affords, about which researchers share more agreement. Loyalty, the degree to which the consumer is committed with the repurchase of a brand, is considered the most important consequence of brand love (Oliver, 1999 ; Carroll & Ahuvia, 2006 ), as it is directly reflected in the performance of the brand, in its profitability. Ghorbanzadeh and Rahehagh ( 2020 ) agree, claiming that “brand love is the strongest antecedent of brand loyalty” (p. 1). Furthermore, Palazon et al. ( 2019 ) argued that brand equity can increase as a result of brand love. Bairrada, Coelho and Coelho ( 2018 ) also highlight the willingness to pay a higher price for a specific brand in particular, when equivalent brands with lower price could exist as a consequence of brand love. Carroll and Ahuvia ( 2006 ) add that positive Word of Mouth happens when consumers love a brand, as they tend to speak positively about it. Consumers who love a brand are more likely to comment positively and recommend a brand to others. Amaro et al. ( 2020 ), who studied destination brands specifically, stressed WOM and eWOM as good reasons for building brand love. More recently, Giovanis and Athanasopoulous ( 2020 ) reiterate that the main positive consequences of brand love are loyalty, willingness to pay premium price and positive eWOM. Keller ( 2013 ) adds active involvement as another consequence of brand love, explaining that it “occurs when customers are engaged, or willing to invest time, energy, money, or other resources in the brand beyond those expended during purchase or consumption of the brand” (p. 121). Junaid et al. ( 2019 ) also consider brand engagement a consequence of brand love. Thus, although brand love is a complex concept, only generated by a still unexplored combination of antecedents, the literature on its consequences agrees that it is worth pursuing, as it affords many advantages and added value both to brands and consumers.

In the next section, we explore whether and how storytelling fits within this overview of antecedents and consequences of brand love.

Storytelling in brand communication

According to Fisher ( 1984 ), storytelling is such a powerful communication tool because human beings are inherently storytellers and symbol makers, that is, we are homo narrans . Since ancestral times, human beings create symbols and communicate them through stories, thus organizing their experiences and promoting a communal way of life. Thus, storytelling can be defined, in a broader sense, as “conveying messages and sharing accumulated knowledge and wisdom to help navigate and explain the world around us” (Mancuso & Stuth, p. 18). Baker and Boyle ( 2009 ) add that storytelling goes well beyond the cognitive level, operating deeper, on an emotional and even “visceral” level. In addition, they argue that stories connect people to visions for the future that are larger than themselves and give them a purpose, connecting them to each other.

As the online world emerged and expanded, brands became the focus of online communities, in which storytelling stood out as a very effective way of prompting engagement and motivating shares (Pulizzi, 2012 ). Storytelling became a fundamental marketing tool, consisting of “using a narrative to connect your brand to customers, with a focus on linking what you stand for to the values you share with your customers” (Loyal, 2018 , online). Woodside, Stood and Miller 2008 present five arguments to why storytelling is essential to marketing: (1) people naturally think narratively; (2) stories reinforce memorization; (3) stories afford pleasurable experiences; (4) brands and products can appeal to psychological archetypes, thus reaching a strong identification with consumers; and (5) stories afford clarity.

These arguments resonate with some antecedents of brand love. For example, storytelling provokes emotional reactions and connections with consumers, allowing them to lower their defenses and be more easily persuaded (Biesenbach, 2018 ). It is also fundamental for brands to stand out in the digital world, as storytelling conveys distinctive elements of brands, it helps consumers understand the brand’s identity and core values (Mucundorfeanu, 2018 ). Stories enrich brands with a more substantial emotional and imagetic heritage and, therefore, make them more attractive to consumers. Roberts ( 2004 ) was the first to allude to storytelling as a tool that contributes to strengthening the position of lovemarks, as this communication technique appeals to emotions and inspires consumers. Stories highlight information, appeal to emotions and sensory details and, therefore, have the power to reinforce lovemarks. Junaid et al. ( 2019 ) alluded to the importance of the imaginary, as they consider escapism a hedonistic feature of brands that leads to brand love.

In addition, as brands become storytellers, they also become humanized, as they gain and express a personality (Biesenbach, 2018 ). Bergkvist & Bech-Larsen ( 2010 ) also stress that brand love stems from strong symbolic and emotional meanings that make a brand unique and trigger brand identification. Delgado-Ballester ( 2020 ) also stresses that stories are essential to create brand–consumer identification. In addition, Kemp, Porter III, Anasa and Min 2021 studied brand storytelling online and found that stories lead to personal connections with brands, particularly if they convey emotions. Personal connections, on their turn, lead to consumer engagement online and to positive eWOM. This effect is even stronger if the storytelling stems from user-generated content instead of branded content.

Research on storytelling as a brand communication technique reveals several components that are needed in a storytelling campaign. Structural aspects such as a timeline structure and a contextual setting are mentioned by Delgadillo and Escalas ( 2004 ). The importance of strong characters is stressed by Fog, Budtz, Much and Blanchette ( 2010 ), as well as Biesenbach ( 2004 ) and Denning ( 2006 ). Fog, Budtz, Much and Blanchette ( 2010 ) and Delgadillo and Escalas ( 2004 ) also emphasize the importance of a plot, and Biesenbach ( 2018 ) adds that the plot is more alluring if it revolves around conflict. There is a stronger trend toward the importance of conveying a strong message—identified as an important feature by Fog, Budtz, Much and Blanchette 2010 , Denning ( 2006 ), Simmons ( 2009 ) and Mckee and Gerace ( 2018 )—and its symbolic dimension that conveys emotions and values—emphasized by Fog, Budtz, Much and Blanchette (2010), Denning ( 2006 ), Simmons ( 2009 ), Tormes et al. ( 2016 ) and Mucundorfeanu ( 2018 ). Regarding the content of storytelling, Williams, Atwal and Bryson 2019 , researching on luxury brands, suggest that the most common topics are craft, innovation, origins, myth, celebrity, provenance and collectability. Dias and Dias ( 2018 ) suggested that storytelling can go beyond communication and be applied to products, adding value to them through an additional symbolic layer.

Considering the components of stories, and the benefits that storytelling can afford to brands, our study sets out to explore whether storytelling can be considered an antecedent of brand love.

Methodology

Research questions.

Our research aims to explore whether using storytelling has a positive effect on the development of brand love. We consider the use of storytelling within two dimensions of marketing that are explored by PANDORA, adopting the following research questions:

RQ1—Does using storytelling as a communication technique contribute to the development of brand love?

RQ2—Does integrating storytelling in products contribute to the development of brand love?

We adopted a qualitative method, developing a single exploratory case study focused on the brand PANDORA. The qualitative approach, although not offering the generalizability that is characteristic of the quantitative method, can afford an in-depth understanding of a relevant case that can provide insights and spot trends that can be applicable to other cases, as the different possibilities of analytical generalizability demonstrate (Hoijer, 2008 ; Halkier, 2011 ).

Within the sector of jewelry and watches, PANDORA stands out as a brand with the features required to be the object of this type of case study: It uses storytelling as a promotional communication technique and, additionally, it is unique in associating storytelling to its products, thus being a critical case to study the relationship between storytelling and the development of brand love (Yin, 1994 ).

PANDORA as a case study

PANDORA was founded in 1982 by the jeweler Per Enevoldsen and his wife Winnie, in Copenhagen, Denmark. Currently, it covers the design, production and sales of the products. According to PANDORA’s 2020 Annual Report, the brand is present in over 100 countries and employs about 26 000 people. Its revenues in 2020 were around 2,56 billion euros.

The year 2000 was a turning point for PANDORA, when the brand launched its iconic bracelet that can be personalized with collectable differently shaped pieces. This product was so successful that it opened the way for PANDORA’s internationalization. The brand arrived in Portugal in 2004.

Despite the COVID-19 pandemic and the obligation to close stores worldwide during considerable periods, Alexander Lacik, the CEO, considers that 2020 was a “turnaround” year for the brand, as online sales grew 103%, and that company was able to focus on becoming more sustainable. He states that in 2020, PANDORA “cemented [its] position as a desirable and affordable luxury brand” (PANDORA Annual Report 2020 , p. 6).

According to the brand’s Web site, its mission is to offer women a universe of high-quality jewelry, with handmade finishing, contemporary design and affordable prices, thus encouraging women to express their individuality. The brand’s slogan is “unforgettable moments,” because the brand believes that the individuality of each woman is shaped by personal, unique and memorable moments that they have lived, their stories. Thus, the brand’s identity is built around personal stories and the special moments that each woman lives.

