On/offline corporate brand experiences by Rasmus Schou Laursen

on / offline corporate brand experiences

ma st e r t h e si s september 2017

Rasmus Schou Laursen

master of arts in corporate communication 201209302 supervisor Dorrit BĂ¸ilerehauge, ph.d. aarhus university department of management section of business communication

Print is the question.

to be or not to be.

ab s tract

With the emergence of new technologies and online platforms together with a current decrease in various printed matter, the question of whether print media is be able to

design brands based on both online and of-

stand the test of time or it soon will become

fline brand catalogues. The purpose is to shed

a thing of the past arises. Within the furniture

light on the distinct brand experiences of

and interior design business, an affection for

brand catalogues in an attempt to investigate

the printed brand catalogue is evident even

and understand how brands are perceived,

though online versions can be downloaded

sensed and experienced in online and offline

and shared no matter who, when and where.

settings. The research takes its point of de-

For that reason, this thesis takes outset in

parture in a case study of three selected fur-

corporate brand experiences and examines

niture brands with a digital native generation

how consumers of generation Y experience

of consumers as the researched. In order to theoretically unfold the phenomenon of online and offline brand experiences, this thesis draws upon supplementary theories regarding experience economy, corporate branding and brand image creation in an effort to elucidate the context and field of brand experiences. The research design relies on qual-

itative methodology and six semi-structured,

holders. Moreover, the return on investment

in-depth interviews with sampled consumers

and printed catalogues as an environmental

of generation Y. From a hermeneutic perspec-

matter are discussed together with theo-

tive, the data is analysed with the application

retical implications in terms of the need for

of qualitative content analysis. The analysis

two sets of brand experience dimensions in

shows that printed paper provides value for

order to assess brands in online and offline

both the corporate brand and its consum-

settings. The thesis concludes with practical

ers. It is found that one of the most signif-

implications and strategic suggestions for

icant differences in the brand experiences

future use of both online and offline brand

is the presence of sensations. The ability to

catalogues. It is discussed that consumers

sense and smell the quality of the paper al-

would like for brands to utilise and invest in

lows consumers to immerse into the printed

the online opportunities that are in front of

brand catalogue to a far greater extent than

them. However, a continued adherence to

on a screen. The printed brand catalogue also

the printed brand catalogue is favoured as it

signals an attention to details and economic

provides value, extends the brand experience

surplus, which is transferred back to the im-

and allows consumers to immerse into the

ages of the brands. As the online brand cata-

brand universe far better than with an online

logue is reduced to one single sensation, the

brand catalogue. This thesis shows that digi-

sight, the brand experience is less absorbing

tal native consumers still want printed matter

and consumers do not delve and immerse

as these enable consumers to sense and feel

into the brand universe as with the printed

corporate design brands to a greater extent

version. Moreover, a printed brand catalogue

than the brand experience on a screen.

allows consumers to pick it up and place it as an object at home in which the brand (catalogue) becomes a means for self-expression and take part in the construction of a desired self-image, which is not possible with the online brand catalogue. It is further analysed how brand catalogues are able to provide distinctive impressions and images of brands in the minds of consumers. These brand images are formed as the quality is sensed and the price level is perceived through different brand-related stimuli generated from the brand catalogues. Moreover, a brand catalogue, in particular a printed version, proves to be able to affect a damaged corporate reputation as it can establish positive, shortterm brand images, which influence the long-term reputation of the brand. This research shows that printed brand catalogues are effective ways for brands to establish, maintain and affect desired corporate brand images. In an effort to gain further insights into the findings of the analysis, the purpose and target audience of the distinct brand catalogues are discussed with emphasis on different media and versions for different stake-

keywords brand experience, online brand experience, corporate branding, brand image, corporate reputation and generation y

The total number of characters in this thesis amounts to 173,223 excluding spaces corresponding to 78,7 standard A4 pages. In accordance with the requirements, this excludes abstract, foreword, table of contents, bibliography and appendices. The abstract consists of 3,680 characters excluding spaces corresponding to 1,6 standard A4 pages.

September 1, 2017

Rasmus Schou Laursen

a c kn owle d ge m ent

I wish to express my sincere gratitude and words of appreciation to all the people advising and inspiring me in the process. I would like to thank my supervisor, Dorrit BĂ¸ilerehauge, for providing productive support, feedback and direction, and for being available when needed. Moreover, I am thankful to all the people who participated in the interviews, which have provided me with valuable data and insights into corporate brand experiences. Last but not least, a special thanks goes to Mette for her understanding and patience - and for pushing and challenging me throughout the process.

fore w ord

Part of this thesis is a meta experiment. Curious to participate?

The thesis is written, structured and designed to illustrate the differences between online and offline experiences. When looking at this master thesis, you should consider it as a corporate brand catalogue. Start by browsing and scrolling through it online. Then leaf through the printed papers. What caught your atttention? Now read the first section in the printed version. Go on with reading the next section on a computer or tablet. Continue switching between the online and offline media for as long as you want.

Then ask yourself; What is the (brand) experience?

t a b le of c onte n t

page 18

introduction problem statement and research questions, clarification of brand catalogue concept and delimitations.

page 25

scientific position ontology, epistemology and methodology, consumer perspectives and brand perspectives.

page 33

theoretical framework experience economy, what is an experience, brand experience, brand experience dimensions, levels of experience, online brand experience, product/corporate brand level, brand images and theoretical findings.

page 53

methodology generation y, sampling of participants, data collection, case study approach, role as researcher, language and transcription, critical reflections, qualitative content analysis and quality of data.

page 72

analysis digital natives, sense the quality, immersion, photos say more than words, brand catalogues on the coffee table, brand catalogues on the desktop, small screen/small experience, prolong the experience, who are the case brands, establish, maintain and affect brand image, it is a match and corporate brands on a product brand level.

page 97

findings

page 101

discussion who is it for, storyselling, corporate brand (catalogue) experience dimensions, contrasts or complements, cease the online opportunity, return of investment and what about the environment.

page 112

conclusion

page 116

perspective future research.

page 119

end notes

page 122

bibliography

page 131

appendices

i n tr o d uc t i o n

In an increasingly digital world, the fate of

eration that are accustomed to and skilled in

the print media is often called into question.

the online universe. Steve Robinson, Direc-

Does the rise of online platforms mean the

tor of EO Group, states, “ [...] they will expect

end of printed catalogues? Websites, social

an effective and engaging online shopping

media and applications allow consumers to

environment as the standard. So, for this

get updates, inspiration and information at

new generation, online is not the future. It

the touch of a button. Not only is it instant,

is the now” ( ibid. ). But where does that leave

it is also economically viable in terms of ma-

print media? With generations of consumers

terial use. Hence, it is questioned whether or

that for the last 30 years have been raised

not print media is be able to stand the test

and spoon-fed with new digital technolo-

of time. Mike Foster, director of Merchandis-

gies, the question is whether or not print is

ing at Independent Stationers, says, “Today,

able to provide consumers with a more dis-

there is still a need for printed catalogues but

tinct experience than on a screen. One of

in the near future, they will be a thing of the

the distinct qualities and abilities of print is

past” (Braithwaite 2016). This should be seen

the activation and use of the tactile sense.

in the light of the emergence of a young gen-

However, according to recent technological

developments, the sense of touch will soon

tion photos can be downloaded no matter

be transferable to the screen in the attempt

when and where, and with the possibility to

to make the intangible digital environments

save it for later, search for further informa-

tangible. Anything from smooth glass to

tion and share it with others. Recent statis-

rough sandpaper will be able to be sensed

tics show a significant decrease for the last

on a screen (Subramanian 2015). Moreover,

eight years regarding printed matters such

a new brand, reMarkable, is to launch a tab-

as newspapers, magazines and annular pub-

let with a genuine paper-feel screen, which

lications (Danske Medier 2015). Nonetheless,

is marketed as the closest thing to paper

within the field of furniture and interior de-

since paper (Ulanoff 2017). Thus, new tech-

sign, a partiality for the printed catalogue is

nologies are on the rise, which might deliver

seen with the examples of the case brands

the deathblow to print media. From a brand

illustrated in appendix one. Even though the

management perspective, online catalogues

online catalogue requires little more than a

have the advantages of fast upload, easy ed-

few clicks, the printed catalogue keeps vying

iting and lower costs. For consumers, newest

for a place on the coffee table (Ruiz 2015).

issues of brand catalogues with high resolu-

The printed catalogue can be seen as tapping

into the trend of digital detoxing in which

affect the brand image creation. Past studies

people refrain from electronic devices to re-

concerning brand experiences have most of-

duce stress and focus on social interaction

ten had a traditional setting which has been

in the physical world (Oxford living Diction-

confined to product brand experiences and

aries 2017). IKEA’s launch of the 2015-cata-

offline environments through quantitative

logue, named ‘the bookbook’ (IKEA 2014),

methodology. However, new research has

emphasised a refrain from online catalogues

started to emerge with an emphasis on online

as their presentation was a sarcastic remark

brand experiences with conceptualisations

and mimic of Apple product launches. The

of how brands are experienced on a screen.

printed catalogue was introduced as a book-

For this research, the objective is to examine

book whose “battery life is eternal” and that

and discuss whether corporate brands are

among others has “tactile touch technology”

experienced in different manners when com-

and “328 high-definition pages” ( ibid. ). Ac-

paring identical online and offline materials.

cording to IKEA, the experience of a printed

The understanding is to provide insights into

catalogue is not replaceable with an online

the current and future state of printed cata-

screen and thus, an insistence and adherence

logues as it seeks to explore the brand value

to printed paper is evident with the book-

of the different mediums. Moreover, this re-

book. However, IKEA is not alone with this

search takes the perspective of members of

stance. Robert O’Donnell (2017), journalist at

Generation Y (Gen Y), who are considered a

Recode, states, “Many people are rediscover-

generation of ‘digital natives’ (Prensky 2011).

ing and resurrecting older analogue technol-

The consumers are in terms of age a mature

ogies, printed books, vinyl records, musical

group of potential customers and thus, no

instruments, that provide some kind of tac-

better generation is to answer the question

tile physical experience that a purely digital

of the future value of brand catalogues. The

world has started to remove” . From a brand

insights gathered from the empirical data will

perspective, it can be questioned whether it

help determine whether print is an outdated

is worth the extensive work and expensive

thing of the past or if it is able to provide an

costs to keep printing catalogues? Creating

offline experience that is valuable and prof-

an inspirational printed piece comes with a

itable in the future. Thus, it is questioned

hefty price tag. Professional photo shoots

whether there is a future for the print media

are expensive, postage fees are going up and

of brand catalogues and if the assessment

catalogues have to be produced months in

and understanding of online and printed ex-

advance (Williams 2014), which challenges

perience of brands provide insights into the

the justification of a printed catalogue. Thus,

future of technological developments and

the purpose of this thesis is to shed light on

enhanced online experiences. Based on the

the brand experience of brand catalogues in

simple question ‘why do brands continue to

an attempt to examine how brands are per-

print?’ , an overall problem statement of the

ceived, sensed and experienced in online

thesis is set forth on the following page.

and offline settings. The application of the brand experience concept is to understand the perception of brands based on identical case brand catalogues but exposed on different platforms and how these perceptions

How do Gen Y consumers experience design brands based on printed and online versions of brand catalogues and how do these brand experiences affect the brand image(s)?

research question one how are online brand experiences presented in literature compared to offline brand experiences? research question two how are brand experiences part of a brandâ&#x20AC;&#x2122;s image? research question three how do Gen Y consumers experience brand catalogues on a screen as compared to a printed version? research question four how do printed and online brand catalogues influence Gen Y consumersâ&#x20AC;&#x2122; perceptions of the case brands?

problem statement and research questions

clarification of brand catalogue concept

1.1

1.2

In order to unfold the problem statement,

Central for this research is the catalogue

two theoretical and two empirical research

and hence, a clarification of the concept is

questions are presented to guide the re-

deemed essential. When looking up the word

search process. The theoretical research

‘catalogue’ in the Business Dictionary, it is

questions serve to establish the theoretical

defined as a “list of goods or services on sale

framework and thus function as the foun-

with their description and prices published

dation for the research process by defin-

as a printed document or as an electronic

ing central theoretical fields, concepts and

document on internet” (Business Dictionary

challenges for brand experiences and brand

2017). However, this description is not quite

images. The empirical research questions

adequate for the context of design brands.

serve to present a focus for the research of

When browsing a vast amount of Danish fur-

online/offline corporate brand experiences.

niture brands and their online catalogues, it

By means of empirical insights, the study will

is evident that the catalogue is more than a

be able to shed light on brand experiences

list of goods. In this search, the word ‘brand

perceived by consumers in online and offline

book’ appeared a number of times. Most of-

settings while exploring the implications of

ten, a brand book is a strategic guideline for

both positive and negative experiences and

the brand in terms of logo, colours, typogra-

brand image perceptions. Based on the types

phies and visual style among others. Howev-

of research questions asked and the nature

er, the word ‘brand book’ has also been used

of the problem statement, the thesis invites

instead of ‘product catalogue’ as it is as much

for a qualitative research design. Moreover,

an explanation and visualisation of the cor-

the research study is explorative as it is set

porate brand. Through photographs, stories

forth to explore the attributes of both printed

and articles, the brand is expressed on a par

and online catalogues in order to determine

with the products and as a consequence, the

the effects and advantages of the two medi-

catalogue is more than a product catalogue.

ums. By means of semi-structured interviews

Thus, for this research, ‘brand catalogue’ is

of selected interviewees, the research seeks

constructed from the words ‘brand book’ and

to understand consumers’ experiences with

‘product catalogue’ . The term is applied to

corporate brands on the different platforms

cover the content of the selected case brand

based on identical online and offline case

catalogues as these contain both brand sto-

brand catalogues and how the platforms af-

ries and product information.

fect the creation of brand images.

delimitations 1.3

As mentioned, this research is explorative in

constraints. Last, the method for data collec-

nature, which allows me as a researcher to

tion is restricted to qualitative methodology.

operate on a smaller scale rather than con-

As this thesis takes a qualitative approach to

ducting a full-scale research design. In order

the examination of corporate brand experi-

to make the research as focused as possible,

ences and brand images, quantitative meth-

deliberate decisions have been made to de-

ods are considered out of scope. However, it

limit the scope. First, time constraints relat-

is reckoned that quantitative methodologies

ed to the research have made it unfeasible to

could provide additional perspectives to this

conduct a full-scale research over a period of

thesis but as the objective is to gain in-depth

time and as a consequence, the time span of

understandings of how brands are experi-

the research is limited to one point in time.

enced and perceived on print as compared to

As the objective is not to explore the devel-

on a screen, a quantitative approach is con-

opment of brand experiences and brand im-

sidered insufficient.

ages across time, the time span has not been seen as a barrier to the research. Second, for pragmatic reasons, the qualitative interviews are conducted with interviewees from Aarhus. The interviews have not been possible to conduct over the phone or via an online platform as the interviews include physical examples of brand catalogues and thus, the interviews have been compelled to be conducted face-to-face. Third, the research design applies a case study approach in which three case brands within the Danish furniture and interior design business are chosen. A specific business and delimitation in number of case brands have been deemed necessary to get an in-depth and contextual understanding of the concept of brand experience and the case brands. However, the selected case brands are considered to represent the category of high-end furniture brands because of their age, style and different brand catalogues. Moreover, the brand catalogues in the research are the most recent issues from each brand and thus, this research does not include older examples of brand catalogues. Fourth, even though the three case brands are present in numerous international markets, the research has been limited to the Danish market in order to narrow the focus of the thesis and because of economic and time

s c ientific p os ition

The scientific position of this thesis guides the considerations, actions and interpretations regarding research design, data and theories as well as its stance towards the reality and knowledge in general. The following section specifies the reality of the thesis and serves to establish a paradigm for inquiry of knowledge in the process of answering the overall problem statement.

ontology, epistemology and methodology 2.1

According to Guba (1990: 17), there are four

(Burr 2001). However, Burr (2001) proposes

overall paradigms in relation to scientific po-

numerous underlying assumptions that social

sitioning of research and the term paradigm

constructionists tend to believe in. Not all as-

refers to â&#x20AC;&#x153;a basic set of beliefs that guides

sumptions will be further explained here; in-

actionâ&#x20AC;?. All paradigms are characterised by

stead those relevant for the thesis will follow.

taking a stance towards the three funda-

The first assumption is that we as research-

mental questions of ontology, epistemology

ers and human beings need to be ever sus-

and methodology. The ontological question

picious about our taken-for-granted knowl-

concerns the nature of social phenomena

edge about the world ( ibid. ). This assumption

(Bryman 2012) whereas the epistemological

challenges the view that objectivity is possi-

question determines the relation between

ble; rather, what exists is what we perceive

the researcher and the knowledge, or in oth-

to exist and therefore, knowledge can never

er words, the knower and the known (Guba

be unbiased. With this assumption, I as a re-

1990). The methodological question con-

searcher is encouraged to remain critical to-

cerns the inquirers approach to investigate

wards prejudices and objective observations

knowledge. Thus, the answers to the three

of the world as I hold preknowledge about

above-mentioned questions form the deter-

the concept of brand experience and brand

mination of the paradigm adopted. The four

catalogues. The second assumption is the

paradigms are positivism, post-positivism,

assumption that knowledge is cultural and

critical theory and constructivism ( ibid. ). This

historical specific. Meaning that the knowl-

thesis is embedded within the paradigm of

edge we possess will always be culturally and

constructivism where reality is believed to be

historically biased ( ibid. ). As a consequence,

context specific and only exists in the minds

knowledge about the world is seen as being a

of the thinker, which corresponds to the con-

product of culture and history as well as pre-

cept of experience, which will be accounted

vailing social and economic circumstances

for in the theoretical framework. The adopt-

in the culture being investigated at that par-

ed paradigm will form the basis for the sci-

ticular point of time. Thus, I as a researcher

entific position of the thesis regarding on-

should not assume that there is a way of un-

tology, epistemology and methodology. The

derstanding the world that is any better than

ontological position of the thesis is based on

or truer than any other perception of reality.

social constructionism. Within social con-

The third assumption is that knowledge and

structionism, the aim is not objective truth.

truth are sustained by social processes ( ibid. ).

Instead, social constructionism pays tribute

Through social processes and interactions

to subjectivity and social interactions as cen-

between people our versions of knowledge

tral parts of the knowledge creation. From

become fabricated and thus, truth is merely

an ontological viewpoint, truth and reality is

our current accepted way of understanding

relativistic as it is dependent on the perspec-

the world. Therefore, the qualitative in-depth

tive one takes. Social constructionism is an

interviews and gathered empirical data for

ambiguous scientific position as it cannot be

this thesis are products of social processes

traced back to a primeval source and there

in a particular culture at a particular point in

is no single definition that entails all of so-

time. An immediate consequence of adhering

cial constructionism as the scientific position

to the scientific position of social construc-

cannot be described by one single feature

tionism is that the findings in this thesis are

representations of constructions made by the

fline brand catalogues. Hence, the research

author and not necessarily an objective anal-

objectives demonstrate that the evidence

ysis. While this consequence does not make

necessary to address the research problem is

the findings unreal, fictitious or illusory (Burr

best derived by means of a research strategy

2001), it merely stresses the fact that the

that allows for an exploratory investigation

findings represent the truth and knowledge

providing data of depth and detail.

as constructed through this thesis bound to the context of Danish furniture brands and

From a methodological perspective, this the-

on/offline brand catalogues. The implication

sis aims to reach an understanding of con-

of the underlying assumptions behind social

sumersâ&#x20AC;&#x2122; subjective brand experiences as well

constructionism is that when doing research,

as the meanings made of these brands. As a

the researcher must always strive to find the

consequence, the thesis will adopt a quali-

respondentsâ&#x20AC;&#x2122; perception of reality leading to

tative approach with the position of philo-

the necessity of employing an interpretivistic

sophical hermeneutics as with this approach,

epistemological orientation. Interpretivism

meaning is considered a diverse practice of

emerged from the recognition that research

interpreting and understanding experiences

in the social sciences requires a different log-

in a holistic process (Lock & Strong 2010).

ic than that common in natural sciences (Bry-

The choice of a qualitative research strat-

man 2012). The aim of interpretivism is to see

egy is based on the nature of the problem

and understand human behaviour in order

statement. Qualitative research tends to be

to gain an understanding into the subjective

more exploratory, which is useful when the

meaning behind social action ( ibid. ). Inter-

purpose of the research is to understand a

pretivism calls for the researcher to attempt

concept or phenomenon that is either new

to gather an understanding of the partici-

or never has been addressed with a certain

pantsâ&#x20AC;&#x2122; reality from their point of view, which

sample or group (Creswell 2009), which is

is consistent with the ontological position-

the case with on/offline brand catalogue ex-

ing of social constructionism. An interpretive

periences. Therefore, a qualitative research

stance recognises that participants, as prod-

strategy is deemed suitable to investigate

ucts of their historical, cultural and social

the problem statement as the formulation

contexts, are influenced by these contexts in

indicates a rather broad research focus with

their understandings of the world. Thus, for

the primary intent of exploring and under-

this thesis, the interviewees are not to pro-

standing the issue at hand. Moreover, the

vide objective and unbiased explanations of

settlement of a qualitative research strategy

corporate brand experiences. Instead, with

is based on the assessment that the under-

the research design, I seek to understand the

standing of brand experiences is more in-

phenomenon from the point of view of the

sightful in a qualitative research rather than a

people being subject to study. The purpose

quantitative format. Whereas quantitative re-

of looking for such interpretive understand-

search requires the quantification of various

ings rather than causal explanations is also

phenomena, qualitative research employs a

evident in the overall problem statement as

different approach by investigating phenom-

well as research questions. These are set out

ena in terms of words, images, symbols and

to explore how consumers experience the

other non-numerical forms (Wesley 2009).

corporate brands based on online and of-

Finally, the choice of a qualitative research

strategy is motivated by the objective of

reached through an understanding of its var-

this research. Contrary to most quantitative

ious parts and vice versa. More specifically,

research studies where the objective is to

as new knowledge emerges through the iter-

produce applicable results, most qualitative

ative working process, new meanings are es-

studies aspire to shed more detailed light on

tablished which will affect how phenomena

a specific context (Wesley 2009). A qualita-

of brand experiences and brand images are

tive research strategy is focused on speci-

considered. The hermeneutic and circular

ficity rather than generalisability of results.

approach will be visible in the empirical part

The choice of a qualitative strategy for this

of the research study through the qualitative

research comprises a decision to conduct a

coding process. Thus, it is acknowledged

study with the objective to achieve in-depth

that the different viewpoints that occur in

knowledge of a more limited sample size

the data will affect the research. At the same

rather than produce generalisable findings.

