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Omnichannel represents a customer‐oriented distribution paradigm through which retailers can deliver a seamless customer experience and create an authentic brand narrative that is communicated to customers across diverse touchpoints. Despite the increasing relevance of the omnichannel approach, research on how omnichannel can affect the customer experience remains scant. This research consists of a qualitative study and three experimental studies. Drawing from signaling theory, we contend that the signal congruency established by omnichannel—where all the channels are aligned and convey a consistent message to customers—can enhance consumers' purchase intention and perceptions of brand authenticity. We further investigate the role of brand authenticity as a mediator of the relationship between multichannel customer experience (seamless vs. nonseamless) and purchase intention, as well as of brand untrustworthiness as a moderator of the relationship between multichannel customer experience and brand authenticity. The results show that a seamless multichannel customer experience has a significant main effect on purchase intention and that participants in the seamless multichannel customer experience condition perceive the brand as more authentic than those in the nonseamless multichannel customer experience condition. Both the mediation and moderation hypotheses are supported. These findings enhance the literature on signaling theory and omnichannel. They also provide insightful implications for retailers in terms of managing the omnichannel customer experience. Overall, this study integrates the research areas of brand authenticity and omnichannel and provides valuable insights by indicating how seamlessness can boost consumers' perception of brand authenticity. Furthermore, the study advances our knowledge by investigating the impact of brand authenticity as both a result of the omnichannel customer experience and a predictor of purchase intention.

This study aims to understand how people engage with art in the era of selfies, digital devices, and social media. It examines the audience experience of an art exhibition, where visitors are encouraged to use social media to share their art experience, to understand how such an approach might change the nature of visitor engagement with art. Arguably, selfies taken in the art space enrich the visitor’s experience and engagement with art and function as co-creational, empowering, and authentic marketing tools for museums. Data for this research were collected through non-participant observation (ethnography) and netnography at the National Gallery of Victoria, in Melbourne, Australia. The results show that rather than promoting disengagement from the art piece, selfies in the art space become “networked material-discursive entanglements” empowering art consumers to co-create value and arts organizations to reduce their distance from consumers and reproduce the iconic authenticity of the artwork in the virtual space. The article contributes to selfie theory by overcoming the traditional view of selfies as manifestation of narcissistic self-expression. Instead, it promotes an interpretation of selfies as an empowering and democratizing means used by art consumers to develop narratives and identity projects in a context such as the museum where traditionally the development of the narrative is apanage of an elite. A further contribution provided by this research stems from the identification of clusters of visitors (i.e., reality escapers, art lovers, photoholics, and selfie lovers), placed on a continuum of value co-creation, which arts administrators need to be conscious of as they enter a more dynamic era of art consumption. By outlining managerial implications, this study provides an initial reflection on how arts managers can navigate the emerging era of the selfie in the museum context.

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Albeit often perceived as two worlds apart, low culture and high culture are increasingly converging to collaborate in mutually advantageous ways. Brands—including the name, term, sign, symbol, or combination of them that identify the goods and services of a seller or group of sellers, and differentiate them from those of the competitors—are the new territory where high culture and low culture co-exist and collaborate, creating new possibilities of cross-fertilization and hybridization between the two. Through the analysis of successful examples coming from different industries, this chapter aims to highlight how brands have blurred the distinction between low culture and high culture. On the one hand, brands can use the heritage of the arts world to gain authenticity and legitimate themselves in the eyes of consumers and the society. On the other hand, artists and arts organizations, such as museums and other art institutions, can indulge in popular culture in order to become appealing to younger target markets and enhance their brand awareness and image.