Brand extensions in emerging markets:theory development and testing in China

Brand extensions are increasingly used by multinational corporations in emerging markets such as China. However, understanding how consumers in the emerging markets evaluate brand extensions is hampered by a lack of research in the emerging markets contexts. To address the knowledge void, we built on an established brand extension evaluation framework in the West, namely Aaker and Keller (1990)1. Aaker , D. A. and Keller , K. L. 1990 . Consumer evaluations of brand extensions . Journal of Marketing , 54 ( 1 ) : 27 – 41 . [CrossRef], [Web of Science ®] View all references, and extended the model by incorporating two new factors: perceived fit based on brand image consistency and competition intensity in the brand extension category. The additions of two factors are made in recognition of the uniqueness of the considerations of consumers in the emerging markets in their brand extension evaluations. The extended model was tested by an empirical experiment using consumers in China. The results partly validated the Aaker and Keller model, and evidence that both newly added factors were significant in influencing consumers' evaluation of brand extensions was also found. More important, one new factor proposed, namely, consumer-perceived fit based on brand image consistency, was found to be more significant than all the factors in Aaker and Keller's original model, suggesting that the Aaker and Keller model may be limited in explaining how consumers in the emerging markets evaluate brand extensions. Further research implications and limitations are discussed in the paper.

Ownership effects in consumers' brand extension evaluations

In this paper, we examine how brand ownership status affects consumers’ evaluation of brand extensions, using an experiment. In evaluating both brand extension and parent brands, brand owners differ from both nonowners and nonusers of a brand's product category in important ways. While the functional similarity between a brand and its extension impacts on all three groups’ brand extensions, its effects on nonowners and nonusers are more significant than those on brand owners. For brand owners, the most important consideration in their evaluation of brand extensions seems to be the image consistency between a brand and its extensions. Furthermore, there is an interaction effect between brand image consistency and product similarity for brand owners, whereas this effect is nonexistent for nonowners and nonusers.

Consumer brand equity : a model for the measurement, analysis and evaluation of consumer perceived value

The topic of my research is consumer brand equity (CBE). My thesis is that the success or otherwise of a brand is better viewed from the consumers’ perspective. I specifically focus on consumers as a unique group of stakeholders whose involvement with brands is crucial to the overall success of branding strategy. To this end, this research examines the constellation of ideas on brand equity that have hitherto been offered by various scholars. Through a systematic integration of the concepts and practices identified but these scholars (concepts and practices such as: competitiveness, consumer searching, consumer behaviour, brand image, brand relevance, consumer perceived value, etc.), this research identifies CBE as a construct that is shaped, directed and made valuable by the beliefs, attitudes and the subjective preferences of consumers. This is done by examining the criteria on the basis of which the consumers evaluate brands and make brand purchase decisions. Understanding the criteria by which consumers evaluate brands is crucial for several reasons. First, as the basis upon which consumers select brands changes with consumption norms and technology, understanding the consumer choice process will help in formulating branding strategy. Secondly, an understanding of these criteria will help in formulating a creative and innovative agenda for ‘new brand’ propositions. Thirdly, it will also influence firms’ ability to simulate and mould the plasticity of demand for existing brands. In examining these three issues, this thesis presents a comprehensive account of CBE. This is because the first issue raised in the preceding paragraph deals with the content of CBE. The second issue addresses the problem of how to develop a reliable and valid measuring instrument for CBE. The third issue examines the structural and statistical relationships between the factors of CBE and the consequences of CBE on consumer perceived value (CPV). Using LISREL-SIMPLIS 8.30, the study finds direct and significant influential links between consumer brand equity and consumer value perception.