time, it is acknowledged that the theoreti-

As mentioned, the specific methodological

cal framework will affect the data collected.

orientation for this thesis is the philosophical

As a consequence, knowledge is produced

hermeneutics. According to Gadamer (1988

through a continuous back-and-forth pro-

in Lock & Strong 2010), it is only possible to

cess between the parts and the whole, which

create meaning if we are open to the views of

characterises the hermeneutic circle (Brink-

others because when we interact with people

mann & Kvale 2015).

who do not necessarily share similar views, we are provoked into stepping out of our

Thus, the scientific position of the thesis is

taken-for-granted understandings. Thus, as

based on the ontological worldview of social

the researcher, it is necessary for me to ac-

constructionism, the epistemological orien-

knowledge perceptions and prejudices in or-

tation of interpretivism and the methodo-

der to reach understandings (Skinner 1986).

logical viewpoint of qualitative research. The

This recognition of context and its effects on

framework is combined not for the purpose

the interpretation is coherent with the social

to present general laws but to expand the

constructionist position of the thesis. Gad-

understanding how consumers experience

amer (1988 in Lock & Strong 2010: 72) argues

online and offline versions of brand cata-

that to understand and interpret is about a

logues and how these experiences form and

fusion of horizons , which refers to â&#x20AC;&#x153;a dialogic

affect the perception of the case brands.

process calling upon speakers to make conceptual and emotional room for, to be able to agree with, the validity of the understandings and actions of othersâ&#x20AC;? (ibid.). For this research and during the qualitative interviews, I have strived to broaden my horizon and achieve a fusion between me and the perceptions of the interviewees. With the above-mentioned in mind, the empirical data for this thesis will be interpreted and constructed based on a hermeneutic, circular approach where understandings of brand experiences are

consumer perspectives 2.2

In connection with the scientific position of

According to Østergaard and Jantzen (2000),

the thesis, the understanding and perception

there are two perspectives of consumer be-

of the consumer and its behaviour are pivot-

haviour, which has derived from the interpre-

al to the understanding of brand experiences

tive turn; ‘consumer research’ which focuses

in online and offline settings. Research with-

on how consumers live their lives and ‘con-

in consumer behaviour has since the 1980s

sumption studies’ which emphasises the re-

been exposed to a turn, called ‘The Interpre-

lations and interactions between consumers.

tive Turn’ (Østergaard and Jantzen 2001). As

For this thesis, the perspective of consumer

the term indicates, the turn is about placing

research is adopted. This perspective has the

the consumer as the interpreter. The inter-

individual consumer as its research object,

pretive turn entails a postmodern view of the

focusing on how consumers live their lives,

consumer where consumption is seen as a

“consuming all kinds of products and ser-

fundamental part of how we live and create

vices, and how this influences their under-

meaning in our lives (Holbrook & Hirschman

standing of themselves as well as contribut-

1982). Instead of focusing on what is being

ing to create an image for others to observe”

consumed, the interpretive turn turns its fo-

(Østergaard & Jantzen 2000: 12). With this

cus on to how and why . By drawing attention

perspective, the consumer is seen as emo-

to symbolic meanings, the postmodern view

tionally and narcissistically determined and

enables an explanation as to why one prod-

viewed as a tourist searching for new experi-

uct fulfilling the same functionality as anoth-

ences through consumption, which is based

er is preferred by the consumer (Askegaard &

on a desire for the meaning in life. Brands

Firat 1996). Within the interpretive turn, con-

then become bricks in the construction of

sumers are seen as active producers of sym-

a meaningful life ( ibid. ). Hence, the chosen

bols and meanings attached to consumption.

perspective of consumer research will func-

Thus, the objective is to examine and observe

tion as the foundation in the understanding

the way consumers use and negotiate cultur-

of consumer expressions and behaviour in

al values that are offered to them (McCrack-

the analysis. In the following section, differ-

en 1986).

ent brand perspectives will be presented in order to outline the overall understanding of a brand.

brand perspectives 2.3

The understanding of brand experiences in

For this thesis, the brand perspectives are

both offline and online settings is dependent

not understood as four self-contained units

on the perspective to which a brand is under-

but as a continuum moving from a traditional

stood. The term brand is not a simple con-

managerial perspective to a more symbolic,

struction. Within the field of branding, the

consumer perspective of brands. The hu-

focus varies from a pure functional, product

manistic, interpretivistic paradigm is in line

benefits perspective to a more nuanced un-

with the adopted scientific position as well

derstanding of branding as a symbolic, in-

as the consumer research perspective of this

teractional process between the brand and

thesis. Within this paradigm, the creation of

the consumer (Andersen 2006). According to

brand meanings is given to the consumer in

Andersen (2006), there are two fundamental

an on-going process based on the behaviour

understandings of a brand; a functionalistic

of the brand and the behaviour of the con-

positivistic paradigm and a humanistic, inter-

sumer (Fournier 1998). As a consequence, it

pretivistic paradigm. The two paradigms each

is no longer corporations as the brand-own-

have two specific perspectives of the ques-

ers who constitute and encode meaning.

tion â&#x20AC;&#x2DC;what is a brand?â&#x20AC;&#x2122;. The first perspective

Within the cultural brand perspective, focus

is a functional view of branding, which con-

is on the brand meaning created in the inter-

ceptualises the brand as an extension of the

action between consumers. Thus, consumers

product. The second is an identity perspec-

become active carriers of a brand rather than

tive that views the brand as a static identi-

mere followers (Csaba and Bengtsson 2006)

ty, which projects its brand values outwards;

and brand communities can evolve around a

from sender to receiver. The third is the re-

brand with the brand being a meaningful and

lational perspective which views a brand as

cultural symbol that unites and gathers the

an active partner with who the consumer en-

consumers.

ter into relationships and construct personal identities according to. The last perspective is the cultural perspective that conceptualise brands as (sub)cultural symbols (Andersen 2006).

As the objective of this thesis is to understand corporate brand experiences from a consumer perspective, the humanistic, interpretivistic brand paradigm is adopted to understand how consumers ascribe meaning to and experience brands. However, a specific brand perspective will not be adopted. Instead, the thesis will take a critical stance towards both perspectives within the humanistic paradigm and adopt elements from both. The understanding of a brand will be placed on the continuum between the two brand perspectives within the humanistic paradigm. As the name of the paradigm indicates, the brand perspectives are coherent with the scientific position of social constructionism and interpretivism. The understanding of a brand will thus be based on the constructions in the minds of the consumers and the preferred methodological approach to reach such an understanding is qualitative in nature. As a consequence, the scientific position, consumer perspective and brand perspective are coherent. In following chapters, these perspectives will base and guide the theoretical framework, methodological considerations and analytic process.

the ore tical fram e w ork

In this section, the theoretical framework of this thesis will be presented. First, the theoretical framework is concerned with the experience economy and an outline of the question;

what is an experience . Second, a description of traditional and online brand experience is provided with emphasis on dimensions and levels of brand experience. Third, brand experiences will be discussed at a product and corporate brand level along with a discussion of brand images and corporate reputation. The objective is to establish a theoretical foundation for the analysis and provide a framework for answering the overall problem statement. Thus, the purpose of this section is to account for and answer the two first research questions.

the experience economy 3.1

With the article ’Welcome to the Experience

es, Pine and Gilmore are often criticised. Ac-

Economy’, Pine and Gilmore (1998) were the

cording to Carù and Cova (2003), the mem-

first to formally announce the arrival of the

orable experience is a romantic perception

experience economy era. Experience econo-

of experiences. Instead, the conception of

my is a philosophy within marketing that pri-

experiences should be replaced by a more

oritises the consumer experience of product

comprehensive understanding of the con-

brands. Instead of selling products and ser-

cept. Carù and Cova (2003) argue that com-

vices, the strategy for experience economy

panies and brands should allow consumers

is selling consumer experiences (Tsai 2005).

to create the experience for themselves in

According to Pine and Gilmore (1998), there

interaction with others instead of thinking of

are unexploited potential in the market and

consumer experiences as staged and script-

instead of utilising experiences as wrappings

ed experiences. Allowing consumers to in-

of products and services to increase sales, the

teract and take part of the processes of both

consumer experience should be the prod-

defining and creating value are foundations

uct or service itself. Experiences differ from

of the co-creation approach to marketing

goods as an experience is something unique

and branding. In the co-creation experience

that happens in the minds of individuals. Pine

economy, Prahalad and Ramaswany (2004:

and Gilmore (1998: 99) explain it as; ”experi-

10) argue that ”since no one can predict the

ences are inherently personal, existing only

experience a consumer will have at any point

in the mind of an individual who has been en-

in time, the task of the firm is one of innovat-

gaged on an emotional, physical, intellectual,

ing a robust experience environment” . Brand

or even spiritual level. Thus, no two people

managers can facilitate co-creation experi-

can have the same experience because each

ences but they cannot control how individu-

experience derives from the interaction be-

als co-construct their experiences. Thus, the

tween the staged event [...] and the individu-

individual and personalised experience is in

al’s state of mind” . For companies, the objec-

the hands of the consumer, which correlates

tive is thus to stage an event or experience to

with the humanistic brand perspective of this

engage consumers on different levels. How-

thesis.

ever, with the definition written by Pine and Gilmore (1998), the individual’s influence on the experience is of less importance as the company can stage, design and ”script dis-

tinctive experience” ( op.cit : 101). Thus, this understanding of experience has the company at the centre and producer of the experience, which is further emphasised with the notion of the consumer as a ’guest’ who buys the experience ( op.cit : 98). Moreover, Pine and Gilmore (1998) emphasise an essential criteria; the experience should be ’memo-

rable’ . The experience is seen as something extraordinary and meaningful, which will be worth paying for. For this view on experienc-

what is an experience 3.2

The notion of experience entered the field

While this definition is rather simplistic in its

of marketing with Holbrook and Hirschman’s

nature, a more thorough definition is found in

pioneering article in 1982. Today, the notion

a Danish report made by ODA (2006: 30) who

has become a key element in understanding

states that an experience “arises in a relation

consumer behaviour, and in some views, a

or in a dialectical relation between subject

foundation for the economy and marketing

and object, both of which will have an im-

of the future (Carù & Cova 2003). However,

pact on what is experienced. An experience is

there is no authoritative definition of expe-

something extraordinary and stands out from

rience. In philosophy, sociology, psychology,

[merely] experiencing” . With this definition, a

anthropology and marketing, the notion of

distinction is made between the ordinary, ex-

experience has relatively distinct meanings

periencing, and the extraordinary, an experi-

depending on the area of science ( ibid. ). In

ence, which implies that a person experienc-

a general and broad use of the term, experi-

ing something does not necessarily believe

ence is “something that happens to you that

that an experience has taken place. Further-

affects the way you feel” (The Cambridge Ad-

more, the definition made by ODA (2006) im-

vanced Learner’s Dictionary 2017).

plies that both the subject and object have an impact on the experience. An experience is therefore more than a passive reception of external sensations. Rather, an experience is seen as a product of on-going interactions. However, at its simplest, an experience can be said to be an event or process that can occur within everyday situations but always involves the internal awareness of something taking place (Lundh 1979). The understanding of an experience as an subjective, intrinsic state in the mind is in line with the scientific position of social constructionism as an experience can be understood as a social construction in the minds of the individuals. Experiences are inherently emotional and personal which means that experiences can fluctuate based on cultural background, prior experiences, moods, sensation-seeking personality traits and many other factors (Hirschman and Holbrook 1982). However, for this thesis, the understanding of an experience will not be based on a single definition. Rather, the various constructions of an experience are set forth in order to understand the complexity of the simple question;

what is an experience?

brand experience 3.3

As most of the research on experiences to

in environments in which the brand is con-

date has focused on utilitarian product at-

sumed. These brand-related stimuli consti-

tributes and category experiences, experi-

tute the major source of subjective, internal

ences provided by brands have not received

consumer responses, which is referred to as

much focus in academia. Brand experience is

brand experience ( ibid. ). Brand experience is

related but distinct from other concept in ex-

not an emotional relationship concept. How-

periential marketing and branding literature

ever, over time, brand experiences can result

as a brand experience reflects an individual

in emotional bonds but emotions are only

relative degree of familiarity with a brand

one internal outcome of stimulation that

resulting from some form of exposure. The

evokes experience. Moreover, a brand expe-

modern history of brand experience start-

rience does not need to be surprising; it can

ed with a specific focus on the sensory and

be both expected and unexpected (Brakus et

emotive aspects of product related con-

al. 2009). Traditionally, brand experiences in-

sumption experiences (Hirschman and Hol-

clude all types of experiences among them

brook 1982). The concept largely remained

product, shopping, service and consumption

within the product and service perspective

aspects during consumers’ interactions with

until the influential work of Schmitt (1999b),

a brand.

who brought the world’s notice to the superficial aspect of sensory, affective and creative

Recent research on brand experience has

experiences (Shamim & Butt 2013).

shifted its focus from defining and measur-

Brand experience is conceptualised as

ing the construct to identifying its anteced-

sensations, feelings, cognitions, and be-

ents and consequences (Iglesias et al. 2011).

havioral responses evoked by brand-related

According to Shamin and Butt (2013), one of

stimuli that are part of a brand’s design and

the most important challenges in the area of

identity, packaging, communications, and

brand experience research is to empirically

environments (Brakus et al. 2009). Accord-

establish that it is not just an epiphenome-

ing to Alloza (2008), brand experience can be

non but it can predict some of the most im-

defined as the perception of the consumers,

portant analytically and cognitively driven

at every moment of contact with the brand.

concepts in branding literature such as brand

Brand experience is created when customers

equity, brand attitude and brand credibility.

use the brand; talk to others about the brand;

Morrison and Crane (2007) has proven that

seek out brand information, promotions and

brand experiences not only provide brand

events (Ambler et al. 2002). When consum-

differentiation and loyalty but also increase

ers search for, shop and consume brands,

sales and create advertising impact as well as

they are exposed to utilitarian product at-

developing strong ties between brands and

tributes. However, they are also exposed to

consumers. Moreover, the potential for brand

various specific brand-related stimuli, such

experiences to transform into their preferen-

as brand-identifying colors, shapes, type-

tial treatment towards a brand is based on

faces, background design elements, slogans,

the argument that brand-related experiences

mascots and brand characters (Brakus et al.

have the tendency to become the part of a

2009). These brand-related stimuli appear as

consumer’s long-term memory in shape of

part of a brand’s design and identity, pack-

brand associations. Thus, it is possible that

aging and marketing communications and

some of these associations developed from

brand experiences can play a significant role

In short, brand experiences can be posi-

in building attitudes such as brand prefer-

tive or negative, short-lived or long-lasting.

ence, credibility, satisfaction and loyalty

They can vary in strength and intensity; that

(Brakus et al. 2009). Iglesias et al. (2011: 571)

is, some brand experiences are stronger or

state “brands capable of delivering a unique

more intense than others. As with product

and distinctive experience by managing both

experiences, brand experiences also vary in

the functional and emotional elements of

valence; some are more positive than others

the offering and assuring consistency in all

and some experiences may even be negative.

touchpoints between the brand and its cus-

Moreover, some brand experiences occur

tomers can build brand loyalty and even gen-

spontaneously without much reflection and

erate evangelism”. Brand evangelism is here

are short-lived; others occur more deliber-

understood as favourable ‘word of mouth’ as

ately and last longer. The following section

consumers preach the brand to others (Dem-

will go in more depth with different dimen-

ing 2007 in Iglesias et al. 2011). Thus, the ob-

sions and levels of brand experience.

jective for brand management is to deliver the brand promise and providing consistent action with the consumers in order to maintain positive brand experiences.

Brakus et al. (2009: 53)

Brand experiences are sensations, feelings, cognitions, and behavioral responses evoked by brand-related stimuli that are part of a brandâ&#x20AC;&#x2122;s design and identity, packaging, communications, and environments

brand experience dimensions 3.4

Efforts have been made by various research-

factor analysis. In addition, six further stud-

ers to develop operational typologies to scale

ies were conducted to prove the validity and

and measure brand experiences to provide a

reliability of the scale. The categorisations

framework by which brands can engage con-

of Schmitt (1999a) and Brakus et al. (2009)

sumers in an experiential manner (Sands et

are both perceived well suited to analyse

al. 2008). In the following, different frame-

and establish brand experiences (Sands et

works will be outlined in order to compare

al. 2008). However, the dimensions of both

the various constructions of brand experi-

scales are almost identical as the dimensions

ence dimensions. The experiential marketing

sense, feel, act and think of Schmitt (1999a)

pioneers, Hirschman and Holbrook (1986),

are analogous to the dimensions sensory, af-

propose the Thought-Emotion-Activity-Val-

fective, behavioral and intellectual of Brakus

ue (TEAV) model with four dimensions as the

et al. (2009). Schmitt (1999a: 62) has includ-

framework; Thought includes cognitive pro-

ed the fifth dimension relate , which â&#x20AC;&#x153;relates

cessing; emotion involves feelings, expres-

to the need to be perceived positively by in-

sive behaviours, and physiological responses;

dividual othersâ&#x20AC;? . These social-identity expe-

activity includes physical and mental events;

riences that result from relating to a group

value includes evaluative judgements. These

is argued to have an important role in the

four areas were later empirically validated by

digital age of social media, brand communi-

Lofman (1991) and have formed the founda-

ties and use of brand catalogues. Therefore,

tion for later studies on customer experience

the fifth dimension is considered essential in

such as the categorisation of Pine and Gil-

the assessment of brand experiences and for

more (1998). However, these frameworks are

that reason, the five dimensions of Schmitt

limited to retail settings and events. In con-

(1999a) are adopted as the main theoretical

trast, Schmitt (1999) moves beyond a tradi-

framework for this empirical research. How-

tional features and benefits, product-centric

ever, the four dimensions of Brakus et al.

focus and instead he addresses the impor-

(2009) are included as additional literature

tance of a sensory appeal as part of an overall

as these provide new and more thorough de-

value creation strategy. Schmitt (1999a: 60)

scriptions of the first four dimensions.

identifies five different dimensions of experiences that are termed strategic experiential modules and include sensory experiences

(sense) , affective experiences (feel) , creative cognitive experiences (think) , physical experiences, behaviours and lifestyles (act) and social experiences that result from relating to a reference group or culture (relate) . In line with the strategic experience modules proposed by Schmitt (1999a), Brakus et al. (2009) have developed their own brand experience scale with four dimensions: sensory,

affective, behavioral and intellectual . These dimensions were validated by empirical evidence through explorative and confirmatory

sense

Sensory experiences relate to the sense of

senses work on their own but create a larger

smell, sound, sight, taste and touch in the

impact together in what is termed multi-sen-

creation of distinct consumer values, experi-

sory brand experience, which is when more

ences and images (Hulten 2011). Sense mar-

than one of the five senses contributes to the

keting emphasises sensor-related stimuli that

perception of sensory experiences. Hultén

trigger the five senses to build experiences

(2011) proposes a sensory marketing-model

with consumers. Visual stimuli are easier to

(Appendix 2) which offers brands the oppor-

store in consumers’ minds due to their cap-

tunity to differentiate, express and experi-

turing images as information about products

ence the brand through sensorial strategies,

(Schifferstein 2006) and tactual sensory ex-

including sensors, sensations, and sensory

perience evokes an affective response, which

expressions. Hultén (2011: 263) explains that

influences consumer decision-making (Peck

“sensors aim at communicating sensations

and Wiggins 2006). Thus, sensory experi-

and sensory expressions that reinforce the

ences constitute individuals’ beliefs, feelings

multi-sensory brand experience for the cus-

and opinions about a brand, which enables

tomer” . The reason for a brand to use sensors

consumers to form mental conceptions and

is to obtain a multi-sensory communication

perceptions of relevant brand interactions

platform that reinforces the multi-sensory

and inputs (Brakus et al. 2009). According to

brand experience on a daily basis in services-

Hultén et al. (2009), visual expressions re-

capes as well as in virtual settings. A sensory

main the most common expressions in mass

expression is defined as an experience trig-

and relationship marketing, but it is no longer

ger that clarifies a brand’s identity and values

sufficient to use visual or sight expressions

and leaves an imprint in the customer’s mind.

alone to attract the human senses. Instead,

The main reason for a brand to apply sensory

a holistic view that emphasises the supreme

expressions is to be closer and more deeply

sensory experience should be at the center

imprinted in the consumer’s mind in terms of

of a brand’s sensory marketing.

an image, which is part of customer equity.

According to Hultén (2011), the senses have

Thus, the sensory dimension is an important

distinct characteristics and generate differ-

element in differentiating brands, expressing

ent experiences. First, the sense of sight is the

the brand identity and establishing brand ex-

most powerful one for discovering changes

periences for stakeholders.

and differences in the environment and is the most common sense in perceiving goods or services. Second, the sense of sound is linked to emotions and feelings. Third, the sense of smell is related to pleasure and well-being and is closely connected to emotions and memories. Fourth, the sense of taste is the most distinct emotional sense and often interacts with other senses. Fifth, the sense of touch is the tactile one related to information and feelings about a product through physical

and

psychological

interactions.

