If my surname was Liebig, I would have probably named my company something else.
#brands
[#TRADESHOW] #Shanghai #International #Fashion #Jewelry #Expo (#FJE 2026) will take place from March 23 to 25, 2026, at the Shanghai #World Expo #Exhibition and #Convention #Center, #China. As the first dedicated #B2B #trade #show #event in the global fashion jewelry #industry #calendar each year, FJE has quickly become a key #sourcing #platform for #brands, #retailers, and #designers. https://cnbusinessforum.com/event/shanghai-international-fashion-jewelry-expo-fje-2026/
TikTok 発の美容習慣「プロジェクト・パン」が米国で再燃 関心572%増となった過剰消費見直しの実態
https://digiday.jp/glossy/beauty-sales-are-booming-and-so-is-project-pan/
[#TRADESHOW] #Shanghai #International #Fashion #Jewelry #Expo (#FJE 2026) will take place from March 23 to 25, 2026, at the Shanghai #World Expo #Exhibition and #Convention #Center, #China. As the first dedicated #B2B #trade #show #event in the global fashion jewelry #industry #calendar each year, FJE has quickly become a key #sourcing #platform for #brands, #retailers, and #designers. https://cnbusinessforum.com/event/shanghai-international-fashion-jewelry-expo-fje-2026/
Customer Spotlight: Héctor Rubio of the Spain National Soccer Team
Blinkfire is proud to work with some of the biggest and best sports, media, and entertainment organizations in the world and connect with smart and innovative people on a daily basis. The work and creativity of our customers deserve to be showcased, which we highlight in our Customer Spotlight Series. In this edition, we’re excited to welcome Héctor Rubio, Community Manager at the Spain National Soccer Team.
The Spanish National Soccer Team is facing a major challenge this upcoming summer: winning a World Cup as the favorites. With only one men’s World Cup in the nation’s history, there is a lot of pressure and excitement. With a generation that combines experience and youth, established players such as 2024 Ballon d’Or winner Rodrigo Hernández, alongside emerging talent Lamine Yamal, the team accumulated more than 20 million social media followers. Behind this community is Héctor Rubio, who is responsible for communicating the players’ day-to-day activities to the public and tackling challenges such as maintaining the connection when the senior team is not competing or adapting content to the time difference for the upcoming World Cup.
Question & Answer with Héctor Rubio
How did you join the Federation and what path did you take to become the social media manager for the Spanish national team?
I studied Documentation at the Complutense University, completed a master’s degree in Digital Documentation, and graduated in Journalism from the Carlos III University. I was an intern at El País, Telecinco, and later La Sexta, internships that I didn’t finish because I was called to join the Informativos Telecinco sports newsroom. There, I worked in several sections of the morning and evening news programs, and later I joined the editorial team at Las Mañanas de Cuatro, where I worked for a few years before going to the RFEF.
In 2013, the Federation organized a competition to modernize its website and digital content. The winning project contacted me and I joined as a documentalist and journalist. I had always been attracted to social media, so I started working with the Community Manager, Ildefonso Cortés, until 2020, when he left the Federation and I was offered the position.
What is your relationship like with other departments within the Federation, especially marketing?
Although our work involves creating content and managing social media posts, we have a very close relationship with the Sales and Business Development and Brand departments. One of our pillars is to take care of sponsor exposure: if we have to feature three players, they all have to be wearing Adidas; if we choose a photo, the main sponsors on the shirt, Mapfre and Ebro, have to be clearly visible; we mention the brands in the copy or in stories. We take great care with these details.
Since I joined the Federation, I have worked closely with marketing to look after sponsors and maintain a close relationship. Social media would be inconceivable without these nods and without this constant collaboration between journalistic content and brand visibility. In the Federation, the departments are separate, but we work together, travel together, share training camps, and collaborate on everything related to visibility and sponsorship.
How are sponsors integrated into day-to-day content?