Thus, PANDORA is a relevant brand as a case study because it consistently uses storytelling in its promotional communication, whether in advertising, whether in content marketing. In addition, it incorporates storytelling in its own products, as each PANDORA piece has a unique design that affords it a symbolic dimension, thus enabling consumers to associate a specific piece to a certain moment, story or even person. When this bracelet with personalized pieces was launched, it was innovative and unique. The symbolic dimension of PANDORA’s products enables the consumers to eternize the most important moments of their lives. Also, it takes the concept of product narrative (Dias & Dias, 2018 ) to another level: Brand communication may suggest a narrative—storytelling, but each customer appropriates the pieces and ascribes meaning to them—storydoing (Natal et al., 2017 ; Lledó, 2019 ; Rojas, 2019 ). As a consequence, each bracelet is personal and unique, and “tells the story” of its user.

PANDORA is an appropriate brand for studying the relationship between storytelling and the creation of antecedents and consequences of brand love because it uses this technique in its communication, incorporates it in its products and brand identity and enables their customers to use it, creating their own stories.

Data collection and analysis techniques

In order to explore our research questions, we conducted interviews with loyal customers of PANDORA, because these are the most likely to present brand love (Roberts, 2004 ), and we also wanted to make sure that our sample was familiar with PANDORA’s storytelling, both being users of its products and following its communication, particularly on social media.

As a data collection technique, we used in-depth semi-structured interviews (Guerra, 2006). The previous research on the antecedents and consequences of brand love that we discussed above is quantitative and relies mostly on surveys. To our knowledge, the qualitative method has not been applied to explore this topic. However, the qualitative approach affords deeper insight into the “views, experiences, beliefs and motivations of consumers” (Gill, Stuart, Treasure & Chadwick, 2008, p. 292). We considered this approach appropriate to study why loyal customers develop brand love toward PANDORA.

Before the interview, an informed consent form was sent to all volunteer participants by email, explaining the research protocol, what their participation would entail, ensuring their anonymity, and also that their data would be used only for scientific purposes. The form also collected their authorization to record the audio of the interviews, explaining that these would be transcribed and anonymized, and after that the recordings would be destroyed (Creswell, 2009 ).

The interviews were face to face, and lasted, on average, 52 min. We followed a protocol with three moments: (1) greetings, summary of the research project and of what is required of the participant, clarification of any questions and collection of the signed consent form; (2) semi-structured interview, addressing three themes (antecedents of brand love; storytelling in the communication and products of PANDORA; consequences of brand love); and (3) thank you and goodbye.

For data analysis, we used thematic analysis (Boyatzis, 1998 ) using nVivo software. We considered as categories the antecedents and consequences of brand love, and also the components of storytelling that were reviewed in the theoretical section. Our analysis consisted of two stages: (1) First, we selected units of analysis that fit our predefined (drawing on theory) categories and (2) second, we overviewed our data, looking for emergent categories. In Table 1 , we present an overview of our interview script, demonstrating the correspondence between the script questions and the thematic analysis’ categories, as well as their theoretical grounding.

Sampling and sample

We studied a non-probabilistic sample of 20 participants, selected according to two eliminating criteria: (1) being loyal customers of PANDORA, that is, owning more than one piece of PANDORA jewelry and using it regularly, and (2) following at least one PANDORA social media profile.

Within these homogeneous criteria, we tried to obtain a diversified sample according to age, residence area and lifestyle and used the snowball sampling method for that purpose (Taherdoost, 2016 ). We started with five participants who were recruited among the researchers’ contacts’ network, and then, they were asked to recommend other acquaintances who filled our eliminatory criteria. This technique also prevented biases inherent to convenience samples, as we did not know most of our participants previously (only the first 5).

Possible participants were invited via phone call. If they were interested, the informed consent form was sent via email. If they agreed to participate, the face-to-face interview was scheduled. We describe them in more detail in Table 2 .

Although a qualitative approach allowed us to get deeper insight into the relationship between storytelling and brand love, we stress that our sample is small and non-probabilistic and therefore does not allow any generalization of the findings. Our findings are insights and trends that point to topics which should be addressed in further research.

Findings and Discussion

Antecedents of brand love.

Among our 20 participants, who are loyal customers of PANDORA, we found all the antecedents of brand love that we considered as data analysis categories and were able to observe that some of them are more frequent or considered more important by our participants. Table 3 presents a summary of the presence of brand love antecedents towards the brand PANDORA in our sample, and examples of quotes by our participants.

The brand love antecedents that are mentioned more frequently and afforded more importance are a strong identification with the brand, reinforced by self-expression (Carroll & Ahuvia, 2006 ), as all participants consider that the brand enables them to express certain aspects of their identity (Bergkvist & Bech-Larsen, 2010 ) and this is achieved due to the great variety of pieces and the ability to personalize the products and also because the self-image of most participants correspond with the brand image that they perceive (Kapferer, 2003 ; Albert & Merunka, 2013 ).

Regarding self-expression, the participants referred to two aspects: The brand helps them in expressing their identity and personality, but also in expressing their life story. For some of the participants, these two aspects are closely connected, as they believe that they “are” their stories—“ I have a piece in my bracelet that is a hedgehog. Other people usually find it cute and funny, but it has a story. One day I saved a hedgehog that had been run over and was lying in the middle of the road. For me, that piece represents who I am, my values, someone who stops and helps a poor animal ” (P10). Others consider that it is an added value the fact that the jewels have a symbolic dimension connected to memories, important moments, emotions and even people. This is also the most mentioned element of singularity associated with the brand (Bairrada, Coelho & Coelho, 2018), along with the association between the products and stories (Dias & Dias, 2018 ).

The symbolic dimension of each PANDORA piece is important for each user, even if others do not know the story behind them. However, there is also a sense of belonging to a community (Keller, 2013 ), as several participants reported having talked to other PANDORA users about the meaning behind each piece, shared stories and felt an instant connection because of their love for the same brand.

Prestige was the brand love antecedent that caused more debate among our participants. Prestige is usually associated with luxury and exclusivity (Bairrada, Coelho & Coelho, 2018 ), and PANDORA is an affordable brand that can be used by anyone, every day. However, our case study demonstrates that it is possible to feel brand love without the presence of this antecedent.

Storytelling and brand love

In the second part of the interview, we explored to which extent the storytelling of the brand PANDORA was important and valued by our participants, considering if different applications of this technique—in branded content, in advertising and in products—were recognized and valued. On Table 4 , you can find information regarding the importance of PANDORA using storytelling, and corresponding quotes.

All of the participants acknowledge that PANDORA uses storytelling as a communication strategy. All the participants follow PANDORA on social media and enjoy the content created by the brand very much. They claim to connect with the brand because of the stories portrayed and of the values conveyed, which they relate to the brand love antecedents of brand identification and self-expression. For example, Participant 2 states: “ For me, PANDORA is about love, friendship, connection. It’s also about each woman being unique, being a result of the most important moments in her life .” Among the consumers who follow different profiles, Instagram is the favorite.

All of our participants also identify storytelling in PANDORA’s advertising, although they claim not enjoying advertising and not paying much attention to it. McKee and Gerace ( 2018 ) claim that storytelling and appeal to emotions favor memorization when compared to facts and information, and although most participants claim disliking ads and not paying attention to them, 12 were able to recall ads, 5 found out about new products because of ads and 2 bought PANDORA products due to ads.

All of the participants agreed that using storytelling in communication is key to catching their attention and is one of the main reasons they like PANDORA. When asked about the importance of different components of stories discussed—characters, time and space, plot and message—they highlighted the message, explaining that when the brand tells stories that resemble their lives or appeal to values that they share, they identify with it (Mucundorfeanu, 2018 ). Thus, the appeal to shared values stands out as the main reason why our participants identify with PANDORA and appropriate it for their self-expression (Fog, Budtz, Much and Blanchette (2010); Tormes et al., 2016 ).

In addition, all the participants also acknowledge that PANDORA associates stories to its products (Dias & Dias, 2018 ). Consumers value this very much, as stories add a symbolic dimension to products that enhance their value (Biesenbach, 2018 ; Fog et al., 2010 ). For example, Participant 17 states: “ If the pieces didn’t have a story, they would be ordinary. If I lost them I wouldn’t be sad. If I lost PANDORA, it would be a disaster .”

