Bachelorarbeit, 2023
163 Seiten, Note: 1,3
Medien / Kommunikation - Multimedia, Internet, neue Technologien
Index of figures
Index of tables
List of abbreviations
Index of appendixes
1 Introduction
1.1 Problem Statement
1.2 Objective and Approach
1.3 Structure of the Work
2 Theoretical Foundations of Social Media and Influencer Marketing
2.1 Social Media Platforms
2.1.1 Instagram
2.1.2 TikTok
2.2 InfluencerMarketing
2.2.1 Definition Influencer
2.2.2 Typical Influencer Features
2.2.3 Influencer Marketing Interactions with Companies
2.2.4 Classification of an Influencer
2.3 Differentiating Influencer Marketing from Traditional Marketing
3 Theoretical Foundation of Customer Experience
3.1 The Emergence of the Customer Experience from the User Experience
3.2 Definition of Customer Experience
3.3 Stages ofPurchase within the Customer Journey
3.3.1 Pre-purchase
3.3.2 Purchase
3.3.3 Postpurchase
3.4 Touchpoints
3.4.1 Brand-OwnedTouchpoint
3.4.2 Partner-Owned Touchpoint
3.4.3 Customer-Owned Touchpoint
3.4.4 Social, External, Independent Touchpoint
3.5 Measuring Customer Experience
4 Relation of Influencer Marketing and Customer Experience
5 Methodology
5.1 Synthesis and Research Question
5.2 Principles of Qualitative Research
5.3 Research Design and Survey Method
5.3.1 Development and Conception of the Interview
5.3.2 DescriptionoftheSample
5.3.3 Execution of the Interview
6 Results
6.1 Deductive Category Assignment
6.2 Categories
6.2.1 Social Media and Influencers
6.2.2 Customer Experience
7 Discussion
7.1 Interpretation of the Results and Conclusion
7.2 Critical Analysis and Limitation of the Study
7.3 Self-Reflection
7.4 Recommendation
8 Conclusion and Outlook
Bibliography and Sources
Appendix
Figure 1: Global Population Accessing the Internet from 2005 to 2021
Figure 2: Daily Social Media Usage by Age
Figure 3: Perception of the Profession Influencer
Figure 4: Types oflnfluencers
Figure 5: User Experience process
Figure 6: Loyalty Loop: The Consumer Decision Journey
Figure 7: Process Model for Customer Journey and Experience
Figure 8: Inductive- and Deductive Reasoning
Figure 9: Steps ofDeductive Category Assignment
Table 1: Classification oflnfluencers
Abbildung in dieser Leseprobe nicht enthalten
Appendix 1: Interview Guide
Appendix 2: Transcription Rules
Appendix 3: Transcription A
Appendix 4: TranscriptionB
Appendix 5: Transcription C
Appendix 6: Transcription D
Appendix 7: TranscriptionE
Appendix 8: Transcription F
Appendix 9: Category System
The internet has been fully integrated into people's daily lives worldwide over the past years. The percentage of the world's population with access to the internet has doubled from 32% in 2011 to 63% in 2021. 90% of people from developed countries access the internet in 2021.1
Figure 1: Global Population Accessing the Internet from 2005 to 2021
Abbildung in dieser Leseprobe nicht enthalten
Source: StatistaResearchDepartment, Internet Access Rate, 2022, no page number
At the same time, the number of social network users is increasing. These networks have the purpose of connecting with friends.2 In 2022, 5 billion people have access to the internet worldwide, and 4.7 billion people use social media (SM). Ultimately, 93% of those with internet access own at least one SM account,3 That is more than half the population worldwide.4 Through time, companies found new marketing strategies which reached active people on SM.5 These platforms are necessary to reach Generation Z, people born in the late 1990s. They are different and cannot be reached in the same way as they watch
Netflix instead of TV or listen to Spotify instead of the radio, for example. Influencer marketing became a$10 billion industry in 2020.6
Influencers share their lives on SM networks. Due to their high reach, they receive offers from companies for cooperation.7 Influencers' followers admire and trust their recommendations due to their personal and authentic representation.8 While advertising products, influencers show how to use them, where to buy them, and give their opinion. For higher sales, influencers often receive promo codes for a discount or free products for each order.9
On the other hand, industries are growing steadily through globalization and industrialization. At the same time, competition is increasing. Products are becoming more interchangeable, making it more difficult for companies to remain profitable. Therefore, a competitive advantage ensures a company's success.10 Previously, companies focused on the customer's value creation for the brand. Due to market development, the focus is on value creation for customers.11 With an interchangeable product, a company can gain a competitive advantage through the services and offers that surround the product. The goal is to create a significantly outstanding customer experience (CX).12
The development of SM, especially influencer marketing, changes a lot for a company to control the CX. SM creates a platform that enables a form of customer-to-customer interaction. CX is, in nature, rather social and subjective. Therefore, peer customers can influence each other's CX, which is predominantly out of control for companies. It is a level of interaction that did not influence the CX before. With the change, companies face both challenges and chances.13
SM has gained a significant influence on many people, especially young people, for the past few years. New platforms enter the market, and the market grows constantly. Influencers inspire many people by sharing their daily life; usually, they have something with which they stand out. Companies found potential in users' enthusiasm for influencers and started to perceive influencer marketing as a chance and collaborate with them by testing and promoting products.14 Ultimately, a company's success depends not only on sales performance but also on the satisfaction of the customer's experience to retain them in the long run.15 This thesis aims to realize how influencer marketing performs and its impact on the CX. Therefore, the research addresses the following questions:
- How powerful are influencers these days?
- What is different about influencer marketing, and why is it a successful strategy?
- How do people perceive information shared by influencers, and which factors are decisive for potential customers to purchase products advertised by influencers?
- What impact does an influencer have on the overall CX?
The thesis is divided into literature research and qualitative research. The theory is divided into SM and influencers (chapter 2) and CX (chapter 3).
Chapter 2.1 gives a general overview of popular SM platforms. However, Instagram and TikTok are explained in more detail as they are essential for the research. Chapter 2.2 defines influencers regarding typical character traits, how they interact with companies, and how an influencer can be classified. Chapter 2.3 determines the differences between social influencer marketing and traditional marketing. Chapter 3 defines CX. CX can be divided into three stages (chapter 3.3) throughout the customer journey: pre-purchase, purchase, and postpurchase. In each stage, a customer and a firm can have four touchpoints (chapter 3.4): brand-owned, partner-owned, customer-owned, and social, external, independent. Furthermore, goals are defined, and ways to measure CX. According to the literature, chapter 4 focuses on the relationship between influencer marketing and CX.
Afterward, the qualitative research is explained according to Mayring's qualitative content analysis. Chapter 5 starts with synthesizing the literature, which is the basis of the research question. Furthermore, general principles of qualitative research are mentioned as how it differentiates from quantitative research. Moreover, the research design is explained, and the survey method for this research is defined according to the conception of the interview, the sample description, and the execution. Chapter 6 presents the results. The material is summarized according to the deductive category system. Chapter 7 interprets the outcomes, which are critically analyzed according to Mayring's quality criteria. Limitations of the study are presented. In addition, a self-reflection is added to help the reader to understand the process more transparently. Afterward, the author gives recommendations to influencers, companies, and consumers. Chapter 8 summarizes the outcomes and gives an outlook on how influencer marketing can develop in the future.
This chapter declares the basics of SM and influencer marketing. First, the functions of SM platforms are defined, and Instagram and TikTok are explained in depth. An introduction to influencer marketing and a definition of an influencer follows this. Furthermore, companies have found potential in integrating influencers into their marketing campaign. It is explained which factors are essential. The spectrum of influencers is broad. Therefore, from a company's point of view, it is vital to classify influencers by several factors.
