Año 5, No. 1. enero-junio (2023)

Since the launching of social media such as Facebook, Instagram, Pinterest and recently TikTok, to mention some of the most successful ones, adopting this type of digital media has generated an unprece-dented attraction, mainly in the younger generations. However, at the advertising level, are these the most efective media? Could it be that traditional offline media — old fashioned for the new generations— are no longer effective for advertising? Historically, the adverising industry has had several methods to measure its results; however, over the last decades, industry leaders have pointed out many shortcomings in the measuring techniques and doubts as to whether the chosen media are the most effective ones (greater impact at lower cost). Moreover, uncertainty grows as traditional offline media are joined by a great diversity of online digital media. The new Mier Uribe Methodology (MeMU) aims to answer these and many other questions, with the ul-timate goal of ensuring that the most effective media are selected for advertising. Through four research studes, MeMU identifies the specific market of the product to be advertised, the media consumed by that market, the level of impact of each of those media and, finally, a cost comparison. As a result, MeMU guarantees to show-case the most effective media for advertising.

The communication that fashion brands make about sustainability is today more questioned than ever. The new proposal for a Directive of the European Commission -Green Claims Directive-, will mark a before and after for many companies, as it aims to warn about various communication practices that confuse the consumer, including labels:;to show a sustainable label that is not based on a certification or is not established by public authorities, constitutes an unfair competition practice in all circumstances” (Proposal for a Directive of the European Parliament and of the Council on substantiation and communication of explicit environmental claims, 2023).In this article we will analyze the sustainability communication carried out by Inditex-specifically, its Join Life collection, distinguished as the most sustainable-, both in its Sustainability Policy and

The Internet is an environment without borders, where fashion brands connect with their consumers, especially through social networks. Instagram, TikTok or YouTube have become the preferred channels to establish a personal and bidirectional communication with followers and at the same time a commercial communication channel. One of the social media marketing strategies that fashion brands are using the most is Influencer marketing. In recent years, academic studies in relation to influencer marketing have increased significantly. However, the literature shows that there are still many gaps in which it is desirable to develop studies. In this sense, marketers are often faced with the dilemma of carrying out campaigns with global influencers or, on the contrary, localizing their strategies using influencers from the countries, cities, or areas where the communication and marketing campaign will be developed, allowing a better interaction with the language, traditions, and culture of the target audience. This exploratory study aims to provide a better understanding of the relationship between influencer marketing and localization strategies. To do so, it analyzes the influ encer marketing strategies of five fashion and lifestyle brands (Daniel Wellington, Sephora, APM Mónaco, H&M, and Dolce & Gabbana) observing the global or local approach of their actions with influencers and their consequences.

Music, with its profound ability to evoke emo-tions and bridge cultural divides, holds a significant place in our collective consciousness. Within the rich artistic heritage and passionate melodies of Spain, public music radio has played a vital role in shaping the na-tion’s cultural landscape. This article draws upon the author’s doctoral research, conducted at the Autonomous University of Barcelona in 2015, which explored the profound impact of public music radio on Spanish society. Reflecting on the research and subsequent ac-ademic articles published (Costa Gálvez, 2015, 2016a 2016b, 2017), the author identifies the primary focus of defining a public service music radio. This article presents an opportunity to revisit and update 10 proposals for establishing and strengthening public service mu-sic radio in Spain, highlighting ten enduring principles deemed valuable in the year 2023. Through this examination, the article aims to contribute to the consolidation of public service music radio as an essential component of Spain’s cultural landscape

Spanish public hospitals face an increasingly complicated situation because of limited budgets, patients’ new requirements and the development of private hospital groups. To deal with this challenging framework and reinforce their strategic positionings in the health market, some public hospitals have implemented corporate communication strategies based on social media platforms. This paper aims to analyze how Spanish public hospitals manage Facebook, Twitter, and Youtube, as well as their corporate websites, to promote their brands and reinforce their strategic positionings. To do that, we conducted a literature review about health communication, and then we resorted to 48 indicators to analyze how the 100 best Spanish public hospitals used their websites and these three social media platforms for branding purposes. We concluded that most public hospitals in this country resorted to their corporate websites to disseminate journalistic content; they used Facebook and Twitter to publish visual information about the hospital (logo, videos, etc.); and they managed Youtube to describe medical treatments and internal protocols.

Es siempre con una gran ilusión con la que le damos la bienvenida a un número más de la Revista Panamericana de Comunicación, ilusión que se potencia con la perspectiva de que esta nueva entrega enmarca los primeros cinco años de operaciones de esta publicación. Toda revista académica se origina como un proyecto que nace de la generosidad y del compromiso con la vida universitaria, ya que busca contribuir a difundir los conocimientos novedosos que las y los colegas van generando en nuestra área de cono-cimiento. Esa ilusión con la que empezó esta andadura hace ya cinco años tuvo como uno de sus principales protagonistas al queridísimo Dr. José López Yepes, a quien queremos dedicar este número y rendir homenaje, insuficiente y merecidísimo, con esta presentación

Through this study it is possible to observe how the clothing exhibited in museums the museum evidences their history, keeps in evidence the history, highlighting the importance of the clothing objects kept and preserved in the collections of museological institutions. To confirm this observation, the research presents - through bibliographic research and visits - a case study in which the main object is a garment, an object belonging to the collection of the Museu do Doce, located in the city of Pelotas, in the interior of Rio Grande do Sul (Brazil).. The museumized and exhibited dress represents a specific culture of the city that drives tourism and economy, among other factors. The study concludes, through observation, the importance that exists in the conservation and preservation of textile objects in the museological institution in question, since, they are rich sources for the preservation of local history and future studies on a particular society or era.