Each of the 20 participants told us a story about one PANDORA piece that was special for them, usually associated with an important moment or memory, or to a person—e.g., “ I have one piece that always makes me laugh. Right before turning 18, I got my drivers’ license and asked my parents for a car. On my birthday, my father gave this PANDORA piece that is a car and said ‘Here you go, that’s the car you have been asking for’. I was a bit mad at the time, but now it’s my favourite piece because I laugh every time I look at it and it’s a memory of my 18th birthday ” (P14). All the consumers agree that the story associated with the product adds value to it, as it gains a symbolic and affective dimension (Dias, L. & Dias, P., 2018)—“ The pieces remind me of important moments, moments that made me who I am. These pieces eternize festive dates, and when I wear the jewelry I carry with me memories of those good moments, a positive energy. The story behind each piece is very valuable and meaningful for me ” (P12). This shows that storytelling integrated in products even prompts consumers to go from storytelling to storydoing, embedding the brand in their own stories (Natal et al., 2017 ; Lledó, 2019 ; Rojas, 2019 ).

All of the participants mention the values depicted in the stories, highlighting family, love, friendship and self-expression. If the values conveyed by the brand and the ones that are important for consumers coincide, this leads to a strong identification of the consumers with the brand (Signorelli, 2014 ). Thus, according to our participants, stories and values do reinforce brand love, as they favor the creation of an emotional and affective relationship with the jewels, and by extension with the brand. This is illustrated by Participant 15: “ The stories make me develop a special affection for the brand. When I think about jewelry, the first brand that pops to mind is PANDORA. I think that’s because every piece I own is very meaningful for me .” Thus, we concluded that storytelling plays a very important role in the development of brand love, particularly if entailing shared values and personalization (Karahanolu & Sener, 2009 ), and that it can, therefore, be considered a brand love antecedent.

Consequences of brand love

After verifying that most antecedents of brand love are present in our interviewees regarding PANDORA, and observing that, in their view, the use of storytelling by the brand enhances their connection to it, we set out to search for the consequences of brand love. Table 5 presents a summary of the presence of consequences of brand love towards the brand PANDORA in our sample, and examples of quotes by our partipantes. We consider these elements as consequences of brand love, and not of similar concepts such as satisfaction, loyalty or emotional attachment to brands, because we have already established the existence of brand love for PANDORA among our participants—they all own PANDORA pieces and use them regularly, they follow PANDORA on social media, and they express a strong identification with the brand. Thus, they have a long-lasting relationship with PANDORA, and they expressed “declarations of love” during the interviews (Carroll and Ahuvia, 2006 ).

Loyalty is a very evident brand love consequence present among our participants. All of them already own several PANDORA pieces and expressed intention of buying more in the near future (Albert & Merunka, 2013 ; Oliver, 1999 ). Actually, 13 of the participants already know exactly what they are going to buy.

Another important consequence of brand love is positive WOM (Carrol & Ahuvia, 2009 ), as all of the participants declare having recommended PANDORA in the past and being willing to recommend it again in future. The main reason for this is that, according to them, the brand is meaningful, is more than a piece of jewelry, it has an important symbolic and affective dimension (Dias & Dias, 2018 ). Also, all participants declare being willing to pay a bit more for PANDORA’s products, if necessary, mostly because they value the symbolic and affective dimension of the products. Participant 11 also refers to collecting as an important factor leading to loyalty and to willingness to pay more for the products—“ Then you have to feed your addiction, you have your bracelet and you want to complete it, to fill it with important moments and stories. ”

Concerning active engagement, it was more difficult to assess this brand love consequence because, out of the 20, only half declared actively searching about the brand or engaging with it in some way (Keller, 2013 ). We observed that younger consumers (under 25 years old) are more actively engaged with the brand.

Finally, 16 of our participants declared considering themselves as PANDORA “brand lovers.” They justify their answer mentioning that they wear their jewelry frequently and mostly that they have created emotional links to the jewels due to the stories and moments that they represent.

Thus, we conclude that using storytelling in communication is important for setting a context for the brand and for expressing values that generate identification from the consumers (Roberts, 2004 ; Newlin, 2009), but applying storytelling to the products really makes a difference in adding symbolic and affective value to them (Dias & Dias, 2018 ). Storytelling can be considered an antecedent of brand love and has a stronger impact when it is applied to products themselves.

Our findings have shown the presence of most antecedents and consequences of brand love regarding the brand PANDORA among our sample, and 16 out of our 20 interviewees describe themselves as PANDORA lovers. In addition, we also observed that they acknowledge the use of storytelling by PANDORA, both in brand communication content marketing and advertising and associated with the brand’s products.

Next, we set out to explore the relationship between storytelling and brand love, in the case of PANDORA. According to most of your interviewees, the use of storytelling has the effect of generating, enhancing and reinforcing brand love, as it was a crucial factor for them to feel identification with the brand and to develop emotions toward it. Using storytelling in communication is important to catch attention and generate identification between the values embedded in the stories and the ones that are important for consumers (Pulizzi, 2012 ). This identification based on shared values is a deeper connection than the ones based on individual features or lifestyle and thus is an important foundation for loyalty and positive WOM, beneficial consequences of brand love (Kotler, Kartajaya & Setiawan, 2017 ). However, our participants highlight the importance of associating stories to products as a way of extending the products and enhancing their value. These narrative products (Dias & Dias, 2018 ) have a symbolic and affective dimension that makes them more than products, and they become symbols, mementos, an extension of the user. In the case of PANDORA, because of the collectible nature of their products, necklaces and bracelets that can be personalized with diverse pieces, the association between products and stories goes beyond storytelling, as users become storydoers (Natal et al., 2017 ; Lledó, 2019 ; Rojas, 2019 ), using the pieces to build their own symbolic narratives. This holistic approach to storytelling as a branding strategy (Fog et al., 2010 ) is, therefore, key to success in building and nurturing brand love. Thus, we conclude that storytelling can be considered an antecedent of brand love, that our interviewees relate specifically with loyalty, positive WOM and willingness to pay more.

Our participants consider that storytelling prompts identification with the brand, self-expression, sense of belonging to a community and perceived value of the products and brand, and this effect is shaped by brand identity, as the personalizable nature of PANDORA’s products is intimately connected to self-expression and identity. Despite being central in the case of PANDORA, in which storytelling is not only applied to communication but also to products, there is the possibility of other brands being able to nurture brand love without resorting to storytelling. The literature on the antecedents of brand love, so far, reveals that each of them is not a requirement for the blossoming and nurturing of brand love, but they are complementary and act synergically, reinforcing each other.

Retrieving our research questions, we concluded that storytelling as a communication technique contributes to the development of brand love, particularly by triggering identification with the brand values and emotional attachment to the brand (Berkvist & Bech-Larsen, 2010 ; Biesenbach, 2018 ). Thus, one academic contribution of our study is presenting storytelling as an additional antecedent of brand love. Also, storytelling contributes to reinforcing other antecedents of brand love, namely brand identification. Another contribution is highlighting the strength of applying storytelling to products, as this symbolic dimension adds value to the products, and enables users to appropriate them for self-expression (Dias & Dias, 2018 ). In the case of PANDORA, our participants stress that it is because of their symbolic dimension that they feel so attached to PANDORA’s products, and are loyal and engaged customers.

Our research presents contributions to communication and marketing professionals, by attesting the strength of storytelling and by demonstrating the synergic nature of the relationship between several antecedents and consequences of brand love. Additionally, other brands can learn from PANDORA to use storytelling beyond their communication, because it is precisely the narrative nature of the brand’s products that our participants value the most (Dias & Dias, 2018 ).

Being a case study, our findings are not generalizable but they reveal relevant insights for using storytelling in branding, and for the design of future research on storytelling as an antecedent of brand love, on the synergies between antecedents and consequences of brand love, and on narrative products, with a broader scope, considering different product categories and different types of brands.

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Dias, P., Cavalheiro, R. The role of storytelling in the creation of brand love: the PANDORA case. J Brand Manag 29 , 58–71 (2022). https://doi.org/10.1057/s41262-021-00254-6

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Revised : 14 July 2021

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Jewellery SEO Case Study: Analysis of Pandora & Tiffany’s Digital Marketing Strategy 

It is only recently that a large proportion of luxury brands have begun investing in SEO strategies, having instead previously relied on brand awareness to drive sales. With the digital industry growing and becoming a busier platform they have begun to recognise SEO as a legitimate revenue source. Some jewellery brands, in particular, have bought into SEO and now have solid, successful strategies which have led to them dominating the search results.