The concept of SM and influencer marketing are closely linked. Influencers, who are people with a wide range of followers, need the attention of SM as a platform to become recognized. On the other hand, these platforms achieve at least part of their appeal through the content posted by influencers. Eventually, both influencers and SM platforms are independent of each other.16
"We all have become slaves to the digital world around us."17 The new era of the internet constantly increases, including the use of digital information technologies (IT) and digital media communication. New communication technologies for relationships promote an increasing differentiation of communication systems. New digital platforms for interaction emerge with social connections. Younger people were the first to get in touch with digital communication; later, it got society's attention. SM removes communication barriers, and eventually, communication occurs that would never have happened outside SM.18 More than 90% of the users participate on social networks via mobile devices, which allows them to be online from anywhere at any time.19 Millennials and Gen Z are considered the most active users of SM.20
People from generation Z were born between 1995 and 2010. Gen Z is 32% of the population worldwide. This generation has become fully digitalized, globalized, and industrialized. On average, they spend at least eight hours per day online.21 2.5 hours of the time they spend online is spent on SM and messaging platforms.22 SM and other digital technologies have become a settled and indispensable part of their daily lives.23 SM platforms have been an integral part of society's life for a long time. Many users check their SM accounts in bed before sleeping, and it is first thing in the morning.24
Figure 2: Daily Social Media Usage by Age
Abbildung in dieser Leseprobe nicht enthalten
Source: \nMohsin,M., Social Media Statistics, 2022, no page number
Facebook, Twitter, Youtube, Instagram, and TikTok are the most significant SM market players.25 Since each platform represents specific types of content, the focus is on differentiating content formats such as video, audio, text, and images.26 However, out of these SM platforms, Instagram and TikTok are considered the best platforms for influencer marketing. Although both platforms are still smaller than established players such as Facebook, Instagram, and TikTok are more appealing and promising in the future. For example, TikTok's user base increased 15 times within the first two years.27 From 2020 to 2021, the user base increased by 45% to more than one billion users.28 On the other hand, Facebook has the lowest satisfaction rate of the mentioned platforms and, therefore, the highest share of users considering leaving the platform, as well as the most significant drop of 26% in engagement between 2017 and 2019. For this reason, only the fewest marketers consider Facebook the most efficient platform for influencer marketing.29
Furthermore, Instagram and TikTok have the youngest user base. The majority of users on Instagram are in their 20s,30 Furthermore, on TikTok, they are between 10 and 19 years old.31 They are more attracted to influencers and SM and are susceptible to this form of marketing communication. At the same time, Facebook's and Twitter's audience is, on average, in their forties.32
Instagram and TikTok are known for rich content formats, including images and videos, while Twitter, for example, is primarily text-based. Youtube is slightly different as it is considered an entertainment site that is relatively comparable to movie streaming sites than a SM platform such as Instagram or TikTok. In general, marketing attracts people more easily through esthetic images and videos than only text-based marketing.33
Regarding business and shopping, 83% of Instagram users discover new products and services on the network. Users on TikTok are 1.5 times more likely to purchase something they discovered on TikTok immediately or to convince someone they know to purchase it. They are also 2.4 times more likely to create a TikTok with the purchased product and tag the brand than on other SM platforms.34
Hence, this thesis focuses on the SM platforms Instagram and TikTok as they attract the investigated group of young women the most and are considered the best platforms for influencer marketing.
The SM platform Instagram, launched in 2010,35 belongs to Meta Platforms Ireland Limited, which is the parent company of Instagram, Facebook, Facebook Messenger, and WhatsApp.36 Meta provides a service that includes Instagram products, functions, apps, services, technologies, and software.37 Instagram focuses on picture- and video sharing. It is a combination of microblogs and an audiovisual platform.38 Instagram follows the mission: "To bring you closer to the people and things you love."39
The platform offers a few services to be able to satisfy its users and to offer great experiences. The systems try to understand individuals as who they are and what they expect in order to offer a positive experience. Furthermore, Instagram develops tools to foster a positive, inclusive, and safe environment by giving the ability to block and report comments or content which is violent, insulting, or abusive.40 Paid ads generate Instagram's turnover partially. Instagram uses collected information from itself, other Meta company products, and third-party information to show personalized ads to offer a free platform for its users. However, the platform keeps personal data anonymous for others and does not sell them to other parties.41
Types of Accounts
Instagram offers personalized opportunities to create content, connect and communicate with other individuals, and discover and share content with a personal- or business account. Therefore, there are different types of accounts and features. The terms to create an account are to be at least 13 years old and not allowed to be a convicted sex offender. The creation and usage of an account are free.42
The most used type of account, the personal account, is for average individuals. It is ideal for people who want to use the account for private purposes to share pictures and videos with friends and family. The peculiarity of these profiles is the option to keep the profile private so that approved followers can only see it. That includes Posts, Stories, Highlights, Reels, and Posts the account is tagged. Professional accounts can be both business and creator accounts. A matching category below the profile image labels professional accounts, and if it is certified, it has a blue tick next to the profile name. Contact information can be added to the profile to make business and other requests easier. Generally, these accounts have a bigger audience than personal accounts. Therefore, they have more functions to track and manage their accounts. Professional accounts can access a dashboard to track their performance and access professional tools. It provides insights into demographical data about the engaging profile's age, gender, and following status. Insights on the performance of specific Posts can be accessed, too, for more specific data. Moreover, business accounts can manage their direct messages by sorting them by date or top accounts and through a secondary inbox with primary and general tabs.43
Types of Content
Instagram offers to share content in different ways with different functions and purposes. Majorly, there are three types: Posts, Reels, and Stories. Instagram created an environment in which users can engage by liking, commenting, and sharing content with other users via direct messenger.44
Posts appear permanently in the profile chronologically. A user can pin up to three Posts at the top. Furthermore, every user has a personalized feed that shows Posts by all following accounts. Posts can be pictures, videos, and reels. However, reels are different from average Posts. Pictures and videos focus on the number of likes and comments. Users can edit pictures on Instagram before posting with different filters. Using hashtags in the caption helps increase the reach, as it is possible to follow accounts and hashtags.45 Reels are short videos up to a minute that can be recorded and shared on Instagram.46 Instagram has caught up with the success of short videos that first gained attention and popularity on TikTok.47 The primary purpose of Reels is to be discovered and explored by non-followers. Once a Reel is played, there is an automatic transition to the next one to discover new content without effort. That is why the number of views is the central focus, and comments and likes are not primarily critical. The algorithm of Instagram is not official, but studies have revealed that Reels have a higher chance of going viral. Instagram offers a few functions to edit Reels, such as cutting videos, adding audio, inserting transitions, editing the pace, and adding filters, to mention a few. To follow trends, Instagram offers templates for viral audio to cut the videos according to the audio automatically.48
Instagram Stories are different. They are only visible for 24 hours. Users can edit photos or short videos up to 60 seconds with filters or tags such as place, time, other profiles, and different types of surveys to interact with others. Stories appear in a profile and at the top of one's feed. Users can add Stories to a Highlight. Instagram users can see it in a profile on top of regular posts untimely.49 Users use this format to post less professionally produced content, such as less exciting daily life content. Influencers use it to gain more trust and appear more authentic.50
Furthermore, adding an icon linked to the website to purchase the product is possible. That makes social media marketing (SMM) more efficient. There is even a shopping icon on the main bar to get inspired and purchase recommended products.51
