Thun case

CASE THUN: WHEN TOUCH-POINTS
CREATE VALUE
CASE THUN (A)
“A fairy-tale world, a real success”
Chiara Mauri
Maria Elena Cavazzana
Elisa Maira
(protocollo n° XXX)
Copyright © 2013 SDA Bocconi, Milano
Eventuale nota

SDA Bocconi School of Management Case THUN
Chiara Mauri, Maria Elena Cavazzana, Elisa Maira
CASE THUN: WHEN TOUCH-POINTS CREATE VALUE
CASE THUN (A) “A fairy-tale world, a real success”
“Last Friday, I was for the first time in a THUN store, piazza Wagner, Milan, with my two girls and a friend
of them.
The two shop keepers knew everything of THUN: the creative process, the forthcoming opening of shops, and
also the temperature of the oven. Four days a year they go to THUNINVERSITY in Bolzano to receive
training. It’s a corporate "bath".
Next Sunday, children can go there and paint their own white angel!!
My girls were engaged by THUN, because one of the shop keepers created a necklace with a wooden
butterfly with their names, and showed them all the new collections of angels”.
A first time visitor of a THUN store
THUN S.p.a., a multi-national company located in Bolzano (Italy), is a strong brand in the manufacturing and
retailing of ceramic items and a wide range of other products in the gift and house-ware markets. Founded in
1950 by Lene and Otmar Thun, the company is owned and run by their son Peter Thun, who describes THUN
as a “family fairy-tale”: a world of touching and fascinating handcrafted creations, still guided by the strong
values of the founders.
In 2012, THUN had a turnover of about 115 million Euro, and the sales volume of the World THUN reached
220 million Euro, 8 percent more than in 2011.
THUN network counts more than 300 mono-brand shops, and THUN products are sold in more than 3,000
points of sales.
1. History and Brand Evolution
Count Otmar Graf von Thun und Hohenstein came from
Innsbruck, where he worked as the Chief of the Tyrol Tourism
Office. He was really fond of art, in particular he enjoyed
literature, painting and music.
Right after the Second World War, at 35 years old, external
circumstances forced him to go return back to Alto Adige to start
a new life. Alto Adige meant a return to the origins, because in
the 17
th
century the Thun und Hohenstein Counts originally
lived in the then famous Thun Castle, located in a valley called
Val di Non.
Otmar learned Italian thanks to some relatives who lived in
Trento, and started to work for a potter in Brunico. It has been in
Brunico, in the office of the architect for whom she worked as an
apprentice, that he met Helene Grabmayr von Angerheim, whose
family owned the now luxury four-stars Hotel Stiegl Scala in
Bolzano. It was love at first sight, even if Otmar was 16 years
older than Helene.
Both shared a passion for the arts, and in 1950 they decided to
create the Officine Ceramiche THUN (“THUN Ceramics
Lene and Otmar Thun
Copyright © 2013 SDA Bocconi, Milano 2