The Importance of SEO for Jewellery Brands

It’s always been challenging to acquire new customers. This challenge remains true in today’s crowded marketplace, with expectations around online shopping experiences expected to match those consumers can receive offline.

Even some of the most established jewellery brands in the world can only see success if they launch their latest collections in a coordinated fashion that incorporates digital and SEO best practices.

Here are just some of the benefits SEO and digital marketing offer:

Market to Your Target Audience Effectively

Marketing to your target audience is a critical factor for any business, and thanks to the emergence of digital advertising, it’s now more straightforward. Of course, that’s not to say it’s easy, but before online advertising became popular, it was a case of developing an ad for all, hoping it would draw out your target audience through a crowd of noise and interruption.

Now, you can create target ads and content specifically for the consumers you want to reach.

Increase Website Traffic

In an industry where looks are everything, the digital world is perfect for jewellery brands to showcase their products. However, for potential customers to recognise the aesthetic beauty of your website, they need to get there!

This is where using digital marketing techniques to reach your target market and drive targeted traffic to your website is ideal.

Build Brand Awareness

The more extensive your online presence, the more recognisable your brand name will be. This is also true for jewellery brands looking for their brand to be at the forefront of consumers’ minds.

When developing a digital marketing campaign , whether SEO or a content marketing strategy, focus on creating clear and concise messaging that works together to market your brand online creatively.

Digital marketing within the jewellery industry is also a great way to enhance your brand’s image. Not only does it show customers your latest collections, but it can also create a positive online presence for all to admire, whether they are ready to become customers today or in the future.

Create a Global Offering

One of the most significant benefits of SEO and digital marketing is enhancing a company’s online presence and global website rankings. This can be priceless for a brand wanting to expand into a new market or looking to test campaigns in new territories before committing to a more expansive rollout.

What We Can Learn From Two of the Biggest Brands in the Jewellery Industry

SEO strategies are typically complex in nature, but here we analyse the structure of a website and how it grounds great technical SEO and content SEO strategies. First, we will concentrate on technical SEO, and keyword mapping to the correct pages, before moving on to analysing the content delivered on the sites. The examples are two very successful brands, Pandora and Tiffany’s. The structure of the site feeds the entire content strategy and affects how easily the site will be updated. The data shown from these two brands comes from Google UK.

TECHNICAL SEO STRATEGIES

The first brand we will analyse is jewellery designer Pandora. Not the top end of the jewellery market Pandora sets itself apart from competitors by positioning themselves as affordable luxury. Their brand is known worldwide and this is reflected in their branded search positions.

The Pandora brand is now so strong that they have little to worry about in terms of branded searches. However, their current non-branded digital strategy is dominating the jewellery industry.

Pandora achieves this through a wide range of different, uniquely named URLs so that customers can be led straight to the specific page they are searching for. This means that the customers click on the most useful page possible, providing them with the best possible user experience.

Pandora’s keywords have been carefully interwoven into their content strategy. Each URL contains a relevant dedicated keyword, including both specific keywords which are easier to target, to more generalised keywords which take much longer to rank for and have much stronger competition.

For example, they have a specific page dedicated to “necklace chains”, and the URL states “necklace-chains” so there is no room for confusion for either customers or Google. Search engines know exactly which page should serve users the best. “Stacked rings” is another example of how they use key terms in the URL “/rings/stacking-rings/”. This increases the range of keywords they can rank for, thus appearing for the broader range of terms such as “necklaces” and “rings”.

Our other example is the well-known jewellery brand Tiffany’s. A high-end luxury brand, they communicate their brand value but highlighting the history of the brand.

Similar to Pandora, Tiffany’s appear strongly for branded keywords. They focus on necklace and engagement keywords, directly associated with their brand to drive traffic to their site. However, their URLs are not as tightly structured as Pandora.

The table above shows a range of URLs which, though not quite as exact as Pandora, do reflect the brand categories. They reserve pearl jewellery for its own page, and dedicate diamonds to the engagement page, working from their brand’s persona, which famously associates Tiffany’s with engagement rings.

From an SEO perspective, this means that Google will read these categories, and give the site more credit for terms such as jewellery and engagement, particularly as the content reflects this, which you will soon see.

CONTENT STRATEGIES

The content from these luxury brands reflects a strong structure with each brand presenting a strong online presence through their blogs.

In terms of SEO, every time they publish a blog post results into one more indexed page on their website, which means another opportunity for their brand to show up in search engines and drive traffic to their website in organic search.

Pandora’s blog ‘Universe’ is the most active blog we’ve come across from a luxury jewellery designer, publishing multiple blog posts every week.

1. Landing Pages

Pandora’s landing pages contain a strong amount of copy , especially for an image-based site. They not only have category copy situated at the top of the page but also have an expanded version at the bottom of the page. While this is slightly unnatural for a page structure, the extra copy is obviously working well, as they are ranking on the first page for a wide number of keywords. The design of the bottom of the page means that the copy doesn’t look too out of place. We assume that this technique will be used in the fashion and jewellery industries, as brands try to get more copy on their pages without damaging the user experience.

The “Universe” has six main categories:

• Newest stories (all blog posts)
• Craftmanship
• Seasonal trends
• On Our Wishlist

There is also the option of adding more filters to your search in the blog archive to find all the posts about the specific topic the reader is looking for. This ensures the reader can access the content they need quickly and don’t need to click on pages of blog posts to find information.

Pandora’s URLs are very simple and clear, but they also have some categories which cleverly highlight their products. For example, the ‘Sneak peek’ category gives a first look at the next collection launch. With colour schemes and styles identified, the reader is teased until the full collection is revealed. They can also add the new jewellery to their Pandora wish list before the collection is even released, solidifying potential purchases.

Users will also link to the new collection, which will help the site gain more links and keep their rankings strong.

The final category on the Universe blog is called ‘On our Wishlist’ and includes posts mainly focusing on products the blog writers are wishing for at the moment, which perhaps the readers also wants. It also jumps on current events such as Valentine’s Day and Mother’s Day to show gift ideas from Pandora. This allows Pandora to rank for key calendar events, and grab those gift searches. This will also pick up a range of links during those seasons which will contribute to a lift in rankings.

This simple URL structure clearly tells Google what URLs should rank for each keyword, and splits the blog into easy categories.

Tiffany was actually one of the first luxury brands who took online marketing and online sales seriously, and this has paid off as they are still one of the leading jewellery brands doing sales online .

1 . Landing Pages

Rather than adding copy to the category product page itself, as Pandora does, Tiffany’s has split the categories into subheadings and included guides and information about their products on separate pages. Tiffany’s also manages to include the word “gifts” in many of their subheadings, something which will help them target “gift” search terms.

While this isn’t a perfect strategy, it means that the site includes more keywords, ranks more pages, and adds context to search engines. It is also a good alternative for those brands who don’t want to add copy to their main landing pages, something many luxury brands are not ready to do.

Tiffany’s blog is named ‘The world of Tiffany’ and gives the reader an opportunity to explore the brand heritage, product styling suggestions, romantic inspiration and the latest news from Tiffany.

Tiffany’s blog differs from Pandora’s first and foremost in terms of layout. Where Pandora’s blog has a traditional blog layout with blog posts stacked underneath each other sorted by date with the latest blog post featuring at the top, the Tiffany blog is more fluid. It does not mean it is any less easy to navigate through. The blog has three main categories:

• The Tiffany story
• The future is beautiful

While these are not the most searched for keywords, Tiffany’s has made up for it by their content.

For example, the second category, ‘The Tiffany story’, gives the reader insights into the story behind the Tiffany brand. In this category the reader can explore four further categories:

All the content in the category is evergreen and does not have a date it’s published. It contains information that will always be relevant and does not need any further updates unless the there is a redesign of the site.

The final blog category is called ‘The future is beautiful’. The blog content in this category gives the reader insights into Tiffany’s commitment to maintaining the highest standards of social and environmental responsibility.

However, despite the title, the URL strategically uses the word sustainability, which is probably what the reader was searching for in their preferred search engine. While Pandora clearly creates and structure their URLs, Tiffany’s affords a little creativity by balancing brand tone, keywords and content expertly.

When creating content for a site it is important to choose a URL structure that is both flexible and easily understood by Google. If you need to be creative ensure you base your content around a particular keyword, as Tiffany’s does.