Out of the considered SM networks, TikTok, also known as Douyin,52 is the youngest platform, launched in China in 201653 by Byte Dance. The platform proliferated and spread internationally worldwide and became the fastest-growing app in history, partially due to successful marketing campaigns. After four months, the platform had nearly two million active daily users. It is a platform designed for the generation of digital natives and SM creators to create and share short videos with people worldwide.54 A user account is needed to participate, which requires a minimum age ofl3 years. However, some features are only accessible with the minimum age of either 16 or 18. TikTok encourages everyone to be themselves but in an appropriate way in a positive, socially friendly environment. The platform does not tolerate inappropriate behavior and bans users from the platform.55
Initially, it was mostly about short music videos with dancing and lip-syncing. That is why almost 80% of the users were female.56 Later, as TikTok expanded globally, the topics of the videos expanded.57
Types of Accounts
Generally, users can decide between two types of accounts: personal or business. Features of personal accounts should encourage users of the creator community to express themselves fully and to connect with others. On the other hand, business accounts provide commercial features to integrate TikTok into their overall business strategy.58
Personal accounts are the most used account type on TikTok and are used by regular users, content creators, and public figures. Users with a personal account can watch and interact with other people's content and create and share it with their followers. Personal accounts have the advantage of using all sounds accessible on the platform. Furthermore, to ensure privacy, personal accounts can be changed to a private setting to choose who can view one's shared content. Business accounts are public profiles used by brands, including marketing tools. Businesses can then engage with consumers on TikTok. They have access to the web business suite, which includes analytics, workspace, and activity & support. Business accounts only have access to commercial sounds, which include free sounds that can be used for content with commercial purposes.59
Successful personal accounts can qualify for Creator Next. The requirements to participate are to be 18 years or older, have a minimum number of followers, which vary, have at least 1,000 views, upload three posts during the past 30 days, be aligned with the community's guidelines, and live in certain countries.60 This program aims "to help creators monetize as they grow and develop their communities on the platform. ... [Users] receive access to tools and features that allows [them] to turn their creativity and passion into something greater, whether that's a side hustle or a business."61 TikTok's Creator Fund rewards successful users, as those are the users making the platform popular. TikTok calculates the funds according to the number of clicks and engagements. A dashboard provides detailed information.62 The TikTok Creator Marketplace enables one to connect with companies and receive sponsorship opportunities. Collaboration can be either paid or reward-based campaigns. Furthermore, TikTok offers support with tutorials, additional tools for collaborative campaigns, and receiving tips.63 Another option is to receive gifts on TikToks. Gifts are purchased stickers by users. If the gift option is activated on a specific video or live, stickers will appear with a message under the video. Creators will then be able to convert them into diamonds which they can exchange for money.64 Similar to gifts, users can also directly tip creators. The tip will be paid entirely to the creator minus a processing fee.65 This function significantly differs from Instagram, which supports content creators and influencers on a different level.
Types of Content
Previously, the platform was known as Musically, mainly for dance videos underlaid with a selected song. By changing the name to TikTok, users post clips of content such as do-it-yourself, beauty, and comedy.66 TikTok promotes content creation with a wide range of built-in features to modify and edit videos with animation and special effects,67 which may change and increase over time. Users have the option to purchase advanced features if they desire. However, they are not required to use all functions the SM provides. Some basic features are accessible without an account, but an account is required to access all features. Having an account, TikTok includes features such as creating and sharing content and doing live streams.68 TikTok offers video editing tools and options to interact with others. Users can interact through direct messaging or the comments of a video.69
Some clips can go viral on TikTok quickly. Next to the individual feed of subscribed profiles, the personalized For You Page shows TikToks, the so-called videos on TikTok, from other users selected by the algorithm according to previously liked and viewed videos.70 That is how users can be discovered without having a huge follower base. Recommended videos gain many likes and new followers. Every TikTok can go viral and start a new trend, which is the goal for many users.71
In order to go viral, getting quoted, integrated, and copied in other videos increases the number of clicks. Multiple functions make integrating videos from other users into their videos possible. One option is to create a Duet. The video can be seen next to the original video on a split screen. Moreover, a Reaction of a TikTok can be created similarly but must be approved by the creator of the original TikTok. Another option to interact with another video is Stitch. Stitch is a five-second clip from other users that can be cut before one's video. The aim is to reinterpret or expand a TikTok creatively. This way, videos can be quoted or put into a new context. Posted Stitches are marked with a hashtag, and the creator of the copied video is tagged. Another type of content is to participate in so-called Challenges. A TikTok to a specific topic must be uploaded and marked with a hashtag. Users can find specific content of other participants with a hashtag or the search function. Hashtags are used in challenges and tagged in any clip to expand the range of views. Next to hashtags, sounds have similar effects on being discovered as users can search for them similarly. On the discover buttons, TikTok shows videos with viral sounds. In order to increase the possibility of being seen by a significant number of users, it helps to use viral sounds.72
Influencer marketing is a communication strategy about selecting influencers who engage with their audience on SM to promote the company's offering. The strategy combines brand endorsements with the influencer's personal stories and posts content, which ultimately appears authentic and provides a consumption value.73 The costs for integrating an Influencer into a campaign consist of publishing content creation on their SM channels and advertising the brand's product to their audience.74
The term influencer was first established in 2007.75 It denotes individuals, a group of individuals, or virtual avatars,76 who have a more substantial presence and high prestige in at least one SM platform. Their number of followers measures the strength and power of their presence. Influencer marketing refers to the commercial use of these individuals and their reach on SM. It is also known as social influencer marketing.77
The trend started in the United States of America in the blogger scene, especially with mummy bloggers. They shared tips and tricks for mothers about recipes, do-it-yourself tutorials, and product testing. Creative marketing managers found potential in these bloggers and collaborated with mummy bloggers to promote their products.78
Most SM users use these platforms for two reasons: to share content with their social circle or to be entertained by others' content. Nevertheless, only a few users stand out with their significant number of followers, leading to a considerably larger audience recognizing their shared content.79 The created content can be presented in different ways, for example, in texts, pictures, audio, or videos regarding a subject area in a high frequency.80 Usually, becoming an influencer is a long journey that requires a lot of effort and time. Some influencers, especially in smaller niches, may become famous overnight, but usually, it takes years until the influencer can live from the profession.81 Initially, users perceive publishing content that creates positive network effects as a motivator. If this results in positive feedback and recommendations, it increases the desire to create a fanbase to whom the person can regularly create content and offer added information value.82 The frequency and intensity of the communication lead to an exposed position within the SM platform. A significant number of followers means prestige and reputation.83 Influencers with an exceptional range may earn $200,000 to $300,000 annually.84 Influencers can be celebrities as well.85 However, there are differences. Influencers have gained fame on SM by sharing every detail of their private life, which is essential for influencers.86 Celebrities have gained their fame through succeeding in credentialed, institutional settings such as music, acting, and sports, while influencers are not certified in a formal institutional way.87 Furthermore, concerning marketing purposes, consumers have more trust in influencers as they can identify themselves with influencers more. As a result, an influencer's audience has similar norms and values; therefore, identifying desires and trust in the influencer strongly affects the message's effectiveness.88