Hultén et al. (2009) argue that the different

feel

act

Affective experiences are embedded in con-

Act marketing enriches customer’s lives by

sumers’ minds unconsciously and are able

enhancing their physical experiences, show-

to elicit consumers’ feelings and emotions.

ing new ways of doing things, alternative life-

The feel dimension appeals to customers’

styles and interactions. Through behavioural

inner feelings and emotions with the objec-

experiences customers will “develop a sense

tive of creating affective experiences that

of sensation, influence and relationship with

range from mildly positive moods linked to

the products and services offered” (Schmitt

a brand to strong emotions of joy and pride

1999a: 68). Experiences can provide physical

(Schmitt 1999a: 61). Through the inducing of

interactions between the brand and consum-

emotional experiences, the consumer-brand

ers through activities and events. Schmitt

relationship can be strengthened (Fourni-

(1999b: 154) states that “act marketing strat-

er 1998) because stronger emotions toward

egies are designed to create customer expe-

brands are resistant to change towards the

riences related to the physical body, longer-

opposite end of the emotion continuum,

term patterns of behavior and lifestyles as

such as changing from positive to negative or

well as experience occurring as a result of in-

from negative to positive (Albert et al. 2008).

teracting with other people” . Changes in life-

When brands display visually appealing and

styles and behaviours are most often motiva-

relevant content on online platforms, con-

tional, inspirational and emotional in nature

sumers can possibly develop this into either

and motivated by role models. According to

positive or negative affective brand experi-

Schmitt (1999b), the physical body does not

ence as well as building relationships with

only produce sensations and perceptions of

brands (Simon et al. 2013). Consequently, af-

the ‘distant’ outside world (such as percep-

fective experience reflects consumers’ brand

tions of products, brands and websites). The

evaluation processes and results in strong

body is seen and understood as a rich source

relationships that can lead a consumer to

of experiences. The act dimension appeal to

identify a particular brand without any direct

the modification of behavioural patterns and

interference (Thomson et al. 2005). Thus, the

demonstrating new or enhancing existing

feel dimension is a central element as the un-

long-term lifestyles. Thus, the act experienc-

derstanding of an experience is most often

es stimulate physical action, sense and lead

based on personal feelings, emotions and an

people towards lifestyle experiences and es-

inner state of mind.

tablish interaction between people and the environment.

think

relate

Cognitive experiences refer to thinking and

Relational experience refers to social ex-

problem-solving that stimulates and encour-

perience that connects consumers with-

ages consumers to think creatively about

in a broader social system such as a refer-

products and brands (Schmitt 1999a). The

ence group or cultural context reflected in

think dimension in brand experiences should

a brand (Brakus et al. 2009; Schmitt 1999b).

inspire consumers to generate new ideas, to

Relational experiences establish a sense of

reflect on previous experience and to search

connection with objects of consumption,

for more information ( ibid. ). Schmitt (1999b)

which develops into consumer perceptions

asserts that cognitive experience stimulates

of brand attributes such as personality, val-

and encourages creative thinking. As a con-

ue and resonance (Sirdeshmukh et al. 2002).

sequence, a think experience relies on the

Consumers’ usage of brands is perceived as

intelligence of the consumer in generating

imitating or reflecting their characteristics

cognitive experience and includes conver-

or ideal selves as a means of self-expres-

gent/analytical

divergent/imaginative

sion (Escalas and Bettman 2005). Moreover,

thinking. Through the processing of creating

relational experiences within social settings

a new idea or thinking, consumers form their

enable consumers to present themselves by

own evaluation towards the company and its

aligning themselves with others (Jones and

brand. Schmitt (1999a) claims that think mar-

Runyan 2013). Thus, the relational aspect

keting appeals to the intellect with the ob-

is a means for consumers to express them-

jective of creating cognitive, problem-solv-

selves or relate themselves to other con-

ing experiences that engage customers often

sumers, lifestyles, groups or brand cultures.

through surprise, intrigue and provocation.

Relational experiences can appeal to the in-

Surprises can create delight and surpass cus-

dividual’s desire for self-improvement such

tomers’ expectations. Intrigue can enhance

as a future ideal self that he or she wants

curiosity and get customers to think about

to relate to. Moreover, it can appeal to the

the product and brand. Provocation can ena-

need to be perceived positively by others and

ble brands to catch consumers’ attention and

relate the individual to a broader social sys-

inspire them to discuss.

tem, such as a subculture or brand commu-

and

nity. In a more recent article, Schmitt, Brakus and Zarantonello (2015) argue that relational experiences in the form of customer–brand, customer–customer interactions about the brand, or brand communities, can become even more important and central for brand experiences in the future as digital platforms and networks as well as the ‘sharing economy’ are growing by the moment.

Schmitt (1999a: 62) explains that the strategic experience dimensions are circumscribed but not self-contained structures; instead they are connected and often interact in brand experiences and encounters. Most successful brands employ experiential hybrids that combine two or more dimensions in order to broaden the experiential appeal and effect. Ideally, brand managers should strive strategically for creating holistically integrated experiences that possess sense, feel, think,

act and relate qualities. Schmitt (1999a: 57) states: â&#x20AC;&#x153;What they [consumers] want is prod-

ucts, communications, and marketing campaigns that dazzle their senses, touch their hearts, and stimulate their mindsâ&#x20AC;? . Schmitt ( ibid. ) further argues that the ultimate goal of experiential marketing is to create holistic experiences that integrate individual experiences and lifestyles, which provides sensory, emotional, cognitive and relational value to the consumer. Hence, the strategic experience dimensions should not be considered as separate entities. Rather, the dimensions should fuse and enhance the brand experience in unison.

levels of experience 3.5

The strategic experience dimensions do not

On the reflective level, the impressions from

include elements of time in the concep-

the instant level are ‘processed’ over a longer

tion of brand experience. However, in the

period of time. The consumer now reflects

book Brand Elegance by Dorrit Bøilerehauge

upon the experience and can establish cer-

(2013), two levels of experience are proposed

tain memories about the brand. Although the

in order to highlight the different timespans

experience at the instant level is no longer

and scopes of consideration involved in a

unfolding itself surrounding the consumer,

customer decision-making process. Even

it still serves a vital function as it supports

though brand experiences do not neces-

the memory of the brand and a more com-

sarily include a decision-making process or

plete recollection of what it represents to

is limited to sensory experiences, the levels

the consumer (Bøilerehauge 2013). At the re-

of experience are included to shed light on

flective level, the processed experience can

the process in which consumers experience

create value and meaning for the consumer

brands. The first level is the instant level .

in which it can contribute to an overall iden-

Here, the process is short and often based

tity construction. Thus, Bøilerehauge (2013:

on recognition, affirmation of trends and

33) claims that brands “need to be aware of

short-term inspiration and selection (Bøile-

the effects of the experience on both these

rehauge 2013). At the instant level, the con-

levels and aim at reaching effects on both” .

sumer is affected by the immediate sensory

Brand experiences are therefore understood

experience and a certain amount of nowism

more than short-term impressions; brand ex-

where the consumer reacts to the feelings of

periences at the reflective level are able to

the exact moment. Thus, the experience and

anchor brands in the memories of the con-

impressions at the instant level have a short-

sumers and take part of long-term evaluation

term impact on the consumer, which form

of the brand.

the basis for the next level, which is termed

the reflective level.

online brand experience 3.6

Majority of the studies in brand experience

online channels actually leads to experiential

literature are in offline contexts as compared

responses similar to those created by offline

to the online context. With the development

brand experiences. However, the settings in

of advanced technology and the rise of on-

which the consumer and brand interact are

line platforms, brand experiences do not just

different. On a website, “an entire corpora-

derive from offline consumption experienc-

tion appears on a single screen […] the rep-

es; brand experiences occur just as much on

utation is very sensitive the way a company

digital platforms.

is portrayed” (Merrilees and Fry 2002: 213 in

Online brand experience is not to be con-

Khan et al. 2016). Being unable to attract con-

fused with website navigation, user interface

sumers with textures, physical environments

and user experience. In this context, the on-

and smells, online platforms are forced to

line experience is not based on the website

emphasise colours and vividness, which then

design but on the brand on the website. Mor-

will enhance ultimate brand experiences and

gan-Thomas and Veloutsou (2013: 22) have

brand relationships (Simon et al. 2013). But

explained online brand experience as “an

now and in the future, brand experience will

individual’s internal subjective response to

arise frequently in various digital as well as

the contact with the online brand” . In anoth-

mobile environments. When a consumer ex-

er research, Ha and Perks (2005) found that

periences a brand through various touch-

consumers prefer to navigate websites that

points during search, evaluation, purchase

deliver positive experiences and not just in-

and consumption of products, the online me-

formational messages. Ha and Perks ( ibid. )

dium is not to be overlooked (Morgan-Thom-

conclude that the common goal is to estab-

as and Veloutsou 2013). Thus, online brand

lish a bond between a consumer and a brand

experiences can be said to be characterised

as the consumer learns about the brand. De-

by interactivity and synchronicity where con-

riving from the concepts of brand and web-

sumers are empowered to engage with the

site-based experiences, Hamzah et al. (2014:

brand and other consumers whenever and

9) have defined online corporate brand ex-

however they prefer (Simon et al. 2013). In

perience as “specific corporate brand values:

sum, online brand experience captures the

visual identity (sensory), functionality, emo-

internal and subjective response to the con-

tional experience, lifestyle and corporate/

tact with an online brand. A positive online

self-identity evoked by corporate brand-re-

brand experience occurs when the net value

lated stimuli, such as corporate brand iden-

of good interactions with the brand exceeds

tity and reputation, communication by the

the value of negative ones with satisfaction,

corporation, other related subsidiaries, cor-

re-visits and brand loyalty as examples of

porate entities or environment over time, re-

the consequences of positive emotional and

sulting in the corporate brand equity as well

cognitive states of online brand experience

as emotional bond across stakeholders” . This

(Morgan-Thomas and Veloutsou 2013).

definition is coherent with the definition of brand experience proposed by Brakus et al. (2009), cf. page 42, as it shares some of the same dimensions of offline brand experiences, which will be elaborated on later. Wu et al. (2004) claim that brand experience through

Hamzah et al. (2014) have studied online

control while making an online transaction.

banking experiences in which they have

This dimension is based on online banking

identified five dimensions of online corpo-

and thus, it is more focused on transaction

rate brand experience. The five dimensions

rather than interaction as part of the online

are corporate visual identity, emotional ex-

experience. The fourth dimension is lifestyle .

perience, functionality, lifestyle and corpo-

Online experiences in terms of possibilities

rate/self-identity. The dimensions are coher-

and technologies can provide consumers

ent with the dimensions proposed by Schmitt

with changes in their lifestyles or different

(1999a), although there are some significant

patterns of behaviour such as simplification,

differences. The first dimension is corporate

flexibility and accessibility (Hamzah et al .

visual identity , which is the combination of

2014). The fifth and last dimension is corpo-

sensory experiences at corporate brand lev-

rate/self-identity . With this dimension, the

el through corporate logo, name, colour,

way consumers perceive themselves com-

symbol and design (Hamzah et al. 2014). As

prises the self-identity whereas the corpo-

mentioned, the sensory experience in online

rate self-identity relates to the “who am I

settings appears on a single screen and thus,

relation to the corporation” (Balmer 2008:

visual components are essential in order for

890). Hamzah et al. (2014) found that using

brands to create experiences that are recog-

an online brand makes consumers look pres-

nisable and distinct from that of its competi-

tigious, up-to-date, and modern within their

tors. The second dimension is emotional ex-

community. Furthermore, according to Hel-

perience , which correlates with the affective

man and De Chernatony (1999), people form

experience in offline brand experiences. The

self-identity relationship with the corporate

emotional experience dimension comprises

brand that provides them a way of self-ex-

both positive and negative emotions such

pression. They point out that when people

as relieved, happy, confident, worried, frus-

develop a self-identity associated with the

tration and disappointment (Hamzah et al.

corporate brand, it is about self-expression

2014). The emotional experience as outlined

of symbolic values and meaning in the cre-

by Hamzah et al. (2014) is not focused on the

ation of a lifestyle image. According to Mc-

emotional bond between the brand and the

Craken (1993: 81), consumers often question

consumer, rather the focus is on the feel-

whether a brand corresponds to the person

ings derived from the use of a specific brand

they are or want to become which is evident

website, which lead to the next dimension.

in the following quote; “Consumers look to

The third dimension is functionality , which

products and brands for the meaning they

can be compared to the cognitive dimen-

need to help construct, sustain, and re-

sion, think , of Schmitt (1999a). However, on

construct the social self” . Thus, when peo-

online platforms, functionality involves cog-

ple have a propensity to experience online

nitive and goal-oriented responses that are

brands that are consistent with their self-im-

individual to each consumer. Hamzah et al.

age or personality, the experience represents

(2014) describe skill, control and interactivi-

a corporate/self-identity dimension of online

ty as important components of functionality,

brand experience.

which smoothen the online transactions and result into an online corporate brand experience as it offers a feeling of security and

These five dimensions are found on a corporate brand level as opposed to the product brand level cited in the studies of Schmitt (1999a) and Brakus et al. (2009). Hamzah et

al. (2014) argue that the concept of brand experience is rooted in traditional settings and in general marketing, and therefore it has been discussed extensively at the product brand level. As a result, brand experience has been conceptionalised in a more narrow and traditional perspective. Thus, in the following section, an outline of the differences between brands on a product and corporate brand level will be presented.

product brand level / corporate brand level 3.7

With fast advancement in technology com-

competitive advantage due to its ability to

bined with growing competition and com-

create long-term brand differentiation (Mor-

plexity, businesses are faced with the chal-

rison and Crane 2007). Moreover, Abratt and

lenge to succeed entirely on the basis of

Kleyn (2012) state that brand experiences are

what products or services they provide.

important parts of how consumers construe

As a consequence, a shift from traditional

their imagery of a corporate brand. Accord-

marketing on a product level to corporate

ing to Abratt and Kleyn (2012), the corporate

branding is essential (Kapferer 2012; Hatch

brand comprises two aspects; corporate ex-

and Schultz 2009; Balmer and Gray 2003).

pression and brand images of the organisa-

According to Hatch and Schultz (2001:

tion (see model in appendix 3). The corporate

1041), the move from a product brand to a

expression includes the conceptualisation

corporate brand is “usually ascribed to the

and communication of the corporate identity

difficulties of maintaining credible product

and the second aspect of corporate branding

differentiation in the face of imitation and

encompasses the stakeholders’ perceptions

homogenisation of products and servic-

of the brand. Thus, as stakeholders experi-

es” . As a consequence, the ground rules for

ence the corporate brand, brand images are

competition have changed as differentiation

developed ( ibid. ). Brand experiences on a

requires positioning on a corporate brand

corporate level are able to strengthen stake-

level. The values and emotions symbolised

holders’ memories and depths of association

by brands become key elements of differen-

with a brand; and not just a single product or

tiation strategies and the corporation moves

service. As product brand experiences tend

center stage ( ibid. ). The corporate body is, or

to be short term and in the present, corpo-

should be, nurtured, trimmed, profiled and

rate brands live both in the past, present and

staged. In other words, branded (Christensen

future (Hatch and Schultz 2001). Without

et al. 2008). Unlike product brands, the focus

experiences of a brand, a consumer cannot

of corporate brands is on all internal and ex-

build strong brand images and thus, the cor-

ternal stakeholders, and based on a broader

porate brand experience is a vital part of the

mix than the traditional marketing mix; cor-

comprehensive corporate expression of the

porate brands are experienced and commu-

brand and the brand image.

nicated through corporate communication rather than simply via the marketing communications mix (Balmer 2001). The ultimate ambition of corporate communication is to develop and present the corporation as one unified brand, which entails coherence of expressions across various media and platforms. According to Christensen et al. (2008), the underlying endeavour of corporate branding is the conviction that consumers buy or consume the company behind the products or services. Hence, inducing corporate branding experiences have been proposed as a source of differentiation that can sustain

brand images 3.8

There is no single agreed definition of the

experiences and encounters with the brand

concept of brand image (Bick et al. 2003).

and thus, the brand images are founded on

However, Abratt and Kleyn (2012: 1055) de-

different foundations. Moreover, Hatch and

fine brand images as “the current and imme-

Schultz (1997) claim that traditional market-

diate reflection that the stakeholders have

ing literature often implies that brand images

towards an organisation” . With this defini-

are directed towards the creation of desired

tion, the time frame is emphasised as brand

impressions in the minds of consumers. Ac-

images are described as immediate and con-

cording to Hatch and Schultz (1997), mar-

structed in the moment. This conception

keters have for long ignored the fact that

correlates with the definition of Heding et

brand images are a combination of deliber-

al. (2009: 60) in which brand images are de-

ate policies in the creation of a desired im-

scribed as “[...] short-term mosaic of images

age and a natural formation and result of the

perceived by the consumer”. An alignment

interactions between different stakeholder

can be seen between these two definitions

groups. Following the humanistic, interpreti-

in terms of limited time and an emergence

vistic brand perspective, the understanding

in the moment of encounters with the brand.

of brand images for this research is based on

Moreover, brand images can be said to be

the fact that images are not merely project-

constructed through a number of differ-

ed images from the brand to the consumers.

ent impressions of the brand that remain

Rather, it is an on-going and interactive pro-

in memories of the stakeholders (Bick et al.

cess in which the brand and its stakehold-

2003) or what Keller (1993) calls brand asso-

ers are active constructors of the brand im-

ciations. These impressions and associations

ages. Moreover, van Riel & Fombrun (2007)

then the found the brand images through

stress that images are not direct reflections

product-related or non-product related at-

of brand identities in that other factors influ-

tributes ; functional, experiential or symbolic

ence brand images that cannot be controlled

benefits ; and overall brand attitudes (Keller

by the brand such as word-of-mouth. How-

1993). Brand attitudes often form the ba-

ever, Cornelissen (2011) claims that through

sis for consumer behaviour and can “serve

management of communication, symbolism

as a value-expressive function by allowing

and behaviour, brands can seek to influence

individual to express their self-concepts”

stakeholders’ brand associations to create a

(Keller 1993: 5). Nguyen and Leblanc (2001)

coherent corporate image.

broaden the concept of brand associations to corporate brand associations, which relates to physical and behavioural attributes of the corporation such as brand names, traditions and the quality cues communicated through products, services and people of the organisation. However, Nguyen and Leblanc (2001) discuss that brands do not project one unique image. Rather, it is argued that brands possess various images which can differ depending on the different stakeholder groups. Each stakeholder group has different

Marketers have often used the concepts of

To establish and maintain a strong reputa-

corporate brand image and reputation inter-

tion, Heding et al. (2009) stress the impor-

changeably (Bick et al. 2003). Christensen et

tance of aligning the brand components and

al. (2008) state that a corporate reputation is

minimise possible gaps between these. Cor-

a collective or shared impression of an organ-

nelissen (2011) states that corporate image

isation as compared to brand images which

management adds an important dimension

are impressions created in the minds of the

to corporate communication and the pro-

stakeholders. Balmer and Gray (1998) further

cess in which the brands communicate with

distinguish between these two concepts in

their stakeholders. Brand images and corpo-

terms of their endurance in the minds of the

rate reputation are thus linked to each other

audience. Corporate image refers to the per-

but the concepts have distinct meanings and

ception of the brand in the moment, whereas

definitions, which should not be confused or

corporate reputation refers to how the brand

used interchangeably.

is regarded over time. Cornelissen (2011: 162) shares similar perspective and points out that images are placed at “[...] at a single point

in time” and defines corporate reputation as “ an individual’s collective representation

of past images of an organisation (induced through either communication or past experiences) established over time” . Brand images can thus be characterised as volatile and short-term snapshots whereas corporate reputation is long-term and relatively stable (Walker 2010). Moreover, Cornelissen (2011: 64) states that a “[...] good corporate repu-

tation has a strategic value for the organisation that possesses it. It ensures legitimacy from stakeholder groups [...] and may offer a competitive advantage as it forms an asset that is difficult to imitate ”. As a consequence, reputation can contribute to the creation of competitive advantage and thus, brand images are considered essential as reputation is constructed from current and past images of the brand.

theoretical findings 3.9

The theoretical framework has shed light

The second research question is set out to

on various elements of brand experiences,

examine how brand experiences are part of

which are theoretical described and cate-

a brandâ&#x20AC;&#x2122;s image. To answer this, the model

gorised with the application of five dimen-

and conceptionalisation of Abratt and Kleyn

sions outlined by Schmitt (1999a) and for

(2012) have been applied as these illustrate

online brand experience, the presentation of

the primary constituents of and links bet-

Hamzah et al. (2014). The two frameworks

ween corporate brand, identity and repu-

have shown that whether online or offline,

tation. Brand experiences are described as

brand experiences revolve around five di-

part of a brandâ&#x20AC;&#x2122;s image as when stakeholders

mensions. In the traditional setting, these are

experience brands, images of the brands are

sense, feel, act think and relate. When in an

developed. The emergence of such brand

online context, Hamzah et al. (2014) have ad-

images arises no matter the extent and set-

justed and renamed the dimensions to visual

ting of the experiences. Thus, it can be said

identity, functionality, emotional experience,

that the way stakeholders experience, feel

lifestyle and corporate/self-identity. Apart

and perceive a brand becomes the brand to

from smaller adaptations, the online brand

them. Without experiences of a brand, con-

experience dimensions correlate to the orig-

sumers cannot build brand images and thus,

inal work of Schmitt (1999a). Thus, to answer

brand experiences are vital parts of the brand

the first research question, online brand ex-

image creation. Theoretically, brand images

perience is presented as a counterpart to

are impressions created in the mind in the

the traditional offline brand experience. The

moment of encounter. However, over time,

differences are basic functionalities such as

these brand images shape the corporate rep-

senses on a screen cannot be transferred

utation of a brand and thus, brand experienc-

from offline to online, which provide dif-

es are said to affect both the immediate and

ferent elements to categorise and measure

prolonged perceptions of corporate brands.

online brand experiences. Consequently, in theory, there are fundamental differences in how brands are experienced depending on the setting but whether online or offline, the basic touchpoints are unaltered.

m e th od o l o g y

The purpose of this chapter is to account for the research design that guides this thesis. The following sections present the methodological considerations, choices and actions to illustrate how these contribute to the overall purpose of the thesis. Thus, the aim is to be transparent in terms of how the problem statement is researched and explored. In continuation of the scientific position of this thesis, the research design is based on qualitative interviews with selected consumers. As the objective of the thesis is to examine consumers of Generation Y and their perceptions of brand catalogues, the reasons for examine members of Generation Y will be explored in the following section.

generation y 4.1

Generation Y, also called the Millennial Gen-

Members of Gen Y have high levels of self-

eration, is a term concerning the last gener-

awareness in terms of brand consumption

ation born in the twentieth century (1980-

and self-display compared to previous gen-

2000). One of the most significant charac-

erations. Studies have shown that online

teristics for this generation is that members

aesthetics are particularly important to Gen

of Generation Y are digital natives rather

Y users (Lavie and Tractinsky 2004). For this

than digital immigrants (Prensky 2001). They

generation, usability is a given and aesthetics

are the first generation to have spent their

are not a bonus but an expectation as Gen

entire lives in digital environments. Gen Ys

Y members search for more complete expe-

share, contribute with, search for and con-

riences both online and offline (Djamasbi et

sume content on digital platforms. A key

al. 2010). For this study, Gen Ys are chosen

formative characteristic for Gen Ys is thus

because of these above-mentioned char-

early and frequent exposure to technology.

acteristics; their use of advanced technol-

Growing up in digital era with access and

ogies, their self- and brand consciousness,

dependence on technologies, Gen Ys are

and their high expectations in aesthetics and

considered technologically the most literate

experiences. With the rapid development of

generation. A generation of digital activism

new and smarter technologies by the second,

where sharing, liking, tweeting, blogging

the question that remains is; has the print

and instant messaging are normal. Thus, it

media surpassed its date of expiry? No gen-

is not just the advancement of technologies

eration is better than Y to answer that ques-

that are characteristic for this generation but

tion. With the digital environment and online

the way the Gen Y members fuse their social

platforms always turned on for Gen Y, can the

lives into them. Bolten et al. (2013) describe

printed catalogue provide a digital detox and

the generation as technologically savvy and

a stronger, more positive brand experience

the most visually sophisticated of any gen-

than online catalogues? In order to explore

eration. Gen Y consumers have high lev-

this question, a specific selection of inter-

els of self-consciousness and often tend to

viewees is sampled.

