GLOBAL CONSUMERS CULTURE AND THE NEW CHINESE LUXURY FASHION BRANDS: EMERGING ISSUES AND NEW TRENDS FROM THE LOCAL “CHINA BRANDSCAPE”

Serena ROVAI 글로벌지식마케팅경영학회 2017 Global Fashion Management Conference Vol.2017 No.07

It is certainly not possible to analyse the evolution of the global luxury consumers orientations for the new luxury Chinese brands without considering the essence and the impact of the “brandscape”. In the last decade, China has assisted to the surge of the “luxury lifestyle” for a multiplicity of consumer segments living in those coastal areas – and not only - filled with luxury and fashion brands, that invaded every city area from streets to airports from clinics to hotels where concept stores, luxury flagship stores, sponsorships for events and urban artefacts “add value to the symbolic production of an urban lived space” (Bellini and Pasquinelli, 2015). Luxury product brands are enriched by the synergy with the city brand and the diverse fashion and art city locations, activities and events. In the new luxury perspective that sees luxury in its experiential dimension and no longer only in desire of an exclusive object, the relation of luxury brands and city brand requires a specific focus, in particular in the new fast growing economies as China that sees the rise of the new experiential luxury lifestyle and new local luxury brands. In the fast growing luxury Chinese luxury market where new Chinese luxury brands are striving to acquire a brand identity and image first in the local market and then in the international one, city branding may be a conductive solutions for brand value and identity creation. Authentic luxury experiences in significant city contexts appear added value activities for luxury brands in particular for those with no consolidated heritage and identity as the new Chinese luxury brands. New retail formats such as pop-up stores, concept stores located in specific high value artistic or fashion related locations adds value (Bellaiche et al, 2012). For Chinese luxury brands with a very limited identity, a almost absent heritage and a ongoing value creation of the brand, in-store experience is increasingly important (Atsmon et al, 2012) and the shopping location certainly represent an important factor for the increasingly diverse and demanding luxury customers by being not only the instrument towards the desired subjects but also a value-adding experience on its own (Rintamaki et al, 2007, p. 628). The emergence of the Chinese luxury consumer did not mean the presence on a market where the consumers are gathered by the same tastes, desires and purchasing patterns. Reference to the global consumer culture and paradigm evidenced that consumers in diverse geographical contexts may have different and sometimes even conflicting opinions or shared desires and values expressed in similar behaviours or symbols towards a brand. Global brands sets the international standards and convey shared symbols (Holt, Quelch and Taylor 2004) and a myth of cosmopolitanism to which many consumers world-wide appreciate (Strizhacova, Coulter and Price 2008).Brands represent a form of culture and they relate to the way people live, think, eat and choose to wear as well, a form of seeing life and the world (Askegaard, Kjeldgaard and Arnould, 2009) . Luxury brands have become increasingly present in the Chinese consumer market and lifestyle and the role of purchasing luxury goods experiencing a luxury lifestyle has taken an unexpected importance and meaning in the Chinese social context. China has started to experience the consumer culture only after China's opening up to the market economy as a result of the economic reforms post-1979 that have given to aspirational consumers more freedom to develop a consumer culture partially away from political limitations but still permeated in the Chinese culture and its characteristics. Those reforms have also given rise to the private businesses and the birth of a consumer middle class, the new rich, in China. The birth of the Chinese middle