The convincing power of an influencer lies in their personality and character, which is why they became popular and famous. To point out what makes an influencer interesting can be distinguished, qualities such as credibility, trust, authenticity, and identification based on the influencer's charisma. The combination of these ideal-typical qualities is what makes an influencer unique and stand out.89
Credibility
An influencer's opinion is a recommendation based on a personal evaluation. It is necessary to have an experience with the product to have an opinion.90 The credibility of a message is the extent to which the receiver perceives the information source as objective, reliable, and factually based. It is dependent on the individual's assessment of trustworthiness towards the content. As a result, if a message is not considered credible, followers become resistant to future persuasion attempts.91
Followers expect influencers to base their recommendations on true beliefs and convictions. The credibility can be explained by the influencer's expertise because whoever has high competencies on a subject is recognized and valued. If the activity results from a profession or passion, it increases credibility, such as a fitness trainer who recommends supplements. Furthermore, it is an expression of conformity of speech and action.92
Trust
Having trust in someone reduces a subjectively perceived risk in decision-making.93 A follower trusts an influencer if they perceive her or him as an independent advisor94 who delivers the consumer a sense of integrity, truthfulness, and credibility.95 Trust is lost if the influencer's recommendation is not according to their actions.96
In 2018, most people knew influencers earn money by recommending a product.97 It does not necessarily impact trustworthiness as long as it does not evoke the impression that the salary is the driving motivator.98 If the consumer has a different impression, the influencer's and the brand's credibility will suffer.99 The influencer must label every partnership on their content to protect consumers and make them aware. A swift change between partnerships, too many parallel partnerships for similar products, or when it does not match the organic content can impact the trustworthiness and credibility of the influencer negatively.100
Figure 3: Perception of the Profession Influencer
Abbildung in dieser Leseprobe nicht enthalten
Source: In Bitkom Research, Online Celebrity, 2018, no page number
Authenticity
Authenticity is about the way of communicating. Each influencer grows with time and develops their style of adding valued information to an advertised product in an open and unbiased way. The focus is on passion and enthusiasm, which eventually means that the influencer should ideally be a fan of their content. Since most influencers have younger communities, adapting to their language style and tone is essential. If the community and the influencer are the same age, it is easier to interact authentically at eye level. The influencer does not have to appear authentic to companies but to their community, as they are potential product buyers.101
Identification
Influencers are ordinary, average people that are not famous because of music, television, movies, art, or sports but because of their activities on SM. The difference between celebrities is that influencers often share private details about themselves and their daily life. They are personalities in the digital world in which they foster their exposed presence and appear like approachable people and friends to their followers. Talking about their daily lives honestly, personally, and interactively gives their fans a feeling of being a part of it. If a person perceives the influencer's trait positively, it is likely to infer that the influencer has more likable qualities than someone whom the person perceives as less favorable.102 That is the so-called halo effect. Individual characteristics create a positive impression that outshines the broader perception of the person and, therefore, disproportionately influences the overall impression.103
Through regular communication, the follower turns into a daily companion. The follower feels the influencer approaches him or her while the influencer communicates to multiple followers. That is a parasocial relationship between the influencer and the follower. It creates the illusion of intimate communication from person to person, although the influencer is not a friend in the real world. Parasocial relationships are created through a particular use of language to approach an individual with the appropriate use of words, the intimacy of gesture, voice familiarity, or an atmosphere of personal togetherness through insights into private life.104 Followers feel close if the influencer shares relationship problems, sensitive vibes, and heartfelt wishes. Creating content at home gives the community insights into the influencer's intimate environment and lives.105
The identification of the community with the influencer improves if the influencer's activities go beyond the digital- to the real world. Public gatherings with the community strengthen the bond between influencers and followers. Influencers thus represent an identification surface for followers in two ways: a social vertical comparison and a social horizontal comparison. Vertical describes the adoration of the idol, while horizontal means feeling at eye level with the influencer.106
Companies are keen to collaborate with influencers to ensure that someone with a good reputation endorses their content and is trusted by a significant audience.107 Influencer marketing aims to get trusted and authentic individuals to make positive public statements about a brand's product. Finding influencers who fit the respective brand is ideal for a company to gain more trust.108 If consumers perceive a credible synergy between the brand and the influencer, it does not matter whether product placement is commercial.109 Companies benefit from the large audience, and influencers have a higher engagement with their followers' trust and involvement, which creates positive feelings and lower negative feelings concerning sponsored messages concerning other types of SMM.110 Especially the rise of SM supported the use of public figures in marketing since SMM delivers a more believable and authentic impression of the advertised product than in any other type of media.111 According to the literature, followers consider influencers the most trustworthy compared to other figures.112 That is because consumers can identify with an influencer the most as they are on eye level and,113 therefore, are regardedjust as authentic and accessible.114 Consumers generally prefer and trust personal recommendations over blunt advertising messages. That is not a new insight, but it has been proven repeatedly over the last centuries.115
More than 75% of marketers worldwide aim to devote resources to influencer marketing,116 73% believe SMM has been 'somewhat effective' or 'very effective.'117 The expected spending is at $16.4 billion by the end of 2022.118 About 80% of the firms forecast to spend at least 10% of their marketing budget on influencer marketing in 2021.119 During the past few years, influencer marketing has become progressively competitive. The ability of a company to efficiently allocate marketing budgets by choosing specific influencers and managing their content creation in a way that maximizes engagement can be the company's competitive advantage. Certain features of the content published by the chosen influencer, such as source and post characteristics, impact the overall outcome; for example, with the engagement with consumers, the attitudes of both brand and influencer, a consumer's purchase intention, and product sales.120
A company needs to invest enough time and resources to pick the right SM platform since only some types of content can be successfully transferred from one platform to the other. Furthermore, each platform requires new skills and resources. Firstly, a company needs to define the target group and develop an idea of how to approach them. It is essential to understand the target group deeply, which requires time and research. Secondly, based on the target group, a matching platform needs to be found to realize ideas efficiently. Before an inexperienced company builds its presence, it is recommended to collaborate with an experienced influencer who knows the platform well to learn from them. Later, a company can engage on SM on its own.121
Influencer marketing provides a variety of advantages. Influencers have a significant audience that helps a company to expand its brand and products. It is an essential resource to gain SM knowledge for a company. Moreover, influencers incentivize users to engage with a company because being a well-known brand is often insufficient.122 Not only inspire influencers their followers, but followers actively depend on the influencer's recommendation. About three-quarters of internet users use SM, particularly research brands. On the other hand, social influencer marketing has a few downsides. Especially when using multiple SM platforms for marketing, it is not easy to measure the exact impact the social network has because provided statistics about the user activity on each SM platform slightly differ.123 In addition, a company cannot fully control an influencer's actions. If an influencer creates a scandal, the lousy reputation might transfer to the company's reputation. On the other hand, if the cooperation does not proceed sufficiently, influencers might use their power as opinion leaders against the company.124 Moreover, influencers might have bought followers, which results in a comparably low engagement rate. Eventually, a smaller, cheaper influencer might reach more people.125 As a result, choosing the wrong influencer can impact the results negatively in different ways.