Negative brand personality:the construct, its antecedents and outcome variables

By evolving brands and building on the importance of self-expression, Aaker (1997) developed the brand personality framework as a means to understand brand-consumer relationships. The brand personality framework captures the core values and characteristics described in human personality research in an attempt to humanize brands. Although influential across many streams of brand personality research, the current conceptualization of brand personality only offers a positively-framed approach. To date, no research, both conceptually and empirically, has thoroughly incorporated factors reflective of Negative Brand Personality, despite the fact that almost all researchers in personality are in agreement that factors akin to Extraversion (positive) and Neuroticism (negative) should be in a comprehensive personality scale to accommodate consumers’ expressions. As a result, the study of brand personality is only half complete since the current research trend is to position brand personality under brand image. However, with the brand personality concept being confused with brand identity at the empirical stage, factors reflective of Negative Brand Personality have been neglected. Accordingly, this thesis extends the current conceptualization of brand personality by demarcating the existing typologies of desirable brand personality and incorporating the characteristics reflective of consumers’ discrepant self-meaning to provide a more complete understanding of brand personality. However, it is not enough to interpret negative factors as the absence of positive factors. Negative factors reflect consumers’ anxious and frustrated feelings. Therefore, this thesis contributes to the current conceptualization of brand personality by, firstly, presenting a conceptual definition of Negative Brand Personality in order to provide a theoretical basis for the development of a Negative Brand Personality scale, then, secondly, identifying what constitutes Negative Brand Personality and to what extent consumers’ cognitive dissonance explains the nature of Negative Brand Personality, and, thirdly, ascertaining the impact Negative Brand Personality has on attitudinal constructs, namely: Negative Attitude, Detachment, Brand Loyalty and Satisfaction, which have proven to predict behaviors such as choice and (re-)purchasing. In order to deliver on the three main contributions, two comprehensive studies were conducted to a) develop a valid, parsimonious, yet relatively short measure of Negative Brand Personality, and b) ascertain how the Negative Brand Personality measure behaves within a network of related constructs. The mixed methods approach, grounded in theoretical and empirical development, provides evidence to suggest that there are four factors to Negative Brand Personality and, tested through use of a structural equation modeling technique, that these are influenced by Brand Confusion, Price Unfairness, Self- Incongruence and Corporate Hypocrisy. Negative Brand Personality factors mainly determined Consumers Negative Attitudes and Brand Detachment. The research contributes to the literature on brand personality by improving the consumer-brand relationship by means of engaging in a brandconsumer conversation in order to reduce consumers’ cognitive strain. The study concludes with a discussion on the theoretical and practical implications of the findings, its limitations, and potential directions for future research.

Destination Positioning Slogans - Analysis of Themes used by New Zealand Regional Tourism Organisations

A significant gap in the tourism and travel literature exists in the area of tourism destination branding. Although brands have been used as sources of differentiation in consumer goods markets for over a century, academic research attention towards destination branding has only been reported since the late 1990s. Three important components of the brand construct are brand identity, brand position and brand image. While interest in applications of brand theory to practise in tourism is increasing, there is a paucity of published research in the literature to guide destination marketing organisations (DMOs). In particular there have been few reported analyses of destination brand positioning slogans. The focus of this paper is on destination brand position slogans, which represent the interface between brand identity and brand image. Part of a wider investigation of DMO slogans worldwide, and in keeping with the conference location, the paper focuses on analysis of slogans used by New Zealand RTOs. The slogans are examined in terms of the extent to which they have been limited to ephemeral indifference. In other words, have they stood the test of time and do they effectively differentiate through a meaningful proposition? Analysis of the slogans indicates very few could be characterised as memorably distinctive. This reflects the complexity involved in capturing the essence of a multi-attributed destination in a succinct and focused positioning slogan, in a way that is both meaningful to the target audience and effectively differentiates the destination from competitors offering the same benefits.

Akin Collection : curation of a collaboration between Indigenous artists and fashion designers to create a retail-ready luxury fashion label

The Akin collection is the outcome of a project to lead, guide and curate a luxury, retail-ready fashion collection from a collaboration between five emerging fashion designers and five established Indigenous artists. Research background There is a history of Indigenous artists in Australia being treated unethically; by misappropriation and misrepresentation of their work, inequity of payment for their creativity and little acknowledgement of their cultural contribution to collaborative fashion product sold globally. This has created an atmosphere of bad press for fashion, as well as a fear for emerging designers to include/collaborate with Indigenous artists for textile prints. This fear has been so intense that many emerging Australian designers are now seeking collaboration with other countries’ Indigenous communities, thus missing out on a rich cultural and diverse aesthetic that could brand a truly unique Australian label in the international marketplace. The fashion brands that have collaborated with Indigenous Australian artists have traditionally been a ONE designer label incorporating Indigenous prints, for collections that have little acknowledgement of the artist’s contribution and strong branding for the label and/or fashion designer. This collection seeks to create an equitable and profitable fashion collection under one brand where all artists and designers receive equal payment, equal promotion/credibility, as well as equal royalties for any garments ordered by retailers. Research question Is it possible to curate an ethical, luxury, retail-ready, international fashion brand with a collaboration of five (5) emerging designers and five (5) Indigenous artists? Research contribution In the fashion industry, existing collaborations for Australian Indigenous artists have been with ONE fashion designer or one existing fashion label. This is the first fashion collection created under one brand name with equal credibility and profits for both artists and designers. The process involved presenting workshops ranging from understanding the logistics and timing of the fashion supply chain, costing of garments, the process of ‘ranging’ fashion product for a collection and creating repeat prints from a specific artwork, ready for digital printing. A workshop was also facilitated so both designer and artist could work together to create (and co-own) unique t shirt prints. Lawyers were consulted and ethical contracts were drawn up to cover all participants in this innovative collaboration. While the collaboration of artist and designer was important, the collection required curation of all elements so that the final collection came together as a professional and cohesive, quality, retail- ready product. This could only be created by experienced practitioners. Research significance The Akin Collection is the first Australian fashion brand to be created as a collaboration between five equally recognised Indigenous artists and five emerging fashion designers. It has familiarized the Indigenous artists to the logistics and culture of the fashion industry and the emerging fashion designers have been familiarized to the logistics and culture of how to collaborate with the unique Indigenous artwork that exists in Australia. After only three months, this culminated in a fashion parade showcasing the Akin collection to over 400 members of the public, government, media and retail. Feedback has been strong from the media and the industry, and a lookbook and photoshoot has been organised to promote and sell the collection both nationally and internationally. These concepts plus the curation outlined, has created a successful, luxury, quality collection ready for the international runways. This project has devised an ethical template for other Indigenous artists and emerging designers to create fashion collections that offer a unique aesthetic that could position and brand Australian fashion in the international marketplace. Key Words Indigenous artists, emerging fashion designers, Australian fashion design, ethical fashion, luxury Australian brand