class has fuelled the emergence of a highly diversified consumer class with different purchasing attitudes (Latham, 2006) and a new way to express their taste, their motivation for purchasing (Gillette, 2000) and in particular an increasing brand awareness, mode of purchasing and conceptualisation of luxury (Rambourg, 2014; Rovai, 2016). Distinctive aspects of luxury consumer culture have started to emerge in the late years, evidencing new desires for Chinese luxury consumers with respect to luxury brands, accompanied by the entrance in the market of Chinese luxury brands aspiring the capitalise on the increasing Chinese luxury desire but limited by their lack of specific characteristics of authentic luxury brands - heritage, identity and prestige amongst others. As a result, this research focuses on the analysis of Chinese luxury brands presence in the local Chinese urban context; specifically, it focuses on how the Chinese urban fashion context can help to support the creation of a luxury brand value and also reinforce a luxury brand identity and image in a Chinese luxury consumer culture that does not possess a luxury heritage. An analysis of two luxury Chinese brands and a local luxury and fashion concept store has been initiated together with further evidence from the Shanghai urban context, its activities, events and cultural specifics together with the following a qualitative method and in particular Yin (1989) case study approach. A series of 15 interviews have been held in late 2016 in Shanghai with the two Chinese luxury brands creative designers, owners and staff during one month together with observation and consulting of documents. Literature review has focused on the role of individual brands that, being somehow associated with the city become a collective brand (Pasquinelli, 2014), framing the complex network of associations, linking products, spaces, organizations and people (Bellini and Pasquinelli, 2015). Initially, an important attention has been oriented towards the geographical associations to the country-of-origin effect (Bilkey and Nes, 1982; Johansson et al, 1985) later on evidencing that a defragmentation into of smaller geographical units may be appropriate at urban level (Bellini and Pasquinelli, 2015) to highlight the relevance of the origin not simply in relation to a broad geographical context where the brand manufactures a product but also „the place, region or country where a brand is perceived to belong‟ (Thakor and Kohli, 1996, p. 26). The origin being not only a matter of product production but more of product conceptualisation, perception or consumption going towards the brand product usage context (Gerr et al, 1999). Brand product usage happen in those spatial circuits whose cities are part of and whose role may be conductive to the „local origination‟ of product brands, adding value to the birth and internationalisation of locally originated brands (Pike, 2011). Those local brands are developed from an ecosystem composed by relations and ownerships involving a multiplicity of stakeholders whose customers are an integral part (Power and Hauge, 2008). In the literature, Fashion capitals is a unique case of those ecosystems with a specific relationship between industry and spacial circuits is based on the urban context instrumental to fashion creation and also to consumption (Breward and Gilbert, 2006). The city as a part of the consumer culture and in particular as part of the brand product experience (Thrift, 2004). As a result of the literature review and the conceptualisation of fashion capitals as ecosystems conductive to the fashion creation and consumption, an exploratory study of: Which context related variables affect new Chinese luxury brands identity and value and how the China fashion capital ecosystem affects Chinese luxury consumers brand perception. The paper will show an insight of the instrumental relation of the brandscape Shanghai and the impact on the Chinese luxury brands value and identity acquisition with respect to Chinese consumers.