Analysing these two major jewellery brands which both have successful blogs, it is easy to see how you can build and run a blog for similar brands. Pandora’s blog is always on brand and focuses on the latest products. However, Tiffany focuses not only on their products but more on their brand heritage, as well as their social and environmental responsibility.

Both blogs work well for the purpose of building a brand persona, giving the consumers better access to information and increasing the number of indexed pages on their website, which makes them more dynamic and a higher rank in Google. But the reason they work so well is due to their simple, yet effective URL structure.

If you need help from a luxury SEO agency based in London please get in touch.

If you found this post helpful, why not stay up to date and follow us on Instagram or Twitter , and make sure to keep an eye on our blog for our next case studies on influencer marketing and outreach.

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Eliminating the Purchasing Barriers:

A jewelry marketing case study.

The Challenge: Driving More Online Sales

With the fall and winter jewelry season on the way, Diamond Vendors aimed to use its website to attract new leads and drive sales, while supplementing its existing brick-and-mortar business. Recognizing that its existing website was not creating leads, the company’s leadership team knew it was time to make a change.

Diamond Vendors engaged Brodie Creative, a respected digital marketing agency that had already achieved success transitioning brick-and-mortar retailers to e-commerce driven sales environments. Therefore, Diamond Vendors looked to the historic success of Brodie Creative to deliver them a return on their investment.

The Solution: A Local Approach

The team at Brodie Creative got right to work, looking closely at the digital marketing efforts of emerging jewelry brands in the market—including Blue Nile, James Allen and Ritani, among others. Based on their comprehensive research, the South Florida marketing agency recommended a strategy that would distinguish Diamond Vendors from its competition, focusing on a local campaign strategy targeting potential customers within a 20-mile radius of the company’s brick-and-mortar location in North Miami, Florida. These users would be pushed toward scheduling a product viewing at the store.

Brodie Creative launched the strategy for the fall and winter of 2013, starting with the “grand opening” of Diamond Vendors’ new website.

Thanks to its industry expertise, the Brodie Creative team knew that funneling users to an in-store viewing eliminated a major barrier for customers—the discomfort they often feel when making large, expensive jewelry purchases online. Instead, users could browse Diamond Vendors’ diamond search tool featuring more than 700,000 loose diamonds, and then see products in person before making a decision.

However, this presented another challenge. Brodie Creative implemented wide-ranging analytics to monitor user behavior, and the team quickly noticed that about 30 out of 400 average users each month interacted with the new website, including the diamond search tool. When asked to rate the search tool, a majority gave it a score of 2 out of 5 or lower, and further analysis found that 76 percent of users who made it to the tool did not interact with it in any significant way. Only 14 percent used the tool to compare diamonds, and just 1.5 percent went on to make a purchase.

It was clear the diamond search tool needed to be improved. With only the budget for an advertising campaign, Brodie Creative needed to find a way to make adjustments to the existing tool so that ad spending would drive potential customers to a website they could actually use effectively. The design team needed to determine which features of the search tool created the most value.

Using analytics and heat mapping software, Brodie Creative tracked how users interacted with blog content that educated users on finding the perfect diamond and related topics. The team successfully found which diamond features were most relevant to customers and, leveraging this data, determined the filtering features—such as price, size, cut, clarity, and color—that users would find most helpful. This zoom-in pivot enhanced new user engagement levels to 68 percent—with a truly impressive 8.9 percent of those users making a purchase.

As the campaign launch neared, Brodie Creative conducted keyword research to ensure the improved search tool reached the optimal audience. Finding the most profitable keywords, the South Florida PPC agency was also able to identify how locals searched for diamonds—recognizing, for example, that nearly 70 percent of active searches occurred in November and December ( Search Trends ).

By implementing tactics like search ads, remarketing to previous customers, geo-targeting and demographic targeting, Brodie Creative as able to pinpoint ads toward users who were genuinely interested in diamonds, qualified to purchase and able to visit the store in the near future.

The Results: A Major Return On Investment

The new interactive diamond filter accelerated Diamond Vendors’ lead collection rate by nearly 150 percent, while also helping to prequalify users before they reached the retailer’s sales team. This optimized the sales process, as customers had typically narrowed down their options before entering the store and were more likely to follow through with a purchase.

Pay-per-click advertising efforts became profitable for the retailer within just two weeks after launch, with $400 in ad spend translating into revenue of more than $3,000 in profit. By the time the campaign ended in January 2014, we had achieved a 46 to 1 return on ad spend.

In the long term, the campaign prompted a change in the way Diamond Vendors (now known as Bashert Diamonds ) approached sales. It has since moved away from brick-and-mortar sales entirely, now favoring an e-commerce approach and positioning itself solely as a jewelry company.

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Tiffany & Co. Case Study: A New Generation of Jewellery

• Written by Sydni Rambo
• Jewelry Marketing , Luxury Management
• November 1, 2021

In January, the multinational French luxury goods corporation- Moët Hennessy Louis Vuitton (LVMH) successfully acquired a timeless jewelry brand- Tiffany & Co. for $15.8 Billion US Dollars . Since then, Tiffany & Co. has undergone numerous changes as they reposition their brand image to adhere to a younger generation rather than an image that reminds you of “your mom’s jewelry”. Let’s dive into the details.

• How did Tiffany & Co. become so successful?
• The Tiffany Blue
• The Signature Setting
• The Mark for Silver
• Influencers and Marketing
• A Time for Change
• Social Media
•  Statistics
• Key Changes
• Conclusion                    

1. How did Tiffany & Co. become so successful?

With a $1,000 advance from his father, Charles Lewis Tiffany began a “stationery and fancy goods store”. In 1837, he and John B. Young (a friend) rapidly grew his business and began selling glass, cutlery, jewelry, clocks, and other goods.

The company set a new precedent by implementing set prices since bargaining was the standard back then. This implementation would set their prestigious standards. While most jewelers at the time took credit, this company decided to only accept cash payments. This attracted a different market because it was only the wealthiest consumers who could afford to pay cash upfront for the high-quality goods.

“ Tiffany, Young, and Ellis ,” later became the international luxury jeweler and specialty retailer Tiffany & Co. The brand strived to continuously implement a commitment to successful operations pertaining to strategizing as well as adhering to very diverse generations so that they would never lose their essence of “excellence in jewelry design, luxury and customer service”.

2. The Tiffany Blue

As a marketing strategy, Tiffany & Co. trademarked Tiffany Blue , which is a color inspired by the medium-colored shade of Robin’s egg . The success with this color affiliation to the brand later led to the creation of the “ little blue box .” Due to its easily recognizable shape, size, and color, Tiffany has set rules to not allow a Tiffany blue box to leave the store without containing a purchased merchandise item inside. The exclusivity of the packaging along with the products made Tiffany items even more desirable to consumers.

3. The Signatue Setting

Tiffany and Co. introduced their “Tiffany setting” for rings. This setting is different from others because the band sits close to the finger and includes six prongs that securely hold a round brilliant–cut Tiffany diamond. This forever changed the design of engagement rings, because this setting allowed more light to enter the diamond from all sides. The Tiffany engagement ring setting is arguably the most popular setting in the world and is most certainly Tiffany’s bestseller .

3. The Mark Of Silver

Tiffany was the first US company to adopt the 925 / 100 European sterling silver standard. Tiffany & Co. accepting this standard was instrumental in their success as it did not become adopted by the United States in 1851. Later, in 1867 at the Paris Exposition Universelle, Tiffany became the first American company to win the prize for excellence in sterling silver craftsmanship.

4. Influencers and Marketing

Tiffany was appointed as the royal jeweler for the crowned heads of Europe, Ottoman Emperor, and the Czar and Czarina of Russia, following the Paris Fair in 1900. As mentioned previously, Tiffany & Co. worked alongside the wealthiest families in America, such as the Vanderbilt , Whitney , and Astor families on commissioned silver services and jewelry.

Famous Figures and Tiffany

• Franklin Roosevelt purchased a Tiffany engagement ring for Eleanor Roosevelt in 1904.
• Tiffany was also a favorite of First Lady Jackie Kennedy , who wore a Tiffany brooch gifted to her by President John F. Kennedy following the birth of their son.
• President Abraham Lincoln purchased a Tiffany seed pearl necklace and earrings for his wife, who wears them to the inaugural ball.
• Mary Whitehouse , wife of American diplomat Edwin Sheldon Whitehouse.
• Hollywood icon Audrey Hepburn , Recognised as both a film and fashion icon, she was ranked by the American Film Institute as the third-greatest female screen legend from the Classical Hollywood cinema and was inducted into the International Best Dressed List Hall of Fame.

