Emotional Branding: Playing with the Senses
A Conceptual Approach
- Art: Diplomarbeit
- Autor: Ulrike Max
- Abgabedatum: Februar 2002
- Umfang: 131 Seiten
- Dateigröße: 4,8 MB
- Note: 1,7
- Institution / Hochschule: Fachhochschule Stralsund Deutschland
- ISBN (eBook): 978-3-8324-5329-9
-
ISBN (Paperback) :
978-3-8324-5329-9 P - ISBN (CD) :978-3-8324-5329-9 CD
- Sprache: Englisch
- Prämierung:
- Arbeit zitieren: Max, Ulrike Februar 2002: Emotional Branding: Playing with the Senses, Hamburg: Diplomica Verlag
- Schlagworte: Emotion, Senses, Marketing, Logo, Brand
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Diplomarbeit von Ulrike Max
Abstract:
The objective of this work is to show the significance of Emotional Branding as a marketing, brand design, and communication instrument based on the changed business situation and demanding customer needs. The five basic senses: taste, touch, sight, sound, and smell shall be explained and set into relation to the brand elements. A lot of marketers discuss about Emotional Branding as the future approach without exactly knowing what this term contains. The aim of this diploma thesis is the development of a conceptual approach in form of a guideline with the key components to emotionalize brands, to give them a face and a character in order to reach the overall aim: the identification of customers with the brand.
The first part of this work provides the basic knowledge. It explains and defines in addition to the basic terms ‘brand’ and ‘branding’, terms like ‘brand image’, ‘brand identity’ and ‘brand equity’.
The second part describes the changes in buying behavior, the changing needs and different perceptions of today’s customers. The three main generations are explained to demonstrate the need for Emotional Branding as a new kind of branding tool. Additionally the explanations to hybrid buying behavior and smart shopping will show the necessity of a positive brand experience and the change from Branding to Emotional Branding. It gives a definition of Emotional Branding and a short introduction to the instruments that can be used to support the brand elements, which are closer explained in the main part.
The traditional marketing searches for new ideas. The aim is clear. Excitement and experiences shall go along with attractive brand worlds. But how to emotionalize communication? The third and main part shows in form of a guideline how to create an incomparable brand image with the help of tones, colors, scents etc. in combination with the brand elements. In this context successful strong brands that were able to find their way into the consumers’ psyche and built up strong emotional relationships will be taken as examples.
Finally the last part is a critical reflection of the brands playing with the consumers’ senses in order to influence their everyday life. Moreover points are outlined that should be considered to support the successful use of Emotional Branding.
Table of Contents:
| 1. | Aim and Objective | 1 |
| 2. | Methodology | 1 |
| 3. | Abstract | 2 |
| 4. | Introduction | 3 |
| 5. | Brand / Branding | 5 |
| 5.1 | Definition Brand | 6 |
| 5.2 | Definition Branding | 8 |
| 5.3 | Brand Image and Identity | 11 |
| 5.4 | Brand Equity | 13 |
| 6. | Changes in the buying behavior | 14 |
| 6.1 | Generations | 14 |
| 6.1.1 | Baby Boomers | 15 |
| 6.1.2 | Generation X | 16 |
| 6.1.3 | Generation Y | 17 |
| 6.2. | Problem of decreasing brand loyalty - the 'Smart Shopper' and hybrid buying behavior | 19 |
| 6.3 | Necessity of a positive relationship experience between consumer and brand | 20 |
| 6.4 | From Branding to Emotional Branding | 22 |
| 7. | Emotional Branding | 23 |
| 7.1 | Definition | 25 |
| 7.2 | Instruments | 27 |
| 7.2.1 | Communication via Experiences | 28 |
| 7.2.2 | Digital Storytelling | 30 |
| 8. | Emotional Branding Concept | 33 |
| 8.1 | Individualizing and differentiating | 34 |
| 8.2. | Brand's Positioning | 35 |
| 8.2.1 | Definition of the brand's core values | 36 |
| 8.2.2 | Auditory - Sounds that fascinate | 38 |
| 8.2.2.1 | Acoustic Branding | 40 |
| 8.2.2.2 | The Working Model | 41 |
| 8.2.2.3 | Acoustic Transfer Interface | 43 |
| 8.2.2.4 | Sound Identity | 45 |
| 8.2.2.5 | Transformation | 47 |
| 8.2.3 | Visual - Colors that charm | 48 |
| 8.2.3.1 | Colors and senses' associations | 54 |
| 8.2.3.2 | Colors and Scents | 56 |
| 8.2.3.3 | Colors and Tastes | 56 |
| 8.2.4 | Olfactory - Smells that entice | 58 |
| 8.2.5 | Gustatory - Tastes that allure | 62 |
| 8.2.6 | Haptic - Touches that tantalize | 65 |
| 8.2.6.1 | Kinesthetic - Shapes that affect | 67 |
| 8.2.7 | Typography | 68 |
| 8.3 | Brand Elements | 71 |
| 8.3.1 | Brand Name | 71 |
| 8.3.2 | Logo - Symbols that enchant | 77 |
| 8.3.3 | Packaging | 82 |
| 8.3.4 | Tag Line | 84 |
| 8.3.5 | Brand Personality | 86 |
| 8.3.5.1 | Trigger / Character / Testimonials | 88 |
| 8.3.6 | Brand Association | 90 |
| 8.3.7 | E-motions | 91 |
| 9. | Conclusion | 94 |
| 9.1 | Critical reflection | 94 |
| 9.1.1 | Negative emotions | 97 |
| 9.2 | Final Statement | 102 |
| D. | Appendix | |
| E. | Bibliography | |
| a. | Monographs | |
| b. | Articles | |
| c. | Internet |
that underline, support and reflect the brand’s unique DNA. Therefore a variety of images representing a series of attitudes and styles, all easily representing the brand have to be compiled and assessed with the aim to create a brand portrait. The point is to uncover the images and cues that characterize the brand away from the product. “The brand’s unique personality comes alive as the visuals give insight into the look, attitude, mood, spirit, and usage of the brand.”72 In addition adjectives and other defining words that support the visual voice of the brand and the brand’s core values are recorded e.g. in image games or brainstorming where the participants name different terms that they connect with the showed images and that speak to the substance of the brand. The illustration shows possible associations of some ‘defining words’: [...]
Starting point of the definition process and a branding concept is the analysis of the brand’s inherent values to establish a strong emotional platform grounded in the real-life experience of the target audience. That means the aim of this process is to “pinpoint the core attributes of a brand and build up an imagery around these attributes.”71 During this process it is fundamental to find out how possible consumers feel about a brand looking at what corporations think their brand is and if there are similarities and where are the differences that probably will exist in order to find out where the brand hits the consumer senses the most. In this context it is significant to think about the future visual counterpart of the planned brand image, the dimensionalization of the consumer-personality compared with the way the emotional connection can be reached and the definition of the key attributes that describe the brand through compact descriptive images and adjectives [...]
Another brand that used this communication tool is Saturn cars in the USA. They had technical problems with one type of car, mainly bought by women. But to create an experience in combination with the recall activities, they invited all users of this car type to come to the different authorized repairers. There they organized a barbecue to shorten the time of waiting while the car was repaired and gave them so the possibility to exchange experience. The result was that the car became a kind of mythos, because consumer felt in love with their car and the connected experiences. On the other hand Saturn got more personal information about their consumers, which helped them to understand the wishes, and needs of their clientele and increased the consumer loyalty. So to make the brand an experience creates certain memories and bonds between a brand and the consumers. Companies that are successful in creating pleasant brand experiences will increase the positive word-ofmouth effect. [...]
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