Laboratories”), retaining a 50% ownership each. The company became a successful producer of tiles for
ceramic stoves, but also of statuettes and small house items, which were decorated with Lene’s motifs and
designs. Over time, the statuettes and household items businesses revealed more promising for the future
development of THUN than the ceramic stoves, and eventually the stove division was sold.
The Counts got married on August 21st, 1951 and moved to the attic of Klebstein Castle, where they also
rented the basement to use it as a laboratory. From the very beginning, the THUN’s were promoting their
culture and value with a short fairy-tale which is still the leitmotiv of the company today: "In a country
between North and South, the encounter between two cultures, drawing from tradition but facing the new, we
work to bring joy to us and to others".
During the years, Lene committed herself to the creation of new products, while Otmar took care of the sales
and marketing management.
Inspired from the little faces of her sons Matteo (1952)
and Peter (1955) while they were sleeping, Lene crafted
the first masterpiece of the THUN collection, the Original
Angel of Bolzano. This Angel revealed to be an incredibly
successful creation, and became almost iconic,
contributing to the fame of the brand: it was the archetype
of the immense production of the company. Both the
design and the manufacturing process drew inspiration not
only from Alto Adige craftsmanship, but also from
Romanesque and Gothic art. Lene was influenced also by
the art of ancient Greeks: she studied the works of artists
such as Phidias and Praxitele and made trips to Greece
during her summer holidays.
The Countess considered her creations as newborn
children to be taken care of, and she put all the prototypes
in the careful hands of designers.
Lene was really talented and generated a creative chaos
around herself; she was able to catch the profound essence
of things, and strongly believed that enthusiasm is the soil
on which bright ideas germinate. Lene was beautiful and
vibrant. When Otmar had important meetings, he asked her to observe the people because he trusted her
impressions and judgments. Few words were enough for her to understand people’s attitudes and tempers.
She was attentive and caring and never forgot the birthday of anybody working in the Company. The day of
the birthday, she arrived with fresh flowers taken from her garden, and she used to wrap her gifts with
common brown paper painted by her.
Otmar, on his behalf, considered the Company as a small
citizenship with its own social structure, and thought of his
collaborators as creative and responsible people.
In 1965 THUN, which then counted 35 employees, moved
to Aslago, one of the administrative districts of Bolzano.
The THUN’s bought and restored an 800-year old manor,
using the barn as office and showroom and the cowshed as a
manufacturing premise. The manor was chosen also because
of its medieval frescos on the walls, which Lene thought
could inspire her creative process.
Matteo and Peter, raised by Lene with the help of Aunt
Karoline, were two young boys endowed with endless
fantasy and a passion for adventurous hobbies: hang-gliding,
motorcycling and go-kart racing were almost everyday
routine.
In 1978 the Counts entrusted the management of THUN to
their second-born Peter, who gave new impulse to the
company’s incredible growth. In the same year, the first
catalogues featuring the entire THUN collection were
issued, which today have become precious items for
The Angel of Bolzano
THUN Store in Rivoli Veronese

collectors.
After years of rapid growth, in 1990-1991 the company needed a larger site, and on May 15
th
, 1992 THUN
inaugurated a new building in Via Galvani, 1992. The new headquarter of the Company, later known as the
THUNIVERSUM (2002), was designed by Matteo Thun, who worked with the famous architect Ettore
Sottsass. The logistic unit was separated from the offices, and moved to Rivoli Veronese in 1996.
In the same year 1996, the first THUN Store opened at Rivoli Veronese: it was a large and elegant shop, with
a special section for irregular and discontinued products.
In 1998 THUN Club was founded. Lene got the insight to create the Club from the huge amount of letters and
pictures she received from fans and collectors, and she interpreted the Club as a virtual place where the fans
could gather and find the newest products. The Club has continued to grow, and in 2013 counts more than
100,000 members.
In 1999 THUN began to place advertisements on the press and the brand awareness kept on growing thanks
to the creation of the first shop-in-shops in Italy.
THUNIVERSUM opened in 2002, serving as a temple, a museum, and also a point of sale for the brand,
where the visitor could experience the THUN world. This is a milestone in the history of THUN, and it
testifies that the Company has became aware of owning an actual brand rather than a collection of products.
The creation of THUNIVERSUM brought in the company a strong desire to understand in depth THUN’s
brand image, to help communicate the brand both externally and internally. A large research on brand image
revealed the attributes and benefits associated to THUN, which were used to educate all employees and above
all sales people and store managers. 2002 was also a crucial year for an important change in the
communication strategy, which was now focused on the emotions created by the brand.
Countess Lene died in July 2004, but the Company continued to grow and to expand: in 2005 the first THUN
stores were opened. Nowadays there are more than 300 THUN shops (stores in franchising), and a network of
approximately 1,300 dealers in Italy, including 700 shops-in-shop.
The focus on emotions was carried on further with the Countess Lene Thun Foundation, with the objective of
helping disabled people by getting them to know the joy of modeling ceramics.
In 2008 the Company engaged in international expansion with the opening of the first shops in Spain.
2. Countess Lene THUN
Since the very beginning, THUN has been a lively company, in which Countess Lene’s involvement was great
and constant. Lene was a simple yet highly sophisticated person, often described as a woman of incredible
dignity and modesty by her closest friends. Lene was respectful, gentle and attentive: she liked to please the
people that surrounded her with little gestures, such as picking fresh flowers in her garden as gifts for their
birthdays.
“Lene’s affections for others was sincere: perhaps this
was the reason why everybody was so emotionally
involved by her”.
Countess Manuela Von Thun und Hohenstein, Lene
Thun’s sister-in-law
“When the Countess arrived at the atelier in the morning,
we could feel her presence before actually meeting her:
she literally vibrated with energy. Then she wore her
white overall and started working”.
Monica Dallarosa, Lene Thun’s closest collaborator
It was enchanting to watch Lene modeling clay, observing
how she could transform and bring it to life. Something
extraordinary happened as soon as she started touching
the clay: it was as if she forgot everything around her and
Lene ThunCopyright © 2013 SDA Bocconi, Milano 4

