In China, the line between editorial and advertising nearly disappears, with just about every part of the fashion media machine paid for.
SHANGHAI — In May last year, Chanel had readied the unveiling of its Mademoiselle Privé exhibition in Shanghai, a large display that took up the West Bund Art Center and for which the brand had spared few expenses. Dua Lipa performed a mini-concert at the opening-night party to an audience that included famous faces like Julianne Moore, Liu Wen and Keira Knightley.
But in China, that line between editorial and advertising nearly disappears, with just about every part of the fashion media machine paid for, altering the handbook most international p.r.s have been trained on and potentially throwing brands for a loop. Recently, Condé Nast China became a topic of national conversation due to accusations of illegal side-dealing among its top staff — something it denied — but payments are ubiquitous in the industry and start from even the most mundane of media work.
Noting that this paid-for coverage does not replace advertising but is a supplement to it, Eggers estimated that editorial shoots are about 50 percent independent content, whereas close to 100 percent of covers are paid for by the brands. While this practice raises uneasy questions surrounding editorial ethics, there is some evidence that the China consumer may not mind as much as a Western reader. In this year’s China luxury forecast study from Ruder Finn, the firm asked people their thoughts on certain kinds of paid sponsorship.
Conversely, Melvin Chua, the 30-year China p.r. veteran behind Ink Pak Communication, said he has no doubt the practice, while commercially very successful, has been very damaging to the entire industry. But Ng, now the Asia Pacific communications director for Delvaux, sees the trend for paid editorial content as an “inevitable evolution” as media search for a commercially viable way to operate, and observed that other regions have begun following suit.
Qiu suggested that emerging brands can appeal to an editor’s goodwill toward young talent and, if it’s a Chinese brand, a sense of national pride. Ng confirmed this was something she often factored in at InStyle: “You want a mix of people — I believe in promoting Chinese designers and new talent which we incorporate to make my InStyle more interesting.”
There are limitations to the approach, though. While a hit product placement might result in increased sales of that item for a brand, it’s not the kind of storytelling that builds long-term brand equity in the eyes of the consumer. “People say p.r. is dead and I’m like well, we wouldn’t be as busy as we are and expanding as much as we are if that was the case,” said Eggers. “But I think the label ‘p.r.’ is not really correct, it’s really communications which can encompass a lot of different things.”
“If you look at an item, you can buy it right away with your phone so when the brand does communications and they tell the story, it could be connected to e-commerce as well. That will be part of the communication, I can’t really avoid it,” she said.
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