Successful influencer marketing needs to consider a few aspects. In most cases, a single influencer post does not bring any success. Usually, up to 15 exposures are needed to make a campaign successful.126 Furthermore, practicians recommend integrating communication across multiple channels within a campaign.127 Hence, influencer marketing needs more work, research, and effort, and eventually, an enterprise needs to integrate it into a larger marketing plan.128 Research proved that combining influencer marketing, advertising, and sales promotion has significant effects on making the brand and product appear on a broader range.129 Therefore, marketing communication with an influencer gains attention when influencers post the content on their SM channel and other touchpoints. The marketing communication should be exclusive, meaning that the chosen influencer should appear authentic by promoting the company's product and not simultaneously promoting the competitor's products. Furthermore, the prominence and the type of content should fit so that the customers do not perceive the promotion as product placement. The need for exclusivity depends on the product, however. For example, if an influencer promotes a car, the influencer should not advertise other brands as a car is a luxury object for most people, and they only own one at a time. Regarding cosmetic products, on the other hand, exclusivity is less critical as they own multiple products at a time. However, exclusive partnerships usually emerge when companies collaborate with an influencer in the long term, from three to 12 months.130
From a company's point of view, it is crucial to understand SM and the types of influencers. Therefore, it makes sense to segment influencers. As of today, there is no official classification existing. However, they can be classified according to their social status and the social networks used. Another segment can base on their interests and topics, the social, the demographic data of their followers, and their reach, based on the number of their followers. Literature often divides the influencer's reach between micro-, mid- or power-level-, top-tier-, and celebrity influencers.131
Figure 4: Types oflnfluencers
Abbildung in dieser Leseprobe nicht enthalten
Source: In Deges, F., Quick Guide, 2018, p. 22
The variety of influencers raises a marketer's question of what type of influencer is best for the campaign. It cannot be generalized, and a company needs to consider different aspects. On average, the top 10% of users are most connected to the influencer. Smaller influencers have a higher relative engagement rate than more prominent influencers.132 Furthermore, a customer perceives a product presented by a micro-influencer as unique133 and, therefore, they can often make a brand appear more authentic.134 The choice of influencer should align with the campaign's objective and the targeted audience. National or international brands should tend to more prominent influencers to extend the reach geographically and let the influencer, a well-known face, be associated with the brand. For smaller, local brands, a smaller influencer can have a more significant impact and is perceived as more individual and personal by the targeted group. In addition to the objective, a business needs to consider managing costs in budgeting. More significant influencers usually have managers and are more professional; therefore, they need to be managed less by the firm. On the other hand, smaller influencers usually have less support and are, therefore, less experienced in producing professional, high-quality content. Ultimately, it impacts the ability to use the content outside SM. The follower overlap must be analyzed if a campaign includes multiple influencers. Moreover, a smaller influencer, without management, may lack creativity. Hence, if using multiple smaller influencers, the content may be similar. However, sometimes it is desired to have multiple influencers creating similar content that, eventually, the campaign gives a rather impression of traditional advertising. It depends on the company's approach and the needed resources to make the right choice. However, a mix of different types of influencers is recommendable.135
Table 1: Classification oflnfluencers
Abbildung in dieser Leseprobe nicht enthalten
Source: In Lammenett, E., Online-Marketing, 2021, p. 137
Despite the recommendation of using influencer content outside SM, this thesis focuses on the content published only on the influencer's Instagram or TikTok account. Therefore, e-mail or television advertisements, for example, which use well-known faces of influencers, are not considered in the qualitative study.
Traditional marketing is old-fashioned marketing that existed before the increasing usage of digital applications. The approach is to place advertisements in public places. This way, it can be seen and attract local people in a specific geographical region. Advertisements are primarily static, using media sources such as newspapers, magazines, radio, and television. Digital marketing, on the other hand, such as social influencer marketing, has a broader reach as it is carried out online. An advantage of digital marketing is that feedback can be received more readily through digital communication between customers and firms. Therefore, a company can discover how customers perceive the brand's advertisements to improve processes.136
It has been known for decades that a "one size fits all" communication strategy does not work. In the 1960s, literature already recommended that successful marketing should segment markets, including developing differentiated offerings for specific segments, and that younger people need proper understanding and communication. That applies to social influencer marketing nowadays, too. However, there is a difference. Segmenting the market goes beyond the expected when looking at demographics. It is necessary to recognize that these platforms have their own culture, language, idioms, and styles, which must be considered in the content.137
Nowadays, consumers are becoming increasingly skeptical of traditional marketing. Simultaneously, it becomes more difficult for companies to attract consumers.138 The younger population has different interests and media usage behavior. They are more skeptical of traditional advertising and rather trust influencers. Therefore, influencer marketing is valuable, especially when reaching a younger audience.139
This chapter deals with the concept of CX, which evolved from UX (User Experiece). Chapter 3.1 explains the origins and derivation. There are various definitions of CX in the literature. The thesis considers the most popular ones. In a CX, a customer undergoes different phases when buying a product or service: the pre-purchase phase, the purchase phase, and the postpurchase phase. During each of these phases, the customer encounters at least one touchpoint. There are four touchpoints: brand-owned, partner-owned, customer-owned, and social, independent, or external. Types of experiences, stages, and touchpoints generate the overall CX.
Decades ago, experts stated, "what people really desire are not products but satisfying experiences."140 Therefore, more than a successful product is needed to provide the customer with a satisfying experience.141 A CX links to every purchased product or service.142 It includes multiple stages between a company and a customer, from a potential customer's initial perception to the actual use of the product or service.143 It is the sum of all experiences and associated emotions that arise from single or multiple experiences in the interaction between customers, companies, products, and services.144
CX is the result of the extension of the initial concept of the UX,145 which is defined in ISO 9241-210.146 UX is a "person's perceptions and responses resulting from the use and/or anticipated use of a product, system, or service."147 Furthermore, it "includes all the users' emotions, beliefs, preferences, perceptions, physical and psychological responses, behaviours and accomplishments that occur before, during and after use."148 However, UX solely focuses on digital products and software applications.149
Figure 5:User Experience process
Abbildung in dieser Leseprobe nicht enthalten
Source: In Gast, O., UX, 2018, p. 14
CX is related to earlier marketing models such as customer satisfaction, service quality, customer relationship management, and engagement. These models are focused constructs on specific parts of the CX.150 There are multiple definitions of researchers and practicians who defined CX. This thesis focuses on the most common definitions.
A successful CX is essential to gain a competitive advantage.151 It becomes increasingly important as the competition grows and products become more interchangeable than before.152 Especially in highly competitive markets, customers have a vast choice, which makes them powerful regarding the company's success. Due to digitalization, customers have gained more options to validate a company's product online via websites or SM platforms. Ultimately, they seek a unique and memorable experience that includes all aspects.153
Pine and Gilmore are among the first researchers who recognized the importance of CX in a company's success. They developed a concept of experiences that is distinguished from goods and services,154 observing that a consumer buys an experience to "spend time enjoying a series of memorable events that a company stages ... to engage him [or her] in an inherently personal way."155 The broad perspective approaches a holistic view156 in a multidimensional construct.157 CX "[comprises].. the cognitive, emotional, physical, sensorial, spiritual, and social elements that mark the customer's direct or indirect interaction with (an)other market actor(s)."158 "It is customers' internal and subjective response to any direct or indirect contact with a company.”159 Four experiences are distinguished: sensory, affective, cognitive, and behavioral.160
Different perspectives can consider the CX: a firm's, a customer's, or from a co-creation perspective, where the customer experience is viewed as the culmination of a customer's interaction with other actors in a broader ecosystem, recognizing the customer's role in co-creating the experience. The experience relates to specific aspects of the offering, such as technology or a brand. It is the sum of contacts made by an individual between her or him and the firm at specific points during the purchasejoumey, specifically called touchpoints.161 Ultimately, the product should avoid unpleasant surprises arising when advertisements raise expectations.