concentrated on rendering the feelings and emotions that already shaped a concrete figure in her mind. Lene
infused all her work with enthusiasm, joy and passion. The secret and the magic behind the success of her
creations come from the love she poured in each single product she crafted.
“For each object, for each angel,
the Countess had a story to tell and it was fascinating to hear her telling it”.
Alessia Bozza, THUN Club
Another aspect of Lene’s character made her an essential presence in the Company: Lene could really
understand people, to the point that Otmar used to involve her in all his important meetings because he trusted
his wife’s instinct and opinions.
During meetings and conventions, Lene was often invited to tell her story: the story was always the same and
however different, because she was able to turn it into a sort of magic fairytale to which people listened even
holding their breath. Everybody was ravished by the aura of that simple yet extraordinary woman.
One can say that Lene’s love and tenacity derived from her own origins: from her family, from her husband
Otmar (who inspired her and stayed by her side), from her sons and nephews, from her friends and also from
her region, Alto Adige.
Lene’s grandparents, Anna and Josep Trafojer, owned the Stiegl Hotel in Bolzano and headed a numerous
family. Unfortunately, Lene’s father died at 38 years-old when she was only 8, but the solidity of the family
was so strong that all the clan gathered around Rosa and her two daughters, Lene and Renate.
During those years, the hotel, managed by one of Rosa’s brothers, was an important meeting point for
personalities and intellectuals belonging to the worlds of art, culture, sport and politics. In such a lively and
intellectually stimulating environment, Lene and Renate had the opportunity of growing up as strong,
courageous and independent women, also thanks to the education they received from Rosa and from their
aunts.
“I have always wondered where her affection for others came from and what was the secret of her charisma.
The roots of her character were to be found in her family, in the strength of other women like her mother and
her aunts. Behind these extraordinary women there was an entire world”.
Countess Manuela Von THUN und Hohenstein, Lene Thun’s sister-in-law
With Otmar, it was love at first sight, despite the 16 years age difference. Otmar was profoundly in love with
his wife, and thought of her as the most beautiful gift he was ever given. Lene herself, when asked what
present she wanted for her wedding, simply answered “I can’t think of anything other than how happy I feel”.
Lene’s and Otmar’s family background was similar: they both came from extremely solid families. The
couple also shared a passion for art, music, nature and excursions on the mountains. They were noble people
who could however rejoice in simple things.
The death of the Countess in 2004 was a painful event for many people. The reactions of the THUN’s fans,
paired with the signals of love she received while still alive, helped THUN realizing the extent to which
Lene’s personality and experience could survive her death, and could be a very unique and enriching element
of THUN’s image. In a short time, Lene had become a myth, and her memory is now part of the brand equity.
The fact that THUN is still guided by Lene’s son
Peter is a sort of guarantee that Lene’s legacy will
nurture the brand for a long time.
“Our mother liked to remind us that the good things
about dreams is that they sometimes come true,
demonstrating us day by day how deep was her faith
in dreams. All this and especially her example helped
us to grow up and become the persons we are today.
The thing that makes us extremely proud is knowing
that with her creations she succeeded in reaching the
hearts of many people, adding a touch of joy to their
lives”