As the person in charge of social media, especially for the senior team, which has the most visibility, I try to ensure that everything we publish is also carefully considered from the sponsors’ point of view.
One example is the Meet & Greet with sponsors, which takes place on the morning of matches. Fans who have managed to get tickets take part, and there is a roll-up banner with the brands. The players attend wearing branded clothing, and we take advantage of these moments to generate more human content: the story of a girl who meets her idols, a fan’s birthday…
These relatable stories allow us to take advantage of these marketing actions to share experiences. Journalistically, they are beautiful pieces, and they always include the presence of the brands, both in the image and in the text, so that people know, for example, that by buying a ticket they can live that experience.
There are also small details that are part of everyday life and that provide visibility. For example, when the players walk out onto the training field, I usually record various shots, but I make sure that the brands, such as Adidas, are visible. If I know they are promoting the F50, I lie down on the ground to capture the shot from below, and since I am very close to the players, some of them make a gesture of stepping on the cell phone. That screenshot, with the boots clearly visible, ends up being the one we use as a thumbnail. It’s not something that marketing asks me to do directly, but I know it’s important and part of taking care of the sponsor.
We also pay attention to travel. We always fly with Iberia, and I make sure their logo is visible in the photos. If, for logistical reasons, we ever travel with another airline, we make sure their brand does not appear. For me, as a final filter before publishing, it is essential that everything has the right visibility. With more than 20 million followers across all networks, any image or video has enormous potential for return for brands.
I have internalized all of this; it is part of how I work. Another example: when the players arrive at training camps, there is a giant banner with all the sponsors, and they walk in front of it as they enter. If a fence is not properly positioned or the angle is not right, we ask them to repeat their entrance, because we know that exposure is important for the brands. That closeness and trust with the players allows us to take care of these details without it feeling forced. It’s something that marketing values highly, because they know that we also contribute to giving visibility to their partners through social media.
How do you build that trust with the players?
We are fortunate that the heavyweights in the locker room have known me for years. Many of them came up through the youth ranks, and now that they are in the senior team, that relationship of trust remains. When a new player arrives, the first thing we do is follow them on their official social media accounts, I introduce myself, explain that I manage the social media accounts, and that they will see me recording. I offer my help for whatever they need and, above all, I try to make that first contact friendly.
I don’t like filming in a cold manner. I prefer to introduce myself first so that the first face-to-face meeting isn’t aggressive. Besides, coming from top-level clubs, they are used to having content creators around. They are young, with an average age of around 25, and they understand perfectly who is behind the camera.
I like to record close-ups, audio clips in which they greet or interact with you, because that type of content creates closeness and works very well. It’s as if the players are greeting the fans directly, and that helps convey the spirit of the team.
Trust is also built by protecting their privacy. I constantly review the audio recordings and footage; if there is any possibility that someone could read lips or capture something private, I prefer not to publish it. In communications, we always review content with two people before releasing it. They know this and trust that we will protect them. That mutual trust is essential for working naturally and ensuring that social media reflects what the group is really like.
Of the new generation of players, such as Lamine Llamal, Nico Williams, and Dean Huijsen, who are more digitally native and influence the way you communicate?
Having such a young generation ensures that they are familiar with the language of social media. Many share trends, know what music is popular, and what challenges are trending. It’s easier to propose ideas to them because they understand the code.
They are also very active and often share our content, which amplifies our reach. Sometimes it’s enough to spot something they like. A recent example was with Nico Williams, when I saw that his profile picture was a character from an anime series that I like. I suggested recording something related to that, as it’s easy content that you can record in a short time and quickly reach huge numbers of views. Why? It’s something intimate about the player that people don’t know, he doesn’t mind because he’s talking about something he likes and explains that he identifies with it, and it’s content that you’re not used to seeing from an elite soccer player.
