Ahead of ‘shop’ button for publishers, Snapchat launches in-app stores for Snap influencers

Snap is launching more shopping destinations in its app.

While some influencers, publishers and brands have access to a feature where users can swipe-up on snaps to buy products directly within the app, this new tool allows select accounts to have a store within Snapchat. Snapchat users can access the shops, which will be powered by Shopify, by going to an account’s page. The native checkout feature is limited to Snapchat users in the U.S.; international users are directed to a mobile website due to privacy and data requirements overseas, a Snap spokesperson said.

On June 6, only five official accounts — Snapchat’s parlance for verified users — will have access to shops: Kylie Jenner (Kylie Cosmetics); Kim Kardashian (KKW Beauty); Shay Mitchell (Béis); Spencer Pratt (Pratt Daddy Crystals); Bhad Bhabie (BHADgoods). Each of those accounts currently has access to the swipe-up to buy feature to sell makeup, travel bags, crystals and clothing, respectfully. Snap plans to release the tool to more official accounts in the coming weeks, including Khloe Kardashian (Good American) and Rob Kardashian (Arthur George), and will expand the program to publishers later this year. For now, Snap is not taking a cut of the transactions, a Snap spokesperson said.

Kylie Jenner’s store on Snapchat

This update comes as Snapchat looks to keep its users engaged on the app and appease creators by offering them more ways to generate revenue from the platform. Snap has used native commerce as a way to satisfy its creator community rather than by sharing ad revenue — unless the creator has its own Snapchat show like Jenner’s “Ask Kylie” and Bhabie’s “Bringing Up Bhabie.” That’s quite unlike on YouTube, where creators can make money off of ads within all of their videos that abide by the community standards.

A Snap spokesperson said they wanted to release stores since most creators have more than one product to sell and this store allows them to showcase them. Snap launched its own in-app store with Snapchat- and Bitmoji-themed items in Feb. 2018. Previously, creators could only attach products to individual snaps. The native commerce experience has been available to U.S.-based official accounts that have Shopify stores, in a closed beta.

While it’s questionable if Snapchat’s in-app checkout is any better than one that redirects to a web browser, Brandon Doyle, founder of agency Wallaroo Media, said he does expect the shops to increase sales in Snapchat. “Any time you can cut down on a click you increase conversion rates and add that to the fact that these shops will fit the aesthetic of Snap,” Doyle said.

Snap declined to share any information about sales from in-app checkout, citing the program is in beta.

Snapchat’s Shopify integration also brings up the question of who owns the data. Snapchat only sends a user’s contact information (phone number and email address) to a merchant if they complete a purchase. Shopify store owners are unable to retarget Snapchat users who abandon their carts in the in-app feature.

Snapchat-competitor Instagram also has bet more on shopping. In March, Instagram launched a beta program where users can shop, check out and manage orders all within the app — nearly identical to the tool Snap started testing in April 2018 with publishers and later expanded to brands and creators. Instagram’s launch partners included Kylie Cosmetics as well. Unlike on Snapchat, Instagram takes a selling fee.

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The Rundown: Amazon and Walmart have vastly different streaming strategies

Both Walmart and Amazon offer advertisers the tantalizing prospect of being able to tie ads into high-quality video — movies and TV shows — to purchases. But how these two retail giants are going about their respective video businesses is very different.

Amazon is taking the old-school, Hollywood approach. The company, in search of a massive hit the size of “Game of Thrones,” spent $250 million just for the rights to produce a new series based on “The Lord of the Rings” franchise. (This does not include the exorbitant production costs that will go into making a fantasy TV series.) Amazon is also a frequent buyer at film festivals such as Sundance; for instance, it acquired Vice Media’s “The Report” for $14 million earlier this year.

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How car brand MG compensates for limited first-party data

British car manufacturer MG wants to do more with behavioral targeting, but in order to do that, it’s going to have to get its data in order first.

The advertiser is using a data management platform — and the third-party data those ad tech vendors sell — to make up for the fact that it doesn’t have enough of its own data to target the type of younger drivers visiting its site.  MG, which started working with Lotame to create lookalike audiences from site visits a year ago, now wants to create more custom audience segments based on third-party data in the DMP.

When it tested the approach in the third quarter last year, the car advertiser sold over 2,400 cars in the period, which was a year-on-year rise of more than 80%. While the car manufacturer could not share further proof of the impact behavioral targeting had on sales, it did help it determine where it bought programmatic ads that would reach younger drivers. Based on the lookalike audiences there was some crossover between gym enthusiasts and those people who had shown an interest in MG’s cars, for example, which meant the advertiser started to buy ads on health and lifestyle sites it had previously discounted.

