Brand Aesthetics

Mazzalovo, Gérald

doi:10.1057/9781137025609

Cited by 15 publications

(8 citation statements)

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“…We also consider Mazzalovo, 2004 and2012;Mazzalovo, 2012), as per the findings of these studies are going to confirm that a clearly formalized brand identity is a major federating tool for all the creative and communicating departments, ensuring a strong coherence in all of the brand manifestations.…”

Section: Brand Identitymentioning

confidence: 58%

Resolving Tensions among Creative Departments through Brand Identity Definition: The Case Study of Pininfarina

Mazzalovo¹

2016

BMS

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In 2007, the famous Italian car design firm Pininfarina decided to develop its own mono-branded finished goods business. The jump from exclusively B2B activities to B2C was a major strategic move. The project initiated with the formalization of a possible brand identity as being the necessary preliminary exercise. Through the study of all the design activities over 80 years of history and following a semiotic approach, brand aesthetics and ethics invariants were identified. Four different design teams were involved in the project and 5 main findings were identified in the course of the project: Tensions exist among the various design teams because of the lack of coherence in design and each pretends to interpret the brand in a more consistent way The creative teams feel the need for a well-defined and formalized brand identity, providing some missing common creative guidelines characterizing he brand The design teams participated actively and enthusiastically to the process of brand identity definition The President's positive attitude towards the project and his direct involvement have been essential in the project success The tensions among the design teams have decreased by the brand identity definition process and results The study had direct academic and operational implications: It proved the validity of the semiotic approach to the formalization of brand identity A diagnostic tool was created to measure the degree of consistency of any designed brand manifestation (car, advertising, architecture, car show installations…) with respect to the defined brand ethics and aesthetics. Finally, Pininfarina presented a special concept car (Sintesi) at the Geneva car show in 2008 that integrated all the elements of the newly defined brand identity.

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Section: Brand Identitymentioning

confidence: 58%

Resolving Tensions among Creative Departments through Brand Identity Definition: The Case Study of Pininfarina

Mazzalovo¹

2016

BMS

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“…Indeed, consumer's love at first sight with a brand often comes from the ‘esthetic enjoyment’ (Holbrook & Hirschman, , p. 132) as such sensory brand experience is positively correlated with affective brand experience (Brakus et al, ). Since the world of consumption has become dramatically ‘aesthetized’, brands are garnering more attention in the aesthetic treatments (Mazzalovo, ). Therefore, brand aesthetics is critical to brand appreciation because it provides marketer an opportunity ‘to appeal to customers through a variety of sensory experiences’ (Simonson & Schmitt, , p. 1).…”

Section: Theoretical Conceptualization and Proposition Developmentmentioning

confidence: 99%

“…Aesthetics, as a formal treatment of the sensory world, deploys the semiotic and relational dimension of brands (Mazzalovo, 2012). The brand aesthetics concept is mainly based on the sensory dimension of an object, particularly on its visual appearance that influences consumers' judgments about the brand (Mazzalovo, 2012). Accordingly, brand aesthetics refers to appealing sensory experiences evoked by a brand's cues fostering relevant multisensory imageries.…”

Section: Brand Aesthetics and Brand Appreciationmentioning

confidence: 99%

Building the holy brand: Towards a theoretical model of brand religiosity

Wang

Sarkar

2018

Int J Consumer Studies

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This article introduces the brand religiosity construct and delineates its relationship with antecedents and consequences from a dynamic stage‐wise progression perspective. The proposed theoretical framework demonstrates the process that brand religiosity is formed through a series of steps, from brand appreciation, romantic brand love and brand devotion to brand religiosity. The proposed model specifies that the link between brand appreciation and romantic brand love is moderated by individual difference variables including consumer materialism and emotional attachment styles. Meanwhile, the relationship between romantic brand love and brand devotion is further proposed to be enhanced by the sense of brand community but weakened by individual's religiosity. Finally, the influence of brand religiosity on consumer behaviour and brand consumption, such as transcendental experience and proactive sustaining ritualistic behaviour is discussed.

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“…The 'look' of products has been found to have a great influence in the buying process of the consumer. Mazzalovo (2012) notes that the world of consumption has become dramatically 'aesthetized' since the 1980s and 1990s and brands are now paying much more attention to the aesthetic treatments of their products and their communication in general. To assert the managerial importance of product and brand aesthetics, Parment (2014, p. 33) says, "Aesthetic offerings-products and brandsare now the key to competitive advantage and commercial success, so companies have to infuse meaning into their products and transform commodities such as cars into concepts and lifestyle".…”

Section: Aesthetic Consumptionmentioning

confidence: 99%

“…Venkatesh and Meamber (2008) define aesthetic consumption as those aspects of sensory experiences that are made manifest in the consumption of everyday objects that are presumed to have aesthetic qualities, as well as those experiences relating to art and art-like objects and artistic events. In the context of brand aesthetics Mazzalovo (2012) defines brand aesthetics as: "The aesthetics of a brand is composed of stable and specific elements that characterize its approach to the sensory world; that is to everything that can be perceived by the senses: not only aspects related to vision (shapes, colours, textures, light treatments and so on) but also to sound (music, the noise of engine, a door slamming and so on), odour taste and touch. These are therefore the specific (or proprietary) sensory treatments applied to all brand manifestation".…”

Section: Aesthetic Consumptionmentioning

confidence: 99%

Adoption of Innovation

Brem¹,

Viardot²

2015

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Brand Aesthetics

Cited by 15 publications

References 0 publications

Resolving Tensions among Creative Departments through Brand Identity Definition: The Case Study of Pininfarina

Resolving Tensions among Creative Departments through Brand Identity Definition: The Case Study of Pininfarina

Building the holy brand: Towards a theoretical model of brand religiosity

Adoption of Innovation

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