Updated: 4 days ago
Written by Olivia Rizzotto
Founded in Milan by Pino Rabolini back in 1967, Pomellato first introduced the concept of prêt-à-porter to the traditionalist world of jewellery. The brand is characterised by a distinctive fashion-forward identity, and today, its highly recognisable combinations of sophisticated coloured stones and unique gem cuts, constitute a modern symbol of unconventional beauty. Since its debut, the brand has developed pioneering campaigns in collaboration with internationally acclaimed photographers and it was toward this end that #PomellatoForWomen campaign came to light.
#PomellatoForWomen was launched in occasion of Pomellato’s 50th anniversary and embodied the power of feminine leadership by depicting a choir of outstanding female personalities. The campaign was shot by the photographer Peter Lindbergh who succeeded in representing the brand’s values by capturing several women in a magnetic light, made of confidence, honesty and the power of union (Pomellato, n.d.).
Starting from 2018, Pomellato chose to turn the ultra-famous influencer Chiara Ferragni, into the face of its 2018 #PomellatoForWomen campaign (Cohn, 2019) and this clearly represents a step in the direction of influencer marketing. In this context, due to the message of the female choral union of the campaign, the influencer is called to stand for the brand firstly as a woman with solid moral values rather than 19 million followers influencer.
This choice can certainly be considered both extremely complex and ambitious and, in order to gain a deeper understanding of it, it is worth opening a brief digression in regards of influencer marketing and what it is meant by that.
In essence, influencers are modern opinion leaders (Casaló et al., 2018) who exert a certain degree of influence on others’ decision-making process (Rogers and Cartano, 1962) because of the level of trust users generally denote in their suggestions and opinions (Casaló et al., 2018). This is due to the fact that, differently from celebrities, influencers establish themselves by performing actions on social media (Schouten et al., 2019) and are therefore capable of building a closer connection with their followers (Djafarova and Rushworth, 2017). Hence, once they recommend a certain brand to followers, these might ultimately turn into customers of that determinate brand (Belanche, Flavián and Ibáñez-Sánchez, 2020).
Besides, in recent years, marketers are becoming increasingly aware of this process, ultimately determining a notable grow in influencer marketing investments (Influencer Marketing Hub, 2019) since every time influencers make attempts to acquire visibility and increase interactions on their pages, the brands they promote directly benefit from these actions (Belanche, Flavián and Ibáñez-Sánchez, 2020).
Moreover, there is a tight relationship between a brand and the image people seek for themselves since brands can turn into potential forms of expression of their own personality (Phillips, 2003). Therefore, seemingly as individuals value the positive link between their own personality and personalities associated with the brand they use, they should reasonably value the correlation between those personalities and brands’ image (Gunter et al., 2002).
In other words, customers have a better perception of commercial messages whenever they are contextualised in a frame which is in line with the message to be conveyed (Moorman et al., 2002). Therefore, on the basis of these points, it is reasonable to assume that a clear link between the message and the influencer herself, is more likely to generate a positive response on behalf of customers. In order to succeed in that, both brands and influencers should perform influencer marketing actions synergistically, with brands being fully aware of influencers’ audiences and degree of involvement, as to be able to promote them naturally, and with influencers collaborating exclusively with those brands that match their own personal style and habits (Belanche, Flavián and Ibáñez-Sánchez, 2020).
This is to say that influencer marketing does not fully depend by the media power that influencers embody, but necessitate of a high level of credibility and, whoever conveys the message must embody the required attributes to succeed in doing so (Drucker, 2018)
In this sense, Chiara Ferragni’s statements in regards #PomellatoForWomen 2018 results particularly relevant and act as a demonstration of Pomellato’s success in combining the overall philosophy of the brand with the chosen testimonial. “I love the way Pomellato is building a platform for women, celebrating women from different walks of life — it’s a brand that has always dared to break the rules”, Ferragni said. “And the fact that the Maison is 100 percent Italian, like me, it just feels like such a natural fit.” (Penrose, 2018)
The influencer is an eminent digital entrepreneur and therefore perfectly embodies Pomellato avant-garde attitude and willingness of celebrating female leadership. In addition, this combination undoubtedly confers great strength to the campaign’s message, as confirmed by the words of Sabina Belli, Chief Executive of Pomellato, who defined Ferragni’s vision and drive to become the most powerful fashion influencer in the world an “admirable feat” for any entrepreneur and praised Chiara for being able to directly speak to the digital generation (Sanderson, 2019).