Social media metrics : are we measuring business value?

Over the past few years many organizations that directly or indirectly interact with consumers have invested heavily into a social media presence. As a consequence some success indicators are openly available to users of many social media platforms, such as the number of fans (or followers, members, visitors and others) or the amount of content(tweets, images, shares or other content). Many organizations additionally track their social activities internally to understand audience reach, consumer influence, brand image, consumer preference or other key metrics that make sense for a business. However, most of the immediately available social media success metrics are activity-based and many organizations are struggling with establishing a direct relationship to business success. This paper systematically reviews some of the common social media metrics/ratings used by organisations, critically analyse its business value and identify gaps formulating research questions for empirical study and concluding with recommendations and suggestions for future research.

Fashion system Shanghai : the advent of a new gatekeeper

The term fashion system describes inter-relationships between production and consumption illustrating how the production of fashion is a collective activity. For instance, Yuniya Kawamura notes systems for the production of fashion differ around the globe and are subject to constant change, and Jennifer Craik draws attention to an ‘array of competing and intermeshing systems cutting across western and non-western cultures. In China, Shanghai’s nascent fashion system seeks to emulate the Eurocentric system of Fashion Weeks and industry support groups. It promises emergent designers a platform for global competition, yet there are tensions from within. Interaction with a fashion system inevitably means becoming validated or legitimised. Legitimisation in turn depends upon gatekeepers who make aesthetic judgments about the status, quality and cultural value of a designers work. Notwithstanding the proliferation of fashion media, in Shanghai a new gatekeeper has arrived, seeking to filter authenticity from artifice, offering truth in a fashion market saturated with fakery and the hollowness of foreign consumptive practice, and providing a place of sanctuary for Chinese fashion design. Thus this paper discusses how new agencies are allowing designers in Shanghai greater control over their brand image while creating novel opportunities for promotion and sales. It explores why designers choose this new model and provides new knowledge of the curation of fashion by these gatekeepers.

Investigating marketing managers' perspectives on social media in Chile

Social media has reached global proportions, yet little is known about firms’ engagement with these Web 2.0 technologies in emerging markets within Latin America. The study investigates Chilean marketing managers’ perspectives on social media platforms, the benefits or barriers to their firm’s marketing practices and the impact they have on the immediate marketing environment based on in-depth interviews. Applying Okazaki and Taylor’s (2013) social media framework the findings provide an understanding of social media’s role for Chilean firms in customer engagement, brand image enhancement, return on investment, and meeting consumer needs through time and place. Additional themes emerged on the use of social media through Smartphones and their value for future marketing activities.

El valor de marca: perspectivas de análisis y criterios de estimación

[ES] A lo largo de la última década, se ha originado un importante debate acerca de lo que debe entenderse por valor de marca. En la delimitación de este concepto se han utilizado varias perspectivas de análisis y criterios de estimación muy diferentes, de ahí que aún exista sobre este tema una excesiva ambigüedad. En este trabajo se presenta un marco teórico donde se contemplan distintas perspectivas de estudio y varios criterios de estimación del valor de marca. A partir de este marco, se analizan empíricamente siete criterios de estimación de acuerdo con la información recogida de una muestra de usuarios sobre seis marcas de zapatillas de deporte. Con ello se pretende contribuir a un mejor conocimiento del concepto de valor de marca.