The validity of behavioral targeting is still being in questioned. Seven in 10 (68%) of publishers said they don’t benefit from behavioral advertising, according to Digiday Research. A separate study found that cookie-targeted ads typically generate only 4% in additional revenue for publishers.

“We’re trying to do what other brands have done so well over the years and attract a younger audience so that when they’re older we can start to upsell and create some brand loyalty,” said Chris Richards, digital and social media manager at MG.

Audience segmentation may not be the most sophisticated use of a DMP, but MG sees it as a stepping stone to more second-party data deals with publishers either via Lotame or through its agency. Unlike other car manufacturers like Nissan, MG’s agency TMWI, rather than its own marketers, owns the contract to the DMP. It means that any new data created within the DMP is owned by the advertiser’s agency, TMWI, said Ronak Patel, group planning director at the agency. But it also means the car manufacturer can lean on the agency’s relationships with publishers to connect its own first-party data with second-party data sets.

However, setting up these deals isn’t straightforward, which is why MG is taking its time.

For publishers like Autotrader, behavioral targeting seems worth the hassle given they are able to aggregate intent-driven behavior on their sites, which advertisers are willing to pay more for to target ads to highly-specific audiences.

“We’re having discussions with agencies about our own first-party data,” said Rebecca Clarke, manufacturer and agency director at AutoTrader. “We’re working with businesses like MG to understand how we commercialize our data but we’re mindful of how we protect it too. There’s more of an appetite for our data since the arrival of the General Data Protection Regulation last May.”

If a publisher uses the same DMP as the advertiser then the ad tech vendor acts as the bridge for the different data sets to match. If the DMPs are different, however, then it’s a harder, more manual process to match those data sets. While there are several ways of doing it, it’s not as it’s not always possible to add unique identifiers at the publisher and advertiser side to match datasets together.

Image courtesy of MG. 

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5 Gen-Z influencers you need to know

The Jenners and Hadids aren’t the only Gen-Zers impacting fashion and beauty. The power of pint-sized influencers continues to rise, as the line between social media and e-commerce blurs. Though unknown by almost everyone over 24 years old, these YouTube and Instagram stars have already garnered attention from brands, making up to $6,000 a day in sponsorships. Here’s who you need to know.

Haley Pham
Age: 18
YouTube followers: 2 million
Years on YouTube: 6
Located in: Austin, TX
Choice formats: Before-and-after transformations, vlogs and hauls. “I also throw in the occasional dance video or ‘trying something new for a day’ experiment format.”
On the evolution of influencer world: “It’s become a more genuine space. It used to be about making your life seem as perfect as possible. Now there’s an emphasis on being relatable.”

 

Fiona Frills
Age: 15
YouTube followers: 855,000
Located in: California
Audience: “Little fashionistas”
Uses of “awesome” in one 15-minute call: 11
Own product line: Frilliance, made up of makeup and makeup tools for “teen-prone” skin
Key to success: “You have to stay focused, and if you’re not having fun with what you’re doing, you have to adjust. I love shopping and makeup. Those things make me happy, so that’s the path I’m following.”

 


Emma Chamberlain

Age: 18
Years on YouTube: 2
YouTube followers: 7.6 million
Located in: Los Angeles, CA
Uses of “fuck” in recent 18-minute video: 34
Video content: Started with DIY tutorials, but now posts videos like” Turning Jojo Siwa into me” and “24 hours without a phone”
Own product line: High Key, a fashion line sold exclusively on the Dote app
Worth: Reportedly $2.5 million, making $6,000 a day from video sponsorships

 


Summer Mckeen

Age: 20
Followers across YouTube and Instagram: 4.5 million
Located in: Laguna Beach, CA (originally from Oregon)
Budding reality star: Starred in a Snapchat docu-series in late 2018 called “Endless Summer,” which was produced by “Keeping Up With the Kardashians” producer Bunim-Murray Productions and recently renewed for a second season
Influencer backlash: Does not want to be described as an influencer, preferring “creator,” according to her press rep.
Product line: Jewelry engraved with words like “worth,” created with #LuvGems, a company backing fashion lines by YouTube Stars
Brand sponsors: Billabong, Victoria’s Secret, Tresemme, Sephora


Teala Dunn

Age: 22
Followers across YouTube and Instagram: 4.1 million
Located in: Los Angeles
Instagram bio: Ephesians 4:2
YouTube videos dedicated to Coachella 2019: 3
Haters: First Google search results for her name include compilation videos titled “Teala Dunn lying about her hair for 2 minutes straight” and “Teala Dunn being rude for 3 minutes straight”
Collaborations: Launched a line of sunglasses with influencer brand NEM Fashion in September
Brand sponsors: Revolve, Mavlash Extensions, Benefit, Beauty Blender, Garnier
Trips since January: The Maldives, Hawaii, New York, Las Vegas, Miami
Cause: PETA; in April, she teamed with the organization on a video encouraging teens to opt out of dissecting animals in school

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Sports publishers are making more money off women’s sports

Sports media companies are taking advantage of a growing audience and advertiser interest in women’s sports — particularly on the eve of the 2019 FIFA Women’s World Cup.