All this results in Pomellato perfectly managing of making the most out of the collaboration with Chiara Ferragni, by reinforcing the brand’s message on one side and by exploiting the media power of the influencer on the other. Not surprisingly, in the same year Pomellato created the #Ferragnez wedding rings, the marriage between Chiara and the Italian rapper Fedez, an event that generated 67 million interactions on the web (Cottone, 2019). In addition, the influencer often wears Pomellato creations in her daily life, guaranteeing the brand constant visibility of millions of users.
In this sense, it is worth mentioning Pomellato’s impressing turnover which amounted to 162.7 million euros in 2018 and 162.5 million euros for the year 2017 (Statista, 2020) which constitute a clear indicator of #PomellatoForWomen overall success. As a proof of that, in its 2020 #PomellatoForWomen campaign, the brand has chosen to continue the movement initiated in 2017, on the wave of women empowerment, with an outstanding cast which includes names as Jane Fonda, Cate Blanchett, Sabina Belli and many more.
References & Bibliography
Belanche, D., Flavián, M. and Ibáñez-Sánchez, S., 2020. Followers’ reactions to influencers’ Instagram posts. Spanish Journal of Marketing – ESIC, ahead-of-print(ahead-of-print).
Cohn, A., 2019. Chiara Ferragni’s Secret To Winning On Social Media. [online] Harper’s BAZAAR. Available at: <https://www.harpersbazaar.com/fashion/designers/a27192729/chiara-ferragni-social-media-success/> [Accessed 2 April 2020].
Casaló, L.V., Flavián, C. and Ibáñez-Sánchez, S.(2018), “Influencers on Instagram: antecedents and consequences of opinion leadership”, Journal of Business Research.
Cottone, N., 2019. Chiara Ferragni, Come Funzionano Le Aziende Della Influencer Più Famosa D’Italia. [online] Amp.ilsole24ore.com. Available at: <http://amp.ilsole24ore.com/pagina/ACBICDN> [Accessed 1 April 2020].
Drucker, J., 2018. Council Post: The Importance Of Brand Credibility And How To Build It. [online] Forbes. Available at: <https://www.forbes.com/sites/theyec/2018/05/15/the-importance-of-brand-credibility-and-how- to-build-it/#65787ed26fd2> [Accessed 2 April 2020].
Djafarova, E. and Rushworth, C. (2017), “Exploring the credibility of online celebrities’ Instagram profiles in influencing the purchase decisions of young female users”, Computers in Human Behavior, Vol. 68, pp. 1-7.
InfluencerMarketingHub (2019), “The State of Influencer Marketing 2019: Benchmark Report”, available at: bit.ly/2PGxLWO (accessed 30 March 2020).
Moorman, M., Neijens, P.C. and Smit, E.G.(2002), “The effects of magazine-induced psychological responses and thematic congruence on memory and attitude toward the ad in a real-life setting”, Journal of Advertising, Vol. 31 No. 4, pp. 27-40.
Penrose, N., 2018. Chiara Ferragni Is Pomellato Jewelry’s Newest Brand Ambassador. [online] ELLE. Available at: <https://www.elle.com/fashion/a16570466/chiara-ferragni-is-pomellato-jewelrys-newest-brand- ambassador/> [Accessed 2 April 2020].
Pomellato. n.d. Pomellato Jewelry: Rings, Earrings, Bracelets | Pomellato Online Boutique. [online] Available at: <http://www.pomellato.com/wx/identity/history/> [Accessed 1 April 2020].
Rogers, E.M. and Cartano, D.G. (1962), “Methods of measuring opinion leadership”, Public Opinion Quarterly, Vol. 26 No. 3, pp. 435-441.
Statista, 2020. Turnover of the Italian jewelry company Pomellato between 2011 and 2018 (in million euros) Consumer Goods & FMCG – Clothing & Apparel. Statista Research Department.
Sanderson, R., 2019. Chiara Ferragni — The Italian Influencer Who Built A Global Brand. [online] Ft.com. Available at: <https://www.ft.com/content/9adce87c-2879-11e9-a5ab-ff8ef2b976c7> [Accessed 2 April 2020].
Schouten, A.P., Janssen, L. and Verspaget, M.(2019), “Celebrity vs. influencer endorsements in advertising: the role of identification, credibility, and product-endorser fit”, International Journal of Advertising, Forthcoming.
Phillips, C. (2003), “How do consumers express their identity through the choice of products that they buy”, University of Bath School of Management Working Paper Series, Vol. 17, pp. 2003-2017.