Aplicando netnografía a la obtención del mapa de posicionamiento para empresas de distribución alimentaria

[ES] Las comunidades online se han convertido en un lugar de encuentro muy popular para los consumidores que les permite compartir información. En este artículo se presenta una técnica de información novedosa como la netnografía, y se aplica para determinar cuál es el posicionamiento de las empresas de distribución alimentaria. Tras la recogida y análisis de 506 mensajes válidos de la comunidad online Ciao, se pudo conocer qué atributos se asociaban a seis establecimientos de alimentación analizados. Mercadona se asocia con la calidad de su marca de distribuidor y una escasa variedad de marcas/productos. Las tiendas discount, Lidl y DIA, destacan por la posibilidad de mejora en la limpieza del establecimiento y la localización de los productos. Los hipermercados, Eroski, Alcampo y Carrefour, son destacados por su variedad de marcas/productos, y alejado del domicilio. También se ha identificado a los competidores más directos de cada empresa, encontrándose una competencia entre los formatos de venta del mismo tipo (intratipo). El uso de la netnografia, técnica relativamente reciente, supone la mayor originalidad del trabajo. Además, las conclusiones obtenidas, que son coincidentes con estudios anteriores, muestran que la netnografía puede ser una fuente de información para determinar cuál es la imagen comercial y el posicionamiento de las empresas.

Una propuesta metodológica para evaluar la imagen de una ciudad a través de los mapas asociativos

[ES] Esta investigación ha propuesto un método sencillo, razonablemente económico y fácil de implementar para estudiar la imagen de marca de una ciudad empleando los mapas asociativos (Henderson, Iacobucci y Calder, 1998). Utilizando una combinación de criterios estadísticos e interpretativos se llega a construir un mapa de consenso que refleja las señas de identidad de una ciudad, es decir, las principales asociaciones que realizan sus habitantes cuando piensan en su localidad. Se proporcionan, además, claras orientaciones sobre cómo aplicar este método, el cual debe realizarse periódicamente, con el fin de estudiar la dinámica de las asociaciones mencionadas en función de las acciones estratégicas y tácticas realizadas por los gobernantes y del momento del tiempo en el que se ejecuta. Además, se ilustra su uso con una investigación real, aplicada a la ciudad de Cartagena, y realizada empleando una muestra aleatoria de 195 ciudadanos.

品牌形象的消费行为学分析

Brand image is the attributes set and the related associations of a brand in consumers mind, and it is the subjective reflections of brands. The paper explored the factors of brand image system and their weight. As the traditional means to evaluate weight coefficients are not perfect, a new method, conjoint analysis, was attempted. The factors of brand image were explored through questionnaire. Sports sneaker, toothpaste, and personal stereo were chosen as product sample, and four hundred and twenty university students from Tangshan city and Beijing as subjects(each person evaluated two kinds of products). The first two kinds of products were requisites of students, and sports sneaker belonged to High conspicuous products and toothpaste was low conspicuous product. On the other hand, personal stereo was the sample of development and entertainment products. Several factors of three products brand were taken out with factor analysis. In order to explore the weight of the brand image factors, a contrast of factor contribution ratio method, holistic quartation method and conjoint analysis is made here. Twenty university students evaluated the weight of the image factors of three kinds of brand with holistic quartation method, then they gave the weight of personal stereo with conjoint analysis method. Product function, advertising and propaganda, symbolic meaning, market orientation, brand appetency, consuming experience are the factors of sports sneaker brand image. Product function, advertising and propaganda, market orientation, product grade, corporation image are the factors of toothpaste brand image. Corporation image and product function, advertising and propaganda, consuming experience, symbolic meaning, price and function ratio are the factors of personal stereo brand image. So the hypothesis was proved that brand image is an ordinal and organical system, "ordinal" means the weight of factors are different, "organical" means that brand image can be deposed into several factors and the factors belonged to function components and meaning components (function components are the factors about physical characteristics and function, which are called "hard factors"); meaning factors are those that can show the personality、value and lifestyle of consumers, which are called "soft factors". The research also gave evidence of the hypothesis below: the factor structures of brand image of different product category have commonness and individuality; the function components of low conspicuous products are more important than the high conspicuous products. The exploration of conjoint analysis is what the paper seeks to be some creative in some degree.

A comunicação das marcas de motos nos concessionários multimarca em Portugal

Dissertação apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Ciências da Comunicação, especialização em Marketing e Comunicação Estratégica.