A good CX is dynamic and iterative; therefore, it is a cycle. The stages conceptualize the CX as a customer'sjoumey with a company across multiple touchpoints. Customers experience touchpoints at every stage. The experience starts with the pre-purchase stage, through the actual purchase, to the postpurchase phase.162
The pre-purchase phase is crucial to make a purchase decision. It includes all interactions between the customer and a firm before a purchase. All elements and factors that influence the purchase decision in advents are relevant. Traditional marketing refers to this stage with attributes such as need recognition, search, and consideration. The stage begins with a customer's recognition of a need, goal, or impulse to consider how to satisfy the need, goal, or impulse with a specific purchase.163
The purchase stage is the most temporarily compressed stage of the CX though it has gotten the most attention. This stage encompasses all customer interactions with the company and the environment during purchase. The company's marketing tries to assess how marketing activities, such as the atmosphere and service environment, influence customer decisions. Attributes such as choice, ordering, and payment characterizes this stage.164 In the retailing industry, this stage is also called the shopping experience.165
The significant amount of touchpoints causes information overload. Ultimately, this leads customers to the shopping process, and the purchase is completed or postponed. Especially when the desired product does not require a high involvement as the decision is not as crucial to the consumer, various touchpoints require excessive effort and involvement that the customer is unwilling to invest.166
The postpurchase phase refers to all interactions between a customer and a company after the purchase. Theoretically, this phase could last until the end of the customer's life, but all relevant interactions relate to the company.167 "The product itself becomes a critical touchpoint in this stage."168 In this stage, the research considers the specific behavior of the customers to evaluate the experience. The focus lies on the consumption experience169 and service recovery170. Moreover, the decision of a customer to return products171, repurchase172, or seek a variety173 are of importance. That includes nonpurchase behavior, such as word of mouth and other forms of customer engagement.174
This stage is essential for the customer to evaluate the company and complete the experience. A company aims to create a loyalty loop and retain the customer. A trigger might occur during this stage that leads to customer loyalty which ends in repurchases and further engagement, or the customer starts the process again, reentering the pre-purchase phase and considering alternatives. The process is also called the consumer decisionjour- ney.175
Figure 6: Loyalty Loop: The Consumer Decision Journey
Abbildung in dieser Leseprobe nicht enthalten
Source: Court, D. etal., Decision journey, 2009, p. 98
Although, a loyalty loop can be a simple choice heuristic or a tactic as well. That includes purchase decisions that are generally low in importance or involvement. This way, the decision is effortless and quicker than investing significant time in research.176
A positive CX can be conveyed at touchpoints with customers and the company. The experience consists of the resulting customer's reaction. Touchpoints differentiate between direct and indirect touchpoints. A direct touchpoint is initiated by the customer directly, for example, through the purchase, the use of the product or service, and any service the company provides. Indirect contact, on the other hand, often occurs through a chance encounter with the company's product, service, or brand, such as word of mouth, criticism, advertising, reports, or reviews.177 The customer journey describes the entire process from being a potential customer, starting with the awakening of interest, through the development of needs and the procurement of information, to the target action, the purchase, the use of the product or service, and any required service afterward.178
There are four categories of touchpoints: brand-owned, partner-owned, customer-owned, and social.179 Only brand- and partner-owned touchpoints can be controlled by the firm. Customers can interact with these categories within each stage of the purchase journey. Depending on the product or service offered, the importance of each touchpoint during the purchase journey might differ.180
Figure 7: Process Model for Customer Journey and Experience
Abbildung in dieser Leseprobe nicht enthalten
Source: Lemon, K. N, Verhoef. P. C., CX, 2016, p. 77
The company designs, manages, and controls all brand-owned touchpoints, including brand-owned media, such as advertising, websites, and loyalty programs. Furthermore, it includes all brand-controlled activities within the marketing mix, which involve product attributes, packaging, service prices, convenience, and sales force.181 Even through industrialization and globalization, advertising and promotion influence customers' attitudes and preference still today.182 It is "a pattern of regularity that repeats over different circumstances."183 Direct touchpoints are crucial for a company's Customer Relation Management.184 As a tool, different types of loyalty programs can be used as a brand- owned touchpoint, for example.185 The primary objective of loyalty programs is to "reward, and therefore, encourage loyal behavior,"186 and eventually, retain the customer in the long run.187 The effects ofbrand-owned touchpoints on the CX are limited.188
Partner-owned touchpoints are designed, managed, and controlled by the company and at least one partner. Choosing a partner is essential for the effects that can be reached. Different types of partners, such as marketing agencies, multichannel distribution partners, and multivendor loyalty programs, provide a communication channel. The results of research regarding partner-owned touchpoints are less precise than brand-owned touchpoints. Sometimes the line between company-owned and partner-owned touchpoints is blurry since a brand-owned touchpoint can be created by the company but need the support of a partner. For example, Apple provides a platform for an app that the company initially designed, but Apple supports the functionality and updates of these apps.189
Customer-owned touchpoints are out of an organization's control. These are all actions of customers themselves that influence their CX. For example, customers consider their needs and desires in the pre-purchase stage. In the purchase stage, it is up to the customers to choose a payment method if they have multiple options, though partners could play a role if they offer cash-back programs. Customer-owned touchpoints are most important and prevalent after purchase when individual consumption and use are the focus.190
This stage can be considered the traditional role of the customer in early purchase models.191 However, the role of this touchpoint has been extended since customers can be cocreators of value.192 Customers use some products in a way that was not primarily intended by the company, which extends the value of the touchpoint beyond the pre-purchase phase.193 For example, IKEA hacking is the modification of IKEA furniture. Customers repurpose or hack a product to make it unique. On the website IKEA hackers, individuals can share their IKEA hacks with others.194
Social, external, and independent touchpoints address the independent roles of others that influence the CX. In the following, the designation will be reduced to social touchpoints. A social touchpoint can be anyone or anything surrounding the customer, such as other customers, peers, independent information sources, or environments. Peers are powerful at influencing one, either solicited or unsolicited. The influence can happen at any stage of the experience. Other customers can exert influence only through their behavior or proximity, especially within the purchase phase. Moreover, it can happen regarding products or services where the consumption happens at or immediately after purchase, such as a meal in a restaurant or a concert.195 The results can be comparable to advertising effects or even more magnificent.196 The social environment that surrounds the customer has an impact on the experience as well,197 such as review sites or SM. These sources can be independent, a stronger orientation towards the company,198 or even more potent in that they can be considered a partner touchpoint.199
[...]
