The Explosion of Fan Experiences from Sport to Art, Music, Culture and Entertainment and the creation of IP Experience Worlds
Fandoms are no longer confined to the fringes of society. Once regarded as subcultures, they are now a powerful growth lever for brands and institutions – provided they can decode and tap into the underlying motivations and behaviours which define these hyper-engaged customers.
We explored the topic at our recent breakfast event, Fans Want More. The session – moderated by Luke Weston, Executive Strategy Director at Household – explored how brands and cultural leaders are creating immersive experiences that go beyond physical walls, and why measuring Return on Experience (ROE) is becoming just as important as ROI.
Luke was joined by a host of industry leaders keen to share their insights on the explosion of fan-centric experiences:
- James McKnight – CEO at Andrew Lloyd Webber’s Useful Group
- Cat George – Head of Creative Content & Social Marketing at Working Title Films
- Katie Baron – Trends & Foresight Director at Stylus
- James Beardsworth-Shaw – Head of Loyalty & Experience at The National Gallery
Authentically extending your IP
Katie Baron began by discussing how brands can imaginatively ignite their fans’ sense of passion, drawing on her experience working in women’s sport. “Much of the conversation in this space is about trying to create parity with men’s sports. However, a common misconception is that these fans want exactly the same thing. Rather than relying on the same formula, there’s an opportunity to create new types of content for different spaces.”
This theme of developing a comprehensive understanding of your fandom – and appreciating how expectations change over time – was also central to James McKnight’s advice. “Experience was the secret when I joined the world of Harry Potter (a project I was involved in at a previous agency). This fandom’s passion had initially stemmed from reading all seven books; the emotional connection this created was immense. Fast forward a decade and fans’ behaviours had shifted, meaning we had to find new ways to engage. This culminated in creating pilgrimage points, such as expanded theme parks.”
However, it’s important not to take your position for granted – a point that Cat George was keen to emphasise to the room. “When you work on a beloved legacy property with an abundance of IP, it can be tempting to only listen to your fans – particularly if they’re vocal and engaged. But don’t forget that what they really want is to be surprised and delighted. They want you to protect their original reason for engaging – and that requires a balanced approach.”
Respecting your roots
It’s widely accepted that fandoms thrive on agency – and that fans want to involve themselves in creating aspects of their experience. However, it’s the responsibility of brands to steer this in a way that doesn’t damage legacy.
James Beardsworth-Shaw was honest about the difficulties involved in this process. “Despite being a 200-year-old organisation, The National Gallery finds itself as the beginning of this journey. We’re trying to present the history of art in new, interesting ways to enable new audiences to use new entry points. Not only that – we have to devise a strategy that incentivises existing fans to continue returning.”
Observing pop-culture moments and activations can provide brands trying to gain their footing in this space with some much-needed inspiration.
Katie said, “Look at the way that Flannels involved itself with Beyoncé’s Renaissance World Tour. Rather than positioning itself as a replica of the gig, this was a pop-up store that acted as a spinoff – a supplementary experience which provided an environment for like-minded individuals with shared devotions to interact. The fact that this was an offline activation is particularly noteworthy, given that younger people are searching for opportunities to connect across multiple touchpoints.”
James McKnight added that brands shouldn’t underestimate the value of numerous entry points. “When Harry Potter and the Cursed Child was released, it went against the franchise’s principles – a traditional book brand that was transformed into a six-hour-long, £200 London-based experience.
“This is where social media became a powerful asset, as it provided a platform through which to deliver behind-the-scenes content. Following that, releasing the script as a book enabled us to go back to our roots. More importantly, it ensured that the wider fandom could be a part of it.”
Toeing the line between belonging and buying
The panel’s closing thoughts focussed on why brands need to be wary of monetising every moment.
James Beardworth-Shaw’s advice was to prioritise authentic involvement. “At The National Gallery, we’re in a unique position where entry is free. While no financial barrier helps accessibility, it does force us to find new ways to drive revenue. Alongside traditional methods like physical momentos, there are new avenues revealing themselves – such as involving ourselves in the birthdays of our 5,000+ artists.”
Having worked within the storied James Bond franchise, Cat used Eon Productions as a case study for best-in-class fanship nurturing. “It all comes down to storytelling. For more than 64 years, Eon has helped fans connect with the entire Bond universe – the characters, the plotlines, the sensitive product placements.
During this time, it has never lost sight of the need for innovation. During the creation of No Time to Die, the company ensured this connectivity was represented in the script. This ranged from the way that the Aston Martin was used – which is almost a character in itself at this point – to the nuanced introduction of Easter eggs.”
From left to right: Cat George, James McKnight, Luke Weston, Katie Baron, James Beardsworth-Shaw
Want to delve deeper into the world of fandoms and learn about the four dimensions that shape fandoms (passion, participation, belonging and fanlore) – and how to ensure that none slide out of focus? Interested in how your brand can stimulate these communities in a sensitive, effective way? Reach out to Elisa Barnard [email protected] – we’d love to help you on this journey.