Through its B/R Football vertical, Bleacher Report has booked more ad revenue from the women’s 2019 FIFA World Cup than the men’s edition last summer, according to Bleacher Report CEO Howard Mittman. The executive declined to share a specific revenue figure but said “it’s not insignificant.” (A Bleacher Report spokesperson later added that ad revenue from the Women’s World Cup is 10% higher than the men’s tournament last year.)

“If you think about it in the context of the portfolio of brands that we have, it’s a meaningful contributor, particularly in [the second quarter] and the summer, which can be kind of slow,” Mittman added. “What we saw last year around the men’s World Cup is going to pale in comparison to the enthusiasm and national pride this year’s World Cup is going to bring.”

And advertisers want to get involved. Bleacher Report’s advertising clients for the World Cup includes Adidas, Hulu, Nike, PlayStation and Volkswagen, Mittman said. A lot of the work Bleacher Report does with advertisers and the World Cup will be tied to video and social content the publisher produces both on-site in France as well as here in the U.S. This includes an after-match interview series hosted by former U.S. soccer goalkeeper and gold medalist Hope Solo, as well as a social series in which B/R Football will recreate goal celebrations. Bleacher Report’s World Cup programming will be distributed on B/R Football, across other owned social channels such as House of Highlights, and Bleacher Report’s own mobile app and the B/R Live streaming service. Bleacher Report also plans to host a watch party at the Eventi Hotel in Manhattan, complete with a 50-foot TV screen, for the U.S.’s match against Thailand.

“We are trying to own this moment,” Mittman said. “The Women’s National Team has created a World Cup dynasty; this as powerful as the Dream Team.”

Bleacher Report is not alone in drawing more interest from advertisers heading into the Women’s World Cup. A spokesperson for Fox Sports, which owns U.S. broadcast rights to both the men’s and women’s World Cups, said advertiser interest in the tournament has grown considerably since the last tournament in 2015. The spokesperson declined to say how much ad revenue Fox Sports expects to collect from the 2019 tournament; in 2015, Fox Sports reportedly generated $40 million in ad revenue, which was more than double the initial estimates of $17 million and was driven by the U.S. women’s team winning the tournament.

This summer, Fox Sports’ advertising efforts will be boosted by a title-defending U.S. team that is expected to go far — a year after the men’s U.S. soccer team failed to even qualify for their World Cup. Top sponsors for Fox Sports’s coverage this year include Coca-Cola, Volkswagen and Verizon.

“Four years ago, we made this a marquee event for advertisers,” said the spokesperson. “We have trained the marketplace to treat this as pretty powerful stuff and see this as a premier event for the summer.”

While the FIFA Women’s World Cup remains a top event on the sports calendar, women’s sports and female athletes broadly are getting more coverage from all types of sports media outlets.

In January, Overtime launched OvertimeWBB for women’s basketball content after the sports media startup acquired a platform called SheHoops last fall. On Instagram, OvertimeWBB has more than 223,000 followers and is generating 6.4 million video views per month, according to Overtime. While that channel remains Overtime’s home for women’s basketball videos, the content is also often shared across Overtime’s main Instagram channel, which has 1.7 million followers. Overtime is also producing video features on female basketball players, including one feature on Jada Williams releasing next week, according to Overtime co-founder Zack Weiner.

Overtime’s investment in women’s basketball is also helping the business. For instance, on May 18, Overtime hosted an all-day event in Brooklyn that was sponsored by Converse. As part of the day’s programming, Overtime hosted both an all-girls’ basketball tournament and an all-boys’ basketball tournament, both of which packed the venue at a capacity of 500 people. A thousand OvertimeWBB-branded t-shirt and hoodie were sold out within 30 minutes of being released in May, said Overtime co-founder Dan Porter.

“It’s a testament to how big the brand of these [female] players have been growing and how much swagger they play with,” Weiner said.

Looking ahead, Overtime is in conversations with advertisers to do more branded work tied to women’s basketball; the company also aims to expand to women’s soccer by the end of the year, Weiner said.

Bleacher Report, too, is planning to increase the amount of content it produces that center on women’s sports and female athletes, Mittman said.

“Women’s sports isn’t women’s sports — it’s just sports,” said Mittman. “The commitment we have to continue developing connections with and opportunities for women in sports is both intentional and increasing. It’s a significant focus area for us, not just because it makes sense financially but also because it’s the kind of brand we want to be.”

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