2.2 Relationship between brand offline activities and brand image

refers to: (1) philanthropic behaviour refers to the enterprises' CSR fulfilment through causebased marketing and donation; (2) public welfare practice means that enterprises fulfil CSR through environmental protection activities, animal protection activities, anti-employment of child labour, promotion of conservation and recycling of waste, etc.; (3) product-related behaviour refers to enterprises' CSR fulfilment through improving quality, reducing pollution, producing organic products and biodegradable products, etc.

Tian et al. (2016) believed that the following conclusions could be drawn through empirical research and analysis. The three dimensions of corporate social responsibility have significant influence on brand equity, among which philanthropic behaviour has the greatest impact onbrand equity, and brand image is the main component of brand equity (Hsieh, et al. 2004) (Keller, 1993).

At the same time, Tian et al. (2014) pointed out that philanthropic behaviours could significantly improve consumers' positive attitude towards enterprises compared with public welfare practice and product-related behaviour. Philanthropic behaviour here refers to casue-based marketing and donation respectively. Cause-based marketing refers to the enterprise launches a charitable product, and then donating the revenue earned from the charitable product; Donation refers to the donation made directly by the company without the launch of charity goods. Enterprises usually adopt the way of cause-based marketing when conducting philanthropic activities, which will also bring greater attention to the brand.

In addition, the majority of consumers think that enterprises' public welfare behaviour is mainly due to social pressure, not the ethics of the company itself. However, when an enterprise performs philanthropic behaviour, consumers believe that such corporate social responsibility acts are more authentic(Tian,et al.2016). Therefore, philanthropic behaviours promote brand image more effectively.

2.2 Relationship between brand offline activities and brand image

Even with the rise of more measurable digital marketing strategies, offline trade and marketing campaigns are a major way to build relationships between brands and consumers. A report released by eMarketer in B2B event marketing 2017 found that (eMarketer,2017). The brand marketing experiment conducted by Ananda on Facebook shows that brand offline activities are the most common marketing method for brands,

accounting for 24% of all marketing methods. Meanwhile, offline stores or offline promotion activities are also one of consumers' favourite brand marketing behaviours. The majority of users or customers on the Facebook brand page expressed their opinions by "liking" the post, while the average number of thumbs up posts about the brand's offline activities or offline promotion activities was the highest (Ananda, et al. 2015).

According to McKinsey China luxury report 2019, offline activities are currently an important marketing strategy for luxury brands in China. Offline activities are an important means for luxury brands to interact with users and build their brand image, which young Chinese consumers expect more and more. According to the McKinsey survey, offline fashion shows and brand art exhibitions are the preferred fashion events for three-quarters of post-80s and post-90s respondents, who have a strong interest in art-related offline activities (McKinsey, 2019).

Pop-up shops are becoming popular in China, but the overall number of pop-up shops is still relatively small compared with the number of international ones. In 2015, British pop-up stores generated 2.3 billion pounds of sales, accounting for 0.76% of total retail sales, but less than 0.1% in China (Binne, 2019). According to the development report of Chinese pop-up stores released by real estate consulting service RET in December 2019, it is expected that there will be more than 3,000 fashion pop-up stores in China by 2020 (RET, 2019). With the increasing demand of Chinese consumers for experience of different brands, experiential offline activities will greatly help luxury products enter the Chinese market (Song, 2019).

Through temporary offline activities, the brand attracts people's attention. While deeply understanding the consumer group, it attracts potential customers, arouses publicpraise, and stimulates consumers' purchase intention (Huang, et al. 2017). Also, brand offline activities can positively regulate consumers' sense of trust, satisfaction and loyalty to the brand and improve brand image. (Kwon and Yim, 2018).

Comme des Garcons opened its first pop-up store in Berlin in 2004, repurposing an old bookstore. Kawakubo has long realized that people are tired of permanent stores. The pop-up store maximizes the freshness of fashionbyemphasizeingthe time limits, as do locations and products. Kawakubo's pop-up store has made Comme des Garson a huge sales success in a year. Previously, COMME des GARCONS was a small fashion company with annual sales of only $120m, and guerrilla pop-up stores helped the

company achieve 30-40 per cent growth（Global people periodical, 2016） . In later

years, this model was widely popularized by the fashion industry. The new guerrilla pop-up store model is very effective for brand promotion, helping to promote long-term reputation and brand image (Huang, et al. 2017).

In 2011, the Prada foundation rented Rong Zongjing's former residence in Shanghai's Jing'an district, meticulously restored it and opened its first art exhibition in 2018, titled "Rome :1950-1965." Originally open to the public for only one month, the exhibition was extended to two months after attendance exceeded expectations. The Prada foundation's repair and protection of Chinese cultural heritage have been widely recognized by consumers, who have always been interested in the Rong family and are very grateful to experience and imagine the wealth history of four generations of the Rong family in the luxury house of the Rong family after the renovation of the Prada foundation (Li, 2018). After the success of this exhibition, Prada continued to deepen its marketing strategy in the Chinese market and held different art exhibitions introducing both Chinese and Italian artists' work, as well as offline marketing events in Rong's former residence, bringing the current social scene into this historical building (BoF Team, 2019).

However, the influence on brand image is based on consumers' evaluation and controversial activities can have a bad impact on brand image (Tsimonis and Dimitriadis, 2014). Gucci's offline exhibition of “The Artist Is Present” discusses the topic of "appropriation" and "reproduction", which has been a controversial topic in contemporary art and fashion circles. The idea that "reproduction is as valuable as originality, and originality is overrated" in the exhibition has attracted a lot of controversy (Choy, 2018). Some consumers think "appropriation" is art behaviour, but there are also consumers think this is copying, although the public opinion and dispute increases the brand visibility, consumers who do not agree with this creative concept of Gucci will have a decreased favourable impression on Gucci, so the controversy has affected the brand image of Gucci in the minds of some consumers to some extent (Sohu, 2018). Studies have shown that 30% of brand value comes from its association with social topics. Maintaining consistent views and good relationships with consumers is one of the core competitiveness of a brand (Yu, 2012).

In November 2019, faw-volkswagen held a pop-up store covering more than 1,000 square meters at Zhengjia Plazain Guangzhou. Zhengjia Plaza sees 800,000 people a day, but few enter the pop-up shops. There are few experiential facilities in the pop-up store, only some faw-volkswagen vehicles are placed in it, which inevitably makes people feel a little dull, and potential consumers are not interested in entering the popup store to learn about vehicles (ifeng.com, 2019). This is one of the reasons why the