Celebrities and Tiffany:

Today, Tiffany is still working with celebrities to elevate their brand and the luxury of their jewelry. Recently, Tiffany & Co. partnered with singer, songwriter, and actress, Lady Gaga, to attract attention from the new millennial generation.

Other notable celebrities include:

• Beyoncé Giselle Knowles-Carter (Beyoncé)- an American singer, rapper, songwriter, and actress who rose to fame in the late 1990s as the lead singer of Destiny’s Child, one of the best-selling girl groups of all time.
• Hailey Beiber (Hailey Baldwin)
• Kendall Jenner
• Ariana Grande
• Camilla Cabello
• Kim Kardashian
• Khloe Kardashian
• Selena Gomez
• Paris Hilton
• Vanessa Hudgens
• Taylor Swift
• Reese Witherspoon
• Jennifer Lopez
• Margot Robbie
• Jennifer Lawrence
• Natalie Portman
• Jessica Biel
• Gwyneth Paltrow
• Kate hudson
• Lea Michele
• Blake Lively
• Cameron Diaz
• Kate Middleton
• Jennier Aniston
• Jessica Simpson
• Anne Hathaway
• Demi Lovato
• Carrie Underwood

6. A Time For Change

As Tiffany & Co. fell under new management , so came a shift in the brand’s focus. The new strategy was to introduce elegant, high-end, sparkling jewelry, and stray away from the affordable, sterling silver product lines. Even with this very diverse direction in mind, CEO Bernard Arnault of the LVMH Group stated: “We will prioritize Tiffany’s long-term desirability over short-term constraints” .

The brand settlement was set to take place in 2020 however constraints due to the COVID-19 pandemic delayed this process. The case ended up taking place in early 2021 in a Delaware court, not too far from my Delaware home. Bernard Arnault has also appointed his son Alexandre Arnault – who served as the former CEO of LVMH-owned luggage brand Rimowa – as Tiffany’s executive vice-president of product and communication. He is now working with Tiffany’s newest CEO Anthony Ledru (formerly the head of Louis Vuitton in the Americas).

Anthony Ledru, brings a diverse perspective to the repositioning of Tiffany & Co. He comes with a background from Harry Winston and Cartier where he held senior positions. The repositioning set fire when Tiffany & Co. purchased an 80-carat D color internally flawless diamond . This diamond is intended to be used in Tiffany’s most expensive necklace to ever be produced and set for sale. The diamond necklace is expected to be unveiled in 2022 when the doors of Tiffany & Co’s. transformed Fifth Avenue flagship store reopens . A Tiffany spokesperson confirmed the final price will be “within the eight-figure range”, making it more than $10 million US dollars.

 Victoria Reynolds, Tiffany & Co. Chief Gemologist said: “What better way to mark the opening of our transformed Tiffany flagship store in 2022 than to reimagine this incredible necklace from the 1939 World’s Fair, one of our most celebrated pieces when we opened our doors on 57th Street and Fifth Avenue for the first time.”

7. Social Media

In Tiffany’s most recent campaign “ Not Your Mother’s Tiffany ” which has been trending on Instagram as well as on the advertisements of Manhattan, they have indicated their desire for change and improvements. One of these changes clearly points to introducing new high-end jewelry as stated previously. Signs point to this as the ads picture a model rocking a $1,500 US dollar bracelet as well as a pricey silver chain link necklace. Other ads incorporate multiple models wearing casual clothes and “carefully unstyled” hair . This form of advertising was used to convey a younger, more gen-z appropriate style.

8. Statistics

Tiffany & Co.’s full-year earnings will no longer be made publicly available, but in 2019 the company’s revenue totaled $US 4.4 billion dollars. In its most recent financial report (from November 2020) which covered the first nine months of the year, it was noted that Tiffany’s revenue had fallen by approximately 25% as a result of impacts caused by the COVID-19 pandemic.

This means that the total revenue for the year would have been approximately $US3.3 billion, this value is approximately equal to LVMH’s division of existing Watches and Jewelry, which includes Tag Heuer, Fred, Chaumet, Zenith, and Bulgari.

In 2020, the Watch and Jewelry division recorded revenue of EUR 3.4 billion dollars which represented 7.5% of the LVMH Group’s total revenue as well as a decline of 24% from the previous year.

9. Key Changes

• Tiffany’s brand repositioning no longer recalls the iconic Audrey Hepburn . Audrey Hepburn brought worldwide attention to Tiffany’s in the 1961 movie, “Breakfast at Tiffany’s”.
• The management of LVMH is expected to replicate the same control strategy for Tiffany & Co. that they took when acquiring Louis Vuitton.
• Tiffany and Co. is planning to introduce men’s engagement rings as well. This new product line is another effort to attract a younger, more diverse market of consumers.
• As of right now, there is no indication that Tiffany will have unusual apparel for its exclusive clientele but there have been rumors that this will soon be coming. Only time will tell.

Tiffany & Co. is continuously improving their brand and working hard to ensure that its legacy lives on. Tiffany and Co’s repositioning strategy is just another step in the right direction . The brand holds a special place in my heart because when I turned sixteen I had the privilege of walking into the Tiffany store on Fifth Avenue and walking out with my very own little blue box that contained a “Return to Tiffany Heart Tag Pendant Necklace”. Even in 2016, to a sixteen-year-old, the jewelry felt timeless .

Return to Tiffany Heart Necklace

Coming from someone who loves the brand, owns the products, and is a gen-z female, I think this new take on the company will prove to be very successful.

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Digital Marketing Strategies of Kalyan Jewellers – A Detailed Case Study

• September 5, 2022

Table of Contents

The detailed marketing strategies of kalyan jewellers.

Kalyan Jewellers is one of the largest jewellery retailers in India, with over 100 stores across the country. The company was founded in 1993 by T.S. Kalyanaraman and has since become one of the most trusted jewellers in the country.

Kalyan Jewellers offers a wide range of gold, silver, and diamond jewellery for men, women and kids. The company strongly focuses on customer satisfaction and offers a lifetime exchange policy on all its products.

Kalyan Jewellers has a comprehensive marketing strategy that includes online and offline channels. The company’s website is one of India’s most visited jewellery websites and receives over 1 million monthly visitors.

Kalyan Jewellers also has a strong presence on social media, with over 1 million followers on Facebook and Twitter. The company regularly runs social media campaigns and contests that offer customers a chance to win jewellery.

In this article, we will look at the detailed marketing strategy of Kalyan Jewellers and how they succeeded in taking digital marketing into their hands.

About Kalyan Jewellers

• Founder: T.S. Kalayanaraman
• opened in 1993, with headquarters at Kerala
• Branches: All across the world.
• Website: www.kalyanjewellers.net
• Brand Amabassidor: Amithab batchan

TS Kalyanaraman established Kalyan Jewellers in 1993 and began producing jewellery for two of his sons. Kalyan has 140 storefronts across India and Southeast Asia, with annual sales estimated at around $10 billion.

This story contains several inspirational lessons that have the potential to inspire people of all ages. It’s about things that were once big, as well as dreaming big and acting on those dreams. TS Kalyanaraman, the founder of Kalyan Jewellers, is not only a successful businessman but also a high-flying individual who has made significant contributions to the jewellery industry.

Kalyanaraman, who has textile industry ancestors, took the lead in assisting his father in running their decades-old sewing business in Thrissur, Kerala. 

But he quickly realised that selling jewellery would be a more profitable venture, and He expanded the family tree to include several jewellery-related branches all over the globe.

Why Should Marketers Study Digital Marketing Strategies?  

As digital marketing evolves, marketers’ understanding of their various digital marketing strategies becomes increasingly important.

Marketers can more effectively reach their target audiences and achieve their business goals by studying and understanding these strategies.

Some of the important reasons are,

• Marketing is more complex than ever in the digital age.
• Marketers must be up to date on the latest digital marketing strategies to reach their target audience.
• Because digital marketing strategies are constantly evolving, marketers must stay current.
• Because there are so many different digital marketing channels, marketers must determine which ones work best for them.
• Search engine optimisation (SEO), social media marketing, and email marketing are the most important digital marketing strategies. As a result, business owners must be prepared to deal with these issues.