1 Cf. Statista Research Department, Internet Access Rate, 2022, no page number.
2 Cf. Marttnez-Löpez, F. J. et al., Influencer, 2020, p. 1805.
3 Cf. Statista Research Department, Internet, 2022, no page number.
4 Cf. Mohsin, M., Social Media Statistics, 2022, no page number.
5 Cf. Martinez-Lopez, F. J. et al., Influencer, 2020, p. 1805.
6 Cf. Haenlein, M. et al., New Era, 2020, pp. 5.
7 Cf. ibid., pp.ll.
8 Cf. Deges, F., Quick Guide, 2018, p. 16.
9 Cf. Garland, C., Measure, 2018, pp. 24.
10 Cf. Pine, B. J., Gilmore, J.H., Economy, 1999, pp. 44.
11 Cf. Lemon, K. N., Verhoef, P. C.. CX, 2016, p. 69.
12 Cf. Pine, B. J., Gilmore, J. H, Economy, 1999, pp. 44.
13 Cf. Lemon, K. N., Verhoef, P. C.. CX, 2016, p. 69.
14 Cf. Martinez-Lopez, F. J. et al., Influencer, 2020, p. 1805.
15 Cf. Pine, B. J., Gilmore, J.H., Economy, 1999, pp. Abbot, L., Quality, 1955, p. 40.
16 Cf. Haenlein, M.et al., New Era, 2020, p. 7.
17 Headworth,A., Recruiting, 2015, p. 1.
18 Cf. Gravili, G., Fait, M, Social Recruitment, 2017, pp. 2.
19 Cf. Mohsin, M., Social Media Statistics, 2022, no page number.
20 Cf. Singh, D. et al., Gen Z, 2022, p. 8.
21 Cf. ibid., p. 8.
22 Cf. Mohsin, M., Social Media Statistics, 2022, no page number.
23 Cf. Singh, D. et al., Gen Z, 2022, p. 8.
24 Cf. Headworth,A., Strategy, 2015, p. 1.
25 Cf. Haenlein, M. et al., New Era, 2020, p. 7.
26 Cf. Deges, F., Quick Guide, 2018, p. 21.
27 Cf. Haenlein, M.et al., New Era, 2020, pp. 7.
28 Cf. Wahid, R. et al., TikTok Famous, 2022, p. 3.
29 Cf. Haenlein, M.et al., New Era, 2020, pp. 7.
30 Cf. Dixon, S., Instagram Age, 2022, no page number.
31 Cf. Howarth, J., TikTok Users, 2023, no page number.
32 Cf. Haenlein, M.et al., New Era, 2020, pp. 7.
33 Cf. ibid., pp. 7.
34 Cf. Khoros, Social Media Demographics, 2022, no page number.
35 Cf. Haenlein, M.et al., New Era, 2020, p. 8.
36 Cf. Meta, Meta, n.d., no page number.
37 Cf. Instagram, Instagram Terms, 2022, no page number.
38 Cf. Haenlein, M.et al., New Era, 2020, p. 8.
39 Instagram, Instagram Terms, 2022, no page number.
40 Cf. ibid., no page number.
41 Cf. ibid., 2022, no page number.
42 Cf. ibid., 2022, no page number.
43 Cf. Instagram, Instagram Accounts, n.d., no page number.
44 Cf. Instagram, Posts, 2022, no page number; Instagram, Stories, 2022, no page number; Instagram, Reels, 2022, no page number; Instagram, DM, 2022, no page number.
45 Cf. Instagram, Posts, 2022, no page number.
46 Cf. Instagram, Reels, 2022, no page number.
47 Cf. Kröpfl, C., Reels Strategy, 2022, no page number.
48 Cf. Instagram, Reels, 2022, no page number.
49 Cf. Instagram, Stories, 2022, no page number.
50 Cf.Atiq, M.etal., Storytelling, 2022, pp. 3.
51 Cf. Instagram, Shop, 2022, no page number.
52 Cf. Lee, E., Toutiao, 2017, no page number.
53 Cf. Haenlein, M.et al., New Era, 2020, p. 8.
54 Cf. Lee, E., Toutiao, 2017, no page number.
55 Cf. TikTok, TikTok Terms, 2022, no page number.
56 Cf. Lee, E., Toutiao, 2017, no page number.
57 Cf. Schau Hin, Trend-App, n.d., no page number.
58 Cf. TikTok, TikTok Accounts, n.d., no page number.
59 Cf. ibid., no page number.
60 Cf. TikTok, CreatorNext, n.d., no page number.
61 TikTok, TikTok Accounts, n.d., no page number.
62 Cf. TikTok, CreatorFund, n.d., no page number.
63 Cf. TikTok, CreatorMarketplace, n.d., no page number.
64 Cf. TikTok, Live Gifting, n.d., no page number; TikTok, Video Gifts, n.d., no page number.
65 Cf. TikTok, Tips, n.d., no page number.
66 Cf. Schau Hin, Trend-App, n.d., no page number.
67 Cf. Wahid, R. et al., TikTok Famous, 2022, p. 3.
68 Cf. TikTok, TikTok Terms, 2022, no page number.
69 Cf. Schau Hin, Trend-App, n.d., no page number.
70 Cf. TikTok, TikTok Terms, 2022, no page number.
71 Cf. Schau Hin, Trend-App, n.d., no page number.
72 Cf. Wahid, R. et al., TikTok Famous, 2022, p. 3.
73 Cf. Leung F. F. et al., Effectiveness, 2022, p. 93.
74 Cf. Haenlein, M.et al., New Era, 2020, p.13.
75 Cf. Lammenett, E., Online-Marketing, 2021, p. 132.
76 Cf. Leung F. F. et al., Effectiveness, 2022, p. 93.
77 Cf. Lammenett, E., Online-Marketing, 2021, p. 132.
78 Cf. ibid., p. 132.
79 Cf. Haenlein, M. et al., New Era, 2020, p.ll.
80 Cf. Deges, F., Quick Guide, 2018, p. 14.
81 Cf. Haenlein, M.et al., New Era, 2020, p. 18.
82 Cf. Wolf, V., E-Marketing, 2007, p. 46.
83 Cf. Deges, F., Quick Guide, 2018, p. 14.
84 Cf. Haenlein, M.et al., New Era, 2020, p. 18.
85 Cf. Lammenett, E., Online-Marketing, 2021, p. 132.
86 Cf. Haenlein, M.et al., New Era, 2020, p. 18.
87 Cf. LeungF. F. etal., Effectiveness, 2022, p. 93.
88 Cf. Schouten,A.-P. etal., Endorsement, 2019, pp. 263.
89 Cf. Deges, F., Quick Guide, 2018, p. 16.
90 Cf. Meffert, H. et al., Concepts, 2019, p. 123.
91 Cf. Martinez-Lopez, F. J. etal., Influencer, 2020, p. 1810.
92 Cf. Hettier, U., Web 2.0, 2010, p. 73.
93 Cf. Meffert, H et al., Concepts, 2019, p. 122.
94 Cf. Helm, S., CustomerRecommendation, 2013, p. 147.
95 Cf. Martinez-Lopez, F. J. et al., Influencer, 2020, p. 1809.
96 Cf. Helm, S., CustomerRecommendation, 2013,p. 147.
97 Cf. Bitkom Research, Online Celebrity, 2018, no page number.
98 Cf. Helm, S., CustomerRecommendation, 2013, p. 146.
99 Cf. Grabs,A. et al., Follow Me, 2018, p. 284; Ozcelik,A. B., Levi, E., Choosing, 2020, p. 88.
100 Cf. Helm, S., CustomerRecommendation, 2013, p. 146.
101 Cf. Deges, F., Quick Guide, 2018, p. 19.
102 Cf. Kroeber-Riel, W., Göppel-Klein,A., ConsumerBehavior, 2019, p. 335.
103 Cf. Trommsdorff, V., Teichert, T., Consumer, 2011, pp. 237.
104 Cf. Kroeber-Riel, W., Göppel-Klein,A., ConsumerBehavior, 2019, p. 506.
105 Cf. Deges, F., Quick Guide, 2018, p. 20.
106 Cf. Kohn,A., Power of Opinion, 2016, pp. 60.
107 Cf. Haenlein, M. et al., New Era, 2020, p. 11; Lammenett, E., Online-Marketing, 2021, p. 130.
108 Cf. Lammenett, E., Online-Marketing, 2021, p. 130.
109 Cf. Grabs,A. et al., Follow Me, 2018, p. 284; Ozcelik,A. B., Levi, E., Choosing, 2020, p. 88.
110 Cf. Lou, C. etal., Engagement, 2019, pp. 183; Wang, S. W.etal., Consumer's Attitude, 2017, pp. 11.
111 Cf. Boerman, S. C., Effect, 2020, p. 200.
112 Cf. Kiss, C., Bichler, M., Identification, 2008, p. 250.
113 Cf. Uzunoglu, E., Kip, S. M., Brand Communication, 2014, p. 599.
114 Cf. De Veirman, M. et al., Instagram Influencers, 2017, pp. 800.
115 Cf. Lammenett, E., Online-Marketing, 2021, p. 130.
116 Cf. LeungF. F. etal., Effectiveness, 2022, p. 93.
117 Cf. Mohsin, M., Social Media Statistics, 2022, no page number.
118 Cf. LeungF. F. etal., Effectiveness, 2022, p. 93.
119 Cf. Haenlein, M. et al., New Era, 2020, p. 6.
120 Cf. Leung F. F. et al., Effectiveness, 2022, p. 94.
121 Cf. Haenlein, M.et al., New Era, 2020, p. 12.
122 Cf. ibid., p. 12.
123 Cf. Mohsin, M., Social Media Statistics, 2022, no page number.
124 Cf. Schmidt, J.-H, Social, 2018, p. 49.
125 Cf. Garland, C., Measure, 2018, p. 22.
126 Cf. Haenlein, M.et al., New Era, 2020, p. 12.
127 Cf. Duncan, T., Caywood, C., Marketing Communication, 1996, pp. 14; Dost, F. etal., Marketing Mix, 2019, p. 62; Luxton, S. et al., Brand Performance, 2014, pp. 39; Reid, M.et al., Orientation, 2005, p. 15.