정동적 브랜드스케이프로서의 플래그십 스토어에 대한 비평적 고찰

백승한,이재영 대한건축학회 2023 대한건축학회논문집 Vol.39 No.9

본 논문은 기업 브랜딩 형식으로서의 '플래그십 스토어' 현상의 탐구를 위해, 관련 문헌과 사례를 검토하며 나아가 이를 브랜드스케이프와 정동 이론과 연계시킨다. 플래그십 스토어의 디자인 전략은 리테일 스토어의 그것과 차별화되는데, 그 이유 중 하나로는 플래그십 스토어가 경험을 중요한 고려 요소로 삼는다는 점에서 그렇다. 두드러진 랜드마크 대신, 플래그십 스토어는 상업 환경에서 새로운 경험 방식을 창출한다. 이에 따라 지역과 지구, 원본과 복제, 그리고 진본성과 그렇지 않음 사이의 경계를 흐리게 한다. 이처럼 흐리게 하고, 혼종적이며, 또는 '하이픈화'된 디자인은 브랜드 이미지를 전달하는 수단 이상이 아닐 수 있다. 하지만, 본 논문은 플래그십 스토어를 보다 넓은 차원에서 이해하기 위해서는, 관련 기업이 지역성과 분위기, 물질성과 역사, 문화 행태와 지적 역사 등 각 스토어를 둘러싼 물리적이고 비물리적인 측면들을 아우르는 방식에 대한 면밀한 검토와 숙고가 필요함에 주목한다. 이러한 고려 요소들은 플래그십 디자인이 철저하게 상업적이면서 동시에 문화적으로 통합되었는지를 보여줄 뿐만 아니라, 상품 경제의 기제로서의 불만족과 감각을 동시에 촉발하는 '어셈블리지'로 기능함을 탐구하게끔 해준다. 연구 방법론과 관련하여, 본 논문은 세정제와 화장품으로 잘 알려진 브랜드 이솝의 공식 웹페이지에 게시된 네 개의 플래그십 스토어 사례 분석에 집중한다. 이를 통해 각 스토어의 디자인 요소와 그것의 표상 전략, 그리고 경험 방식을 다각도로 고찰하며, 나아가 이를 '정동적 브랜드스케이프' 현상으로 파악하기를 시도한다. The objective of this study is to explore the concept of flagship stores, focusing on what is deemed the affective brandscape. These flagshipstores stand apart from regular retail stores by emphasizing the experience economy as a pivotal factor. Instead of merely being landmarks,these stores introduce fresh ways of experiencing commerce, blurring the distinctions between local and global, original and symbolic, andauthentic and artificial. This blending of elements often referred to as hybrid or hyphenated designs, serves as a means to convey brandidentity. To comprehensively understand how flagship stores function and engage potential customers, it is essential to examine howcompanies combine diverse elements related to the physical and intangible aspects of a store, including its location, ambiance, and historicalcontext. These hybrid commercial models prompt an exploration of how flagship stores are intricately woven together, creating combinationsthat are both distancing and emotionally impactful. Through case studies, including a detailed analysis of the 2002 OMA-designed PradaEpicenter, this study also compares and analyzes four selected flagship stores of the globally popular cosmetic brand Aesop. This study aimsto uncover how disparate elements are harmonized to create a branded world that extends both physically and conceptually beyond the storeitself.

LUXURY BRAND IDENTITY AND HERITAGE IN TRANSITION IN LUXURY CAPITALS: THE CASE OF CHRISTIAN DIOR

Joëlle Lagier,Silvia Ranfagni 글로벌지식마케팅경영학회 2018 Global Marketing Conference Vol.2018 No.07