Another example that comes to mind is a challenge we did involving tortillas with or without onions, in which you can hear me interacting with them in the background. In the video, he jokes around, conveys warmth and good vibes, and fans like that. Followers want to see a player beyond the field and the game. It’s a very intimate way for people to connect with the team and their environment. Sponsors love that because they want people to connect. These are little things that you achieve over time.
What strategies do you use to get players to share your content?
One of the things we do is, after publishing a reel, we post it in full-screen stories and mention the players who appear in it below. By doing so, the mention does not appear on screen, but the protagonists see it and are very likely to share it on their own profiles. The exposure we receive is immense. The user watches the first 20 seconds of the reel through the story and clicks to see the rest.
The content that is successful is natural, fun, and uncontrived. One example was a video with the U-21 team, a ball-dribbling challenge, and it worked great. The players have fun, they compete with each other, it’s recorded in 10 minutes, and the production doesn’t require much.
How do you decide which players to feature in your posts?
I try to maintain a balance and ensure that everyone gets visibility. If I upload twenty stories from a match, I try to feature twenty different players. For me, they all have the same value.
It’s true that some names generate more interactions, such as Lamine or Nico, and you have to take advantage of that intelligently, because you know that content featuring certain players is going to work better.
I remember a video with Lamine and Nico as the protagonists riding stationary bikes, laughing, very natural, that I knew was going to reach at least a million views, so I didn’t post it to Stories but to TikTok, and in the end it reached 2.2 million views that same afternoon for a 5-second video.
What type of content works best?
The content that works best for us is vertical content, which comes across as fresher, more natural, and less polished in terms of production. That’s precisely what we focused on for the Euro: giving a big boost to vertical videos, recorded with cell phones, spontaneous, without neglecting more elaborate content, but focusing on that closeness that connects with people.
That decision worked very well for us. During the tournament, we grew significantly on platforms focused on this type of format. It’s true that the victory helped, but if you accompany the results with good content, the growth multiplies. People want to see the players as they are: natural, relaxed, showing their daily lives.
Outside of major tournaments or gatherings, when there is no competition, it is more difficult to maintain that level of attention. Even so, we try not to lose sight of our goal. We publish archived content, birthday videos, awards, or achievements of players in their clubs, and we always try to link it to current events. That way, we maintain the connection with the audience and growth remains steady.
How do you plan content for long tournaments such as the World Cup?
We work with a two-day plan, because you never know what might happen. There could be a spectacular goal in training, or training could be canceled at the last minute.
We have some reports or challenges planned, but half of the content depends on current events. That’s why it’s difficult when we have campaigns with sponsors who ask us for a fixed schedule of videos.
When there’s no focus, we resort to historical content or content from other teams or lower categories. If the senior team isn’t playing, there may be a Futsal World Cup or a Beach Soccer European Championship. The @sefutbol account always has something to say.
What challenges does the upcoming World Cup in the United States present?
The main challenge will be the time difference. We already experienced this at the 2015 Women’s World Cup in Canada. You have to schedule content to fit the local time zone, but also Spanish time, which is where your peak audience is.
We publish the most important or sponsored content during peak hours in Spain, and we adapt some stories to the tournament schedule. In addition, after publishing many pieces on our profiles, we share them with the media so that they can include them in their news reports and thus have the greatest possible exposure. For sponsors, having a piece that gives them visibility also appear in media outlets with millions of viewers is an incredible added value.
For the United States, we want to continue focusing on vertical, fresh content with more challenges and a fun tone. In recent training camps, we have had a content creator, Álex Pérez Poza, who brings a different perspective.
In the past, for events such as the Copa del Rey final, we have also collaborated with various content creators. We always look for profiles that fit with the values of the national team and help us reach diverse audiences. On that occasion, Cristinini, Iker Ruiz, Juan Bertheau, and Celine participated, four creators with different communities. The idea was to convey that the Copa del Rey is not only experienced in Spain, but in many parts of the world, and that strategy worked very well for us.
How do you select the content creators you collaborate with?