Matteo and Peter Thun, Lene Thun’s sons
3. Creative process and
manufacturing - From the creative idea to the final product
The manufacturing process is so fundamental that a special section of THUNIVERSUM is dedicated to it.
Visitors can get a precise picture of the phases of the process, can see the elements that make it and can
admire samples of unrefined products.
In the beginning, Countess Lene was the true creative mind and also the artisan who designed both the
production process and the final products, but across time her creativity was complemented by a team of
professional designers working hand-in-hand with the R&D department.
While the creative part of the process takes place entirely in Bolzano, actual manufacturing has been moved
to China. Each THUN’s new item is designed in Bolzano, where also the first batch of products is
manufactured. Then the production takes place in the Chinese plant, strictly adhering to THUN’s directives
and established manufacturing processes: raw materials and color formulas are the same employed in Italy,
and all the clay is high-quality and imported from Germany. Each piece is then sent to Italy for quality
control.
THUN started considering of moving the manufacturing to China in 1992. After a partnership with a local
producer in 1995, THUN created its own plant in 2000. Luciano Roberti, the Company’s CFO, explained
that, being THUN products handmade, “it wouldn’t have been possible to keep the manufacturing in Italy,
because prices would have been absurd”. Roberti said that “what comes out of the Chinese plant is actually a
THUN product”. Another advantage is that Chinese workers are meticulous, quick and productive, which are
important characteristics for such kinds of products.
THUN protects its products with an international copyright, an essential asset when operations are based in
China, where counterfeiting is so common. In addition, the company employs a special taskforce of inspectors
who constantly monitor points of sales, exhibitions and fairs all over the world.
The creative and manufacturing process of each THUN’s ceramic product follows 7 steps.
1. The manufacturing process is primarily influenced by the creative idea that stands at the basis of
each single THUN product.
2. A team of professional creative designers defines the production process working hand-in-hand with
the R&D department.
3. Basing on the design developed for each product, a mold is created by using plaster cast. Each mold
can be employed only 80 times, then a new one is created.
4. Liquid clay is poured into the mold, originating a rough and unrefined product.
Lene Thun necklace
THUN’s creative and manufacturing process

5. In the trim size, excess clay is removed and the surface of the product is smoothed and polished with
a natural sponge.
6. The product is ready to be cooked for 24 hours at 1040°C in a methane oven.
7. Once the product has cooled, it is painted and decorated: this part of the process is crucial because it
is entirely handmade, making each THUN product unique and different from the others. After a first
coat of paint, the decorator focuses on the small details and then applies a layer of gloss. The third
coat is a light, sparkling gold polish, which gives the product its characteristic glow. Finally, the
color is fixed with a top coat.
4. THUN products
At the beginning, the primary business of THUN were tiles for stoves; however, the focus shifted rapidly to
the figures and objects originated from the creativity and modeling skills of Countess Lene.
Starting with the very famous “Angel of Bolzano”, which is still produced in many versions and remains the
brand icon, over the years THUN has become an important player in the gift and collectors’ item market.
Eventually, the company abandoned the ceramic stove business because of its complexity, and focused on the
more profitable and growing gift and collectors’ market. Clay has always been the main component of THUN
creations, but both the evolution of the brand and the need for growth of the business have stimulated the
diversification of the product portfolio and also of the search of new avenues. Examples of these are textiles,
bijoux and jewels, toys.
In 2013 THUN’s assortment is organized in four worlds: Casa (Home), Donna (Woman), Bimbo (Kids),
Momenti (Occasions).
THUN’s original focus is the Home, where the woman is the “angel at the hearth”. While the first products
were mainly figurines to collect, the new additions have been related more and more to functional uses
dealing with the different aspects and moments of life at home: dishes and tableware, home textiles, vases,
clocks, small furniture, etc. The first diversification was the Kids’ world, which is not so far from home-
woman: toys, baby clothes, and furniture. Together with Kids, THUN put under focus the world of Occasions
as a strategic business, rationalizing the existing items, developing new items, and exploiting every single
THUN’s 4 worlds

occasion of the year, not only Christmas and Easter, but also minor occasions such as Saint Valentine’s Day,
Mother’s Day, Back-to-School, Halloween.
The most recent move is the creation of the Woman World: jewels, scarves, bags, hats, and accessories. In
this way, THUN brand is able to target the woman in each of her different social roles: she decorates her
home with THUN products, but now she can also wear and show the brand outside.
In 2013 the length of the total assortment is around 2,100 items (sizes and colors included), and the depth of
each product line varies from 15 to 60 items. The distribution of the items in the four worlds is the following
(February 2013):
Casa (Home): 658
Momenti (Occasions): 536
Bimbo (Kids): 512
Donna (Woman): 384.
THUN’s 4 Worlds are displayed in the THUN’s website (www.THUN.it), and each is organized in families
and sub-families. For example, the world “Bimbo” includes six product lines: Dreamhugger, Nannaò,
Children’s room, Textiles, THUN Friends, THUN Play. The figure below shows a screenshot of the products
as they appear on the website.
5. Logistics
THUN’s first logistic site was originally located in Rivoli Veronese, but business growth revealed soon that
this only site was insufficient both in terms of storage and shipping management. Looking for new solutions,
THUN initially decided to employ a third party for its logistics, but this was not a sustainable strategy in the
long term. Therefore, the Company eventually decided to build a new logistic unit that could accommodate its
needs in the most efficient and effective way.
THUN’s web site

