Complex relationships abound

Heather Maitland discovers that most research into brands is case-study based and here she explains why

Branding is well researched: Google Scholar comes up with over 6,000 books and articles published in academic journals with ‘brand’ in the title. Mark J Kay1 points out, though, that much of the research into successful brands is based on case studies. These case studies have shaped the way that brands are managed, emphasising the importance of differentiation and consistency. In effect, many researchers and commentators are saying to us, ‘This is self-evidently a strong brand. This is what the company did so we should do it too.’ But often, we have very different products, customers and contexts that make the specifics of the case study irrelevant. Mark J Kay says what is missing is a coherent theory that explains the processes managers and marketers can apply to ensure their own brands are different and consistent.

So why the emphasis on case studies? Much of the research focuses on the complex relationships customers have with brands. Franz-Rudolf Esch and his colleagues2 say most brand managers spend considerable resources on measuring brand awareness and brand knowledge (i.e. what the customer associates with the brand name). They argue that brand managers should focus on the brand relationship as this is far more important in the long term. Brand relationship, they propose, is based on satisfaction, trust and attachment – all emotional factors. Both researchers and brand managers talk about creating ‘emotional truths’ and ‘brand enthusiasm’. Dori Mellitor, for example, says: ‘getting at the subconscious drivers of consumer behaviour required a whole new approach that transcended the traditional sphere of sales data and focus groups. A more strategic approach – one that divines consumer behaviour and infuses it with intuition and imagination – was required…

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Something for Everyone?

Niche marketing may be commonplace in the arts but most arts venues offer a range of events. Heather Maitland explores the marketing of choice.

One consequence of arts organisations’ work to broaden their audiences, visitors or participants is that many end up trying to offer ‘something for everyone’. There are very few venues in particular that single-mindedly pursue a single audience. Contact Theatre in Manchester is one that does, focusing on young adults aged 13 to 30. But even here director, John E McGrath, points out that ‘by breaking down barriers for young people, we also became a popular venue for a range of communities who felt unwelcome in stiff, traditional environments’.

Brands need a single, strong idea and most of these organisations focus on variety.

I’m not sure this works. What if the customer’s response is ‘I don’t want something for everyone, I want something for me!’? Marketing materials, such as season brochures, that present the broad sweep of the organisation’s work become a challenge. How do we guide potential customers through the packed menu to the event or activity aimed at them?

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Heather Maitland provides an overview of the key elements to consider relating to branding

How it works
Everything about your organisation contributes to its identity – your name and address, the way you answer the telephone, the prices you charge, the building from which you operate, your letterhead, your publicity material, what the press say about you and much more. our organisation’s identity must spring from a sense of purpose and a sense of belonging, not just a logo or a slogan. Its artistic work, the buildings in which it works and performs, the way it tells people about what it does and the attitude and behaviour of its staff must all reinforce this sense of purpose and belonging.

Your organisation’s identity must be so strong that people feel that they know what to expect when they see a show, meet a member of staff or visit your office. This means that it can work for you or against you. This kind of strong identity, which creates a set of perceptions in people’s minds, is also known as a brand. An effective corporate identity will help you to get your message across to those around you: funding bodies, potential sponsors, other arts organisations and, of course, your potential audience. It is also a potentially powerful way of communicating what your organisation is all about to people who have no direct contact with your activities. Most importantly, it will tell everybody what makes you different from all the other arts organisations around…

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