Introduction In the last years, luxury has experienced a multiplicity of transformations from different perspectives. The opening up of the fast-growing economies to luxury has disrupted its essence and identity by bringing in a stratification of the levels in luxury, an expansion of customers’ segments and a new mode of operationalization for luxury brands: the digitalization of luxury. However, luxury brands identity should still be characterized by their rarity, originality and exclusivity. Luxury capitals and their urban ecosystem represent a significant space where luxury brands had and still have anchored their essence, customer experience and all those values that represent their identity. Luxury industries are threatened by a progressive loss of mystique, market analysts say, as consumers search for something more than aesthetics and shallow status symbols (Boston Consulting Group, 2010). Consequently, luxury brands should rely more consistently on their heritage and history, in order to strengthen their appeal (Atsmon et al, 2012). In-store experience is increasingly important in luxury markets (Atsmon et al, 2012) and the shopping destination plays a key role. In fact, besides being an instrumental occasion for getting the needed products, the shopping experience becomes an end valued for its own sake (Rintamaki et al, 2007, p. 628). As a result of the changing context and new priorities, this research will focus on the case study of one main French luxury brand – Christian Dior – and will explore how the brand has capitalized on the local “brandscape” effect of Paris as a luxury city to reinforce the brand heritage and keep its own identity in “turbulent times”. The results of this study are preliminary ones at this stage but they already provide an overview of how the brand has capitalized on the brandscape orientation. Theoritical Development In order to understand how Christian Dior has capitalized on the local “brandscape” effect of Paris and reinforce its brand heritage, this article will first review the main concepts of brandscape and brand heritage. Brandscape City branding literature has overlooked the role of individual brands that, being somehow associated with the city, contribute to city brand building (Pasquinelli, 2014). In city branding literature, a variety of geographical units may be relevant for brands, especially at a smaller scale: the ‘region of origin’ or the ‘city of origin’ (as in this article) may turn out to be of much greater significance. However, the geographical fragmentation of global value chains caused the breakdown of the ‘origin’ into a set of geographical associations (Insch and McBride, 2004), such as the “Made in”, “Designed in”, “Assembled in” and “Headquartered in” (Papadopoulos, 2011). Consequently, origin will not simply be the geographical context where the product is manufactured. Rather, the brand origin becomes ‘the place, region or country where a brand is perceived to belong’ (Thakor and Kohli, 1996, p. 26). The origin is, thus, a matter of perception and, in addition to the physical or material attachment to the place of production, other spatialities may add value to product brands, such as the ‘usage context’ (Gerr et al, 1999), in relation to specific situations and rituals of consumption. In this perspective, rather than a simple and static place–product identification, there is a need to look at the process of constructing geographical associations, where spatial circuits of value and meaning are activated in the production, circulation, consumption and regulation of product brands (Pike, 2009, 2010, 2011). Consequently, cities may become the host of these spatial circuits and, because of their nature in a globalized economy, they play a distinctive role in the ‘local origination’ of product brands, helping local firms to construct globally competitive brands (Pike, 2011). Brand heritage A brand is often represented by s a set of functional attributes and symbolic values, branding being the process of associating the attributes with the product in order to add value to it (Hakala et al., 2011). According to Kapferer (2004), a brand’s success is based on its saliency, differentiability and intensity, and on the trust attached to the associations. In addition to these, Davis (2000) underlines the role and accumulation of experiences in brand recognition. Brand preference ultimately depends on what the brand means to the customer and on the impact of its emotional effect, in other words on its place in the heart (Ballantyne et al., 2006). Related to the same idea, brand attachment is characterized by a strong linkage or connectedness between the brand and the self (Kleine and Kleine, 1993). In this context, brand heritage is one of the associations that marketers can use to differentiate their brands from those of their competitors, ultimately helping them to create a unique image for the offering (Keller and Lehmann, 2006). For Aaker (1996), heritage is a key component of brand equity and this heritage represents an essential value for the customer and other stakeholders (Keller and Richey, 2006). The main advantages of brand heritage is as a matter of fact to add stability, familiarity, sincerity and differentiation (Merchant and Rose, 2013) in order to bring authenticity (Fionda and Moore, 2009; Kapferer and Bastien, 2008), and to reduce purchasing risk (Steewart-Allen, 2002). In difficult times, consumers become less confident in the future and wish to protect themselves from the hazards of the outside world and as a result it increases the interest in brands with a heritage: skillfully exploited, they can evoke past events (Brown et al., 2003) and reassure the consumer. The word heritage is generally associated with inheritance: something transferred from one generation to the next. As a concept, therefore, it works as a carrier of historical values from the past (Nuryanti, 1996). But the concept of heritage is different from history (Urde et al. 2007) and retro (Wiedmann et al. 2011). Heritage corresponds to different meaning. On the corporate perspective, heritage is