The first concern to be addressed was the ideal location for this facility: barycentric with regards to the
distribution of THUN products in Italy, and at the same time positioned in the vicinity of the primary
international highways in order to facilitate expansion abroad. THUN needed a large surface area, and they
wanted a building a highly visible and coherent with THUN’s image. The final choice was the logistic hub of
Valdaro, near Mantua and on the Modena Brennero highway, where THUN bought a 140,000 m2
piece of
land. In addition to the good location with respect to the highway, the logistic hub of Valdaro takes advantage
of a connection to the railway and of an harbor that directly links the Po river to Venice.
The new logistic covers a service area of 35,575 m2
, expandable to 75,590 m2
.
Besides the 35,575 m2
logistic unit, the facility also includes a store of 1,665 m2
and an area for the offices of
3,000 m2
. Matteo THUN played a big role in the project of the building. The colors of the walls are inspired
by the natural elements: the central part, which is the heart of the facility, is painted in yellow and brown to
recall the earth; the shipping area is dominated by red and orange like fire, and the warehouse is blue like
water. Even the machinery is painted, trying to foster aesthetics, functionality and efficiency.
All the processes that take place in this large logistic unit are conceived and configured so as to optimize the
flow of goods and to maximize customers’
service levels. For example, multiple orders
coming from different retail stores are filled
simultaneously by cumulating the pick-up of
the items that are present in more than one
order, using a pick to belt technique: each
product is put on a conveyor belt and carried to
a double-deck sorter that sorts them among the
packing lines. The sorter, which costs 10
million Euro, can sort more than 19,500
products per hour, a total of 156,000 products
per day.
There are 252 packing lines, but the number
can be augmented in order to cope with long
term needs. In the pick-to-belt zone, products
are stocked on rollers which are suitable for
receiving pallets (for fast moving products) or
parcels (for medium moving products), or on
shelves (for slow moving references).
All the activities of the logistic unit are governed by a sophisticated warehouse management software that
performs also some simulations in order to determine
the optimal way to assemble orders.
THUN’s large investment in the facility (51 million
Euro) in the new logistics site allowed the Company to
achieve the following results:
A significant decrease in the time needed to
prepare an order (only a few hours for urgent
orders);
No shipment errors;
Lower number of people employed;
Maximum safety in the workplace;
Increase in the Company’s operating
flexibility;
Improvement in the Company’s image.
The double deck sorter
Anthropomorphous robot