128 Cf. Haenlein, M.et al., New Era, 2020, p. 12.
129 Cf. Dost, F. et al., Marketing Mix, 2019, p. 73.
130 Cf. Haenlein, M.et al., New Era, 2020, pp. 12.
131 Cf. Lammenett, E., Online-Marketing, 2021, pp. 135.
132 Cf. Haenlein, M.et al., New Era, 2020, pp. 13.
133 Cf. Szikszai-Németh, K., Szilard,A., ConsumerDecision, 2020, pp. 330.
134 Cf. Grabs,A. et al., Follow Me, 2018, p. 306.
135 Cf. Haenlein, M.et al., New Era, 2020, pp. 13.
136 Cf. Mehmeti-Bajrami, S. et al., Traditional Marketing, 2022, p. 327.
137 Cf. Haenlein, M.et al., New Era, 2020, pp. 11.
138 Cf. LeungF. F. etal., Effectiveness, 2022, p. 93.
139 Cf. Haenlein, M. et al., New Era, 2020, p. 7.
140Abbot, L., Quality, 1955, p. 40.
141 Cf. Gopaldas,A., Siebert,A., Customer Journey, 2022, p. 94.
142 Cf. Rusnjak,A., Schmallo, D. R.A., Best Practices, 2018, p. 7.
143 Cf. Bascur, C., Rusu, C., Retail, 2020, p. 1.
144 Cf. Rusnjak,A., Schmallo, D. R.A., Best Practices, 2018, p. 7.
145 Cf. Bascur, C., Rusu, C., Retail, 2020, p. 1.
146 Cf. Gast, O., UX, 2018, pp. 13.
147 ISO, ISO Norm, 2010, no page number.
148 Ibid., no page number.
149 Cf. ibid., no page number.
150 Cf. Lemon, K. N., Verhoef, P. C., CX, 2016, pp. 70.
151 Cf. Pine, B. J., Gilmore, J.H., Economy, 1999, pp. 46.
152 Cf. Dew, R.,Allen, C., CX Innovation, 2018, pp. 23.
153 Cf. Pine, B. J., Gilmore, J.H., Economy, 1999, pp. 46.
154 Cf. ibid., p. 3.
155 Pine, B. J., Gilmore, J. H., Economy, 1999, p. 3.
156 Cf. Lemon, K. N., Verhoef, P. C., CX, 2016, p. 70.
157 Cf. Verhoef, P. C., Creation, 2009, p. 53.
158 De Keyser,A. et al., Framework, 2015, p. 23.
159 Meyer, C., Schwager,A., Understanding CX, 2007, p. 2.
160 Cf. Schmitt, B., Experiental, 1999, pp. 54.; Schmitt, B., CXM, 2009, pp. 702; Brakus, J. J., et al., BX, 2009, p. 53.
161 Cf. Lemon, K. N., Verhoef, P. C.. CX, 2016, pp. 70.
162 Cf. ibid., pp. 74.
163 Cf. Hoyer, W. D., DecisionMaking, 1984, pp. 822; Pieters, R. etal., Structures, 1995, pp. 228.
164 Cf. Lemon, K. N., Verhoef, P. C., CX, 2016, p. 76.
165 Cf. Baker, J. etal., Store, 2002, p. 121.
166 Cf. Broniarczyk, S. M.etal., Perception, 1998, p. 166.
167 Cf. Lemon, K. N., Verhoef, P. C., CX, 2016, p. 76.
168 Ibid., p. 76.
169 Cf. Holbrook, M.B., Hirschman, E. C., Experiental Aspects, 1982, pp. 134.
170 Cf. Kelley, S. W., Davis, M.A., Service Recovery, 1994, pp. 54.
171 Cf. Wood, S. L., DecisionProcess, 2001, p. 158.
172 Cf. Bolton, R. N., Satisfaction, 1998, pp. 47.
173 Cf. McAlisterL., Pessemier, E., Variety Seeking, 1982, pp. 311.
174 Cf. Van Doorn, J. et al., Satisfaction as Predictor, 2013, pp. 315.
175 Cf. Court, D. etal., Decision Journey, 2009, pp. 97.
176 Cf. Hoyer, W. D., Decision Making, 1984, p. 823.
177 Cf.Meyer, C., Schwager, A., Understanding CX, 2007, p. 117.
178 Cf. Flocke, L., Holland, H, CJ Analysis, 2014, pp. 827.
179 Cf. Baxendale, S. et al., Brand Consideration, 2015, p. 494; De Haan, E. et al., Online Advertising, 2016, pp. 237; Lemon, K. N., Verhoef, P. C.. CX, 2016, p. 76.
180 Cf. Lemon, K. N., Verhoef, P. C.. CX, 2016, p. 76.
181 Cf. Lemon, K. N., Verhoef, P. C., CX, 2016, pp. 76.
182 Cf. Baxendale, S. et al., Brand Consideration, 2015, p. 235; Hanssens, D. M., Value, 2018, p. 6.
183 Bass, F. M., Empirical Generalization, 1995, p. 6.
184 Cf. Dorotic, M. et al., Loyalty Programs, 2012, pp. 219; Venkalesan, R., Kumar, V, Customer Lifetime Value, 2004, pp. 106; Verhoef P. C., CustomerRelationship, 2003, p. 31.
185 Cf. Dorotic, M.et al., Loyalty Programs, 2012, p. 218.
186 Sharp, B., Sharp,A., Repeat-Purchase Patterns, 1997, p. 474.
187 Cf. Dorotic, M.et al., Loyalty Programmes, 2012, p. 218.
188 Cf. Lemon, K. N., Verhoef, P. C.. CX, 2016, pp. 76.
189 Cf. ibid., pp. 77.
190 Cf. ibid., p. 78.
191 Cf. Howard, J.A., Sheth, J. N., BuyerBehavior, 1969, pp. 470.
192 Cf. Cargo, S'. L., Lusch, R. F, Evolving, 2004, p. 15.
193 Cf. Lemon, K. N., Verhoef, P. C.. CX, 2016, p. 78.
194 Cf. Yap, J., Furniture, n.d., no page number; Green, P., Repurposed, 2007, no page number.
195 Cf. Baxendale, S. et al., Brand Consideration, 2015, pp. 235; Risselada, H. et al., Direct, 2014, pp. 54.
196 Cf. Baxendale, S. et al., Brand Consideration, 2015, pp. 235.
197 Cf. Lin, J. C., Liang, H., Outcomes, 2011, p. 353.
198 Cf. Manchanda, P., Community, 2015, pp. 367.
199 Cf. Lemon, K. N., Verhoef, P. C.. CX, 2016, p. 78.
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