defined as “all the traits and aspects of an organization that link its past, present, and future in a meaningful and relevant way” (Burghausen and Balmer 2014b, p. 394). This link between the different time strata, called omni-temporality, is a cornerstone of corporate heritage (Balmer 2011). Finally, Banerjee (2008, p. 314) describes the four pillars of the heritage of a brand as its history, image, expectancy and equity. History represents its rich and eventful past, the image "an after effect of the brand communication and positioning based on the perceived benefits by consumers”. Brand expectancy refers to the physical and emotional benefits that consumers receive from the brand. Finally, equity comprises two subsets: a homogeneous and heterogeneous set of competencies that facilitate progression and give advantages over the competition. With the exception of its history, the elements of the brand's heritage in Banerjee’s description (2008) are difficult to measure. Methodology In order to provide specific responses from the field, the empirical research methodology chosen follows the case analysis method (Yin, 1984). Following Yin (1984) case study approach and guidelines, a unique emblematic and successful case study is proposed to be analyzed in its unicity. Data reported will be authorized when required or based on primary evidence from public sources such as online, offline media, press, and advertisement and communication campaigns. The research data collection process has started with a pilot work in order to be oriented by experts in the field with respect to the coherence of the research covered. A focus group has been created and has provided indications to build a guideline for the empirical data collection. As a result, it has been decided to start the empirical data collection through an analysis of public sources on a 2 years timeframe. The length of the public sources analysis is related to the need to provide a consistent evaluation of the brand positioning heritage. The following empirical data will be concentrated on interviews with Christian Dior brand in a timeline of 2 months in order to have access to diverse sources of information and to integrate data necessary to build a coherent case study. The interviews are going to be carried in Paris headquarters and in the diverse flagship stores in Paris. Paris as location of data investigation and collection has been decided in relation to its central role in the research questions of the paper and in the historical development of the brand. Christian dior as a successful case of fashion city brandscape and heritage Christian Dior French New Look appeared in 1947 during the first Christian Dior couture fashion show in Paris. At the time, the Paris couture trade was in a precarious state. What it needed was excitement, and Christian Dior delivered it in a collection of luxurious clothes with soft shoulders, waspy waists and full-flowing skirts intended for what he called flower women. ‘It’s quite a revelation, dear Christian Dior’ pronounced Carmel Snow, the editor of US magazine Harper’s Bazaar. ‘Your dresses have such a New Look.’ And here it was: the New Look dresses were born. Dior brand is specifically embedded on the name of the founder, fashion designer of the brand, very inspired by the atmosphere and history of Paris : “ The air of Paris is really the air of couture” (Dior, 2011). The logo itself reminds the founder of the brand. Its simplicity and elegance reinforce the brand identification for consumers; in the logo, it is possible to find the sophistication and elegance representative of the personality of its creator. The company has made efforts to keep the same values promoted by its original founder Christian Dior. Indeed, Dior was primarily a female brand. Dior’s company is also synonymous of dreams. The designer always wanted to reach the excellence in every pieces he created and it’s on the same motto that the company has reached the success known today. Though earlier Dior focused only on women, it diversified into products for men under the brand of Dior Homme, and for children under the brand of Baby Dior as well as other products lines such as parfumes and cosmetics with the same aspect of perfectionism. Preliminary results and conclusion In order to evaluate Christian Dior relationship with the urban environment -Paris-, a first collection of on line data has shown the following. Christian Dior bought his first couture house in Paris in 1946 after working for Robert Pigue and Lucien Lelong. His first house, 30 avenue Montaigne, was the place where the Dior Label would flourish. Considered as one of the greatest couturiers of this century, Christian Dior never ceased to develop his image and fame around the "great Parisian chic", anchored in the mythical and symbolic history of the famous "light city". His latest exhibition at the “Musée des Arts Décoratifs” celebrating the 70th anniversary of Maison Dior, says a lot about this position. The brand strategy has always been in fact, to bring beauty by respecting the tradition and heritage of the company. In this environment, Dior shows the implementation of a very specific brand communication policy. As in the following examples, the ad is always really elegant and sophisticated with quite often the appearance of a famous person being the “muse” of the brand. And the story always takes place in Paris and is illustrated by short anecdotes in the heart of the capital, next to its most famous monuments such as the Eiffel Tower. The logo is also present in a simple way, reflecting the strength of the brand with a clear recognition and association with French luxury and high quality products. If these ways of communicating remain more classical, where the consumer can easily rely on the values of the brand with a “dream” touch, the real power of Dior’s brand is the way it communicates on the brand itself and its history. The continuation of our research will consist in deepening these preliminary results by analyzing supplementary data coming from public sources and interviews led with Dior's brand.

