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2Leveraging the human side of the brand using a sense of place: case studies of craft breweries AbstractIn order for consumers to emotionally connect with brands, brands must be transformed from inanimate entities into the realm of acquiring human characteristics. Following a review of more than 1000 breweries from online sources and beer companion books, we explore how a sense of place, derived from myths, folklores and heroes, enables marketers and consumers to co-create narratives that humanise brands. We add to the theory on brand humanisation as we conclude that a sense of place offers a novel, and different, approach to humanisation strategies based on anthromorphisation, personification and user imagery, but can also operate in tandem with them. Further research is recommended to understand how and why consumers respond to branding strategies that use a sense of place to humanise brands. Summary of statement of contributionThis exploratory study adds to the body of knowledge on how brands are humanised. It demonstrates that, at least in relation to craft breweries, a sense of place offers rich material for the creative content for brand narratives. In addition, we suggest that a sense of place has the distinctive advantage of allowing both marketers and consumers to create narratives with potential to humanise brands. 3Key words: brand humanisation, sense of place, brand narratives, anthromorphisation, anthromorphic marketing 4 Leveraging the human side of the brand using a sense of place: case studies of craft breweries Developing a relationship between a brand and consumers is achieved when consumers connect with brands in an emotional manner (Fournier, 1998). As brands are ostensibly inanimate objects, this can only occur when brands are humanised (Aaker, 1999). Thus far, the literature in this field of marketing suggests that brands are typically made human-like via anthromorphisation, personification or user imagery (Aaker, 1999). For example, in the case of Trip Advisor, the brand is humanised via anthromorphisation when physical human characteristics are overlaid onto the owl. In comparison, Jamie Oliver's personal attributes personify the Jamie Oliver brand, and in the case of Marlboro, images of the typical users of the brand are used in promotional collateral to help consumers identify with the brand.Brand humanisation strategies around anthromorphisation, personification and user imagery are, to a large extent, implemented and controlled by the marketer. In this context, consumers have a limited capacity to extend, or personalise, brand narratives.This contrasts sharply with the increasing levels of participation consumers now experience in consumption (Ahonen & Moore, 2005). In this paper, we explore how consumers can be included in brand humanisation strategies. In order to do this, we refer to a sense of place (SoP). A SoP describes relationships between people and social settings (Jorgensen & Stedman, 2001) and human-place bonding (Kyle, Mowen, & Tarrant, 2004), with its rootedness, insided...

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Purpose – This paper aims to investigate the authenticity concept and its antecedents and consequences within the context of museums. Design/methodology/approach – A higher-order scale of authenticity is developed and then tested for reliability and validity using a sample of museum visitors. To investigate authenticity in a model with two antecedents and two outcomes, an additional data set was collected. Hypotheses were tested using structural equation modelling. Findings – The results show that perceived authenticity of the museum, the visitor and the materials in the museum are dimensions of perceived authenticity, resonating with Bal’s (1996) research in this area. Findings also confirm that consumer scepticism and expectations are antecedents to perceived authenticity of the visitor experience in museums, and that perceived authenticity in turn affects visitor satisfaction and perceived corporate hypocrisy. Practical implications – This research provides a framework for museums to manage visitors’ perceptions of authenticity, and to plan and design exhibits accordingly. Originality/value – Our research, set in the museum context, articulates the basis of perceived authenticity, its antecedents and outcomes. This study sets the foundation for research to further explore how perceived authenticity interacts with other constructs relevant to consumption.

This qualitative research was set within a literary heritage museum replete with replica artefacts. We explored how the inauthentic is negotiated in this context and examined the outcomes of these negotiations. Our research revealed that scene setting, freedom, and imagination contribute to visitors' potential to overcome the absence of indexically authentic artefacts, and we identified a role for existential authenticity in this process. We make three key contributions to marketing theory on authenticity: (1) when visitors are confronted with the inauthentic, they often experience feelings of dissonance;(2) there is a need to consider the role of authenticity of the 'self' in consumption situations; and (3) there is a symbiotic relationship between indexical authenticity and iconic authenticity, and both are related to existential authenticity. We recommend that the arts and heritage sectors delve further into the processes that suppliers and consumers use to negotiate the inauthentic so that they may leverage the support they have from stakeholders and enhance their viability.