Continue reading to look at the complete case study on digital marketing strategies for Kalyan jewellers.

Digital Marketing Strategies of Kalyan Jewellery

Kalyan jewellery’s social media marketing strategies.

Kalyan Jewellers is a well-known brand in the Indian jewellery industry. 

It has been around for over 100 years and continues to grow in popularity due to its high-quality products and efficient social media marketing strategies. 

Kalyan Jewellers uses a variety of social media platforms to market its products and connect with customers. 

It maintains a strong presence on Facebook, Instagram, and Twitter and frequently posts new images and videos of its jewelry collections.

One of the main reasons for Kalyan Jewellers’ success has been its emphasis on social media marketing.

Let’s see how!

1. Instagram Marketing strategies

Kalyan Jewellers on Instagram has over 270k active followers and is a great platform for promoting products and services.

Kalyan Jewellers, a jewellery brand with a jewelry website, can use the Instagram marketing strategies listed below to grow its brand and increase sales.

1. Jewellers Kalyan Using appealing and exciting images to promote products.

2. Kalyan Jewellers is number two. To reach a larger audience, use hashtags.

3. Kalyan Jewellers runs competitions and giveaways. 4. Kalyan Jewellers develops engaging content for your target audience. 5. They chose a better model with a theme concept for Instagram posting.

6. With consistency in posting, you can start getting more followers for your e-commerce site.

2. Facebook Marketing Strategies 

Kalyan Jewellers, a Mumbai-based online fashion retailer, has around 696k active followers and is looking to further increase its user base with the help of Facebook marketing. 

Kalyan Jewellers’ strategy on the social media platform has been to post product pictures and videos and run contests and offers.

The company also uses Facebook ads, which it finds to be more effective than other digital marketing channels.

They have a following of 696k with 676k likes on Facebook.

They got higher in total traffic on Facebook since they announced the offer at the end of June, and it’s continuing in august 2022 with more than 676k likes overall.

3. Twitter Marketing Strategies

Twitter can be used for various purposes, including improved marketing, and it is common practice to respond immediately to customers who discover product flaws.

Kalyan Jewellers is a jewellery brand that uses Twitter to market its products. Kalyan Jewellers’ Twitter marketing strategies include using.

• Using the appropriate hashtags,
• Tweeting about current events,
• Responding to negative comments as soon as possible and collaborating with influencers

They currently have 13.4k followers with the help of the Digital marketing strategies mentioned above.

Kalyan Jewellery’s SEO Strategies 

Jewellery websites can be a great way to market your products to a larger audience. Several different SEO strategies can improve your website’s ranking in search engines. 

These strategies include using keywords in the title, Meta tags, content optimisation, and social media engagement. Using these techniques, you can increase traffic to your jewellery website and boost sales.

So let’s see how their SEO team properly implemented the above SEO strategies.

Kalyan Jewellers has a highly impressive website with 2.4M visits with 1.2M new visitors coming month on month, an average visit duration of 04:08 and a bounce rate of 65.10%.

Kalyan Jewellers has an authority score of 61 with organic search traffic of 2.3M, and the paid traffic of 83.4k comes through 250.8k backlinks.

Kalyan Jeweler’s Domain Authority

Moz, an SEO tool, determines a website’s domain authority based on site characteristics, including backlinks, site consistency, page load time, traffic, and the average time the visitor spends on each page.

Kalyan jeweler’s website now has a Domain Authority score of 43, according to Moz. However, this score has the potential to increase in the future.

Also, Kalyan Jewellers has 2.1M traffic for inserting the right keywords of 57.6k on their ecommerce site.

Regarding keywords by intent, their informational keyword reaches 51.4% of people, making them gain 943.7k traffic with 34.5k keywords on their website.

Kalyan Jewellery has 182.24k following links and has converted leads into sales.

Kalyan Jeweller’s Main Competitors

Kalyan Jewellers’ top three competitors are candere, Tanishq and bluestone, with higher SE keywords. 

Now, look at the position of the Kalyan Jewellers competitor for better reference.

Their paid keywords have super traffic in the google search engine. Most words are Kalyan jewellers, gold ring for men, and mangalsutra design, where customers directly type on the google search result.

Kalyan Jewellers’ Target Segment

Kalyan Jewellers is a leading jewellery brand in India with a strong customer base across the country. 

The brand has a wide range of products catering to different market segments. The target segment of Kalyan Jewellers is middle-class and upper-class families. 

The brand has a wide array of products ranging from gold and diamond jewellery to silver and platinum jewellery. The brand also has a wide range of products catering to the bride and groom’s needs.

Kalyan Jewellers has a strong presence in the wedding market and is a preferred choice of many families. The brand has a wide range of products catering to different market segments. 

The target segment of Kalyan Jewellers is middle-class and upper-class families. The brand has a wide array of products ranging from gold and diamond jewellery to silver and platinum jewellery.

Now consider how Kalyan Jewellers manages ad campaigns with the target segment audience. 

Kalyan Jewellery’s Advertisement Strategies 

Customers of Kalyan Jewellers offered by Vasdien Jewellers are mostly upper-middle-class and high-class society women who use Kalyan Jewellers for garments suitable for both family and professional use. 

Kalyan Jewellers also carries SENSE, a clothing line for young clients under the age of 35 that Kalyan Jewellers claims will provide trendy looks for modern young women.

Those mentioned above are the best Text ads of the Kalyan Jewellers ad campaign. Take a keen look at it if you want to promote like them for your business.

Kalyan Jewellery’s Influencer Marketing Strategies

As a jewellery brand, you know that social media is a powerful tool to reach new customers and grow your business. But with so many platforms and options, it can be difficult to know where to start. That’s where influencer marketing comes in.

Influencer marketing is a form of social media marketing that involves working with influencers—people with a large following on social media—to promote your brand. It’s a great way to reach a new audience and get your jewellery seen by people who might not otherwise see it.

Kalyan jewellery brand ambassador at the moment is Amithab batchan as its brand ambassador.

Regina Cassandra is the ambassador. Right now, in the month of August,

In influencer marketing, it is necessary to take immediate action to change the influencer’s time on time, depending upon the credential and popularity.

E-commerce Strategy

Kalyan Jewellers has expanded its reach in recent years by venturing into online jewellery sales. Kalyan Jewellers was one of the first jewellers in India to launch an online store, and today it is one of the leading online jewellery retailers in the country.

Kalyan Jewellers’ online store offers a wide range of gold and diamond jewellery at competitive prices. Customers can browse through a wide variety of jewellery designs and customise their jewellery according to their preferences.

In Kalyan jewellers’ site they have a separate page of the shop online where they have a wide selection of product categories with gender classification.

Kalyan jewellers maintain its e-commerce site with responsive and easily navigable pages with attractive jewellery photos.

Which is, I feel the best marketing strategy for Kalyan jewellers.

Price selection, product types, and metal purity are some of the features included, which obviously brings trust to the customer visiting Kalyan Jeweller’s e-commerce site.

The mobile app for Kalyan Jewellers doesn’t meet up to the expectations of our customers, and it has to be improved.

Their overall review is 2.2 stars from the customer reviews.

Kalyan Jewellery’s Content Marketing Strategies

To stay ahead of the competition, Kalyan Jewellers has adopted various content marketing strategies. 

The company has a team of experienced and skilled professionals who create interesting and useful content that helps promote the brand and drives traffic to the website. 

With the help of content marketing, Kalyan jewellers invested their whole money in Video marketing strategies and social media marketing.

The company has also invested in social media marketing, which has helped them reach a wider audience.

Unique Findings in Kalyan Jewellers 

• Investing more for running ads.
• Kalyan jewellers were covering the audience with 18k and 22k gold options.
• Affordable products are listed with more models.
• We have invested more in the influencer to gain more trust.

Using the right digital marketing strategies, Kalyan jewellers increased traffic to its website.

Businesses can increase their reach and bottom line by understanding how digital marketing works and using the right tools.

So, if you have started a business online and are trying to implement better digital marketing strategies for your business, 

Check out our FREE Digital Marketing Course. Suppose you’re satisfied with agency-based training, non-expiring certification and an internship by learning the course. In that case, you can go for four months of online digital marketing courses from Digital Scholar.

Better offers are in your hand; what for you waiting to check it out, Digital Scholar !!!