아웃도어 라이프스타일 숍의 브랜드스케이프에 관한 연구

오현주 ( Hyunju Oh ),이재규 ( Jaekyu Lee ) 한국공간디자인학회 2017 한국공간디자인학회논문집 Vol.12 No.1

(연구배경 및 목적)디지털 시대의 쇼핑 트렌드가 옴니 채널의 영향으로 기존의 오프라인 공간은 다양한 모습으로 공간의 범위가 확장되고 있다. 아웃도어 매장 공간은 브랜드를 직접적으로 경험 할 수 있는 환경을 제안하고 소비자에게 라이프스타일을 제안하는 경향으로 발전되고 있고 일관된 브랜드 아이덴티티를 구축하고 브랜드 가치를 높이기 위해 브랜드스케이프 공간 구성이 요구된다. 본 연구의 목적은 아웃도어 라이프스타일 숍에서 공간을 통해 브랜드 이미지를 높일 수 있는 브랜드스케이프 구축을 위한 표현 특성을 연구하는데 목적이 있다. (연구방법)본 연구에서는 브랜드스케이프와 라이프스타일 숍에 대해 이론적으로 개념을 정립하고, 선행연구 고찰을 통해 브랜드스케이프의 구성 요소와 라이프스타일 숍의 특성을 8가지 키워드로 추출하여 이를 토대로 사례 분석을 위한 매트릭스의 틀로 사용했다. 사례 분석 대상으로는 차별화 된 라이프스타일을 제안하는 국내외 아웃도어 라이프스타일 숍을 대상으로 사례연구에 적용하여 아웃도어 라이프스타일 숍에서의 공간 특성과 표현요소에 대해 연구했다. (결과)위 요소들로 사례를 분석한 결과 각 브랜드마다 추구하는 가치와 공간적 환경, 제품은 다르지만 공간을 통해 라이프스타일 제안을 전제로 하며 다양한 제품과 프로그램, 전문적인 서비스를 통해 경쟁 브랜드와의 차별화를 추구한다. 아웃도어 라이프스타일 숍에서의 브랜드스케이프 구축을 위한 특성을 네 가지로 정리할 수 있다. 첫째, 매장의 공간적 환경은 아웃도어 라이프스타일 숍의 전체적인 이미지를 형성하기 때문에 명확한 콘셉트를 세우고 그에 맞는 공간 디자인 구성이 요구 된다. 둘째, 다양하고 전문적인 제품 구성으로 아웃도어에 특화된 매장과 체험형 공간, 카페와 편의시설 등 다양한 복합 문화 공간 형태로 구성 되어야 한다. 셋째, 아웃도어 라이프스타일 숍을 방문하는 소비자들에게 공간에서의 색다른 체험과 경험을 제공해야 한다. 넷째, 자연 친화적인 이미지로 편안한 휴식을 제공하고 가치 공간으로 고객 공감을 얻는 장소가 되어야 한다. (결론)아웃도어 라이프스타일 숍은 디자인만으로 차별화 된 공간이 아닌, 소비자가 즐길 수 있는 문화 공간으로 긍정적 반응을 이끌어 내고 소비자에게 감성과 경험을 확장 시켜주는 공간 구성과 프로그램으로 라이프스타일을 제안해아 한다. 본 연구는 브랜드만의 명확한 콘셉트와 아이덴티티를 확립하기 위한 아웃도어 라이프스타일 숍의 공간 환경에서 브랜드스케이프 특성을 파악하였다. 이러한 브랜드스케이프를 적용한 아웃도어 라이프스타일 숍의 공간 환경 특성을 활용함으로써 향후 아웃도어 라이프스타일 숍 디자인에 있어 새로운 접근 방향을 제시하고자 한다. (Background & Objective)The shopping trend in digital era is the expansion of traditional off-line spaces into a variety of aspects owing to omni-channel shopping. Toward this trend, outdoor clothing stores have been developing by allowing their customers to experience the brand directly while proposing a lifestyle, thereby demanding for brandscapes to establish a coherent brand identity and enhance its value. The purpose of this research is to study the features of building brandscapes that enhance a brand image through an outdoor lifestyle shop. (Methods)This study establishes a theoretical concept of brandscapes and lifestyle shops, by using eight extracted characteristic keywords from preceding studies of brandscapes components and aspects of lifestyle shop, as a matrix frame for case analysis. Outdoor lifestyle shops in domestic and foreign countries that propose a differentiated lifestyle are selected as the focus of this research; in particular, this study looks into the spatial characteristics and expression materials of an outdoor lifestyle shop. (Results)This study found that each brand seeks differentiation against its rival brands through various products and programs or professional services based on the assumption that it suggests a lifestyle in a space in which different products and spatial circumstances exist. Four features were found to establish brandscapes of an outdoor lifestyle shop. First, a clear and a definite concept as well as an appropriate and a suiting spatial design are required, as the spatial atmosphere of a shop creates a general image of an outdoor lifestyle shop. Second, the shop should form a complex cultural space composed of various and professional outdoor products, in which customers can experience the products personally while relaxing with coffee and using the store`s other amenities. Third, the shop should be able to offer unconventional experiences to customers. Lastly, the place must gain the sympathy of customers as a space for value, by providing a comforting, relaxing, and eco-friendly image. (Conclusions)Outdoor lifestyle shops should be able to propose a lifestyle to customers through the construction of space and programs, espousing customers` sensitivity and inducing their positive reaction toward the place as a cultural place in which they can enjoy. This study determined the characteristics of brandscapes of outdoor lifestyle shop`s spatial atmosphere in an attempt to constitute clear and distinctive brand concept and identity. By utilizing the unique spatial aspects of outdoor lifestyle shops, and then applied to brandscapes, this study aimed to provide new direction to future approach on prospective design for outdoor lifestyle shops.