We are contacted by many people who want to collaborate with us, but we are very careful. We look for profiles that fit with our values, that are not involved in controversy, and that make sense within the world of soccer or family entertainment.
What do you think about the use of IA on social media?
AI is already here, and we all use it to a greater or lesser extent. It can be used to remove a competitor’s brand from a photo, proofread a text, or animate an image. But when used excessively, the result loses authenticity.
More and more, people value authenticity: a shot taken with a cell phone, a spontaneous conversation, a natural gesture. Overly produced or artificial content causes the audience to disconnect. Today, what works best is precisely the opposite: spontaneity. If the user is more concerned with whether the video is real or made with AI, you’ve already lost.
What advice would you give to those who want to get started in the world of sports social media?
You don’t need an expensive camera; just a cell phone and the desire to do things. In this job, you have to be a multitasker: recording, editing, writing, photographing… You don’t need to be an expert in everything, but you do need to have a foundation to be able to hold your own in each area.
That versatility gives you independence and a global vision of the work. In the end, the important thing is to have initiative, keep up to date, observe what others are doing, and adapt it to your style.
If you could choose one moment from all these years with the Federation, what would it be?
I’ve experienced everything: youth tournaments, Copa del Rey, European Championships, trips with the U-17 and U-19 women’s teams. In the end, the most valuable things are the people, the human experiences, and the bonds you create with players, coaching staff, and fans.
I especially remember when I posted “We did it” after winning Euro 2024. I was in the stands, my hands shaking, trying to keep my composure at a moment that was pure emotion. We spent many days together with the same group, like a little family.
And that’s what I take away from it: the hugs, the reunions, the players I met in the lower divisions who now, when they see me in the senior team, come up to me with affection. Those moments are what remind you why you do this job.
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#Business #Cartoons
Decades of marketing · “The more things change, the more they stay the same.” https://ilo.im/168tfo
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#Companies #Brands #Marketing #Hypes #AI #Data #SocialMedia #DotCom #TV
[#TRADESHOW] #Shanghai #International #Fashion #Jewelry #Expo (#FJE 2026) will take place from March 23 to 25, 2026, at the Shanghai #World Expo #Exhibition and #Convention #Center, #China. As the first dedicated #B2B #trade #show #event in the global fashion jewelry #industry #calendar each year, FJE has quickly become a key #sourcing #platform for #brands, #retailers, and #designers. https://cnbusinessforum.com/event/shanghai-international-fashion-jewelry-expo-fje-2026/
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[#TRADESHOW] #Shanghai #International #Fashion #Jewelry #Expo (#FJE 2026) will take place from March 23 to 25, 2026, at the Shanghai #World Expo #Exhibition and #Convention #Center, #China. As the first dedicated #B2B #trade #show #event in the global fashion jewelry #industry #calendar each year, FJE has quickly become a key #sourcing #platform for #brands, #retailers, and #designers. https://cnbusinessforum.com/event/shanghai-international-fashion-jewelry-expo-fje-2026/
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[#TRADESHOW] #Shanghai #International #Fashion #Jewelry #Expo (#FJE 2026) will take place from March 23 to 25, 2026, at the Shanghai #World Expo #Exhibition and #Convention #Center, #China. As the first dedicated #B2B #trade #show #event in the global fashion jewelry #industry #calendar each year, FJE has quickly become a key #sourcing #platform for #brands, #retailers, and #designers. https://cnbusinessforum.com/event/shanghai-international-fashion-jewelry-expo-fje-2026/
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https://www.voronoiapp.com/business/The-Brands-That-Gained-the-Most-Value-in-2025-7080
#brands #brandfinance
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https://digiday.jp/modern-retail/fake-apologies-from-brands-are-all-over-instagram/
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https://digiday.jp/modern-retail/marketing-mac-cosmetics-maps-out-its-holiday-live-shopping-push/
Client Info
Server: https://mastodon.social
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