This paper analyzes the discourse on romantic love constructed by Vogue Spain magazine in one of their short films Fashion Drama. Thanks to the textual analysis of one of the videos –based on the intertextuality of Hollywood romantic comedies and the pastiche of generic conventions– it is concluded that, through humor, this fiction reproducts a discourse that criticizes the hegemonic values of romantic love in heterosexual relationships and simultaneously strengthens the gender roles traditionally attributed to women.

Existing theories about the dynamics of fashion revolve around the decline and disappearance of some products and the birth of new ones (Rogers, 1962), but does this really happen? Do fashion products and their message completely disappear when their life cycle is complete? Do these models fit within the current reality oriented towards the circular economy and the progress of artificial intelligence? Fashion can not only be understood as a visual message (Barthes, 1983) in the form of color and texture that communicates the true or false identity of the wearer; but, as an interdisciplinary and multifaceted field that it is (Kaiser, 2012) it can filter from a business perspective like a “river that never stops flowing” (Stone, 2008) at the edge of a market ecosystem whose brands develop individual identities. (Aaker, 1997) that represents a collective or social identity (Simmel, 1971) to build and maintain its value through a visual object in the mind of the consumer. Unlike other disciplines, the identity of fashion brands is made up of a system of attributes in constant transformation (Collins & Porras, 1994) and, therefore, the coherent and consistent change in the attributes of identification and differentiation (Saviolo, 2000) of a brand must be managed in motion, not through a static system anchored to a specific time and space (Kapferer, 2008), based on the programmed obsolescence of clothing items (Rogers, 1962), as the that we have known so far. This theoretical reflection aims to deepen the way in which we are approaching the product life cycle in fashion brands and is a “call to action”, as proposed by Wanik & Bazaki, (2023), on the need for new models of diffusion of innovations and product development in the fashion industry.

Golf is a sport played by more than 66 mil-lion people around the world. Officially, golf was born in Scotland in the 16th century. The British Islands and Ire-land are the European countries with the longest tradi-tion with more than five millions players, 50% of all Eu-ropean golfers. Ireland surpassed Scotland in number of golfers for the first time in 2018. Ireland will receive the Ryder Cup at Adare Manor Golf Resort in 2027 and these data are enough for the press to pay attention to golf. This article describes the research done in Ireland monitoring the Irish press and confirming the value of golf in the Irish newspapers.

The digital revolution has strongly erupted into the election campaigns and changed the traditional ways of political communication by inserting new actors that take away the leading role in the political parties as the main characters. Therefore, contemporary campaigns are created by anonymous citizens in social media or organized groups on behalf of a specific cause. This paper focuses on a new factor in political campaigns – fashion – and studies three cases of Latin American campaigns where fashion has had a relevant role. The article develops a theoretical framework that explores the main relations between fashion and politics, with its symbolic and communicative power. From there we explore, through case studies, two areas in which fashion plays an important role in campaigns: 1) the symbolism of fashion, as seen with the lack of tie in Gabriel Boric’s attire and Guillermo Lasso’s red tennis shoes, and 2) the use of influence and fashion influencers, as seen with Mariana Rodríguez – top in- fluencer and wife to Governor Samuel García – and her role during his election campaign.

This paper is focused on the contents of an advertising communication campaign designed to promote a Givenchy brand perfume, whose interest lies in its way of representing the female figure in the context of a transgression phantasy. For this, this study will explore the main contributions of three theorical disciplines specialized in the study of visual configurations, meaning production, and the subtle intentionality and hidden desire depicted in those kind of productions. The textual analysis will help to clarify the questions of an impeccably crafted production focused on the desire of a young woman who is ready to overcome several obstacles in order to achieve her goals. This article shows the result of a work in progress and could contribute to reaching an understanding of the meaning of an advertising campaign that has not been studied yet. It could help to fuel a debate on the ethical impact of certain activities and trends in the current advertising world, which seems to have adopted the questioning of social conventions as a value.

Escribo este editorial cuando el cantante Pharrell Williams se ha convertido en el director creativo de la línea de hombre de Louis Vuitton. La marca de lujo más grande del mundo no ha buscado a un diseñador con experiencia y técnica sino a una mega estrella que está en contacto con otros mundos. De hecho, la Maison se denomina a sí misma como una marca cultural. La firma francesa con más de un siglo ha entendido que no vende ropa ni accesorios, sino que vende pro-ductos culturales capaces de conectar con identidades y estilo de vida. Con este enfoque, nuestra revista ha buscado reflexionar y discutir desde la academia sobre cómo las marcas de moda y lifestyle están comunicando y conectando con sus potenciales clientes dentro del panorama social, cultural e incluso político. Estamos orgullosos de las ocho investigaciones que se han realizado en la sección monográfica y de cómo la universidad Panamericana está impulsando la investigación académica de la moda desde la perspectiva de la comunicación. Han intervenido 10 investigadores de 4 nacionalidades: México, España, Suiza y Brasil.

March 2020 changed the history of the world. And it also changed the fashion luxury industry. A virus attacked the whole world, whole nations were in look down and time stopped. This study’s aim is to examine how the brands used their podcasts as a marketing tool during the periods of pre-COVID and post-COVID. The four selected fashion luxury brands were: Chanel, Hermés, Dior and Gucci. Additionally, this study also aims to identify the frames, the longevity, the duration, related media and the language used and to compare them before march 2020 and after in order to understand how the podcasts are becoming a successful strategic marketing tool for luxury brands and if these brands have changed and modified their content due to the pandemic. In conclusion of the study and after analyzing the four podcasts of the world’s leading fashion luxury brands, it can be said that we have not detected significant changes in the way the podcast is managed by the brands or the content broadcasted, between pre- and post-COVID episodes.