브랜드스케이프 건축의 있어 사용자의 체험과 인지에 관한 연구

이종진(Lee Jong-Jin),이영수(Lee Young-Soo) 대한건축학회 2007 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.27 No.1

This is the study of changes in brandscape architecture and analysis of its characteristics. Today's society attaches great importance to brand name and marketing experience plays huge role when the products' quality and technology became similar. When prices played big role among the competing marketing industries, by earning a response from the consumer from the marketing experience is becoming prominent strategy. Brandscape architecture is important when today's consumers' emotions are mature and diverse. To achieve a perfect brandscaping, we need to first research consumers' acknowledgement and build structure for brandscaping

OPERA HOUSES WITHIN THE BRANDSCAPE OF LUXURY CAPITALS: A PRELIMINARY ASSESSMENT

Nicola Bellini 글로벌지식마케팅경영학회 2019 Global Fashion Management Conference Vol.2019 No.07

브랜드스케이프 환경 구축과 스토어 디자인 콘텐츠

김선영 ( Sun Young Kim ) 한국기초조형학회 2008 기초조형학연구 Vol.9 No.3

OPERA: PERFORMING ART AS LUXURY IN FASHION CITIES. RESEARCH ISSUES FOR MARKETING

Nicola Bellini 글로벌지식마케팅경영학회 2018 Global Marketing Conference Vol.2018 No.07

This paper investigates the (presently unexplored) relationship between a peculiar kind of performing art, i.e. opera (as in the Western musical tradition), and the fashion and luxury business within the context of fashion cities. In particular it investigates, on the one hand, how the relationship with opera production may benefit the marketing strategy of luxury companies and, on the other hand, how opera houses may profit from the relationship with the luxury industry. As a preliminary work, introducing a new research project, its aim is to provide a tentative systematization and clarification of the research questions and to stimulate an early discussion of their consistency and relevance. Three sets of research questions are proposed for discussion and further exploration, concerning: a) the audience segmentation of opera as experiential luxury (based on self-congruency theory) and its implications; b) the luxury industry as opera sponsor; c) integrating opera in luxury marketing strategy (brand heritage vs. opera heritage).

