Consumers are the creators of brands.  Through the process of creating their brands they become loyal and supportive. That...
<ul><li>Context </li></ul><ul><ul><li>Local authority run city-wide cultural festival </li></ul></ul><ul><ul><li>Complex c...
Branding Principles <ul><li>Brand as identifier </li></ul><ul><li>Retrieval cues </li></ul><ul><li>Promise of performance ...
  Brand Inside the Organisation vs Inside the Stakeholder's Mind (de Chernatony and Riley, 1998)‏ Stakeholder Perceptions ...
Branding Principles <ul><li>Advantages of a strong brand </li></ul><ul><ul><li>Loyalty, less vulnerability to competition ...
Brand Building Process Create a Brilliant Strategy Execute it Brilliantly Tell the world about it Reflect, revise and star...
Create a Brilliant Strategy <ul><li>What is the brand about? </li></ul><ul><ul><li>The original purpose was to market a lo...
Reaching a Vision <ul><li>Re-examined values and purpose </li></ul><ul><li>Put designer-makers (rather than venues) at the...
Future Vision <ul><li>The new Vision: </li></ul><ul><ul><li>To be a truly brilliant festival with an international reputat...
Short Term Goals <ul><li>Develop new image and shift perceptions </li></ul><ul><li>Better ‘buy in’ from stakeholders </li>...
Long Term Goals <ul><li>Improve profile, reputation and status  </li></ul><ul><li>Year round activity (brand recall)  </li...
Have brilliant ideas and execute them brilliantly <ul><li>Cycle 1 - 2003 </li></ul><ul><ul><li>New vision and goals helped...
Connecting to the Marketplace <ul><li>Needed a strong brand with self-expressive elements  </li></ul><ul><li>Time and mone...
2003
Cycle 1 – A Modest Shift <ul><li>Designer-makers, funders, partners loved it </li></ul><ul><li>Festival was well received ...
Cycle 2 - 2004 <ul><li>Better understanding of the brand </li></ul><ul><li>The next festival focused on national appeal </...
 
Cycle 2 – Gets Results <ul><li>Everyone wanted to be a part of it - new partners were calling us </li></ul><ul><li>VIPs wh...
Cycle 2 – Gets Results <ul><li>Credibility </li></ul><ul><li>Confidence </li></ul><ul><li>UK Crafts Council endorsement </...
Tell the World About it <ul><li>Stakeholder management – informal, face to face, 'friend-making' </li></ul><ul><li>Targete...
Conclusion <ul><li>Audiences and stakeholders accumulate experience & knowledge over time to create the brand in their hea...
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Case Study In Arts Branding

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Presented at the Academy of Marketing Arts and Heritage Special Interest Group, London Metropolitan University, 2006