make consumption decisions based on the influence and opinions of others (Fernandez 2009). However, research has shown that Gen Y members are not as brand loyal as older generations but instead consume a wide range of brands representing different price points and prestige (Little 2012).

sampling of participants 4.2

As mentioned, the participants sampled for

The microbloggers are found based on the

this research study share an important char-

interests found in their posted pictures;

acteristic; being a Gen Y member. However,

furniture, interior design, fashion and pho-

other criteria are included in the sampling.

tography, among others. For this research,

The approach to the sampling is purposive

a microblogger is understood not as a pro-

where the objective is â&#x20AC;&#x153;to sample partici-

fessional blogger but one who posts a high

pants in a strategic way, so that those sam-

amount of photos and has more than 500

pled are relevant to the research questions

followers. The reasons for choosing mi-

that are being posedâ&#x20AC;? (Bryman 2012: 418).

crobloggers for this research are that they

As the context of the research is Danish fur-

are either current or potential consumers,

niture brands, the participants are sampled

used to share themselves and their interests

based on their interest in furniture, design

with others, have thorough knowledge of

and aesthetics in order to ensure relevance

online media and a high influence on others

to overall problem statement. Although, it

in terms of trends, news and brands. As the

is not a criteria to have read or experienced

research will focus on the future for printed

design brand catalogues as the interview will

catalogues, the Instagrammers will be able to

make use of case examples. The selection of

provide insights and perspectives to the topic

interviewees is sampled through the social

in terms of what is trending for Gen Y mem-

media platform, Instagram. Here, microblog-

bers. For pragmatic reasons, the interviewees

gers are contacted and invited to be part of

are from Aarhus or just outside Aarhus, cf.

an interview (see example of conversation on

delimitations. The interviewees are sampled

Instagram in appendix 4).

to ensure a variety in terms of age, gender and profession. The amount of interviewees is not pivotal in qualitative interviews, rather it is an act of balance. For this study, the sample size is six participants, which is regarded enough to achieve data saturation and provide in-depth insights from the interviews in this context. See the full list of interviewees in appendix 5.

data collection 4.3

In order to get insights into corporate brand

ual. However, focus groups would have been

experiences from the perspective of Gen Ys,

able to trigger valuable insights into relation-

this thesis relies on qualitative in-depth in-

al experiences in terms of consumer-con-

terviews; more specifically semi-structure

sumer relations and interactions. Although,

interviews. Compared to an unstructured

the semi-structured interview is found most

interview, the semi-structured interview has

appropriate in order to reach an understand-

specific themes or questions that must be

ing of consumers’ intrinsic brand experiences

touched upon in order to explore the inter-

and perceptions of the brands.

viewee’s ‘experience of the theme’ and thus gain ‘cognitive clarification’ (Kvale and Brink-

When conducting qualitative interviews, it is

mann 2009). The cognitive clarification is of

important that the interviewees do not feel

relevance for this research as it will uncover

uncomfortable or insecure (Kvale and Brink-

the consumer perception and reception of

mann 2009). As a result, the interviews are

the brand catalogues. In order to cover rel-

conducted on neutral grounds at the Royal

evant themes, the interviews are based on an

Danish Library, Godsbanen and Lynfabrikken

interview guide (Appendix 6). According to

in Aarhus. For the interviews, central themes

Kvale and Brinkman (2009), the semi-struc-

are chosen to cover the overall theme of

tured interview is characterised by not being

corporate brand experience. Some of these

confined to a fixed sequence of questions as

themes are media usage, corporate web-

a structured interview. Instead, it allows the

sites, printed catalogues and brand percep-

interviewer to have more freedom while in-

tions. Within each theme, specific questions

terviewing, such as using the possibility to

are set to guide the interview without being

pursue certain answers that require elab-

limited to these questions during the inter-

oration, omit questions that have already

view. The themes are structured in a funnel

been covered or ask spontaneous questions

shaped manner with the questions gradually

during the interview ( ibid. ). However, the

shifting from broad to more specific ques-

semi-structured interview also places de-

tions as the interview proceeds. Moreover,

mands on the interviewer’s abilities to follow

the interviews include an experiment, which

up on questions, cover all themes and ask

is designed and structured to get a deeper

relevant questions at the right time. As the

understanding of brand experiences on dif-

interviewer, I have been aware of possible

ferent mediums; print, computer, tablet and

pitfalls within qualitative interviews and at-

smartphone. The experiment is not included

tempted to evade these with thorough pre-

to validate a hypothesis or get insights into

paratory work and a list of follow-up ques-

causal explanations. Rather, the word ‘exper-

tions to ensure the flow of the conversations.

iment’ is chosen to comprise a test of differ-

An alternative qualitative research method is

ent brand catalogues with both independent

focus groups, which has been deselected for

and dependent variables. The experiment

this research. With individual interviews, it is

is carried out after introductory questions

more probable that the viewpoints of the in-

and functions as the settlement of the main

terviewee are expressed clearly and not mir-

theme of the interview. The structure of the

rored by the opinion of others, which is sig-

experiment is visualised in appendix 7.

nificant as brand experiences are subjective and intrinsic states in the mind of the individ-

The experiment starts with showing a brand

and refine the questions, avoid misunder-

catalogue on a computer. While browsing

standings and test the different elements of

through the catalogue, the interviewees are

the experiment. The answers from the pilot

encouraged to think out loud and explain how

test are not included in the data collection,

sense is made; what catches the eye, which

however, the test has been valuable for the

senses are evoked and which emotions can

final interview guide. The brands and the cat-

be put into words. After the online brand cat-

alogues included in the experiment are cho-

alogue is discussed, the printed version will

sen based on their distinct characteristics in

be exposed. Here, the interviewees are en-

terms of design, size and online platforms. In

couraged to describe the catalogue and the

the following section, the approach for the

differences between the online and offline

case studies along with descriptions of the

version in terms of positive/negative experi-

cases will be outlined.

ences and impressions of the brand. For the second catalogue, the sequence is reversed and the online medium is a tablet instead of a computer. For the last catalogue, the online version is displayed on a smartphone before the printed catalogue is discussed. The order of the experiment is structured to tell whether a brand is experienced differently when exposed on a screen and printed - and to understand how consumers are experiencing brands based on brand catalogues. The experiment is staged with the sequence of the online and offline catalogues as the dependent variables and the chosen brands as the independent variables. This is done in order to test different platforms for each brand and change the order in which the interviewees are experiencing the brands. The presentation of selected brand catalogues functions as stimuli to the interviewees with the purpose of eliciting affective responses. Thus, it is assumed that the exposure to a simple stimulus (brand catalogues) will influence their responses (brand experience). Moreover, the presentation is an aid to maintain the dialogue, provide possible comparisons and establish an on/offline brand experience in the moment. Before conducting the qualitative interviews, the structure and themes have been tested in a pilot interview with a fellow student of mine in order to adjust

case study approach 4.4

According to Daymon and Holloway (2011),

The three cases are distinctive from each

a case study design enables researchers to

other but they share important characteris-

investigate phenomena in their natural con-

tics. They are chosen to represent a field and

text. Hence, a case study approach is adopt-

thus, the case study approach is a represent-

ed in order to conduct an intensive inves-

ative case or as Bryman (2012) puts it; an ex-

tigation and examination of the three case

emplifying case. With this kind of case, ”the

brands in a relevant context. The cases cho-

objective is to capture the circumstances and

sen are Danish furniture and design brands;

conditions of an everyday or commonplace

Carl Hansen & Søn, MENU and New Works.

situation” (Yin 2009: 48 in Bryman 2012). The

With the choice of these brands, the ap-

cases are chosen to exemplify a broader cat-

proach changes from a single case study to

egory of which it is a member; in this case,

a multiple-case study. According to Bryman

the Danish furniture and design industry.

(2012: 74), the main argument in favour of

According to Bryman (2012), the notion of

multiple-case studies is that ”by comparing

exemplification implies that cases are often

two or more cases, the researcher is in a bet-

chosen not because they are extreme or un-

ter position to establish the circumstances

usual but because they epitomise a broader

in which a theory will or will not hold” . Even

category of cases or will provide a suitable

though the objective is not to test theories,

context for certain research questions to be

the three cases are chosen in order to get a

answered. In this specific situation, the cases

more thorough understanding of corporate

are chosen as the brands differ in age, cat-

brand

Bryman

alogue design, tradition, history, style and

(2012) argues that multiple-case studies are

values. However, Carl Hansen & Søn, MENU

important in relation to the understanding of

and New Works share the Scandinavian de-

causality as the researcher will be in a posi-

sign tradition and minimalistic approach to

tion to examine the operation of generative

design. With both their similarities and dif-

causal mechanisms in contrasting or similar

ferences in mind, the cases are considered to

contexts. For this thesis, the cases are set to

represent the category.

experiences.

Furthermore,

explore the differences in both online and offline settings but also on different digital platforms. Thus, a comparative analysis between the three cases is chosen in order to examine and discuss causality in terms of online and offline versions of the brand catalogues. However, it should be stressed that the objective is not to explain the cause and effects but to understand the different brand experiences and the online and offline effects from the perspectives of selected consumers.

For this research, the three case brands have

been contacted and asked to participate in an interview carried out over the phone regarding their brand catalogues. Each brand has agreed to participate and the interview guide can be seen in appendix 8. The objective of these interviews is to shed light on the intensions, strategies and reasons for printing catalogues as well as making them visible online. Moreover, the insights from these interviews allow me as a researcher to compare and discuss the intensions of catalogues with the perceptions of the brands from the interviews with the consumers. Transcripts of the interviews can be found in appendix 9.

On the following pages, the three case brands are presented with short descriptions of each.

carl hans en & s øn

Back in 1908, Carl Hansen opened his first

lished online through a link on their corpo-

furniture workshop in Odense, which soon

rate website where it is possible to browse

became known for its quality work. The high

the catalogue on Issuu, a digital publishing

quality in craftsmanship has been the foun-

platform. The catalogue is a colourful piece

dation for what is now one of the most ac-

consisting of 224 pages with the entire col-

knowledged Danish furniture brands. Carl

lection displayed. An extract of the catalogue

Hansen & Søn produces design classics by

can be seen in Appendix 1. Piece by piece,

some of Denmark’s most influential archi-

high quality photos, vibrant colours and the

tects such as Hans J. Wegner, Kaare Klint and

stories behind the designs are presented to

Ole Wanscher. Most of these have achieved

the viewer in the catalogue. Moreover, cor-

status as collectors’ items and icons in their

porate social responsibility endeavours are

own right. True to the founding values, it is

emphasised with focus on both sustainable

Carl Hansen & Søn’s ambition to make fur-

design and production. Characteristic for

niture of highest quality, remaining beauty

Carl Hansen & Søn, the focus in the brand

and value with respect for sustainable de-

catalogue is centered around the stories and

sign, materials and more than 100 years of

architects behind the design icons, which

traditions of craftsmanship (Carl Hansen &

is coherent with their slogan ‘every piece

Søn 2017). The new 2017-catalogue is pub-

comes with a story’ .

menu a/s

MENU’s philosophy is simple; “We want to

Project and in their statement: “We’ve always

make the world better, less complicated, a

believed that good design matters when it’s

little bit nicer to wake up to” (MENU 2017).

produced in a community where it makes a

Menu was founded in 1979 as the Danish

difference” (MENU 2017: 11). The most recent

Steel House. Ten years later, the company

brand catalogue is just as much a brand book

went through a large transformation and got

as it is a catalogue with the extensive amount

its current name; MENU A/S. In 2012, MENU

of 262 pages. An extract of the catalogue can

started a rebranding process with the aim to

be seen in Appendix 1. The online catalogue

design and produce high quality design furni-

is accessible on the corporate website in a

ture with a crisp Scandinavian look in collab-

PDF-file. The brand catalogue is designed

oration with Norm Architects and designers

with focus on the corporate story, portraits of

from all over the world and ( ibid. ). MENU has

designers and projects. The colours are calm

a corporate social responsibility approach to

and kept in a coherent interplay throughout

production, which is apparent with the Nepal

the catalogue.

new w orks

Since the foundation in 2015, New Works has

grounded in honest materials and fine crafts-

developed a furniture design brand from a

manship (New Works 2017). The cover of the

series of sculptural objects grounded in four

newest issue of the New Works-catalogue

core values: Natural, Experimental, Rough

is kept in white with the brand name â&#x20AC;&#x2DC;New

and Craftsmanship (New Works 2017). The

Worksâ&#x20AC;&#x2122; debossed in bright silver with a differ-

Copenhagen design house demonstrates a

ent typography than the original New Works

love for the sensual and the bold. The New

logo. An extract of the catalogue can be seen

Works collection has retained a strong Scan-

in Appendix 1. Throughout the catalogue, the

dinavian base whilst reaching out to a new

simple, white design is kept with emphasis

global audience. Through an experimental

on materials and sculptural objects. The on-

approach to sensuality and sculptural forms,

line version is accessible on newworks.dk in

New Works provides a new way for Scandina-

a PDF file. Small adjustments are made from

vian design and continues to push the bound-

the printed version to the online version in

aries of contemporary art and design. New

terms of layout and arrangements of photos

Works are known for a bold design language

and text.

role as researcher

language and transcription

4.5

4.6

In contrast to the quantitative research

The six conducted interviews have been re-

where the researcher often maintain a dis-

corded and later transcribed (Appendix 9).

tance towards the researched, the qualitative

As the interviews are recorded, it enables me

researcher acknowledges subjectivity as an

as a researcher to be more focused and in-

essential means to unfold the perspectives

volved in the conversations. Moreover, with

and meanings of the interviewees (Bryman

access to everything that has been expressed

2012). As a result, I as the researcher take

during the interviews, I have been able to ex-

part in the construction of meaning and

amine the interviews afterwards in depth and

thus, knowledge is generated together with

detail. However, a disadvantage can occur as

the participants. The level of participation

some interviewees might feel uncomfortable

and subjectivity is in line with the scientific

with the situation and, as a result, the inter-

position of this thesis, which influence how

viewees can be less focused on answering

the data from the interviews is interpreted. In

the questions or affected in speaking freely

other words, the objective is to understand

(Bryman 2012). However, based on the flow

the perspectives and social worlds of the

of the conversations and the immediate re-

consumers whose statements and expres-

sponses from the interviewees, I consider

sions are then transformed into interpreta-

that the recordings of the interviews have

tions and meanings. Hence, I adopt a dual

not influenced the situation or the answers.

role in which I both act as an outsider with

The transcriptions of the interviews have

the aim of investigating the phenomenon of

been carried out right after the conduction

brand experience and at the same time, as a

of each interview in order to have the expres-

participant in the social world that is investi-

sions fresh in memory in case words or sen-

gated. However, as long as the researcher is

tences are difficult to pick up on the record-

aware of the dual perspective, it is argued to

ing. When transcribing the interviews, I have

be a strength according to Daymon and Hol-

become more acquainted with the data and,

loway (2011). Throughout the data collection

as an immediate consequence, the process of

and analysis, I have been aware about the

analysing the interviews automatically begins

role as a qualitative researcher and thus, it

at this step (Bryman 2012). The transcriptions

is considered that my role as researcher has

are written in a verbatim manner to empha-

not influenced the empirical data unneces-

sise the context in which the statements have

sarily. Furthermore, the position as research-

been expressed and to avoid substantial mod-

ers within social constructionism demands

ification. However, for the sake of readability,

that there is a critical and reflexive stance

certain pauses or moments of thoughtfulness

towards the findings and oneâ&#x20AC;&#x2122;s own interpre-

have not been included in the transcriptions

tations of these findings (Daymon and Hollo-

if these have been considered without rele-

way 2011), which will be demonstrated in the

vance to the understanding. Moreover, the

analysis and discussion of the data.

interviews have been conducted in Danish to avoid possible language barriers, which could cause inhibition in terms of expressing oneself due to inexperience. Thus, selected quotes and statements presented in the following analysis are translated from Danish to English. However, such a translation can

critical reflections 4.7

result in certain complications and misinter-

The interviews are conducted with special

pretations that can affect the validity of the

attention to the advantages and disadvantag-

research. Translation can be considered as

es of qualitative research in order to ensure

interpretation, which in worse case can result

a collection of high quality empirical data.

in alterations of meaning. Some words or ex-

During the methodological considerations,

pressions are not possible to transfer directly

I have asked myself; Am I researching what

and can have different connotations in other

I actually want to research? In terms of the

languages and especially metaphors can be

phenomenon of corporate brand experience,

difficult to translate (van Nes et al. 2010). As

the challenge has been the level of com-

a consequence, I have had a special attention

plexity when researching such an intangible

to alterations of meanings and words when

concept. Brand experience is an academic

translating as these interpretations are pivot-

concept and thus, the understanding of it is

al to the understanding of the phenomenon

limited or not existing for the interviewees.

and the social worlds surrounding it.

As a result, the objective is not to explain or outline the concept during the interviews or put the word brand experience into the interviewees’ mouths. Rather, the objective is to make the interviewees share their experiences and impressions without them knowing these are corporate brand experiences. However, investigating brand impressions is not an easy task. According to Lindstrøm (2008), it is difficult for consumers to break down emotionally based experiences into words. Lindstrøm (2008) states that the problem is exacerbated when asked about an experience because people tend to think about the primary sense involved in the experience: food tastes good, sound systems sound good, athletic shoes feel good. As the researcher, I need to get beyond the primary sense and tease apart the experience to identify its components parts. For this research, the case brand catalogues are included to aid and initiate the interviewees to describe the experiences. When researching experiences, Lindstrøm (2008) make use of six basic emotional states, which then are either positive or negative. The six emotional states are peace, fulfilment, delight, dominance, arousal and desire. Each state can be positive, such as attracting someone to the brand, or negative, such repelling them. The model can be seen

in appendix 10. With the use and knowledge

Even though the case examples chosen for

of these emotional states, the interviewees

the research have distinct characteristics, the

are encouraged to put their emotions into

brands and the brand catalogues in particular

words in order for the investigation to go

share certain similarities. These similarities

beyond the surface of primary brand experi-

can be argued to have affected the empirical

ence. For the interviews, the twelve states are

data unfavourably as the interviewees cannot

kept in mind as follow-up questions to make

distinguish between the three brand experi-

the interviewees express their feelings in the

ences. The choice of including three brands

encounter with the brand catalogues. The

whose brand catalogues are all at the exclu-

states are not specific questions but function

sive end of the spectrum and none low cost

as guidelines and in the later process, as ana-

examples is based on the objective to make

lytical tools. Moreover, the five dimensions of

thorough investigations of how the brands

brand experience are considered in terms of

are experienced online and offline; and not

making interviewees explain if certain sens-

which experiences are positive and which are

es are appealed to, if feelings and sentiments

negative. The three high-end design brands

are induced, if actions or behaviours are en-

are chosen despite of their similarities in or-

gaged, if the brand catalogues stimulate cu-

der to avoid cases of two polarised brand cat-

riosity and if the interviewees can relate to

alogues. The reasoning is to go beyond the

the brand or other people through the brand.

primary experience; ’this one looks cheap’

These considerations are not to outline

and ’this one seems exclusive’ . With three

whether the interviewees have experienced

catalogues similar in style and expression, the

a positive or negative brand experience but

aim is to uncover how the brands are expe-

to delve into how the brand catalogues are

rienced and compare the different mediums

affecting the interviewees’ brand experienc-

in which the catalogues are exposed. Since

es. These expressed experiences based on

the brands are argued to be comparable, the

the case examples are then transformed into

research focuses on the different effects and

brand experiences in the analytical process

how these form brand experiences. Moreo-

based on interpretations of the data. Thus, in

ver, with solely exclusive brand catalogues

line with the scientific position, the interpre-

as case examples, the research relies on the

tations are constructions of meaning formed

interviewees’ previous experiences and en-

through understandings of the social world

counters with low-cost catalogues. This is in

and social actions expressed in the inter-

order to account for the exclusive brand ex-

views.

perience and the quality in printed versions. However, with the sampling of interviewees, I have premised that the participants have encountered such catalogues previously and thus, are able to account for and compare the brand experiences with their knowledge and previous brand catalogue experiences.

qualitative content analysis 4.8

The empirical data gathered through the

When employing qualitative content method

qualitative interviews will be analysed and in-

of analysis, Hsieh and Shannon (2005) ar-

terpreted with the use of qualitative content

gue that there are three distinct approach-

analysis. This method seeks to classify data

es; conventional, directed and summative.

into a number of categories that represent

In conventional content analysis, coding

similar meanings. According to Hsieh and

categories are derived directly from the text

Shannon (2005: 1278), qualitative content

data. With a directed approach, the analy-

analysis is “a research method for the sub-

sis starts with a theory or relevant research

jective interpretation of the content of text

findings as guidance for initial codes. A sum-

data through the systematic classification

mative content analysis involves counting

process of coding and identifying themes

and comparisons of content followed by

or patterns’’ . The purpose is to examine and

the interpretation of the underlying context.

identify meanings, themes and patterns man-

For this research, the method of analysis is

ifested in the empirical data in order to make

a combination of the conventional and di-

sense of the core consistencies. Thus, the

rected approach. The conventional content

research is not focused on counting words,

analysis has an inductive approach, which

make statistical interference of frequencies

is appropriate ”when existing theory or re-

and construct meaning through quantifica-

search literature on a phenomenon is lim-

tion. The process of qualitative coding allows

ited” ( op.cit : 1279). The inductive approach

me as the researcher to interpret and under-

is coherent with the hermeneutic method-

stand the social reality in a scientific man-

ology in which the researcher has a start-

ner (Moretti et al. 2011). Qualitative content

ing point where the greater phenomenon is

analysis is coherent with the methodologi-

studied through the research of the smaller

cal position of philosophical hermeneutics

parts. With the directed content analysis, the

as meaning is a practice of subjective inter-

approach is deductive approach as the ob-

pretation and iterative process and thus, the

jective is to validate or extend a theoretical

method of analysis is found appropriate for

framework. For this analysis, certain coding

this study.

categories have derived from the theoretical framework reviewed in the third chapter with examples such as brand experience dimensions and levels. However, codes have also flowed from the interviews without the use of preconceived categories. Thus, the qualitative content analysis applies both an inductive and deductive approach as existing theoretical findings have formed codes as well as new insights have been allowed to emerge in the process.

quality of research 4.9

The themes and codes found in the interviews

When conducting research, one should es-

are presented and visualised in appendix 11.

