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By Lucy Tobin

When Sedge Beswick started at ASOS in 2012, the social team consisted of one person — her. By the time she left four years later, she headed up a team of 32, having launched ASOS’s first influencer programme.

That launched the careers of influencers including Freddie Harrel and Leonie Hanne – but Beswick then left to start her own influencer marketing agency, SEEN Connects, which has now grown to a £20 million-a-year turnover business working with thousands of influencers and celebrities including Lewis Capaldi, Tom Daley, Roberto Carlos, Myleene Klass, Jack Whitehall and Kurupt FM. Here, she reveals that working in the ‘new’ tech industries can still involve battling age-old discrimination.

“I founded SEEN Connects thanks to an 18-minute meeting with an investor over a coffee. I am an enthusiastic person – all jazz hands and fast-talking – and in those pivotal minutes, I’d made the case for an influencer marketing agency that focused on creativity and ROI [return on investment].

“At the time, I wasn’t even sure if I would stay on after setting up the business. I felt like defining the business’s USP would be my sweet spot. But then we signed Nike and Instagram in our first week, followed quickly by Very.co.uk. I was immediately hooked and realised I was right, there was a gap in the market for SEEN Connects and my vision of influencer marketing.

“We work with big brands to come up with creative ideas, recommend influencers and celebrities and then use our data team to work on the client’s ideal ROI – it could be a huge bank of content for their internal streams, it could be increasing the average basket value, or conversion to sales on a website, or app downloads. The business took off fast, but it wasn’t all smooth-running. Fairly early on, I flew out to Bangkok to meet a travel client, the Thai base of an entertainment travel company.

“The client and I had been emailing back and forth for a while and though I thought the messages were quite lad-y, but I wasn’t fazed, I’m happy with not being ‘corporate’ too. But when I arrived in Bangkok for the job – along with three influencers who had two million followers between them – it became clear the client hadn’t clocked that ‘Sedge’ was a female name. Let’s just say we didn’t receive a warm welcome.

“I got to reception, was greeted by the business owner, who just said, ‘Where is Sedge? I said, ‘I AM Sedge.’ And he just responded, ‘What? I don’t do business with women. I need to speak to a man.’ I was so taken aback I didn’t even know what to say.

“The influencers were more outraged than me and were desperate to talk about it on their socials. But I didn’t want them expressing their negativity with the brand before we’d even started – I had to say it was ‘just cultural differences, please don’t tweet!’

“But I wasn’t sure what to do with this client, as I didn’t have any men with me on the trip. In the end, I said my CFO is a man, he’s based in London. So this client would phone London to speak to the CFO, who would call me, and tell me what we had to get done. It was bonkers – and the client wouldn’t speak to me directly for the entire trip. His reaction was extreme and offensive.

“We managed to complete the project, and once we got home, he said he wouldn’t pay for the work either. The whole cursed trip to Thailand was the worst moment in my career.

“It did, though, teach me a lesson on due diligence that’s helped ensure my team has never been put in a vulnerable position like this. As an employer, it’s something I’d never want to put my team through. I now make sure we do video calls rather than purely emails before working with and meeting a client, I make sure our legals are in check, and for smaller, more emerging businesses, ask for upfront payment.

“I’ve been comparatively lucky that I’ve only experienced the bluntest edge of sexism once. When we launched SEEN Connects in the US, I found no discrimination but plenty of cultural differences: in New York I have to do far more lunches and dinners, brands demand more TLC from agencies, whereas in the UK people just want things done quickly.

“A lot of people in [the Bangkok] situation would have been shocked to their core – but my nature is to be pretty pragmatic. I just think – it’s happened, move on, don’t put yourself in that situation again. Being bold is paying off – by the end of 2022, and at the pace we are growing, we should be close to 100 people at SEEN Connects. You can’t succeed in business if you’re always anticipating the worst-case scenario. I haven’t been back to Bangkok – but I blame that on the pandemic, not on my last Thai experience.”

By Lucy Tobin

Sourced from Evening Standard

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Asos has singled out the performance of Instagram Stories in its marketing mix, saying the number of people viewing its content on the platform has almost doubled in just six months.

The online retailer today (11 April) reported stellar sales for the six months to 28 February, noting a 10% rise in half-year profits to £29.9m as sales jumped 27% to £1.13bn compared with the same period in the previous year.

On a call with analysts, chief executive Nick Beighton praised the Instagram-effect, saying the Facebook-owned platform was now more popular among its core 20-something customer base than Facebook and as such the business had maintained its investment in its “relevant, emerging content formats” including Stories.

The brand’s content on the site was viewed over 30m times while videos were viewed more than 52m times, up from 40m in the previous half of the year.

Asos was one of the first to experiment with Stories ad formats when it launched last January and has become a brand that many benchmark against when it comes to successfully harnessing the Facebook-owned app’s offering, with Instagram itself using the retailer’s strategy as a case study in order to lure other brands to the platform.

“When we recognise technology that can help our business, we fold in pretty quick,” Beighton said.

Now that its convinced on the value of Stories, the current tool under the spotlight is Instagram’s shopping-enabled adverts, which launched widely at the beginning of this year.

“On one level [Instagram Shopping] could turbo charge the experience for 20-somethings but on another level it could be a real threat,” admitted Beighton.

“We do know Instagram is one of the biggest channels for our customers, it’s much bigger than Facebook, so I’d go with the positive and think about how we can make it more intuitive and friction free for our customers.”

Its experiments on the digital channel come amid a wider review of its marketing costs. It didn’t give an exact figure but as a percentage of sales it stood at 5% versus 5.3% in the previous period. The savings were made as a result of “digital marketing efficiencies and a higher return on advertising spend,” said Beighton.

Though admitting the brand is on “every conceivable marketing channel”, Beighton said it is venturing offline, especially in other European markets. In the UK it ran its first out of home campaign to launch its Face and Body and Activewear lines while in France it took to TV and cinema for the first time with promising results.

“The combination of TV and cinema aren’t immediately relevant to the 20-something market in the UK but they are in the French market. But it’s an experiment,” he said.

In the US meanwhile, its PPC ad spend is under scrutiny with Beighton saying the rates “are up pretty dramatically” on various terms, though he didn’t go into detail on how it would mitigate that cost.

Overall, he said continued investments are enabling strong engagement levels across its customer base. Site visits increased by 25% year-on-year; average order frequency improved by 8%; average basket value increased by 2% alongside a 10 base point improvement in conversion.

Active customers are now at 16.5 million, representing a 17% increase since last year.

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Sourced from THE DRUM