Transcript Cultural Branding Strategy Institute of International Management

Cultural Branding Strategy
Institute of International Management
College of Management
Prof. Faye J. Kao/高如妃
Brands
• Identify three product categories where the
brand name is important.
– Why is the brand name important?
– What brand or brands do you typically purchase in
each category?
• Identify three product categories where the
brand name you purchase is not very
important.
– Why is the brand name not important?
• What can brands do to cope with brand
parity?
The Comparison of Cultural Branding Model
with existing Branding Strategy Models
• Mindshare Marketing – refers to Brand
Management framework (Aaker, Keller) that are
developed based on economics and psychology.
• Better-Mousetraps models – refers to most of the
business school strategic models that are
developed based on economics and engineering
approach.
• Cultural Branding Model – Brings aspirations from
Anthropology and Sociology into marketing, and
emphasizes aesthetics in consumption.
How is Cultural Branding Different?
Holt, HBS, 2004
• How does mind-share branding differ from
cultural branding?
• How does emotional branding differ from
cultural branding?
• How does viral branding differ from cultural
branding?
What is a Brand?
Components of a Brand (Mind-Share Branding)
Tangible Elements
Intangible Elements
1. Goods and services sold.
2. Retail outlets where product
is sold.
3. Factories where product is
produced.
4. Advertising, promotions, and other
forms of communications.
5. Corporate name and logo
6. Packages and labels
7. Employees
1. Corporate, personnel, and
environmental policies.
2. Ideals and beliefs of corporate
personnel.
3. Culture of country and location
of the company.
4. Media reports.
Copyright © 2010 Pearson Education,
Inc. publishing as Prentice Hall
2-5
The Path to Cultural Branding
• From Consistency to Historical Fit
– Context specific – time, geography, culture
– Niche markets
• From Persuasion to Mythmaking
– Story-Based/Event-Based
• From Abstract Associations to Cultural
Expressions
Key Elements of Cultural Branding Strategy
• Ideology: a point of view on one of these important
cultural constructs that has become widely shared and
taken for granted, naturalized by a segment of society as
a “truth.”
– Ideologies are concepts.
– An ideology can be expressed in any number of ways
• Myths: instructive stories that impart ideology.
• Cultural Codes: target groups’ cultural content
– For a myth to resonate with consumers, it must be composed
using the most appropriate and compelling cultural codes.
– Cultural expressions rely on elements for which the meaning has
been well established in the target groups’ culture.
– Cultural codes provide a shorthand for target consumers,
allowing them easily to understand and experience the intended
meanings.
Cultural Branding Strategy Formulation
• Identify Cultural Ideology Opportunity
• Create Stories (but not benefit claims)
– Stories associated with the brand.
– Stories that reflect target group’s cultural value.
– Stories that resolves cultural contradictions.
Coke
• Myth origin: American myths in World War II
(1940s)
• Coke “I’d like to teach the world to sing”
http://www.youtube.com/watch?v=6mOEU87
SBTU
• Coke “Mean Joe Greene”
http://www.youtube.com/watch?v=xffOCZYX6
F8
• What do you think about current Coke ad?
Coke in 2014
• Coke Cultural Branding in 2014
http://www.huffingtonpost.com/2014/02/08/
english-official-language-poll_n_4748094.html
• http://live.huffingtonpost.com/#r/archive/seg
ment/twitter-erupts-over-coca-colas-americathe-beautiful-ad/52f10b2078c90a49bb0002e7
Nike’s Cultural Expressions
(Source: Cultural Strategy, by Holt and Cameron, 2010)
Cultural Innovation Theory
• Cultural Orthodoxy – identify existing outdated
ideology
• Social Disruption –
• Ideological Opportunity – identify emerging
ideology
• Cultural Design –
– Design an experience/service/product concept that
responds to the ideological opportunity in a
compelling and original manner, drawing upon
appropriate cultural materials.
– Create the brand’s cultural expressions
– Remix, repurpose, remake cultural codes
Source Material for Cultural Innovation
•
•
•
•
Subcultures
Media Myths
Brand assets – History, Stories of the brands
Note:
– no high-tech innovation
– High-tech innovation is just a resource to design
the cultural innovation.
The Values of Cultural Innovation
•
•
•
•
Symbolic Value – ritual action
Social Value – identity
Utility/Functional Value – quality
Economic Value – higher price
Cultural Strategy Model
•
•
•
•
•
Map the Category’s Cultural Orthodoxy
Identify the Social Disruption that can Dislodge the Orthodoxy
Unearth the Ideological Opportunity
Cull Appropriate Source Material
Apply Cultural Tactics
–
–
–
–
–
–
–
Provoking ideological flashpoints (Clearblue Pregnancy Tests)
Resuscitating reactionary ideology (Marlboro)
Mythologizing the company (Vitaminwater)
Cultural capital trickle-down (Fat Tire Beer)
Crossing the cultural chasm (Patagonia)
Cultural Jujitsu(http://en.wikipedia.org/wiki/Jujutsu ) (Fuse Music Television)
Social innovation (Freelancers Union)
• Craft the Cultural Strategy
Cultural Innovation Research Methods
• Secondary data
– Media content analysis
– Literatures from art, history, sociology, anthropology
• Consumer identity project
– Depth interview
– Observation
• Brand genealogy
– Advertising content analysis
– Brand stories/history
• What are the disadvantages of Cultural
Branding?
Life Cycle of Identity Myth
Three cases, Corona, Coca Cola, and Snapple, are discussed in the
article. All three cases had gone through the same Identity Myth Life
Cycle. Some succeed; some failed…
Original
Identity
Myths
Adjusting
Identity
Myths to
Cultural
Disruptions
Reinvented
Identity
Myths
“Advertising, the Poetry of Becoming”
Theodore Levitt, HBR, 1993
• Do you agree or disagree with the following
statements? Why?
– “Advertising gets on everybody’s nerve. It intrudes
everywhere invariable and by design.”
– “Advertising is a price we pay for choice and free
access.”
– “Advertising informs, entertains, excites and
alleviates.”
“Advertising, the Poetry of Becoming”
Theodore Levitt, HBR, 1993
• “Advertising, like the artists, traffics in symbol
systems and metaphor, not literality. Both art
and ads embellish systematically. They
elaborate, enhance, and modify to make
promises for our wants and wishes.”
• “Almost all advertising is, like art,
representational, not the real thing, a
distortion, literally a falsehood.”
“Advertising, the Poetry of Becoming”
Theodore Levitt, HBR, 1993
• “Advertising is the least harmful form of
propaganda – preciously because it is so
conspicuously in the service of its source, the
sponsor.”
• “It is effective on behalf of the advertised product
precisely because the sponsor exists to assure the
customer of the reliability and credibility of his or
her promise, because the sponsor is visible,
eagerly, and reliably there to stand behind the
products.”
Key Readings for next week
• “Cultural Innovation Theory”(pp173-192) and
“Applying the Cultural Strategy Model” (P195-201)
in Cultural Strategy, using innovation ideologies to build breakthrough
brands, by Douglas Holt and Douglas Cameron,2010.
• Case Sharing:
–
–
–
–
–
–
–
–
–
–
–
Nike
Jack Daniel’s
Ben & Jerry’s
Starbucks
Patagonia
Vitaminwater
Marlboro
Clearblue Pregnancy Tests
Fat Tire Beer
Fuse Music Television
Freelancers Union
Corona
• Myth Origin: College students’ spring-break
vacation in Mexico (1980s)
• Corona “Change Your Latitude”
• Corona 2009
http://www.youtube.com/watch?v=IFu68oM
mvtg