6. Distribution and retailing
THUN‘s products have been distributed only through indirect channels until the beginning of 2000’s. Before
that time, in Italy THUN was distributed through a network of around 500 stores operating in the house-
ware/gifts/wedding lists retailing. These multi-brand stores are very efficient in developing brand awareness
and have a critical role to gain brand availability, but are weak in building brand image and brand resonance.
In 1996, THUN opened its first THUN retail place in Rivoli Veronese, where they had a logistic unit: it is a
large store with a significant area displayed as an outlet. This opening signed the beginning of a radical
change in channel strategy, that started to shift from indirect to more direct channels (shops-in-shop and own
stores) where the company could exercise a stronger control on its brand image. Shops-in-shop, initiated in
1999, were managed as special areas dedicated to the brand displayed in traditional multi-brand stores, while
own stores were conceived as places offering a complete brand experience. The first THUN shops were
opened in 2005 as franchised businesses tightly controlled by the Company. Up to 2010 THUN stores were
100 percent franchised stores, but afterwards the Company decided to add directly-controlled stores in
prestigious and strategic locations to increase brand reputation and prestige.
In 2001 THUN opened its second THUN store in Bolzano, but the most important retail innovation took
place in 2002 with the opening of the THUNIVERSUM. THUNIVERSUM is a brand store in the true sense
of the word: 2,500 m2
completely dedicated to the world of THUN where the customers can see the entire
assortment of THUN products as well as the latest novelties.
In 2012, THUN’s retail network of around 1,300 touch-points included six formats:
- 650 corners and shops-in-shop < 30 m2
(18 m2
on average) displayed in authorized multi-brand
stores. These points of sale represent the natural evolution of the traditional channel;
- 50 “large” shops-in-shop (40 m2
on average) in authorized multi-brand stores;
- 300 THUN shops, mono-brand, directly owned or franchised (average size 70 m2
). In the last three
years, the opening rate has been 50 shops per year;
- 2 large THUN stores, directly controlled, one of which is part of the THUNIVERSUM;
- 1 concept store, the THUNIVERSUM.
- The remaining touch-points are authorized multi-brand
stores, the first and traditional channel. They are stores
selling gifts and house-ware, located mainly in touristic
areas.
There is a sort of hierarchy of these channels in terms of intensity
of brand experience: the basic step is the traditional multi-brand
store, while at the top there is the THUNIVERSUM.
The different intensity of the brand experience of the different
formats translates into a significant difference in sales/m2
, which
increases of around 25 percent going from the shop-in-shop to
THUN shopTHUN shop-in-shop
The intensity of brand experience

the THUN store.
Franchised stores are located in pedestrian downtown streets, highly commercial streets, and shopping malls.
After the first openings, the company decided to put at work the acquired experience, and developed a model
to estimate the break-even-point and hence the potential business of new locations.
Franchised stores are tightly controlled through a series of services, segmented in terms of pre-opening and
post-opening. Among the first: support in the choice of the location, strategic and financial consulting (in
terms of both revenues and profits), business plan, initial advertising campaign, choice of the information
system. Among the latter: co-op advertising at a local level, organization of local events, shop windows
dedicated to special occasions (St. Valentine, Mother’s day, Christmas time, etc.).
Thanks to a sophisticated information system and a dashboard of key performance indicators, THUN
headquarter is able to
track the performance
of each store, and to
manage effectively
and efficiently both
retail and logistics
operations.
With the increase of
the women collection
in the late 2010’s
(purses, foulards and
other accessories),
THUN realized that
the actual THUN
shops were not a
proper channel for
such a fashion line,
and in 2012
announced the
opening of a new
distributive format for the Women World: 8 THUN Donna stores were opened in 2012, and 20 new stores
were to be opened in 2013. These new mono-brand stores, half of which directly owned, are smaller (35-40
m2
) than traditional THUN shops and are conceived as intimate and warm places similar to fashion ateliers.
7. Foreign markets
Until 2005, internationalization of THUN has consisted almost exclusively of licensing the products to multi-
brand stores in German-speaking countries, and in countries close to north-east Italy: Austria, Germany,
Switzerland, Luxembourg.
In 2005 THUN started a new venture to really conquer a foreign market, and opened its first THUN shop in
Madrid (Spain). The reason behind this move, which signs a sort of shifting from exporting to brand building
in a foreign market, is that THUN developed a strategic thinking of the ideal market for its products. They
realized that is not simply going nearby that you find new avenues for growth, but rather going where people
appreciate your message, and hence your products.
THUN’s icon products and collections are related to specific occasions: Christmas, Easter, family events such
as marriages and ceremonies. Feelings like love, joy and friendship are the drivers of purchasing a THUN
statuette, which people often buy for gift-giving. A research conducted in different European countries
revealed that Spain was very close to Italy in terms of cultural values, and this was the main reason behind
opening the first THUN shop in Spain. The move, which was supposed to be quick and easy, revealed
however unforeseen difficulties, with sales well below expectations. The stores were very similar to the
Italian stores: same kind of location, same display, same atmosphere, similar assortment… but the number of
shoppers was too little. After opening three THUN shops, all located in Madrid, THUN decided to stop
temporarily the strategy of expanding in foreign markets through the opening of own stores.
In 2013 the international network of THUN retailing contact points is made almost totally by shops-in-shop:
THUN Donna store