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Case Study In Arts Branding

  1. 1. Consumers are the creators of brands. Through the process of creating their brands they become loyal and supportive. That is why brand development is so important to the arts.
  2. 2. <ul><li>Context </li></ul><ul><ul><li>Local authority run city-wide cultural festival </li></ul></ul><ul><ul><li>Complex community steering group with multiple agendas </li></ul></ul><ul><ul><li>Low profile, poor reputation, weak brand </li></ul></ul><ul><li>Opportunities </li></ul><ul><ul><li>Cultural event as a means of branding a place </li></ul></ul><ul><ul><li>Branding principles to develop a cultural festival </li></ul></ul><ul><ul><li>Branding principals to galvanize and focus stakeholders </li></ul></ul>A case study in arts branding: Brilliantly Birmingham
  3. 3. Branding Principles <ul><li>Brand as identifier </li></ul><ul><li>Retrieval cues </li></ul><ul><li>Promise of performance and value </li></ul><ul><li>Brand as facilitator of the the consumer choice process </li></ul><ul><li>Tangible and intangible components of a brand </li></ul><ul><ul><li>Functional – are utilitarian needs being met? </li></ul></ul><ul><ul><li>Representational - are emotional and self-expressive needs being met? </li></ul></ul>
  4. 4. Brand Inside the Organisation vs Inside the Stakeholder's Mind (de Chernatony and Riley, 1998)‏ Stakeholder Perceptions Response relationship Confidence Rational: Emotional: Performance Psychosocial match Brand inside stakeholders mind. Shorthand device Stakeholder Value Time Time / Experience Brand inside the organisation Corporate culture, heritage Values Mission Vision Naming policy, functional capacity, service, risk reducer, communicator, legal, personality Organisation Stakeholder
  5. 5. Branding Principles <ul><li>Advantages of a strong brand </li></ul><ul><ul><li>Loyalty, less vulnerability to competition (when budgets get cut)‏ </li></ul></ul><ul><ul><li>Larger margins (larger grants)‏ </li></ul></ul><ul><ul><li>Greater trade cooperation (better partnership working)‏ </li></ul></ul><ul><ul><li>Increased marketing effectiveness </li></ul></ul><ul><ul><li>Licensing opportunities </li></ul></ul><ul><ul><li>Brand extension opportunities </li></ul></ul>
  6. 6. Brand Building Process Create a Brilliant Strategy Execute it Brilliantly Tell the world about it Reflect, revise and start again!
  7. 7. Create a Brilliant Strategy <ul><li>What is the brand about? </li></ul><ul><ul><li>The original purpose was to market a loosely connected group of venues that exhibited designer maker work </li></ul></ul><ul><ul><li>Lacked credibility, confidence and profile </li></ul></ul><ul><ul><li>Perceptions and engagement was low </li></ul></ul><ul><ul><li>Low investment both emotionally and financially </li></ul></ul><ul><ul><li>Not recognised by potential regional and national partners </li></ul></ul>
  8. 8. Reaching a Vision <ul><li>Re-examined values and purpose </li></ul><ul><li>Put designer-makers (rather than venues) at the heart of the festival </li></ul><ul><li>Connected to the luxury goods market and aspirational brands </li></ul><ul><ul><li>Build through image and advertising </li></ul></ul><ul><ul><li>Through the intangible and self-expressive elements of the brand </li></ul></ul><ul><ul><li>Through style </li></ul></ul>
  9. 9. Future Vision <ul><li>The new Vision: </li></ul><ul><ul><li>To be a truly brilliant festival with an international reputation for style, quality, craftsmanship and innovation that supports designer-makers and raises the profile of Birmingham and the Jewellery Quarter as a centre of excellence in jewellery design. </li></ul></ul>
  10. 10. Short Term Goals <ul><li>Develop new image and shift perceptions </li></ul><ul><li>Better ‘buy in’ from stakeholders </li></ul><ul><li>Attract new partners and increase revenue and fundraising </li></ul><ul><li>Inspire marketing assets (website & catalogue)‏ </li></ul><ul><li>Shape marketing infrastructure </li></ul>
  11. 11. Long Term Goals <ul><li>Improve profile, reputation and status </li></ul><ul><li>Year round activity (brand recall) </li></ul><ul><li>Grow the market and sector </li></ul><ul><li>Improve visitors and sales 10% per year </li></ul><ul><li>Improve locations </li></ul><ul><li>Internationalise </li></ul><ul><li>Improve relationships with funders </li></ul><ul><li>Develop new relationships with regional and national organisations </li></ul>
  12. 12. Have brilliant ideas and execute them brilliantly <ul><li>Cycle 1 - 2003 </li></ul><ul><ul><li>New vision and goals helped us to fundraise </li></ul></ul><ul><ul><ul><li>Enabled a website, designer-maker catalogue, PR consultant and better design </li></ul></ul></ul><ul><ul><li>Too late for programme development </li></ul></ul><ul><ul><li>Focused on visual identity </li></ul></ul><ul><ul><ul><li>Move away from typical images and presentation found in the crafts sector </li></ul></ul></ul><ul><ul><ul><li>Connect to the consumer in an aspirational way – luxury brands! </li></ul></ul></ul>
  13. 13. Connecting to the Marketplace <ul><li>Needed a strong brand with self-expressive elements </li></ul><ul><li>Time and money to create a new image was insufficient </li></ul><ul><li>An interim design was developed for the 1 st brand cycle. </li></ul>
  14. 14. 2003
  15. 15. Cycle 1 – A Modest Shift <ul><li>Designer-makers, funders, partners loved it </li></ul><ul><li>Festival was well received by local press </li></ul><ul><li>Improved audience numbers and sales </li></ul><ul><li>Surveyed consumers </li></ul><ul><ul><li>Attitudes positive </li></ul></ul><ul><ul><li>Fashion and style were important elements of the brand </li></ul></ul><ul><li>Still no national media or attention from national partners </li></ul>
  16. 16. Cycle 2 - 2004 <ul><li>Better understanding of the brand </li></ul><ul><li>The next festival focused on national appeal </li></ul><ul><ul><li>Improved the programme </li></ul></ul><ul><ul><ul><li>Steering group more aspirational </li></ul></ul></ul><ul><ul><li>Focus on High Street - retail </li></ul></ul><ul><li>Same design team, but a modest budget and time to create a new image </li></ul>
  17. 18. Cycle 2 – Gets Results <ul><li>Everyone wanted to be a part of it - new partners were calling us </li></ul><ul><li>VIPs who previously never had time for us came to the launch </li></ul><ul><li>Invitation to exhibit at Milan Fashion week </li></ul><ul><li>Press - front page of the Birmingham Post Fashion supplement, front page of the Evening Mail, 1/2 page in the Saturday Telegraph travel section, mention in Marie Claire </li></ul>
  18. 19. Cycle 2 – Gets Results <ul><li>Credibility </li></ul><ul><li>Confidence </li></ul><ul><li>UK Crafts Council endorsement </li></ul><ul><li>Approaches from major funders </li></ul><ul><li>Improved audience numbers </li></ul><ul><li>Began to internation alise </li></ul>
  19. 20. Tell the World About it <ul><li>Stakeholder management – informal, face to face, 'friend-making' </li></ul><ul><li>Targeted communications at regular intervals </li></ul><ul><li>PR throughout the year </li></ul><ul><li>Strategic! </li></ul>
  20. 21. Conclusion <ul><li>Audiences and stakeholders accumulate experience & knowledge over time to create the brand in their hearts and minds – it belongs to them! </li></ul><ul><li>Brands do much more than identify or retrieve cues or promise performance and value </li></ul><ul><li>Brands are short cuts for consumer choice </li></ul><ul><li>People develop bonds with brands that solve their problems and satisfy their self-expressive needs </li></ul>

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