The Face of the Brand: How Art Directors Understand Visual Brand Identity

Phillips, Barbara J.; McQuarrie, Edward F.; Griffin, W. Glenn

doi:10.1080/00913367.2013.867824

Cited by 42 publications

(35 citation statements)

References 49 publications

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“…A fine wine brand must establish its own unique, coherent brand identity that includes how a consumer should interpret, interact, and reflect the brand into their own self-identity [26][27][28][29]. Creating a unique brand identity of a fine wine brand is similar to a great artist creating art in their own style.…”

Section: Fine Wine Identity Prismmentioning

confidence: 99%

Rethinking Luxury for Segmentation and Brand Strategy: The Semiotic Square and Identity Prism Model for Fine Wines

Galli¹,

Boger²,

Taylor³

2019

Beverages

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Positioning a fine wine is a complex marketing operation which tends to focus on product characteristics and tends to ignore the consumer–brand relationship. As for other luxury products, fine wine consumers are a heterogeneous group which can be broken down into clearly distinctive and often antithetical subgroups. This conceptual paper proposes a different approach to defining fine wine consumers and the brand–consumer interaction. The Aristotle-inspired semiotic square model and Kapferer’s brand identity prism were coupled to identify not only fine wine consumer groups but also with which brand characteristics they mainly interact. While the semiotic square model identifies 6 distinct groups of fine wine consumers—enthusiasts, experts, connoisseurs, drinker, novice, event goers—the brand identity prism recognizes 6 constructs—physique (material), personality, culture, relationship, reflection and self-image. Pairing the consumer’s semiotic square and the brand’s identity prism could help brands to bridge the gap between the actual consumer subgroups and the ideal target consumers to better understand their customer base, to correctly position their brand, and to create an inclusive marketing strategy. This article is the first to apply the semiotic square/brand identity prism model within the context of the fine wine industry, as most positioning literature tends to focus on involvement or on the label itself.

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Section: Fine Wine Identity Prismmentioning

confidence: 99%

Rethinking Luxury for Segmentation and Brand Strategy: The Semiotic Square and Identity Prism Model for Fine Wines

Galli¹,

Boger²,

Taylor³

2019

Beverages

View full text Add to dashboard Cite

show abstract

“…In the context of increasing competition and digitisation, brands and brand perceptions play a critical role for cultural organisations, because they are crucial drivers for the choices made by consumers (Burmann et al 2009). In addition, brand identities are important assets because they provide a tangible, yet abstract, representation of the service or product to the customers (Cornelissen et al 2007, Phillips et al 2014a, Voyer et al 2017.…”

Section: Theoretical Groundingmentioning

confidence: 99%

The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

Roll

Horst

2017

Baltic Screen Media Review

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Today, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.

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“…However, to report on all themes within the data set would have resulted in a volume of themes that would be unmanageable for this paper. Therefore, we report only key themes; whether a theme is "key" does not necessarily depend on its frequency in absolute terms, but rather depends on the overall clarity and weight of evidence (e.g., Phillips, McQuarrie, & Griffin, 2014). In addition, whether a theme is key also depends on its connection to the research questions (Braun & Clarke, 2006).…”

Section: Results and Analysismentioning

confidence: 99%

Respect in Buyer/Seller Relationships

et al. 2016

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We explore respect's meaning and impact as experienced by individuals in buyer/seller business‐to‐business relationships. Though respect has known drivers and important consequences, it is poorly defined and understood, especially in business literature. We reviewed literature from various fields, including education, aging, and social work, and conducted in‐depth interviews with 24 North American professionals. Through thematic analysis of transcripts, we found respect is about valuing relationship partners. It results not only in commitment and positive word‐of‐mouth (as expected), but also positive emotions and citizenship behaviours. We develop a synthesized and expanded model of the determinants and outcomes of respect and point to future research. Our findings suggest managers should consider how to build respect in buyer/seller relationships to improve long‐term outcomes. Copyright © 2016 ASAC. Published by John Wiley & Sons, Ltd.

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The Face of the Brand: How Art Directors Understand Visual Brand Identity

Cited by 42 publications

References 49 publications

Rethinking Luxury for Segmentation and Brand Strategy: The Semiotic Square and Identity Prism Model for Fine Wines

Rethinking Luxury for Segmentation and Brand Strategy: The Semiotic Square and Identity Prism Model for Fine Wines

The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

Respect in Buyer/Seller Relationships

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