228 in Germany;
61 in Austria;
23 in Switzerland;
2 in Luxembourg;
9 in Spain.
8. THUN consumer
THUN sees its consumers as a source of creativity and puts them at the center of its strategic processes.
THUN’s historical target was mainly composed of women aged 25-44, medium-high culture, average to high
income.
Consumer path-to-purchase is at the heart of THUN’s thinking about its customers. A marketing research
done in 2011 has grouped THUN customers in 5 main segments.
Gifts seekers: these consumers are looking for a gift for a special occasion, like Christmas or a
birthday, and the specific choice is related to the profile of the gift receiver in terms of sex and age.
Their selection of the brand is occasional, and is mainly due to word-of-mouth or to the knowledge
of the receivers’ love for THUN.
Events protagonists: these customers are those who choose THUN to celebrate a very special
occasion, typically a marriage or a baptism. They mainly look for bonbonnières or all-alike objects
to be donated as a remembering of the event-day or occasion.
Feeling needy customers: these customers, who are the closest to the THUN world and values, see
the product and the buying experience as a way to fulfill an emotional need. For them, the purchase
of a THUN product is a way to bring heartfelt joy to themselves and to others. In this segment there
is a non-marginal sub-segment of THUN fans: they are THUN collectors who participate in the
THUN Club and are very involved in all the activities of the brand.
Product collectors: these customers collect items of different kinds, maybe cups, angels, owls, and
also fairy-tale characters and nativity scenes. They choose only the THUN products of that specific
subject, which then become simple items in their collection. The brand is not so much important to
them, because they are interested only in the product category.
Souvenir buyers: this segment includes people who, when they go on tourism, like to purchase
objects to remember the experience. THUN attracts this segment thanks to the variety of products,
the wide range of prices and its network of well-located stores.
The same research has shown that when interviewed about the brand associations and the personality of
THUN, the most loyal customers have a better capability of expressing their judgments feelings about the
brand and tend to use the same language of the company. While gift seekers and souvenir buyers associate to
THUN adjectives such as “nice” and “beautiful”, feeling needy customers and product collectors use
expressions such as “magic”, “tender”, “warm”, “sweet”, “they make me dream”, while THUN products are
“refined”, “tender”, “chubby”. When asked to describe THUN as a person, the first segments focus on the
physical aspects, and THUN is imagined as a tall, blond and old man. On the other side, the most engaged
customers tend to consider only the emotional personality, which is described as sweet, joyful, generous,
sensitive, altruist.

9. THUN fans and THUN Club
In 1998, THUN was among the first companies in Italy to understand
that the creation of intimate brand attachment and engagement could
be an effective strategy to connect their individual customers. In that
year Countess Lene received three letters that touched her sensibility.
The first was telling how much even the simple sight of a THUN
statuette shaped as a clown could make people smile; the second was
written by a prisoner who whished to donate the iconic “Angelo di
Bolzano” to his mother; the third was written by a German musician
who, inspired by THUN product, had created a new music. Thank to
these three letters, and to many others, Countess Lene realized that
each customer is special and unique, and started to think of a magic
place for THUN lovers both in metaphoric and real sense.
Their real insight was the understanding that individual feelings and
resonance with the THUN brand could be a catalyst to create a
THUN tribe. In the same year, Lene THUN and her son Peter created
the THUN Club, the official THUN’s brand community.
"We were aware that over time the letters we received from customers and admirers all over Europe had
become more and more personal, more intimate."
Peter Thun
Given the growing number of fans who expressed the need to communicate their feelings for the brand, the
THUN Club was designed to enable members to meet other people who shared the same passion. A second
aim of the THUN Club was to create a magic world to gather all the fans and make every member feel
special.
The number of members has been growing rapidly, and in 2013 the brand community is involving more than
100,000 people. In 2008 the THUN Club celebrated its 10th
anniversary with a special event in Bolzano:
7,000 people attended from all over Italy, and also from Germany, Austria, Switzerland and Spain.
Thanks to the passion and sensitivity of Countess Lene and the entrepreneurial ability of his son Peter, the
THUN Club captures all the elements essential to a community:
the sense of privilege, fueled by special offerings targeted exclusively to members;
shared rituals and traditions which perpetuate the community’s history, culture and consciousness;
the sense of moral responsibility.
While the first two elements have been present from the beginning, when THUN decided to offer exclusive
privileges to members of the Club creating limited editions and organizing events, the sense of moral
responsibility emerged in 2004, after the Countess’ death. She was dead, but her presence was so lively both
Peter and Lene Thun
THUN Club home page