tablish and assess the validity and reliabil-

The process of qualitative coding enables me

ity of the research through a set of criteria

as a researcher to develop and understand

(Bryman 2012). Validity and reliability are

meanings and it involves segmentation of

concerns about the research and the way

sentences, paragraphs and words translat-

in which the data is collected, analysed, in-

ed into categories. Bryman (2012: 575) de-

terpreted and documented (Merriam 2009).

scribes qualitative coding as â&#x20AC;&#x153;the starting

However, as the scope of the study is to ex-

point for most forms of qualitative data anal-

plore how consumer experience brands and

ysisâ&#x20AC;? . Thus, the process of reviewing the tran-

due to the subjective nature of qualitative

scripts implies giving names to component

research, the thesis is less concerned with

parts that shed light on the phenomenon and

securing validity, reliability, replicability and

context studied. In other words, qualitative

objectivity. Instead, qualitative approaches

coding is a reflection upon the gathered data

provide alternative concepts to evaluate the

in a broad perspective. While the categories

quality of research and these include credi-

are separated, some quotes can be assigned

bility, transferability, dependability and con-

to more than one category as some of the

firmability (Daymon and Holloway 2011).

text pieces contain more than one perspec-

In order to establish and achieve credibility

tive due to the nature of the open response

of findings, the research must be conduct-

format that semi-structured interviews con-

ed in good practice and the research find-

sent (Zhang and Wildemuth 2009). Moreover,

ings must be coherent and true to the social

qualitative coding allows me as a researcher

world of the interviewees (Bryman 2012). To

to uncover the interconnections between the

achieve this, the thesis is transparent and

codes in which insights can be revealed and

accessible in all facets of the research pro-

provide a deeper understanding and broad-

cess. Moreover, interpretations and conclu-

er perspective of the phenomenon. In con-

sions are supported throughout the analysis

clusion, qualitative content analysis is con-

with the empirical data to demonstrate the

sidered relevant to the research design as it

truth of the findings. The second criterion is

pays attention to relevant themes that illus-

transferability, which refers to the degree to

trate the range of meanings rather than the

which the findings of qualitative research can

statistical significance of the occurrence of

be transferred to other contexts or settings.

particular texts or concepts. Moreover, the

In order to ensure transferability, researchers

analytical coding process and procedures are

must ensure sufficient descriptive data and

important in order to present the research

rich amounts of details, termed thick descrip-

findings as truthfully as possible. Decisions

tions ( ibid. ). Thick descriptions are strived

and practices should be monitored and re-

for throughout the thesis with explications

ported to establish trustworthiness, which

about considerations, interpretations and

will be discussed in the following section.

actions in which transferability is enhanced. The third criterion is dependability, which refers to the need of keeping complete records of all phases of the research process in an accessible manner ( ibid. ). It entails keeping an audit trail in which the researcher provides

detailed descriptions of how the data is col-

lected, how coding categories are derived and how decisions are made. The audit trail of this research is outlined throughout this chapter along with the appendices where the transcripts and the qualitative coding process

The methodology of this research study is a

are presented. The fourth qualitative evalua-

continuation of the scientific position and

tion criterion is confirmability, which is con-

thus based on qualitative methods. In order

cerned with the degree to which the findings

to answer the research questions and the

can be confirmed or corroborated by others.

overall problem statement, semi-structured

In other words, are the findings linked to

interviews have been chosen as the sole re-

empirical material and is it possible for oth-

search method with the purpose of achiev-

ers to follow the steps in the analytical pro-

ing detailed descriptions and insights into

cess leading to the interpretations (Daymon

perceptions of online and offline corporate

and Holloway 2011). Evaluating the research

brand experiences. For the qualitative in-

based on the four qualitative criteria, the re-

terviews, three case brands are included as

search study is considered to be transparent,

exemplifying cases to shed light on differ-

reliable and thick in descriptions in order for

ent brand catalogues and how selected in-

others to understand the process in which

terviewees experience the brands based on

interpretations are based on the empirical

both online and printed versions of the cat-

data. During the analytical process, the the-

alogues. Six Gen Y interviewees are sampled

sis attempts to guide the reader with visible

on the social media platform Instagram and

choices in terms explication and reflection

three additional qualitative interviews are

upon rationales and implications. Moreover,

conducted with employees from the case

the theoretical background of the research

brands. These interviews are then categorised

is thoroughly explained in order to make the

and coded with the application of qualitative

context of the research understandable and

content analysis. The coded data functions

transferable to other studies.

as the foundation for the forthcoming analysis in which the data is analysed, interpreted and discussed. With both the advantages and disadvantages of qualitative research design, the selected methodology for this thesis is considered appropriate to delve into on/offline brand experiences.

analy s is

With this chapter, the objective is to construct valuable knowledge from the gathered empirical data. A thorough analysis is presented in order to answer the third and fourth research question. The sections in the forthcoming analysis focus on the different brand experience dimensions expressed in the interviews and how these take part in the creation and perception of brand images. The analysis is based on the theoretical framework outlined in the third chapter.

Brand experiences come in both tangible and intangible shapes and are unique to every individual. As a consequence, the concept of brand experiences is for this research interpreted as an everchanging process of perceived brand impressions in the mind of the consumer. Hence, the perceptions of the case brands revealed in the following sections should be regarded as snapshots. The statements should be understood as immediate responses to different impressions and experiences of the brands and the brand catalogues. Therefore, interpretations of the statements are attempted to remain as true as possible to the context in which these are expressed. The quotes are all referenced to Appendix 9, the page number and specific lines on the page in order to trace and read the original expressions by the interviewees.

digital natives 5.1

This section is set to analyse the character-

lowing extract: “On the way over here, I just

istics of the interviewees. The question is

read on a blog how to make a salad and it is

whether the sampled participants are arche-

nice that it is so convenient with the phone”

typal or deviant members of their own gener-

(9: 102, 14-16). However, when browsing and

ation. Central for all of the participants is that

shopping online, an interviewee states “I just

social media platforms and the newest digital

think I get a better overview on a computer

technologies are big parts of their lives. One

and somehow I do not feel that I can see it all

interviewee states: “I use my smartphone for

on a small screen“ (9: 102, 21-22). The screen

pretty much everything” (9: 46, 34). With the

on a smartphone can be too small in order

phone in hand, the interviewees share the

to get an overview and the whole shopping

viewpoint that the phone is used for taking

experience. An interviewee explains “I need a

photos, social media platforms, fast and con-

bit bigger screen because my eyes strain a lot

venient updates. The computer on the other

when looking at a screen this small” (9: 26,

hand is the preferred screen for work mostly

35-36). As a consequence, visiting websites

because of the size of screen. The tablet is a

with the purpose of shopping is favoured on

device that all the participants own but there

a bigger screen. When browsing websites

is a tendency among them that it is not used

and social media profiles, online aesthetics

as much. One interviewee states, “I actually

are said not to be a bonus but an expecta-

do not know why I still have it” (9: 46, 26).

tion for Gen Ys, which is evident in the fol-

Another interviewee says, “I do have a tab-

lowing quote from one of the interviewees:

let but I never really use it. It is just a relic

“I am very into the visual parts of websites.

[...] I cannot imagine incidents where a tablet

If there are no photos or visualisation in line

works better [than a computer] ” (9: 133, 46-

with what the brand otherwise expresses, it

48). From the interviews, it is evident that the

will give a skewed view or a bad experience

participants are used to the digital screens

and then it will not capture my attention. It

and online platforms as these are essential

should be coherent. Especially when we are

for their work and social lives. The online

talking furniture design” (9: 73, 34-38). An-

platforms are among others used for keeping

other interviewee states, “The set up on a

up with the news through apps or websites.

website is an important matter to me in terms

However, one interviewee tells that she has

of easy navigation and me either leaving the

subscribed a printed newspaper and says,

site immediately or thinking ‘This is nice’ and

“ [...] maybe I am a bit old-fashioned in that

want to explore more” (9: 104, 27-28). Thus,

respect” (9: 5, 23-24). The interviewee em-

the sense of sight is found to be vital among

phasises the sense of contemplation and ma-

the interviewees as there are clear examples

teriality when reading a printed newspaper.

of immediate brand evaluations based upon

Another interviewee agrees, “I read a book

online visual impressions. When it comes to

on an iPad once but I do like a real book the

browsing and purchasing design objects and

best [...] I like the materiality of a book when

furniture, the interviewees state that the of-

you have it in our hands“ (9: 72, 24-29). Thus,

fline retail experience is often preferred even

it seems that the traditional printed media

though websites can be both inspiring and

is not completely obsolete for the Gen Ys.

informative. An interviewee uses the example

The participants are accustomed to the use

of Normann Copenhagen: “Some stores are

of smartphones, which is evident in the fol-

actually becoming these distinctive spaces,

brand universes like Normann in Copenhagen. The entire retail experience affects the way I experience them and their furniture compared to if I was sitting at home on normann.dk” (9: 7, 35-38). Another interviewee says, “It is this thing about feeling the qual-

ity and this can be quite tricky online. There might be photos of the structure of the fabric but touching it is just something different. You cannot feel how it is to sit in a chair online” (9: 47, 44-46). Thus, the offline experience is still highly valued among Gen Ys as it activates the senses and furthermore, it “[...] provides a change and a break from

the technological world” (9: 29, 48). In sum, the interviewees are members of Generation Y for other reasons than just their date of birth. Examples of being a true digital native are expressed throughout each interview as online platforms and digital technologies are commonplace for the interviewees. However, there are also instances in which the interviewees express a partiality to the print medium and offline retail experience, which is not characterised as a distinctive feature of Gen Y. Thus, the interviewees are seen as part of an interesting group of stakeholders and an important generation of consumers when discussing the value of both online accessibility and printed brand catalogues.

sense the quality 5.2

The sensory experience is one of the most

the screen. The catalogue has already made

significant cues in brand evaluations and,

a bigger impact on me” (9: 11, 15-16). The

as part of the qualitative interviews, the in-

printed catalogue enables the reader to feel

terviewees are to sense the brands based on

the paper and sense the quality to a great-

online and offline versions of distinct brand

er extent than on a screen. One interviewee

catalogues. At first, the interviewees are ex-

says, “This catalogue just oozes quality” (9:

posed to one of the brand catalogues on a

18, 41). The feeling of the paper is an imme-

computer screen. Overall, the first impres-

diate sensation in which the tactile sense is

sion is positive as the brand catalogues ap-

activated. Hence, the tactility is a means to

pear professional and appealing. However,

sense the brand and the quality of the cata-

when browsing the entire online brand cat-

logue. “The quality of the paper has a lot to

alogue, the interviewees start to lose interest

say. That it feels nice in your hands and that

and express that the screen makes it “ [...] very

you want to sit down and get a closer look in-

impersonal in some way” (9: 10, 46) and “It

side. It does not feel cheap. It certainly does

gets so awfully flat” (9: 50, 35). On a screen,

not” (9: 33, 40-43). The interviewees are fast

the sensory experience is reduced to one sin-

in their evaluations and links between the pa-

gle sensor, the sight. As a consequence, the

per quality and the product/brand quality. An

sensory experience of the online brand cat-

interviewee states, ”It is details like these that

alogues is regarded as plain (9: 120, 38) and

I enjoy - and then I associate Carl Hansen &

the online catalogue “[...] seems boring and

Søn with these and their awareness about

flat” (9: 87, 29). One interviewee explains, “I

their own catalogue. Then I think, if they are

just think it has something to do with all the

this much aware about things like these, then

senses that are activated that you cannot get

they must also make furniture of high qual-

on a screen” (9: 66, 16). Another interview-

ity” (9: 16, 29-31). The quality of the brand

ee states “It is about having the catalogue in

catalogue is thus linked and associated to the

your hands. It is this thing about the senses.

brand itself. ”It tells me that they care and

There is a certain smell and some sensations.

then they must also care about their furniture

You just get much more of an experience

and designs” (9: 18, 42-43) says an interview-

than by looking at it on a screen” (9: 68, 41-

ee. However, this is also the case, when the

43). The online brand experience does not

quality of the paper is not perceived well. ” It

provide a multi-sensory experience as the

is just so smooth. It is shiny and vapid [...] It

visual expression is the sole sensation which

just gets a cheap surface also when you look

in this case, proves to be insufficient to ex-

at it and see that it becomes a bit shabby”

cite and impress the interviewees beyond

(9: 66, 24-27). The interviewee states that he

the expected. An interviewee states that he

had expected more of the brand and that ”[...]

can imagine how the online version would

it is a shame that they have not gone all the

look in a printed version, “I can imagine that

way ” (9: 63, 6-7). A printed catalogue is a way

this was printed on some nice paper because

for brands to show the brand and its quality.

when I look at this, it looks a little bit tawdry”

”Their products are stylish so their material

(9: 50, 29-30). When handed the same cata-

should be that as well. I think that it is great

logue in a printed version, the immediate re-

that the brand ties a neat ribbon bow around

actions are “This is much better” (9: 124, 24)

it. It sort of adds the finishing touches that

and “I think that it looks a lot better than on

a brand is good at that” (9: 50, 3-5). Thus,

Just being able to touch it. That somebody has made a deliberate choice to make the cover like this with some sort of structure and a special touch. And when you leaf through the catalogue, you get this feeling and you can sense the paper. Someone has chosen this paper for a reason. You cannot get that on a screen. You get this big block of colour on the screen and it makes it look cheap compared to how it works in the printed version. There is not the same possibilities online as on print. Also this smell of newly printed paper. I really like that. It actually smells like it comes straight from the printer. I think it is quite amazing that you can get that.

- interviewee (9: 66, 6-12)

the printed brand catalogue and the quality

the online catalogue as flat and plain where-

of paper can be seen as a direct benchmark

as the printed catalogue has more depth (9:

for the perception of the overall quality. The

125, 16) and appear much more nice [ lækkert]

ability to create a beautiful brand catalogue

(9: 127, 27). Thus, the imprint of the printed

is a cue about the brand, which in the case

brand catalogue is deeper and the sensory

of high-end design brands is considered an

experience makes it easier to perceive the

expectation, not a bonus.

quality. However, there are also cases where

The interviewees further explain that the

the online catalogue is favoured, ”It is as

printed catalogue signals and shows an eco-

if the quality of the photos is actually bet-

nomic surplus and a certain amount of seri-

ter here because they are a bit more sharp

ousness. An interviewee says, ”just when I got

on a tablet ” (9: 36, 18-19) and ”I think that

the catalogue in hand, I thought ’Oh my, time

it works really well on a screen but that is

and money has been spent on this’ and that

also because their grid is interesting. Some-

I will never get that from this [points to the

thing is going on here. Their photos are not

screen] ” (9: 52, 39-40). Another interview-

dead straight or placed right in the middle”

ee explains, ”It shows that you are a serious

(9: 56, 17-18). With an online brand experi-

brand as I said before. That you really want it

ence, the visual expression is crucial to hold

and you are not just ’You know what. It does

the viewer’s attention, which is expressed in

not matter. We will just upload it online be-

the above-mentioned statements. However,

cause that will not cost us any money” (9:

an interviewee states that even though the

22, 14-16). The quote on the previous page

online brand catalogues are considered high

illustrates that as a reader you can actually

quality, “a printed version would always win”

sense the quality of the brand through the

(9: 156, 31).

sense of the paper, which is not possible to transfer to a screen. Also, another sense is

But what is it that these sensory expressions

present with the printed catalogue in hand

do to the overall brand experience? The

as the sense of smell is emphasised by most

sense of smell is said to relate to pleasure

of the interviewees. One of them states, ”I

and well-being whereas the tactile sense is

really like the smell. It smells of something

related to feelings about a brand through

new and printed. Of paper and printing” (9:

physical interactions, cf. brand experience

80, 18). Another interviewee explains that it is

dimensions. These effects of a multi-sensory

a more holistic experience with the smell of

brand catalogue experience are analysed in

printed paper than on a screen (9: 68, 41-43).

more depth in the following section.

Using the model of Hultén (2011), the online brand catalogue is reduced to the sight sensor as the ability to touch and smell the paper on a screen is absent. Thus, the sensory expression that leaves an imprint in the mind of the consumer is less dominant than the printed catalogue. With the printed catalogue, a multi-sensory experience is present as atmospheric, visual and tactile senses are aroused. This explains the perception of

immersion 5.3

When experiencing brand catalogues, time is

the printed catalogue is about an attention

proven to be a significant matter. The inter-

to the details, sensing the quality and scru-

views show that the time spent on the printed

tinising the photos. One interviewee states,

catalogues are considerable longer than the

“I think that I have a tendency to solely look

online versions, which is the case no matter

at the photos. Maybe reading a headline or if

the sequence of display. One interviewee ex-

there is a new paragraph but other than that

plains that it is more difficult to keep focus

I tend to just look at the photos” (9: 51, 37-

online and avoid distractions whereas the

38). The time spent on the printed catalogue

printed catalogues “provides a relaxedness

is used to delve more into the brand universe

[...] It becomes this break from the online

as compared to on a screen. An interviewee

universe” (9: 30, 5). The digital natives ex-

says, “here I am not feeling that I am stepping

press a loss of immersion when browsing on

into their universe the same way” (9: 15, 15).

a screen in contrast to the physical catalogue

In terms of the brand experience dimension

where one makes time for it. “The internet has

‘ think’ that stimulates creative thinking, the

a function where it is a quick look and then

immersion in the printed catalogue allows

move on. Having something physical in your

consumers to explore it in more detail and

hands and shopping in a physical store. You

spend more time to get to know and sense

take that extra time to immerse into it instead

the brand. As with the New Works catalogue,

of just crossing it off the list - and then hurry

an interviewee expresses that “it requires a

on. You have something in your hands that

little bit more of us if you want to understand

you need to commit yourself to” (9: 108, 29-

what it is” (9: 86, 26-27) and further states,

32), says an interviewee. Another interview-

“this I would want to look through again as

ee explains that the tactility of the catalogue

it gave me something more artistic in some

makes it possible to be more thorough and

way” (9: 95, 20-21). A ‘think’ experience relies

absorbed in it as “It allows me to leaf through

on the intelligence of the consumer, which

the paper. Back and forth. Get a closer look.

in this case can be termed as design intel-

Go into depth with some of it. It gets more

ligence. It is through a process of creative

present in some way” (9: 5, 31-32). However,

thinking that consumers form evaluations

this is not the case with online versions as the

towards the brand. Thus, it can be said that

same interviewee later states, “with an online

the printed catalogue offers a better glimpse

catalogue, I have a tendency to flick through

of the brand because it encourages con-

the pages [...] I am not immersed in it the same

sumers to be immersed in the catalogue and

way” (9: 6, 7-12). Whether or not the offline

thereby spend more time thinking and read-

immersion is triggered by tactile and atmos-

ing between the lines. As will be further ex-

pheric sensations of pleasure and well-being

emplified, the interviewees explore the case

is not to be determined in this thesis. How-

brands through interpretations of visual ele-

ever, a clear correlation is seen between the

ments and photos rather than reading textual

immersion of the printed catalogue and tac-

narratives. Thus, how the consumers make

tile pleasure of having the catalogue in hand

sense of photos and graphic representations

as expressed and outlined in the previous

will be looked further into in the next section.

section. In this context, the immersion is not meant as a close reading of each paragraph. Rather, taking the time to be immersed in

photos say more than words 5.4

The visual sense is at its peak when browsing

because they have extremely good taste“ (9:

and exploring both online and offline brand

145, 20-24). Instead of long paragraphs of

catalogues. However, the interviewees indi-

text, the visual representation is higher val-

cate that long paragraphs of text are not cru-

ued among the aesthetic interviewees. The

cial in sensing the brands and therefore, the

text is not necessarily needed as the images

question that remains is how do photos then

do the job, “I do not need all this text. It sig-

express the corporate brand and take part in

nals so much if not more that there is a hand

the brand experience.

and some work is done. Something is hap-

One of the interviewee states, “the text

pening and there are thoughts behind this.

does not mean that much to me. It is more

I actually think that you can tell that much

the overall experience” (9: 56, 46-48) and

better with images than with words” (9: 92,

another interviewee agrees as she says, “I

23-25). The interviewee elaborates further

would rather see what they are able to of-

on the semiotic interpretation of the images

fer visually than I would read it” (9: 118, 46).

and says, “it is some designers and they are

Thus, design brands are urged to express

in a studio and a factory-like environment

themselves in other ways in order for con-

where you can sense that they are working

sumers to achieve a positive brand experi-

with these things. In that sense, it is really,

ence. However, one interviewee believes that

really nice to hear a story by seeing it in pho-

the case examples succeed in showing their

tos” (9: 92, 10-14). As outlined by Brakus et

brands through photos and graphic rep-

al. (2009: 53), brand experiences are evoked

resentation. She says, “In this, the photos are

by brand-related stimuli that are part of a

taking up so much space and this is also what

brand’s design and packaging, which in the

they want to signal. That you should read the

case of brand catalogues means the visual

photos but I can also read a lot from them -

and graphic representation that is presented

both their style and expression [...] I do not

to the viewer. The brand-related communi-

need that to be in a text” (9: 82, 1-4). One of

cations stimuli in the sense of written stories

the reasons for not needing words to tell the

are not the mainstay in the brand catalogue

stories is explained by another interviewee,

experience but rather it is the stimuli from

“I get this feeling that it is the same as every-

photos that allows the consumers to under-

one else and that you can read something

stand and sense the brand, its style and the

about how great they think their brand is.

stories the brand wants to tell. In line with

What they have done and what their history

the brand perspective of this thesis, the sen-

is” (9: 52, 3-5). Thus, the interviewee claims

semaking of the brand through photos and

that the written narratives in the brand cata-

graphics is handed over to the consumers

logues are not unique enough for him to feel

in an on-going process in which they are to

intrigued to read them. Another interviewee

make sense of the different elements and im-

is surprised that she does not read the text

pressions.

as she says, “but I must admit that I am not

reading any of the text and I do not understand that because I believe that I am quite into that. I mentioned that I wanted to read the ‘About us’ but it is not the stories about them that make me interested in this. It is just

brand catalogues on the coffee table 5.5

As photos and graphic representation in-

side the catalogue are important factors in the overall evaluation of the brand so is the outer appearance of the catalogue. With the printed brand catalogue on display in stores, it enables consumers to grab a piece and bring home and thus, stimulate a certain action. An action that is quite different from the online catalogue. An interviewee explains that she has previously brought brand catalogues with her as she was shopping, “and

then I thought it was quite nice to put under my arm and take with me” (9: 8, 29-30). The physical catalogue has the advantage of being able to be picked up, taken home and placed on the coffee table. An interviewee says that she would take a brand catalogue with her not because of the information inside but “ because it is pretty to have - as an

object ” (9: 115, 48). For the interviewees, the appearance of the brand catalogues is pivotal in order for them to want to bring the catalogues home. “For me, it has to look good

on display if I were to take it with me” (9: 30, 23-24). When at home, the catalogues can

As the quote on the following page illustrates,

then be placed at a central spot like a coffee

with a printed catalogue, you get something

table book or as part of the book collection.

with you. An interviewee terms it as an “addi-

An interviewee explains it as an extra func-

tional experience” (9: 68, 9) which cannot be

tion compared to the online catalogue and

transferred to the screen. The printed cata-

that she would choose the printed catalogue

logue enables consumers who either cannot

over the online catalogue. She says, “this is

afford or who have not yet bought the prod-

because it has an extra function and I would

ucts to get a piece of the brand with them.

use it more and more often because I can

An interviewee explains it as, “if I walked

bring it home. It is not certain that the cata-

down Bredgade and I was not a Dane but a

logue sells me more products than the online

tourist and went to the Carl Hansen & Søn

would do but it has an extra value, which the

showroom and got this [the printed cata-

online do not” (9: 156, 31-34).

logue] . Then I would actually feel that I got a

piece of great Danish design with me home” (9: 14, 2-4). Thus, the offline brand catalogue can be said to have an exclusive feature and function compared to the online catalogue.