커피전문점 푸드메뉴 특화가 브랜드 스케이프와 재방문의도에 미치는 구조관계 연구

김홍길(Hong-Kil Kim) 한국관광연구학회 2021 관광연구저널 Vol.35 No.12

브랜드스케이핑에 따른 국내 부티크호텔의 특성 분석 연구

강윤경,김수정 사단법인 한국브랜드디자인학회 2018 브랜드디자인학연구 Vol.16 No.1

This paper proposes ‘Brandscaping’ which differentiates the existing hotels with other brands to deal with recent excessive development of boutique hotel industry. Brandscaping elements are re-established by investigating the characteristics of overseas boutique hotels. Consequently, two surveys are analysed : an expert survey and a customer survey, to identify how the elements are applied the domestic boutique hotels. For domestic boutique hotels, brand-enjoyment stood out the most among the brandscaping elements. Also, a boutique hotel with high consumer brand-trust and brand-choice showed three or more strong brandscaping elements. In conclusion, the domestic boutique hotels showed a tendency to seek 'Brand-enjoyment' which induces consumers' pleasure through its differenciated brand experience. When more than three features of brandscaping were applied to a boutique hotel, consumers firmly formed a positive brand image foe the hotel, developing strong consumer Brand-trust and Brand-choice. Lastly, the cases in which the expert survey and the consumer survey show a large difference, it is found that the role of brand communication media has a strong influence on the surveys. Overall, this paper demonstrated that brandscaping positively impacts consumers as a brand space marketing strategy. Also this paper is significant as the actual branding was investigated with the collaboration of experts in space, architecture, and visual design. 최근 양적성장을 이루고 있는 부티크호텔을 대상으로 대형호텔 및 외국 브랜드호텔과의 차별화를 위한 디자인방법론으로서 브랜드스케이핑(Brandscaping)을 제안한다. 이에 본 연구에서는 해외 부티크호텔 특성을 통해 브랜드스케이핑를 재정립하고, 이를 바탕으로 국내 부티크호텔을 대상으로 각 분야별 전문가 조사와 소비자 설문 조사, 2가지의 분석 연구를 진행한다. 국내 부티크호텔에서는 공통적으로 브랜드스케이핑 요소 중 브랜드 유희성이 높게 나타났으며, 소비자에게 높은 브랜드 신뢰와 브랜드 선택을 받은 부티크호텔은 3가지 이상의 브랜드스케이핑 요소가 강하게 나타난 것을 확인 할 수 있었다. 결과적으로 국내 부티크호텔은 전반적으로 차별화된 브랜드 체험을 통해 소비자의 즐거움을 이끌어 내는 ‘브랜드 유희성’을 추구하는 경향을 알 수 있었다. 또한 브랜드스케이핑 요소 중 세 가지 이상이 효과적으로 융합되었을 때, 긍정적인 브랜드 이미지를 형성하고, 이는 곧 소비자들의 높은 브랜드 신뢰와 브랜드 선택으로 이어졌다. 마지막으로 전문가과 소비자 평가의 차이를 보이는 사례를 통하여 브랜드스케이핑을 바탕으로 브랜드 커뮤니케이션 매체의 역할이 소비자의 평가에 큰 영향을 미친다는 것을 확인할 수 있었다. 본 논문은 브랜드 공간 마케팅 전략인 브랜드스케이핑을 입증하고 공간, 건축, 시각디자인의 전문가들의 협동을 통해 입체적인 검증을 바탕으로 실질적인 브랜딩을 분석함에 있어서 큰 의미가 있다.