Written By Digital Scholar

Digital Scholar is a premier agency-styled digital marketing institute in India. Which offers an online digital marketing course and a free digital marketing course worldwide to elevate their digital skills and become industry experts. Digital Scholar is headed by Sorav Jain and co-founder Rishi Jain, who are pioneers in the field of digital marketing. Digital Scholar’s blogs touch upon numerous aspects of digital marketing and help you get intensive ideas of different domains of digital marketing.

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Jewelry Marketing Case Study:

How we used facebook & instagram ads to cut cost per lead by 37%, we recently implemented a 3 step process for one local jewelry retailer that produced a 37% drop in their cost per action to get a new lead..

Local fine jewelry retailers have lots of marketing strategies to choose from including mass media (radio, TV & billboards) and many digital marketing strategies like local SEO, pay per click and social media.

If you had an unlimited marketing budget, you could fund them all properly.

But most people don’t - leaving you with tough choices to make when it comes to how to best allocate your marketing dollars for the best ROI.

So how do you maximize your ROI from digital marketing?

Step 1: Optimize Conversion Strategies

The first step in lowering your cost per lead is to make it as easy as possible for people to engage with your brand..

In the digital marketing world, we call this “conversion optimization”.

For this particular client, we helped them identify several key strategies to improve the number of people taking action we could track which moved them from visitors to engaged leads:

• Live chat & texting on their website
• Increasing the number of Google reviews
• Updating website navigation to make popular content easy to find
• Reviewing mobile usability to improve the overall site experience

Step 2: Better KPI Tracking

The marketing team noticed an immediate difference after making these conversion optimization tweaks..

In fact, their buyer reported several customers came into the store with a picture of a particular ring they saw on a Facebook ad. They sold 4 of those rings in 1 month!

However, while this type of anecdotal evidence is great, the CEO wanted more guidance on exactly which of their marketing strategies was producing the best results. That meant doing a better job of tracking.

We helped them eliminate some popular, but meaningless metrics they had been tracking (such as “Smart Goals” & “Number of Pages Viewed” ). Removing the fluff helped to focus on the trackable metrics which equated into leads.

Their new KPI dashboard includes:

• Website - Add to Cart
• Website - Add to Wishlist
• Contact & Request Appointment Completed Forms
• Phone Calls Tracked by Source

I think every local fine jewelry retailer would agree that these are the kind of metrics you want to track!

Step 3: Streamline Budgets Toward Facebook & Instagram Ads

After creating their new kpi dashboard and filling in the final budget numbers & lead totals, the best performing channel jumped off the page.

Social media - specifically Facebook & Instagram - were producing the lowest cost per lead and highest number of leads from any of their paid digital channels.

Our team manages a full blown ad campaign on both Facebook & Instagram which included:

• Acquiring new likes on Facebook
• Cold audience marketing for website traffic & sales
• Warm audience remarketing for follow up website traffic & sales

We call this unique blend of social media advertising the “ Banded Approach ” because it acquires new customers as well as deepens the relationship with existing customers through careful remarketing.

After implementing this approach and re-directing budget towards Facebook & Instagram Advertising, the numbers got even better:

Takeaways & Final Thoughts

Don’t underestimate the power of mass marketing & running a great business, having a healthy budget for things like radio advertising help with digital marketing numbers in places like organic search & direct traffic. good online reviews also play a big factor., however, when you eliminate the “fluff” from your digital reports, your best performing channel should become clear quickly., then, you can double down on what’s working and eliminate what’s not., request a free strategy session, if you’d like to find out how you can reduce your cost per acquisition and improve the results from your budgets, request a free strategy session today.

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02 March 2021

Case Study: Jewellery Ecommerce Increased Revenue by 5% Using Data Collected through Emails

In today’s ecommerce email marketing, you need to know everything about your customer to win the unprecedentedly growing competition and succeed on the market. And proper data collection and management can help you with it. Accurate and relevant contact info can help build a target customer profile, deliver relevant content, and eventually generate sales and repeat purchases.

Our client, a big jewelry ecommerce, wanted to collect additional data on their subscribers, use it to prompt new website registrations and increase revenue. The extensive functionality of the our system helped fulfill this task and acquire data for further marketing strategies.

Gold.ua is a Ukrainian jewelry retailer. It has been on the market for 11 years and has stores in 5 cities.

• Increase conversion of email subscribers into website registrants;
• Collect additional data via emails;
• Complete contact profiles with collected data;
• Use collected data in triggered series.

There are several ways to collect subscriber data:

• Add extra input fields to the subscription form;
• Conduct surveys in email campaigns;
• Add dynamic blocks to regular campaigns.

Since the company has a simple subscription form where users only enter name and email address, we decided to add dynamic blocks to regular promo campaigns. This is the least intrusive way to remind about registration and collect additional data without being too persistent.

The main advantage of this method is that you need to configure such blocks once, and further data collection will be automated. You can also select contact segments to show these blocks to.

“Registrations on the site are important as they allow us to track users’ activity, preferences, and shopping history, and send them personalized offers that are more likely to engage them. Adding dynamic blocks to emails has helped us to increase the number of registrants." Konstantin Cherepinsky, CEO Gold.ua

Dynamic Blocks

Gold.ua sells jewelry. This product category is always purchased as a gift for significant events and holidays. Based on these characteristics, we created the following blocks:

• Register and get discounts;
• Important dates are perfect to give out some discounts;
• Best birthday gifts everyone should have;
• Unique anniversary gifts.

Learn more about dynamic content and advanced contact segmentation

Display Logic

We created an email and added all four dynamic blocks to it. But when the subscriber opened the email, they saw only one of them.

If the subscriber wasn’t a registered user, they would see the registration block. By clicking it, people were directed to the full registration form with several fields. If some of them were left blank, people started receiving emails with the next blocks, encouraging them to share more data.

Those subscribers who responded to the call and registered would receive the next email with the special dates block. Those who ignored it or didn’t specify any dates would receive the email with the birthday block. The last email of the series was sent asking to fill in the anniversary date.

Further Usage of the Collected Data

Data collected with the birthday and anniversary blocks was used in triggered series. Before an important date, the subscriber received a series of two emails – the corresponding greeting email with a personal discount promo code and a reminder. The discount was small, but unlike other promotions that applied to certain categories, it was sitewide.

Such a series was sent from two workflows.

The first workflow sending a greeting email started a week before the date.

The second workflow with a reminder started two days before the expiration date of the promo code.

It’s possible to send such a series from one workflow. In the first workflow, add a timer after the email block, specify the time gap, and then add the second email block.

Adding dynamic blocks to emails has generated the following results:

• The number of registered users is growing: at the moment, about 17% of active subscribers have registered on the site.
• Subscriber profiles are being completed with data.
• The collected data has been used in two triggered series generating up to 5% of the revenue from email.

Learn how to generate more revenue with personalized product recommendations

Proper data collection is a good marketing strategy to build closer communication with your audience and increase revenue in ecommerce. Additional contact data lets you send personalized emails with relevant offers and increase their conversion rate.

By adding dynamic blocks to promotions you can automate the data collection process and optimize your retail email marketing.

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Put Marketing at the Core of Your Growth Strategy

• Marc Brodherson,
• Jennifer Ellinas,

Three ways to use marketing as a lever for growth, according to McKinsey research.

Companies that make the decision to put marketing at the core of their growth strategy outperform the competition, according to McKinsey research. Specifically, both B2C and B2B companies who view branding and advertising as a top two growth strategy are twice as likely to see revenue growth of 5% or more than those that don’t (67% to 33%). Yet their research also showed that few CEOs recognize the potential for marketing as a growth accelerator. They recommend three actions for CEOs to hit the reset button. The first is to define what you need from marketing. While it sounds obvious, their research found that more than half the time CEOs and CMOs in the same company were misaligned on marketing’s primary role. Second, nominate one person to serve as the chief voice of the customer. In two many organizations this is fragmented, and when everyone owns the customer, then no one does. Third, the CEO should function as a growth coach. They should have a handle on the challenges and opportunities of modern marketing, but their job is to draw up the strategy, not toss the ball down the field.

Growth is a perpetual business priority. So it’s imperative that CEOs understand how their marketing function and chief marketing officers (CMOs) can contribute to that goal. Few do — and that misalignment can be costly.

• Marc Brodherson is a senior partner in McKinsey & Company’s New York office.
• Jennifer Ellinas is an associate partner in McKinsey & Company’s Toronto office.
• Ed See is a partner in McKinsey & Company’s Stamford, Connecticut office.
• Robert Tas is a partner in McKinsey & Company’s Stamford, Connecticut office.

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