It is like a small piece of the brand you get to bring home and place on the coffee table - interviewee (9: 21, 32-33)

brand catalogues on the desktop 5.6

The functionality of the online catalogue is a

ally quite impressed how pretty e-papers are.

clear distinction between the online and off-

They are getting better and better at making

line brand catalogues. An interviewee ex-

them. I like that shadows are applied and that

plains some of the online advantages, “I think

the pages turn as I leaf through it” (9: 138,

the quality of the images is better online and

47-48). The simulation of a offline catalogue

it is easier to share it” (9: 22, 13). The ability

can be seen as an attempt to get closer to the

to share it is mentioned by most of the inter-

feeling of an printed catalogue. However, an

viewees as a definite advantage of the online

interviewee says, “having something nice on

catalogue. However, one interviewee also

the computer desktop is not the same as hav-

mentions that even though it is convenient

ing something nice on your real desk” (9: 11,

to share it online, you do not get the same

33-33). Even though it is easy to share brand

feeling as with offline catalogue, “[...] and

catalogues in a virtual world, the interview-

then you can of course just send a link in an

ees still express a preference for the printed

email but it is just not the same” (9: 5, 35). Al-

catalogue. One of the interviewee uses the

though the experience is different, the online

example of having friends over and wanting

catalogue enables the photos to be present-

to show them something in the catalogue,

ed to the viewer in a more clear manner, “it

“instead of opening it [the catalogue] on

works really well also because you do not get

my computer and be like ‘just a second’ and

this cutting in the images. You get the imag-

then not able to find it” (9: 11, 45-46), then

es more clean” (9: 56, 3-4). Thus, the online

she would rather have the printed catalogue

catalogue is seen as more straightforward

close at hand because it is much more con-

and functional in certain aspects compared

venient. Thus, in the assessment of the online

to the offline version.

catalogue, there are distinctive advantages,

Functionality is one of the five online brand experience dimensions, which proves to be an important influence to the experience of the brand catalogues. In this specific setting, the functionality is centred on the accessibility and convenience of the online catalogue. One interviewee states, “It is easy to access

it. I can be in Western Jutland and see it instead of being in the city. It can access it at all hours and when I feel like it” (9: 76, 21-22). The descriptions of the functionality dimen-

sion have transactions as its focus, which is not directly transferable to the context of online brand catalogues. However, the feeling of control in transactions is also visible in accessing online brand catalogues as the consumers decide when and where. Moreover, the functionality of online catalogues is also evident due to technological developments as an interviewee explains, “I am actu-

disadvantages and functionalities, which add to and affect the overall brand experience.

small screen, small experience 5.7

With a brand catalogue on display online,

the following example where the interviewee

the size of the screen is proven to be an im-

is asked about the most preferable screen to

portant matter. The interviews show that the

experience brand catalogues. Without doubt

screen in which the brand catalogues appear

she says, “The computer. Definitely. The oth-

on makes a difference to the online brand ex-

ers became .. just when I opened MENU on

perience. An immediate response to one of

the iPhone, I almost got frustrated because

the brand catalogues displayed on a phone

it was so small” (9: 19, 35-36). Thus, it seems

is “I could not be bothered to read all this”

that with online brand catalogues it is the

(9: 62, 25-26). One of the interviewees ex-

bigger, the better. However, accessing brand

plains that this is caused because none of

catalogues online are in general not favoured

the brands have optimised the catalogues

among the interviewees. One interviewee

for mobile devices. He says, “they have not

stresses the word if when saying “ if I should

taken into account that there are things that

read it [the catalogue] online then I would

work really well in a printed version that do

want it on a big screen” (9: 5, 26, 27). As is

not work on a screen” (9: 51, 4-5). The inter-

seen with the interviews, viewing a catalogue

viewees express that the photos get smaller

on a screen results in limited time spent as

and the text seems to fade away. “The photos

the pages are flicked through in a faster pace

I actually think is doing well. The text is no

as compared to the printed catalogue. This

go. I do not want to read that when it gets

was also tested with the different sequences

so small” (9: 91, 5-6). When exposed to the

of display, which proved to be independent

online catalogue after having seen the print-

of the time spent. As a consequence, it is in-

ed version, an interviewee states that the

terpreted as the online catalogue is less of an

online brand catalogue does not make her

absorbing brand experience and the smaller

stop to get a closer look. Instead, “it gets

the screen, the smaller the experience.

boring. I have also seen it [the catalogue] before of course but I just keep scrolling which I would also have done otherwise” (9: 88, 3-4). Another interviewee says, “it is good

that they have not written the page numbers on here because then I would not be able to cope with that. This finger would be tired before I was even done” (9: 120, 44-45). There is a sense of immensity when exposed to the brand catalogues on a small screen. The online brand catalogue appears as a never-ending flow of pages. An interviewee expresses it as a lack of overview, “I just think that it is the

overview and that I somehow do not feel that I get to see everything on a small screen” (9: 102, 21-22). Thus, the smartphone makes the brand experience smaller in the sense that the brand catalogue is not a pleasure to explore. Instead, it can cause frustration as with

prolong the experience 5.8

An interviewee states that when a brand

further delight or arousal because it fulfil its

catalogue is taken or given, “it prolongs the

duties without leaving the interviewees with

experience somehow” (9: 98, 35-36). The

a remarkable imprint of the catalogue. Such

interviewee further explains that because

impressions on the instant level form the ba-

a brand most often is not able to be exhib-

sis for the reflective level and these can be

ited in stores besides a limited selection of

seen in relation to fact that the interviewees

products, the brand catalogue provides in-

express a lack of immersion when browsing

sights into the brand and its universe, “I get

the online catalogue. As the immediate im-

to see the whole collection and something

pressions of the online catalogue do not give

extra because I notice ‘okay, they care about

rise to reflection or delving further into its

what kind of wood they use and what kind of

content, the online catalogue can be seen as

paper this is’. There is a beautiful forest and

unsuccessful in providing a long-term brand

that forest I almost get home with me” (9: 98,

experience. The immediate response to the

41-44). This quote shows the printed brand

printed catalogues on the other hand shows

catalogue as an extension of the brand expe-

that the pleasure of a printed catalogue leads

rience - from appearing on an instant level to

to a reflective level as the interviewees use

the reflective level.

more time to sense the brand. Moreover, it

At the instant level, the interviewees are

is expressed that it is most likely that a brand

exposed to and affected by immediate im-

catalogue, which has been placed on the

pressions such as excitement or displeasure.

coffee table, would be read and browsed

During the interviews, it is seen that printed

more than once. An interviewee says, ”if it is

catalogues cause a sense of delight when pre-

a bigger piece like this one [Carl Hansen &

sented to the interviewees. One interviewee

Søn] where there is something to read, then

expresses, “Uuh. Nice!” (9: 13, 1) and another

I would take a look in it a couple of times”

exclaims, “Ah, how great. Great, great, great”

(9: 42, 31-32). Another interviewee agrees, “if

(9: 38, 1). Thus, the instant sensory experi-

it is pretty enough, then it might get placed

ence of sight and touch creates favourable

on my bookcase and then I can take it out

reactions as the interviewees show and ex-

once in a while” (9: 139, 40-41). Thus, it can

press immediate excitement. Contrary to

be said that the printed catalogues are pro-

the printed catalogue, the online catalogue

cessed over a longer period of time in which

neither excites nor create a sense of delight.

the brand experience is prolonged from the

An interviewee says, “it becomes this check

instant level to a reflective level. Thus, with a

mark list that is a bit tedious” (9: 89, 33). This

prolonged experience, it can be claimed that

can be seen in relation to the sight as the

impressions and memories about the brand

sole sensation in online settings. Moreover,

are imprinted more distinctively in the mind

the interviewees indicate that browsing an

of the consumers. In the sections to come,

online catalogue is most often when search-

outlines of the immediate impressions and

ing for specific information and not as much

perceptions of the case brands will be pre-

for inspiration, which can cause the experi-

sented.

ence to become less vivid and intriguing. Using the states of mind outlined by Lindstrøm (Appendix 10), the online catalogue can be argued to create positive fulfilment without

who are the case brands 5.9

When exposed to the online and offline brand

Carl Hansen & Søn is described by an inter-

catalogues, the interviewees were asked to

viewee as a brand that ”builds on traditions

put into words what kind of brand that was in

and craftsmanship and old values” (9: 124,

front of them. Some of the brands were new

38). Another interviewee emphasises a par-

to the interviewees whereas others were well

ticular photo and says, ”I really like this work-

known. In this section, each of the brands

manship photo because that is what they are

will be described based on the expressions

to me. Handmade wooden furniture” (9: 148,

and perceptions of the interviewees. The

46-47). For one interviewee, the name ’Carl

descriptions are to be used in the following

Hansen’ rings a bell but he is not sure if he

section in which an outline of how the brand

actually knows the brand. He says, ”their logo

catalogues establish, maintain and affect the

looks old so I am guessing it is a really old

brand images of the three case brands will be

company” (9: 59, 5). This quote is an imme-

presented.

diate impression from looking at the cover of the brand catalogue. After a look inside, Carl Hansen & Søn is described as ”simple and

quality somehow. This blue colour. Quality conscious, heavy and traditional also” (9: 77, 30-31). The traditional aspect is also emphasised as an interviewee states, ”you

would probably have a tendency to describe them as being more or less conservative old-fashioned maybe” (9: 13, 23-24). On the cover of the brand catalogue, it says ’Passionate craftsmanship’ which is pointed out by an interviewee as she elaborates, ”this is

also pretty much what they signal. That they are passionate about what they do. It is thorough and thought through. It is craftsmanship because so is this [the brand catalogue]” (9: 80, 33-35). These above-mentioned impressions and perceptions correlate with the desired image of Carl Hansen & Søn, which is outlined by Helene Nilsson, marketing project manager at Carl Hansen & Søn; “we want

our catalogue to reflect our values, which are craftsmanship, tradition, pride and passion and quality and design” (9: 170, 32-34).

Katja Falkenberg, chief marketing officer at

New Works is to most of the interviewees an

MENU, explains that with the brand catalogue,

unknown brand. However, this is shown to

MENU wants to manifest itself as a furniture

be no hindrance for them in describing and

brand with a more classic and sophisticated

perceiving the brand through the brand cata-

expression and brand universe (9: 161). The

logue. Thus, New Works is described as ”min-

interviewees perceive MENU as ” artistic ” (9:

imalistic and tight” (9: 12, 19), ”a little more

19, 21), ”inspiring and creative” (9: 92, 19) and

teasing and playful” (9: 84, 20), ”something

”a stylish brand” (9: 141, 6). An interviewee

new and more experimenting” (9: 85, 45) and

says, ”I like the simplicity in their design. This

with ”a much more modern vibe than the

minimalistic, Nordic mind-set [...] I really also

traditional brands” (9: 87, 11-12). The cover

like that their things are not all that colourful.

of the brand catalogue is all white with the

It is clean and I like that” (9: 38, 14-16). The

headline ’New Works.’ for which an interview-

simplicity is also what makes an interviewee

ee claims, ”a little too pure for me” (X: 12, 29)

describe MENU as ”Scandinavian stiff” (9: 54,

whereas another states, ”a bit superior and

13) in their expressions and style. Especial-

cool. New Works full stop. Then there is just

ly the toned down colour palette is linked to

a full stop and then you do not need to know

MENU. An interviewee says, ”the aesthetics

more” (9: 83, 31-32). The interviewee also

that I have always associated with MENU fit

states, ”it is more new and youthful. Almost

so well with this [the catalogue]. These nat-

a New York atmosphere and not just because

ural colours, simplistic and minimalistic” (9:

it says ’New’ but because of these white, all

19, 43-44). An interviewee emphasises that

clinical and pure pages” (9: 83, 18-19). The

MENU has incredibly good taste and that the

name ’New Works’ is convenient as an inter-

brand catalogue becomes ”elitist somehow.

viewee states that he thinks New Works is

It does not appeal to the lowest common de-

good at ”exploring new shapes” (X: 55, 3) and

nominator” (9: 146, 37-38). Thus, the styling

”they are creative and bring something new

signals sophistication and exclusivity. Anoth-

to the table” (9: 63, 2-3). Knut Bendik Humle-

er interviewee is doubting if what she sees is

vik, creative director at New Works, says “we

actually the same brand she used to know as

are a young brand, we are innovative and we

MENU, ”this is much more stylish [lækkert].

often vary from the norm in this business” (9:

More minimalistic. Young and modern. The

165, 43-44). Thus, the actual and desired im-

other, I remembered as more chain store-ish

age match as New Works is perceived by the

[...] Not as stylish, exclusive and minimalis-

interviewees as an experimenting brand who

tic as it is now” (9: 91, 38-40). This shift and

pays attention to creative, offbeat and untra-

change in the perception of MENU is to be

ditional details.

further described and analysed in the following section.

establish, maintain and affect a brand image 5.10

As the interviewees experience the brand

For some brands, the objective is to main-

catalogues on different screens and on print-

tain a favourable and positive brand image

ed paper, immediate reflections and impres-

whereas for others, it is about establishing

sions occur in the minds of the interviewees

new images in the minds of the consumers.

and images of the brands are pieced togeth-

With the case of New Works, it is evident that

er. The three case brands are all considered

the expression and design of the brand cat-

high-end design brands and thus, the per-

alogue are important parts in the establish-

ceptions of quality and price level are pivot-

ment of a positive brand image. An inter-

al for the creation of a desired brand image.

viewee states, ”As I mentioned they cut down

However, according to one of the interview-

through the chair and provoked a bit, played

ees, the screen makes the brands appear

a bit, was teasing and different. This sense of

cheaper compared to the printed version. He

superiority fits well with my first impression”

states, ”what I thought looked a little cheap

(9: 88, 11-13). As shown here, the interviewee

here [on a screen] looks much better here [on

experiences New Works through brand-re-

print]” (9: 52, 48). The interviewee elaborates,

lated stimuli generated from the catalogue in

”for me, this [printed catalogue] could be a

terms of photos, style and expression, which

luxury brand but this one [online catalogue]

allow intrinsic images of the brand to emerge.

could not in the same way. I would think that

In this case, New Works is perceived as a cre-

it was cheaper if I just got that one [points

ative brand who dares to do something new

to the screen]” (9: 53, 3-5). Thus, the medi-

and different through its visual style and de-

um which the different brand catalogues ap-

signs. However, for those of the interviewees

pear on affects the perception of quality. The

who know New Works beforehand, brand

printed quality paper signals meticulousness

images are either confirmed or altered. One

and high quality compared to the brand ex-

of the interviewees expresses that the brand

perience on a screen. An interviewee states

catalogue is in line with what she expects of

that on a screen and in particular on a small

New Works, ”I think they signal that exclusiv-

screen, ”people will not perceive the same

ity they also do in real life” (9: 111, 11). Thus,

quality” (9: 18, 19). As a consequence, con-

the brand catalogue confirms the brand im-

sistently across the three case brands, the

age in which she adds ”they stick to their

medium affects the brand images as quality,

style” (9: 113, 10). For another interviewee,

price level and deliberate choices regard-

the brand catalogue lets him down as he ex-

ing paper and expressions are better sensed

pected more of them, ”in general, I really like

and experienced on print than on an online

their brand so I am actually quite disappoint-

screen.

ed - that they have done this” (9: 63, 1-2). He states that the printed brand catalogue does not live up to his expectations as it misaligns with his current images of New Works. Thus, it is shown how the brand catalogue is able to affect immediate brand images whether or not these are favourable or unfavourable.

With Carl Hansen & Søn, the interviewees

Thus, for Carl Hansen & Søn, the brand cat-

have a more clear idea of the brand before-

alogue both maintains and affects the brand

hand. Thus, when experiencing the cover of

image, or in this case the brand images, as

the brand catalogue, it confirms the current

there are more than one perception of the

image as an interviewee states, ”it is not par-

brand. With the above-mentioned state-

ticularly young in its expression when lying

ments, it is evident that the creation of de-

there. It almost looks like a bible” (9: 14, 27).

sired brand images is an on-going process

However, the perception of Carl Hansen &

through which the brand and its stakehold-

Søn changes as the interviewee explores the

ers are active constructors as there is not one

inside of the catalogue. She says, ”[...] but

brand image. Instead, multiple images are es-

here I sense a kind of ’we keep ourselves

tablished, maintained and affected. Each im-

modern’ without trying to innovate the old

age is dependent on the consumer, previous

classics too much” (9: 13, 23-24). It is espe-

encounters and current perceptions.

cially the colourful set up that changes the experience of the brand. She states, ”It has

a more young expression with these colours. More compared to the Carl Hansen & Søn I know, which to me could look a bit boring. Or boring might not be the right word. I actually think that it is quite cool with all these fresh colours” (9: 20, 1-3). However, not all the interviewees seem to agree. One interviewee also points out the colours as he states, ”I

think that it is a bit boring and their colours are wide of the mark” (9: 58, 6). Another interviewee expresses that she thinks the catalogue fits her perception of Carl Hansen & Søn. However, she states that it becomes too classic for her taste; ”It is probably that. It is

too classic. You could have done something else that was a bit more fun on these styled photos” (9: 123, 34-36). Thus, it is clear that the brand catalogue creates different perceptions, which is also expressed by an interviewee; ”I actually think it pulls in different

directions. When I looked at it, I thought that they were very traditional and I forgave them for being traditional because they are old [...] It does not look like that when I open it. Both are fine but they do not work so well together” (9: 152, 11-14).

The printed catalogue is also shown to be a

the right direction but it [the brand image]

decisive factor in the creation of brand imag-

cannot change like that” (9: 120, 6). However,

es with the case of MENU. One interviewee

she also states, that MENU “ has come a long

states, ”I am very, very pleasantly surprised”

way. They have improved in a truly positive

(9: 146, 24). As mentioned, MENU started a

direction where you think ‘Okay. MENU, that

rebranding process five years ago, which

is quite nice’. So in that sense, I think they

proves to affect the experience as one in-

have come a long way and that is also what

terviewee expresses, ”I really think that they

I think this catalogue signals” (9: 120, 17-19).

have turned it away from being a botched

With this quote, a clear distinction is evident

hardware store brand to being pretty cool”

between brand images and corporate repu-

(9: 119, 16-17). An interviewee emphasises the

tation and how these affect each other. With

printed catalogue as a clear cue in the brand

the case of MENU, the botched reputation

experience as the catalogue “oozes quality”

affects the immediate impressions from the

(9: 18, 41). Another interviewee states, “ my

brand catalogues as these do not align. How-

impression gets .. It becomes more high-

ever, the brand images also affect the dam-

end compared to what I remembered them

aged reputation as seen with the impressive,

as” (9: 91, 34). However, it is not merely the

printed MENU catalogue. As mentioned by

quality of the printed catalogue, “the prod-

the interviewee, significant changes in the

ucts are different but I actually feel that it is

corporate reputation do not happen over

the styling of them [...] It is more exclusive

night. Although, the experience of the brand

and up against the marble with the chair. The

catalogue is seen as a step in the right direc-

expression in the images signals something

tion. Hence, brand catalogues are considered

different from what I remember” (9: 91, 44-

an effective means for design brands to es-

47). Thus, the former brand images of MENU

tablish, maintain and affect brand image(s).

were “not as cool, exclusive and high quali-

ty as this one [the printed catalogue] signals now” (9: 91, 38-40). One interviewee puts it quite straightforward, “they have stepped up” (9: 92, 2) which she says it evident from experiencing the printed catalogue, “I think it is

expressed [through the catalogue] that they have stepped their game up. I think everything looks really great here” (9: 119, 23). However, for one interviewee, the reputation of MENU is stuck in her head as she cannot get the old brand image of MENU out. She says, “It is be-

cause it says ‘MENU’ then I have something in my head that has left a negative imprint compared to these great designs that they are actually able to make” (9: 120, 1-2). However, the interviewee acknowledges that the brand catalogue affects her experience, “I think

that this [the printed catalogue] is a step in

it is a match 5.11

Brand images affect other aspects than sole-

perspective of this thesis, the quote shows

ly the corporate reputation. During the in-

how brands can contribute with the creation

terviews, the interviewees are asked to hy-

of a self-image that is for others to observe.

pothetically choose which printed brand

The printed brand catalogues can take part

catalogue they would take home with them.

in the construction of a desired self-image

Their answers show that the perceived brand

when exhibited at home as the images of the

images have a significant impact on the pre-

brands are transferred to one’s self-image.

ferred brand catalogue. One of the interview-

An interviewee states, ”it also signals that I

ee explains that she perceives Carl Hansen &

have great taste .. then it might be that I do

Søn as an traditional design brand and thus,

not have any products but that I just want to

she would not fancy their catalogue as it

signal that I would like some of them” (9: 95,

does not match her self-image. Instead, she

40-42). Thus, the interviewee states that the

explains that ”it might fit better to somebody

brand catalogue is a signalling effect to one-

who is 50+” (9: 22, 2). Another interviewee

self as much as it is to others. Moreover, the

states, ”it is probably also the type of brand

relate dimension emphasises the relational

where I think that Carl Hansen & Søn is nice

experience that enables consumers to pres-

and classic - but not 100% me. It would be a

ent themselves by aligning themselves with

bit too boring to have displayed, I think” (9:

others. This is seen with the following quote

127, 38-40). Thus, the coherence between

by an interviewee, ”It [the brand catalogue]

the self-image and the brand image is crucial

addresses visual people. Aesthetes. Critical

in order for a brand catalogue to be picked up

people who want to know more about their

and placed at home. This should be seen in

products. Most of all somebody who wants

correlation to the brand experience dimen-

to look at something pretty but also some-

sion relate , also termed corporate/self-iden-

one who cares about design and how it is

tity . Here, the match between a consumer

made. I would like to be part of that. It says a

and brand can be understood as the way the

lot about the brand and the others I imagine

consumer perceives him-/herself and how

buy the products and then I feel like being a

a corporate brand corresponds to that per-

part of that club” (9: 146, 43-47). Hence, the

son. An interviewee says, ”I live more as the

printed brand catalogue is both an object to

Carl Hansen & Søn catalogue but as a person

show others and a connection to others. An

somehow .. then I see myself more as New

interviewee also argues that the printed cat-

Works but I live as Carl Hansen. It is a mix -

alogues can be used on social media as she

and that is also how I want to be seen. So it is

says, ”I could easily imagine people self-rep-

not just one but you can mix old and new” (9:

resentating themselves with these [printed

96, 36-39). This quote illustrates how a brand

catalogues] on Instagram” (9: 20, 42-43).

can become a means of self-expression in

Thus, it is not just on the coffee table that the

terms of symbolic values and lifestyle. An in-

brand catalogues can function as a self-ex-

terviewee explains it as ”a brand that I feel like

pressive object.

vouching for” (9: 139, 25). She further states, ” [...] or not just vouch for. I can vouch for fair trade coffee. It has to be something I want to show people that I can vouch for” (9: 140, 14-15). In line with the consumer research

corporate brands on a product brand level 5.12

On a general level, the objective of the brand

are emphasised in all of the catalogues. As

catalogue in this context is to show the en-

examples, MENU displays short articles with

tire collection of products. As the underly-

the designers, Carl Hansen & Søn outlines

ing endeavour of corporate branding is to

their sustainable design and production and

get consumers to consume the brand behind

New Works explains their philosophy through

the products, it is questioned whether or not

brief descriptions of their values (Appen-

the brand experiences of the three brand

dix 1). Thus, the case brands move beyond

catalogues can be characterised as corpo-

product branding and provide glimpse of the

rate brand experiences or as three corporate

corporate brand. Knut Bendik Humlevik de-

brands performing on a product brand level.

scribes the brand catalogue as “the best tool

An interviewee states, “I like that you get

to show our identity aside from the physical

know the thoughts behind the company and

universe” (9: 165, 21-22). Hence, the brand

their visions behind those things they create”

catalogue can be seen as part of a brand’s

(9: 35, 24-25). According to this interviewee,

corporate communication as it targets the

it adds to the overall brand experience when

different stakeholder groups with one unified

one receives insights into the company and

expression and insights into the brand uni-

its background. Another interviewee states

verse. The brand catalogue can be described

as he browses a brand catalogue, “I still need

as the ribbon bow that is neatly tied around

something else. As I look through it [the cat-

the products and thus, the catalogue is not

alogue] , it is just a lot of furniture. Furniture,

to be considered as a product but instead as

furniture, furniture. I would have liked more

the corporate brand’s packaging. Thus, brand

pages like this one [points to a photo of two

catalogue are able to create corporate brand

designers] . Where there is some inspiration

experiences through brand-related stimuli

and where their furniture do not appear.

that tells stories about the brand by means of

Or some photos from the city where they

different dimensions such as photos, sensa-

are from. Maybe something about the peo-

tions, self-expressions and actions.

ple behind it. So it is not just furniture” (9: 53, 38-42). In other words, the interviewee is looking for the corporate brand. However, one of the other interviewees disagrees,

“to me, it is the product or chair that it is all about and the design. Not as much the stories behind the company” (9: 82, 48). Thus, according to some interviewees, the brand catalogue experience should be less about the corporate brand and more about the designs whereas for others, the brand catalogue should enable consumers to sense the corporate brand behind the products to a greater extent. When analysing the content of the three brand catalogues, it is evident that the brands make space for the corporate brand as philosophies, stories, articles and projects

In the following chapter, a summary of the findings is outlined

find ings

The analysis has provided valuable insights into corporate brand experiences and in this chapter, a subconclusion of the various findings from the analysis is outlined to get an overview of the on/offline brand catalogue experiences.

One of the most significant differences in

The different versions of the catalogues each

the experience of the brand catalogues is the

have their distinctive functionalities. The

presence of sensations. The ability to sense

printed catalogue is described as an addi-

and smell the quality of the paper allows

tional experience as it enables consumers

the interviewees to immerse into the print-

to grab it, place it on the coffee table and

ed brand catalogue to a far greater extent

display it as an object. The online brand cat-

than on a screen. Moreover, with a printed

alogue on the other hand is available to be

catalogue in hand, the interviewees express

downloaded no matter time and place. More-

that it becomes more present and a pleasant

over, the photos are in high resolution and it

break from the online world. The paper also

is fast and convenient to share the catalogue

signals a certain amount of economic surplus

online with a link. Although there are certain

as the brands take their time and spend the

advantages of the online brand catalogue, an

money on printing a brand catalogue. The in-

interviewee says that it is just not the same as

terviewees express it as seriousness and an

with a printed version. With the experimen-

attention to details, which is transferred to

tal sequence of display, it was evident that

back to the brands as an interviewee says, ”it

sequence did not alter the perceptions of

tells me that they care and then they must

the online screen experience. Instead, it was

also care about their furniture” (9: 18, 42-43).

clear that the smaller the screen, the smaller

When experiencing brand catalogue online,

the experience. As photos and text dwindle

the experience is reduced to the sight as the

in size, the attention seems to wane. Thus,

single sensor, which affects the interviewees

the preferred screen to experience brand

to spend less time on sensing, reading and

catalogues is on the computer as it provides

stepping into the brand universe. The inter-

the consumer with the biggest screen pos-

views showed that the time spent was longer

sible. An interviewee states that the photos

than when exposed to the online version.

in brand catalogues are meant to be seen in

One interviewee explains it as, “you have

a large scale, which is the reason for prefer-

something in your hands that you need to

ring the computer. Thus, it is interpreted as

commit yourself to” (9: 108, 32). However,

the screen provides less of an experience

the longer time spent is not used to read the

compared to the printed catalogue. More-

catalogue. Instead, the interviewees read be-

over, the printed brand catalogue is shown

tween the lines and sense the brand through

to have the ability to prolong an experience

photos and visual representations. Thus, the

through an extension from the instant level

set up of the brand catalogues is proved to

to the reflective level. At the reflective level,

be pivotal to the overall brand experience

consumers reflect and delve into the expe-

whether online or offline.

rience. Thus, the impressions are processed over a longer time when a printed catalogue is saved or placed on the coffee table as it enables consumers to take a second look and have it close at hand, which together with the above-mentioned findings answer the third research question of how consumers experience brands on a screen as compared to a printed version.

Moreover, the interviews showed how brand

Through the established and expressed brand

catalogues are able to provide distinctive im-

images, it is evident that coherence between

pressions and images of the case brands in

the self-image and the brand image is essen-

the minds of the interviewees. Photos, set

tial in order for a printed brand catalogue to

ups and visual elements give the interviewees

be picked up and placed at home. With the

clear indications and cues about what kind of

exhibition and objectification of a brand cat-

brand that is in front of them. Brand imag-

alogue, it is found that a brand can become

es are formed as the interviewees sense the

a means of self-expression and take part in

quality and perceive the price level through

the construction of a desired self-image. This

different brand-related stimuli generated

is managed as the images of the brands are

from the brand catalogues. With the printed

transferred to oneâ&#x20AC;&#x2122;s self-image and thus, the

catalogue, the interviewees express that high

printed brand catalogue functions as a sig-

quality is easier to sense whereas on a screen,

nalling effect to oneself as well as to others.

the experience becomes flat and cheaper.

This brand catalogue effect is solely possible

Thus, the medium on which the brand cat-

with the printed catalogue as the online ver-

alogue appears affects the images of the

sion is neither able to be placed at home nor

brand. Furthermore, it was found that brand

to be displayed to others.

catalogues are also able to establish and

The on/offline brand catalogues provide

maintain brand images exemplified with the

an experience that moves beyond branded

case of New Works and Carl Hansen & SĂ¸n.

products as it enables the viewers to get a

With the case of MENU, the brand catalogue

glimpse of the corporate brand. Brand cata-

proved to be able to affect a damaged and

logues are interpreted as a part of a brandâ&#x20AC;&#x2122;s

botched corporate reputation as the quali-

corporate communication as the catalogues

ty and size of the catalogue was a pleasant

have shown the ability to express a brand

surprise and explained as a step in the right

with one unified voice to its different stake-

direction towards a positive brand image.

holders and give insights into the brand

Hence, to answer the fourth research ques-

universe. Hence, it has been found that the

tion, brand experiences based on brand cat-

printed catalogue creates a more distinctive

alogues, and in particular the printed brand

corporate brand experience than the on-

catalogues, are found to be an effective way

line brand catalogue as it offers consumers

to establish, maintain and affect brand imag-

an experience with multiple sensations, the

es and corporate reputation.

pleasure of immersion, the possibility to exhibit it at home and the ability to prolong the experience, which the online catalogue is not capable of creating to the same extent. Thus, even though Gen Ys are raised with digital platforms and technologies, the printed brand catalogue is not considered a relic from the past as it provides consumers with a superior corporate brand experience in the moment and most likely in the future as well.

di sc us s i o n

With the analysis, certain questions arise such as who is the brand catalogue for, do corporate stories sell products, what is the return on investment for printing catalogues and do the consumers consider printed catalogue as an environmental matter. These are some of the questions which will be discussed and dealt with in further detail in the following sections.

who is it for 7.1

102

For this thesis, the stakeholder group chosen

online version and the average customer is

to examine corporate brand experiences is

able to bring the printed catalogue home.

current and potential customers, which is

Katja Falkenberg states, “making this brand

considered an essential stakeholder group

book is actually a compromise in making a

when assessing brand experiences and per-

tool that fits all our target groups” (9: 162,

ceptions of corporate brands. Nonetheless, it

1-2). The compromise is evident with the dif-

can be discussed whether these stakeholders

ferent elements included in the brand cat-

are the actual and desired target group for

alogue. Helene Nilsson explains, “We only

on/offline brand catalogues. Thus, it is asked,

have this catalogue. We do not have one that

who are the brand catalogues for?

is for the average consumer and one that is

Katja Falkenberg says, “it is indeed a tool

for the contract market [...] which entails that

for retail purposes” (9: 161, 16). She further

we have a quite broad target group for our

explains, “it is a tool for our distributors and

catalogue. We would of course like to tar-

agents, sales team and retailers. And then

get women 30+ but it is also important for

there is of course private customers who can

us to have something in the catalogue that

take it but it is not like we make 100.000 of

speaks to the contract market, which most

them” (9: 161, 26-28). As stated here, cus-

often is more masculine and heavy” (9: 171,

tomers are not considered as the main tar-

20-25). Thus, light inspiration and heavy in-

get group for the brand catalogue. Instead,

formation are incorporated to please and

with the printed catalogue, the objective is

compromise with the different stakehold-

to support sales as it should function as a

ers’ needs and wants. There is an unwritten

helping tool for retailers, agents and distrib-

rule in marketing that says ‘targeting every-

utors. With the online brand catalogue, the

one, reaching no one’ which with the brand

different stakeholder groups are widened.

catalogues might be the case. However, the

Katja Falkenberg explains, “We have end-us-

intentions of the brand catalogue is said to

ers, we have architects, we have retailers and

be a presentation of the entire collection and

then we have the press. The press is a very,

provide insights into the corporate brand.

very important target group for us [...] It is

Knut Bendik Humlebik explains that through

just as much a service for them” (9: 161, 44-

the brand catalogue, the viewer is to sense

46). As the online catalogue allows anyone

the brand universe, “that is the most impor-

to access it no matter when and where, the

tant to us. People should get a sense of our

online catalogue is explained as a service to

collection and who we are” (9: 162, 32-33).

a broad spectrum of stakeholders. Thus, the

Thus, the brand catalogue is not meant as a

brand catalogue, and the online version in

targeted message to a specific and limited

particular, is outlined as a distinct piece for

audience. Instead, it can be interpreted as a

all current but also potential stakeholders.

representation of the corporate brand that is

As the printed and online brand catalogues

accessible to various stakeholders on differ-

are almost identical in content and layout,

ent platforms. To answer the question in the

it can be argued that the mediums on which

headline, the brand catalogue can be seen as

the brand catalogues appear are intended for

an open invitation from the brand to all its

different stakeholders. However, the bound-

stakeholders.

aries between the different stakeholders are blurred as retailers might as well access the

storyselling 7.2

Katja Falkenberg claims, ”[...] in our business,

not all of the interviewees that agrees with

you do not sell a lot of products if you do

above-mentioned statement. One interview-

not include storytelling” (9: 160, 30-31). Re-

ee claims, ”I want to know something about

search conducted by Lundqvist et al. (2013)

the universe [...] Actually not that much about

supports this statement and provides empir-

the product but of course I have looked into

ical evidence on the fact that well-told sto-

what it is made of but I would want to know

ries about a brand have a positive influence

something about the brand. What are its val-

on the brand experience. With interior design

ues and where is it located. Who is behind

objects and furniture, it is however evident

it” (9: 136, 14-16). Thus, for this interviewee,

from the interviews that it is not as much the

corporate brand stories are considered a de-

corporate brand that establishes a desire and

cisive factor in the experience of a brand and

excites admiration. Instead, it is the designs

a possible purchase situation. However, it is

and their expressions. An interviewee em-

a balance and as a consequence, the task is

phasises the products as it is those she wants

for brands to balance the different corporate

to see when browsing a catalogue, “to me, it

and product stories. Moreover, as was de-

is the product or chair that it is all about and

scribed in section 5.4, stories are urged to be

the design. Not as much the stories behind

shown rather than told. Thus, in both online

the company” (9: 82, 48). This can be viewed

and offline settings, it is argued that brands

as a contradiction to the statement by Kat-

should rely on images, headlines and graphic

ja Falkenberg. However, findings from the

representation and the viewers semiotic in-

analysis indicate that the interviewees want

telligence in order to connect the different

stories to be told through photos instead of

elements and thereby generate and under-

heavy textual elements. As a consequence,

stand the stories. Hence, it might be that sto-

the two statements do not contradict per se

ries sell products but the way in which they

as it depends on how storytelling is under-

are told and balanced matters to the overall

stood and presented. An interviewee states

brand experience.

that the emphasis on corporate storytelling has almost gotten out of hand. She says, ”it

can also be a bit problematic that you almost remove the attention from the design as you are too focused on the stories. To me, the most important is the functionality of the design, that it is beautiful and made of great materials. So in that respect, I think it can be a limitation that brands shift focus from the chair as they are more keen on telling who the designer is and what kind of brand it is. It is a fine balance actually” (9: 8, 17-21). As stated, the interviewee sees it as a balance between telling too much about the corporate brand and solely focusing on the products, which challenges with the whole concept of corporate branding. However, it is

103

corporate brand (catalogue) experience dimensions 7.3

104

In the light of the theoretical framework and

explain the effects of a online brand cata-

the analysis, it can be discussed whether

logue. Hamzah et al. (2014) further argue that

the online corporate brand experience di-

the concept of brand experience is rooted in

mensions proposed by Hamzah et al. (2014)

traditional settings and as a consequence,

provide an essential theoretical insight to as-

brand experiences have been discussed at

sess online brand experiences or the original

the product brand level and not at the cor-

brand experience dimensions proposed by

porate brand level. As a brand catalogue is

Schmitt (1999a) can be applied to offline and

not defined as a product per se, this research

online contexts, and on a product brand level

has taken its departure on a corporate brand

and a corporate brand level.

level. Even though the original brand expe-

With the online corporate brand experi-

rience dimensions have been developed on

ence dimensions, Hamzah et al. (2014) take

a product brand level, they are considered

their inspiration from the work of Schmitt

applicable in the explanation and categori-

(1999a). The dimensions are empirical tested

sation of brand experiences on a corporate

in an online banking setting and the result is

brand level. Elements such as sensations,

five renamed brand experience dimensions

cognitions and relational bonds can be pro-

adjusted to the screen. Apart from smaller

jected onto the corporate brand as well as it

adaptations, the online dimensions correlate

can reflect branded products. Thus, an online

to and reflect the original brand experience

brand catalogue experience is not deemed

dimensions. Interpreting the various findings

that different from an offline brand experi-

from the analysis, it can be said that online

ence in terms of dimensions and theoretical

brand catalogue experiences feature the

background. The additions of an online set-

same dimensions as printed catalogue expe-

ting do provide different terms to the dimen-

riences except the dimension of functionali-

sions but in this case, these are considered

ty. In online settings, it was evident that the

extensions rather than transformations. With

aspect of functionality in terms of what can

the two frameworks, it has been shown that

be done and accessed with the brand cata-

whether online or offline, brand experiences

logue and how that affects the experience is

revolve around five dimensions and thus, the

a distinct feature. Moreover, it was evident

original strategic brand experience modules

that the five sensations in an offline set-

are still operable in modern, online settings.

ting are not possible to transfer to a screen, which explains the narrowing of the senses to solely the visual identity for online brand experiences. However, even though the online catalogue brand experience is reduced to one single sensor in this research, sound is still a possible sensation and according to new research, touch and smell are soon to be incorporated on screens (Euronews 2015). This would entail a possible widening of the concept of online sensory experiences. However, for this research, the focus on the corporate visual identity is deemed sufficient to

contrasts or complements 7.4

In the analysis, it is shown how the online and

utes than a printed brand catalogue and vice

offline brand catalogues are described as two

versa but the two versions are able to work

contrasts by the interviewees in terms of flat-

together and provide two distinct experienc-

ness versus depth, boredom versus excite-

es. Thus, in the light of the findings from the

ment, and cursory reading versus immersion.

analysis, it can be said to be worthwhile to

Even though the two mediums can be seen as

utilise the different functionalities and create

contrasts on paper, are the online and offline

two versions of brand catalogues that com-

versions able to complement each other?

plement each other instead of pretending to

As outlined in the analysis, the functional-

be the same. In other words, use the advan-

ities of the two brand catalogue versions are

tages of the different mediums instead of fo-

somewhat different. One provides fast and

cusing on their disadvantages. The two ver-

convenient accessibility whereas the other

sions should still reflect the corporate brand

creates a multi-sensory experience. However,

and speak in unison but can have different

the content of the catalogues are unaltered.

structures and visual representations. An in-

For most design brands, the online catalogue

terviewee compares it to mobile optimised

is created to simulate a printed catalogue as

websites where the experience is optimised

it is uploaded on a publishing platform where

for the specific screen used. Even though the

the pages turn like a physical catalogue or in

set up and user experience are different, it is

a PDF file that is the exact same as the print-

not seen as a problem, “I do not think it would

ed version. However, New Works has made a

distract the experience that much. I think it

deliberate choice to make a slightly different

would make it better if it had its own compo-

online version than the printed catalogue.

sition” (9: 62, 41-43). Thus, it is argued to an

Knut Bendik Humlevik explains, “We have not

advantage for brands to provide distinct user

made a version that is to be experienced like

experiences in order to facilitate positive en-

paper. We have made it digital. You can cre-

vironments for corporate brand experienc-

ate a catalogue that makes you feel like you

es to unfold. Moreover, in the interviews, it

are reading a magazine but that is something

is incited that the brands should utilise the

we have distanced ourselves from [...] Either

online functionalities and opportunities to a

you have the real McCoy or you operate digi-

far greater extent in order to create distinct

tally” (9: 167, 23-25). Instead of attempting to

online experiences that provide stakeholders

simulate a printed catalogue, New Works has

with an actual experience. This will be further

chosen to adjust the catalogue to the screen,

discussed in the following section.

which is noticed and valued by one the interviewees. He says, “it is as if it has been

done the other way around and designed for a screen and then printed afterwards” (9: 56, 8-9). Thus, the online catalogue is not meant as a mimic but as a separate experience. However, the challenge is to make the two catalogues complement each other instead of opposing each other. The example with the New Works online catalogue illustrates that an online catalogue has different attrib-

105

cease the online opportunity 7.5

106

For some of the interviewees, it is evident

platforms. Thus, the Gen Ys can be seen as

that the brands have not made an effort in

a difficult group of consumers to satisfy and

creating an online experience with the brand

more so, to impress. An interviewee suggests

catalogue. Instead, it is described as an easy

that the online experience should be able

solution. “Well, it is easy but you can also see

to do something different than the printed

that it is somewhat easier. It is not been taken

catalogue. She explains, “I cannot think of a

into account that there are things that work

disadvantage [of the printed catalogue] com-

really well printed that just do not work on

pared to the online. Then it should be that

a screen” (9: 51, 4-5) and “it seems like they

the online version was able to do something

have just uploaded it and said ‘now, it is on-

more. Some sort of function where you could

line [...] and then it works just fine’. Except it

press the product and get the price and more

does not” (9: 53, 13-15) says an interviewee.

information easily” (9: 108, 38-41). The on-

The digital natives know the opportunities

line brand catalogue should not necessarily

of online media and thus, high expectations

be the same or attempt to be the same expe-

are established beforehand. Because of this,

rience as the printed catalogue. Instead, it is

it can be discussed whether or not the high

suggested that the brands utilise the online

expectations affect the online experience as

medium to a greater extent. Thus, in order to

in the interviews, it is expressed that the case

catch the online attention of Gen Ys, endeav-

brands fail to cease the online opportunities

ours should be made and even more so for

that are right in front of them.

the future, as Generation Z is on the rise with

An interviewee says, “it should be utilised.

an expanded consumption and familiarity of

It should be done properly then. You should

online technologies and platforms. However,

use the modalities that are present because

the utilisation of the online medium does not

otherwise it does not matter” (9: 97, 18-20).

come without a cost and from a management

According to the interviewee, there are vari-

perspective, an investment in an online plat-

ous ways that brands can use the advantages

form with interactive catalogues is an expen-

of the online medium. She explains, “it can be

sive matter. Thus, the question is whether or

much more interactive because this is just like

not an investment in online brand catalogues

having the catalogue in your hands - except

is able to pay off or sticking to the printed

it is uploaded online. I think it would be much

catalogue is the most profitable solution

more interesting if you could use the point-

right now.

er on the screen and something would come forward and it would make it much more vivid” (9: 78, 24-27). The Gen Ys are accustomed to new and advanced technologies, which provide them with an online knowledge. The knowledge allows the interviewees to visualise opportunities and come up with ideas. However, it also makes them a group of discerning consumers. The Gen Ys can be said to have higher expectations than their previous generations because of their early and constant exposure to online technologies and

return on investment 7.6

The question of whether or not to print brand

When asked what an interviewee would think

catalogues is endorsed by Knut Bendik Hum-

if a brand said ‘this year, our catalogue is only

levik as he explains that it is an actual con-

to be found online’, the interviewee exclaims,

sideration, “ [we have discussed] whether we

“then I would think they are miserly” (9: 98,

should print this [...] expensive catalogue or

34). Thus, it can be interpreted that the loss

if we should only make a digital version” (9:

would be more comprehensive if a brand

164, 41-42). The discussion revolves around

chose to discontinue with printed catalogues

the expenses of a printed brand catalogue

compared to if the brand did not invest in

contra an interactive online version. The main

more advanced and interactive online cata-

question is thus whether it is worth spending

logues. Knut Bendik Humlevik explains that

the money on printing brand catalogues or

New Works chose to invest in printed cata-

the money is better used on developing ex-

logues when the brand was founded because

tended online catalogues.

it had more brand value to them and to their

A simple return on investment formu-

stakeholders. He explains, “we see that our

la is the gain from the investment minus the

customers have an affection for the physical

cost of the investment which then is divided

catalogue. We experience that our customers

with the cost of the investment (Investope-

actually use it and take it home with them”

dia 2017). Although the brand catalogue is

(9: 165, 6-7). Hence, the reason for printing

intended to support sales, no correlation is

can be argued to be because of a custom and

able to be found between a brand catalogue

in order to avoid displeasure and a negative

and an increase in sales with this research.

brand image among stakeholders. However,

Thus, a direct profit or benefit cannot be cal-

as outlined in previous sections, there is an

culated, which makes the return on invest-

actual desire and demand for printed cata-

ment an estimation rather than a calculation.

logues as it serves other purposes and en-

On the one hand, the brand catalogue is an

ables other functions than an online brand

essential tool created to support sales but as

catalogue. As a consequence, printed cata-

mentioned, the catalogue is mainly intended

logues can be argued to be worth the invest-

for retailers and agents as a reference work.

ment as these are able to establish long-term

On the other hand, throughout this thesis, it

brand experiences and positive brand per-

has been shown how consumers use brand

ceptions. Moreover, the loss from a possible

catalogues to sense and get a glimpse of the

divestment could be a significant change that

brand universes, which could suggest that

would affect current images of the corporate

the printed catalogue has an indirect effect

brand as seen with the exclamation above.

on sales. However, as stated by an interview-

However, there is also the possibility that

ee, “It is not certain that the [printed] cata-

such a change could be a deliberate state-

logue actually sells me more products than

ment from a brand in terms of saving trees,

the online would do” (9: 156, 32-33). Thus,

avoiding print chemicals and taking care of

an exact calculation is not possible at this

the environment. Therefore, in the following

point. Instead, the formula can be reversed.

section, the question ‘what about the envi-

Gains from the investment are replaced with

ronment?’ is raised.

potential losses from not investing in printed and online brand catalogues.

107

what about the environment 7.7

108

Online brand catalogues are considered bet-

On one of the first pages in the Carl Hansen &

ter for the environment than printing thou-

Søn catalogue, there is a large photo of a for-

sands of offline catalogues or at least, that

est and it says, “we make every effort to min-

is the presumption put forward in the inter-

imise our footprint, striving to leave behind

views. However, that does not mean that it is

nothing but beautiful furniture” (Appendix

a decisive matter for consumers in the brand

1). With a large catalogue of more than 220

catalogue experience. An interviewee states,

pages in hand, this statement can seem con-

“I actually feel a bit ashamed that I do not

tradictory. Helene Nilsson explains that this

have an interest in that but I just do not [...] I

particular issue “ [...] is definitely something

can tell that there are some problems asso-

we have taken into consideration. We have

ciated with this business and there are a lot

not yet printed our catalogues on FSC paper

of things that get printed and a lot of things

but it is surely a possible way for us to go”

that get thrown out. But that has never been

(9: 178, 16-18). An interviewee acknowledges

a defining issue for me” (9: 67, 34-37). Thus,

the environmental issue and states, “Espe-

in the discussion of online and offline brand

cially with all these pages. All these trees. But

catalogues, an investment and emphasis on

no, I am not activist enough to think that this

the online catalogue as an environmental

is not good. Not even when there are trees

matter are not to be carried out for the sake

inside [the brand catalogue]” (9: 130, 24-26).

of the consumers as these considerations are

Thus, is can be asked whether or not printing

not decisive. Rather, it should be done for the

catalogues should be considered as an en-

sake of the environment.

vironmental matter. An interviewee states, “I

actually forgive them [for printing] because it is something that is done once a year. If they made their materials as door-to-door distribution. That would suck but it is too much environmental rant if you are not allowed to release once a year” (9: 158, 6-9). Hence, printing is not seen as the worst damage brands could do to the environment. Instead, printing expensive materials that are not used and thrown out immediately, that is considered an offense to the environment.

The interviewees understand and can imagine that brands would concentrate increasingly on online brand catalogues as step towards more online publications and less printed paper. An interviewee states, “I think it sends a

popular signal that you care about the environment and all that. That is of course also a good signal to send when it is the right thing to do these days” (9: 68, 22-23). However, it would not be a popular signal to send to the interviewee. He says, “I would hate not hav-

ing any printed material in my home. I think it is deadly boring to look at everything online [...] So I think it would be a shame but I can

imagine that it is the way it goes” (9: 68, 2931). However, this does not have to be the future for printed catalogues. With this thesis, clear evidence of consumer affections for the printed paper is provided and it has been shown that it triggers more positive and prolonged brand experiences. Thus, as long as there is a particular demand from key stakeholders, brands will provide.

109

c onclus ion

112

With the rise of online platforms and digital

this research, it is shown that the medium on

technologies, the question of whether print

which the brand catalogues appears affects

matters to a generation of digital natives or

the images of the selected case brands. On

it has surpassed its date of expiry is raised.

a screen, a brandâ&#x20AC;&#x2122;s design and packaging is

In order to answer this question, the follow-

described as flat and cheap compared to a

ing problem statement is set forth; How do

printed version. It is found that consumers ex-

Gen Y consumers experience brands based

perience corporate brands in different man-

on printed and online brand catalogues and

ners depending on the online medium and

how do these brand experiences affect the

the sensed quality of the printed catalogue.

brand image(s). Through a theoretical review

With design brand catalogues, the bar is set

of different perspectives on brand experi-

high and Gen Y consumers are fast in their

ences, it is evident that whether online or of-

judgements of brands based on the brand

fline, brand experiences revolve around five

expressions, choices and materials. However,

dimensions which are sensations, emotions,

on a screen, it is proven to be more difficult

actions, cognitions and relations. Insights

to sense a brand as screens make the online

gathered from the empirical data provide ev-

experiences flat and impersonal. With the use

idence to the distinct value of printed paper

of an experimental sequence of display, it is

for Gen Y consumers in the assessment and

evident that for consumers it is the smaller

perception of corporate design brands. With

the screen, the smaller the brand experience.

printed brand catalogues, consumers are

Online brand catalogues are preferred on a

able to sense the quality of the brand and im-

large screen in order for consumers to get

merse into the brand universe to a far greater

a better overview but even though online

extent than on a screen. Online brand cata-

catalogues are fast, convenient and in high

logues are reduced to the sight as the sole

resolution, a clear affection for the printed

sensor, which in this thesis is shown to in-

brand catalogue is visible. Printed paper of-

fluence the brand experience as less time is

fers multiple sensations, the pleasure of im-

spent on sensing, reading and getting closer

mersion, the possibility to exhibit it at home

to the brand. Moreover, the printed brand

and the ability to prolong the experience. For

catalogue functions as an additional experi-

design brands, printed brand catalogues are

ence as it enables consumers to bring a small

shown to be an effective way to establish,

piece of the brand home with them and use

maintain and affect brand images and corpo-

it as an object. Thus, exhibited printed brand

rate reputation. With a damaged reputation,

catalogues can become means of self-ex-

a printed brand catalogue can be a step in

pression and take part in the construction

the right direction towards a more positive

of a desired self-image as the images of the

brand image and thus, a more favourable and

brand (catalogues) are transferred to con-

attractive corporate reputation. It can also

sumersâ&#x20AC;&#x2122; self-image. From the empirical data,

have the opposite effect if a brand catalogue

it is evident that Gen Y consumers are fast in

does not live up to the high expectations of

their assessment of brands based on various

the discerning consumers. Even though Gen

brand-related stimuli in terms of cover, pho-

Ys are raised with digital platforms and tech-

tos, set up and visual elements, which give

nologies, the printed brand catalogue is not

consumers clear indications and cues about

considered a relic from the past. It provides

what kind of brand that is in front of them. In

important stakeholders with corporate brand

experiences that are superior to online experiences. In order to enhance the online experience, consumers want utilisation of the online opportunities. From the interviews, it is proven to be worthwhile for brands to utilise the different functionalities that the online platforms offer in the creation of a brand catalogue that complements the printed version instead of pretending to be the same. In order to secure coherence between the perceived images, brands should invest time and resources in online brand catalogues in order to signal the same economic surplus, seriousness and attention to details as the printed catalogue. Meanwhile, an adherence to the print media would continue to be valuable for design brands and their stakeholders as it offers a more comprehensive experience and glimpse of the brand universe. Moreover, the return on a possible divestment of printed matter could damage a brandâ&#x20AC;&#x2122;s image and although a deselection can be justified on the basis on environmental vigilance, Gen Y consumers do not consider printed brand catalogues as an environmental matter. Instead, these consumers dread the emphasis on and development of new online technologies as these might deliver the deathblow to printed brand catalogues. With the findings of this thesis, it is certain that to Gen Y consumers, the expiry date of print media is not even close to being surpassed and thus, print still matters to a generation of digital natives.

113

p e rs p e c tive s

116

The established insights on offline and online

In order to further settle the value and effects

brand catalogues might serve as a spark for

of corporate brand catalogue experiences, a

future research studies regarding corporate

quantitative research could be conducted

brand experiences. As the context for this re-

to provide more validity to understanding of

search is high-end furniture brands, it would

online and offline brand experiences. As this

relevant to examine different businesses and

research is studied within a smaller qualita-

contexts to reach further understandings as

tive scale, a large scale research could attain

to how print media affects brand image cre-

numeric insights into the phenomenon. The

ation. Whether it is merely high-end brands

research could be carried out in continua-

that gain value from printing brand cata-

tion of this thesis with a quantitative, explor-

logues or the printed paper can establish

atory sequential research design. Applying a

distinct experiences with low-end brands

hypothetico-deductive methodology based

as well. Moreover, examination of different

on the findings from this research would en-

stakeholder groups would also provide fur-

tail making use of the advantages of mixed

ther support to the field of brand experienc-

methods as the effects of print and online

es. Such research could focus on how brand

catalogues would be addressed at different

catalogues influence internal stakeholdersâ&#x20AC;&#x2122;

levels and explored in more depth. Moreo-

affiliation and identification with the brand

ver, the addition of a more extensive quan-

or how other generations of consumers ex-

titative study would also overcome some of

perience corporate brands through online

the limitations of a small qualitative research

and offline platforms. This would substanti-

and enhance reproducibility. Hence, a use of

ate the effects of a printed and online brand

mixed methodology would establish numeric

catalogue even further. Thus, this research

data and causal explanations to the experi-

can be seen as pilot project for future studies

ences of brand catalogues. Such insights will

which would make it possible to extent the

provide more precise and broader answers to

theoretical framework within the field and

the economic gains and benefits of on/of-

provide answers to brands that face the issue

fline brand catalogues and thus, get a more

of printed brand materials; to be or not to be.

clear sense on how brands are experienced, the influence of brand image creation and the return of investments from printed and online brand catalogues.

As mentioned in the introduction, it is questioned whether the assessment and understanding of online and printed brand experiences can provide insights into the future of technological developments. Findings from this research provide various examples and suggestions to online brand catalogue experiences such as interactive links, utilisation of modalities and the ability to browse further on the website. However, the insights from the experiences of printed brand catalogues might also contribute with valuable knowledge to the development of future online brand catalogue experiences in terms of distinct sensations and features that should or could be transferred to the screen. Such examples are the importance of sensing the quality of the paper and the feeling when flipping printed pages, which can provide ideas and conceptions for future, online technological developments. Thus, this thesis provide answers to how brands are experienced based on printed and online brand catalogues and all the while, it can also serve as inspiration for future online experiences and how these can be enhanced and improved with the obtained knowledge of corporate brand experiences and the value, gains and effects of printed matter.

117

end notes

The initial interest in the subject of online and offline brand catalogues stem from the internship I did as part of my masterâ&#x20AC;&#x2122;s degree programme. During the educational stay, I was responsible for designing and creating the annual brand catalogue, which was when I discovered some of the issues presented in the introduction of this thesis. However, it should be stressed that no competing, financial, professional or personal interests have influenced the submitted work.

119

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photos

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frontpage Walter Schupfer (n.d.) Untitled [Digital image] Retrieved 28 June 2017 from http://walterschupfer.s3.amazonaws.com/gl_4fdb487a-054c-492c-8707-73e90a660dbf.jpg page 6 No name (n.d.) Untitled [Digital image] Retrieved 28 June 2017 from https://s-media-cache-ak0.pinimg. com/originals/cc/f2/a3/ccf2a3c2e07e46250b2d0ccfcf85474e.jpg page 18-19 Thisispaper (n.d.) Untitled [Digital image] Retrieved 28 June 2017 from http://thisispaper.com/wp-content/uploads/2017/05/2006_08zl0036.jpg page 26 No name (n.d.) Untitled [Digital image] Retrieved 28 June 2017 from https://s-media-cache-ak0.pinimg. com/originals/47/b3/3e/47b33e65c32a9ccd6c4875f93325b429.jpg page 34 Creative Boom (n.d.) Untitled [Digital image] Retrieved 28 June 2017 from www.creativeboom.com/uploads/articles/ac/ac87f0bcb92f4d380eba91e09e957733062fd94b_1200.jpg page 56 Cargo Collective (n.d.) Untitled [Digital image] Retrieved 28 June 2017 from http://payload274.cargocollective.com/1/3/99710/7781773/prt_937x1250_1398438989.jpg page 64 Mydesignagenda.com (2017) Untitled [Digital image] Retrieved 28 June 2017 from http://mydesignagenda.com/wp-content/uploads/2017/02/Carl-Hansen-Son-Re-Releases-Final-Chair-from-Hans-J-Wegner-Collection.jpg page 67 Menu A/S (n.d.) Casual Elegance0709 [Digital image] Retrieved 28 June 2017 from https://menu.kontainer.com/files/view/3509253/ page 68 New Works (n.d.) All Together 3, The Dark Room [Digital image] Retrieved 28 June 2017 from https:// www.newworks.dk/imagebank/ page 79 No name (n.d.) Untitled [Digital image] Retrieved 28 June 2017 from https://s-media-cache-ak0.pinimg. com/originals/ae/a5/28/aea5288a1ff29f9764359d8d2a271cdc.jpg page 90 No name (n.d.) Untitled [Digital image] Retrieved 28 June 2017 from http://68.media.tumblr.com/29b5b7aed96bb06b0f909cc6b103b338/tumblr_o2wgpz9bii1s3v3kjo9_r1_1280.jpg page 92 Cargo Collective (n.d.) Untitled [Digital image] Retrieved 28 June 2017 from http://payload371.cargocollective.com/1/7/234995/9729975/IMG_48s62_1000.jpg

page 94 Jovana Mishkoska (2016) Untitled [Digital image] Retrieved 28 June 2017 from https://photogrist.com/ wp-content/uploads/2016/02/Jovana-Mishkoska.jpg page 96 Thisispaper (2017) Encouble [Digital image] Retrieved 28 June 2017 from http://thisispaper.com/ wp-content/uploads/2017/01/encouble-1.jpg page 98 Dartplayers (2017) Untitled [Digital image] Retrieved 28 June 2017 from http://dartplayers.net/wp-content/uploads/2017/05/layout-minimalist-white-17-best-ideas-about-minimalist-painting-on-pinterest. jpg page 108 Fubiz (2017) Minimalist Square Arch [Digital image] Retrieved 28 June 2017 from http://www.fubiz.net/ wp-content/uploads/2017/04/minimalistsquaresarchi10.jpg

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appendices

appendix one photos of the printed brand catalogues page 132-137

appendix two sensory marketing model page 138

appendix three model of corporate identity, corporate brand and corporate reputation page 139

appendix four example of conversation on instagram with interviewee page 140

appendix five list of interviewees page 141

appendix six interview guide page 142-143

appendix seven structure of experiment page 144

appendix eight interview guide with case brands page 146

appendix nine transcript of interviews attached in a seperate file

appendix ten model of emotional states of mind page 147

appendix eleven coding of interviews attached in a seperate file

appendix one photos of the printed brand catalogue

132

carl hansen & sĂ¸n

133

134

menu a/s

135

136

new works

137

appendix two sensory marketing model

138

sensory strategies in relation to the five human senses

sensors

scent sensors

sound sensors

sight sensors

taste sensors

touch sensors

gastronomic

tactile

sensations

atmospheric

auditory

visual

sensory expressions in relation to smell, sound, sight, taste and touch

the multi-sensory brand experience

customer equity

Adapted from HultĂŠn (2011: 264)

appendix three model af corporate identity, corporate branding and corporate reputation

139

corporate identity

strategic choices

corporate reputation

corporate expression

brand image

reputation dimensions

corporate brand

Adapted from Abratt, R and Kleyn, N (2010) Corporate identity, corporate branding and corporate reputations, European Journal of Marketing , Vol. 46 Iss 7/8, 1050

appendix four example of conversation on instagram with interviewee

140

appendix five list of interviewees

name

instagram name

age

profession

followers*

Benjamin

benjaminbredmose

SOSU-assistent

1.339

/ HF-studerende Sarah

s_jjensen

Designstuderende

2.304

Matias

matias.vase

Grafisk designer

7.620

Stine

stine_bine

Underviser

1.386

Janni

jannkj

Salgsassistent

559

Dortea

teagroenbaek

IT-studerende

568

* the number of followers is updateret 28 September 2017

141

appendix six interview guide

Welcome

142 introduction

Introduce the interviewee to the qualitative interview; feelings, emotions and thoughts should be put into words and said out loud. Let the interviewee explain and introduce him/herself Choose a brand that you like that tells something about you Start Do you use them for reading magazines, blogs, books etc. Which do you prefer to read on and why? What do you (not) like about reading online?

media usage

Computer, tablet and/or smartphone; what do you use the specific items for?

Do you sometimes visit websites which are not online shops?

websites

What are you looking for then? On which medium (computer, tablet, smartphone) do you prefer to browse websites; Why? Remember websites that made an impression on you? How? What do you look for when you visit a website?

What impressions did you get? Do you prefer to shop online or offline? What do the online and offline store offer you?

Have you offered a catalogue or magazine when you visited a physical store?

physical stores

Can you recall a physical store that made an impression on you?

Do you recall a specific catalogue or magazine that made an impression on you? Can you name some brands which you think are good at making magazines or catalogues? Why them? What do you (not) like about catalogues/magazines?

I have brought some examples that we are going to look at You are to express feelings and talk out loud when we look at the catalogue Start by browsing through it as you would do if I was not here Do you know this brand? How do you recognise it? What are your immediate thoughts? What do you notice? Are you intrigued? Are you bored? Are your senses at play? Do you like the feel, smell or sound? Are you activated? Does the catalogue make you think and wonder? Do you read or just look?

experiment

catalogues

What do you think about that?

143

Different version How would you browse through the catalogue? What is different? continued

Do you like the brand? What does the catalogue signalise to you? Would you read this catalogue? x3 First computer, then printed First printed, then tablet First smartphone, then printed

Which of the three catalogues did you like the most; Why? What kind of brands are these three you experienced? Do you experience that in the catalogues? Do the catalogues live up the your expectations about the brands?

the brands

In which of these three catalogues does the brand express itself clearest to you?

If you could choose one catalogue to bring home; which one would you then choose?

at home

What would you do with it when you got home? Where would you place it? Would you show it to others? Would you look at it afterwards? Would you look at the catalogue online again? After this, would you browse catalogues online? Would you share a link? Would you share a photo of the printed catalogue?

Which one offered you the best experience? Do you remember other brand experiences you have had? Online/offline

conclusion

The end Explain the project and research Talk about the issue with printed catalogues in 2017 Future of catalogues; What do you think? Do you think of printed vs. online catalogue as an environmental matter?

brand experience

How has your experience with these brands been?

appendix seven structure of experiment

144

brand one

first, online catalogue

brand two

first, printed catalogue

on computer

brand three

first, online catalogue on smartphone

second, second, printed catalogue

online catalogue on tablet

second, printed catalogue

appendix eight interview guide for case brands

Hvad har det overordnede (strategiske) formål med jeres seneste katalog været? Eller spurgt på en anden måde; Hvorfor har I lavet det her katalog? Hvad har I gerne ville fremhæve i kataloget foruden jeres produkter? Hvordan har I gerne ville fortælle, hvem [insæt brand] er? Hvilke indtryk håber du, at læseren får af [indsæt brand], når de kigger i jeres katalog? I forhold til tekstmængde i kataloget. Har I gjort jer nogen overvejelser der? Har du indtryk, at forbrugere læser indholdet af kataloget og i så fald, i hvilket omfang? Hvem ser du som jeres målgruppe for det her katalog? Hvilken type forbruger håber du tager et [insæt brand]-katalog med hjem? Hvad håber du så, at de gør med kataloget, når det kommer med hjem? - Bliver det brugt eller kommer det til at samle støv? Oplever du/I, at jeres kunder eller forbrugerne kigger jeres online katalog? Udover at have kataloget i print, hvorfor vælger I så også at have det online? Hvordan kan det være, at I satser på det printede katalog frem for det online? Hvad kan det printede katalog som det online ikke kan? Oplever du, at I bruger flere ressourcer på at printe kataloger end I har gjort tidligere? Hvordan kan det være? Tror du, at I bliver ved med at printe? Hvorfor?

145

appendix nine transcript of interviews

146

the transcript is attached in a separate file

â&#x20AC;&#x2DC;appendix 9 and 11: transcript and coding of interviewsâ&#x20AC;&#x2122;

appendix ten model of emotional states of mind

147

sir

arousal

fulfilment

positive or negative

lig

adapted from LindstrĂ¸m (2008: 173)

appendix eleven coding of interviews

148

the appendix is attached in a separate file

â&#x20AC;&#x2DC;appendix 9 and 11: transcript and coding of interviewsâ&#x20AC;&#x2122;

master thesis 2017