inside the company and among the brand lovers that THUN decided to honor her legacy through the Countess
Lene THUN Foundation.
The THUN Club is open to anyone, and the subscription can be done in every authorized THUN store.
Subscription requires filling a form and paying a membership fee, which varies according to the type of card:
32 Euros for the Fidelity Gold Card, which is valid 12 months, and 79 Euros for the Platinum Card, which
lasts 3 years.
Each member of the Club is offered special benefits:
A Welcome Gift, different for each year;
The “THUN World” magazine, a quarterly journal which contains information and news about the
world of THUN;
THUN Club competitions, in which winners are rewarded with prizes and their names are published
on the THUN World magazine;
Limited Editions of special THUN products;
Personal best wishes on the occasions of birthdays;
Opportunity to participate in unique and exclusive events, hold also in THUN stores;
Loyalty gifts which reward long-term loyalty, such as 5-years and 10-years loyalty prizes;
Access to the THUN Lounge, a reserved area and meeting place for THUN CLUB members inside
THUNIVERSUM in Bolzano;
Special discounts in partner locations dedicated to fun and relax.
THUN’s s ability to grasp the
importance of aggregation and
relationship with the brand has
created a favorable condition
to constantly exploit all the
avenues to communicate with
their most fond consumers.
The THUN Club is in fact
present on Facebook, Flickr,
Twitter and YouTube.
The real fans of THUN find an
ideal “place” in the once called
“THUNITY” (THUN +
Community) spirit. It is not
easy to define what THUNITY is, but it can be thought of as an expression of the resonance with the THUN
brand. In 2013 the THUNITY has been reshaped as “THUN Interactive”, but the English translation does not
give reason of the real meaning of the original Italian “A tu per THUN” (face-to-face with THUN), which
THUN Club events
THUN fans

communicates a relationship with the brand more intimate than “interactive”. THUN dedicates a lot of efforts
and resources to nurture the THUN tribe, because members are both the best customers and the most effective
ambassadors of the brand.
10.The THUNIVERSUM
A 2,700 m2
area, a new concept of commercial space, a unique building designed by Lene’s son Matteo
THUN, famous architect and designer: the THUNIVERSUM represents the highest expression of the brand
image and values. It can be defined in many ways: it is a brand museum, a brand temple, a place for
experiences and emotions, a concept store, and more. The THUNIVERSUM appears as a stand-alone
building, connected to but independent from the THUN firm. It includes five places to experience the brand:
the Panopticum, the THUN Store, the Outlet, the Bistro Caffè al Volo and the THUN Club Lounge.
This particular site was built in 2002 in the Bolzano commercial area, and is visited everyday by many fans
and curious tourists. It was ideated with the intention of spreading the brand through physical spaces and
creating an environment where people could experience the THUN’s values.
The imposing and rigorous exterior of the building is opposed to a graceful and sinuous internal architecture,
to indicate the need to cross the doorstep in order to get to know the true values and the memory of the past,
which are the foundation of a solid business reality.
Once inside the THUNIVERSUM, the atmosphere is calm
and peaceful. The curved lines embrace visitors, while rough
surfaces and warm tones bring back to mind the clay THUN
products are made of.
The THUNIVERSUM is a special place of multi-sensoriality,
experientiality and storytelling. It is a museum of the brand
where visitors can learn, feel, and experience the world of
THUN. The THUNIVERSUM is also one of the most
effective channel of communication employed by THUN:
imbued with all the values and meaning attached to the
brand, it helps contextualizing the fairytale of joy and love
already told by THUN products. Pierpaolo Venier, the art
director who was responsible of the multi-sensoriality of the
customer experience at the THUNIVERSUM, said that one
of the main objectives was “spreading the comunication in
the architectural spaces”. This meant overcoming the mere
commercial task of the space in order to turn the
THUNIVERSUM into an experiential platform.
The concepts of “dream society” described by Rolf Jensen and Pine and Gilmore’s concept of “experience
economy” are perfectly incorporated in the THUNIVERSUM. The idea is that feelings, emotions and stories
matter much more than material products: companies should create and narrate stories about who they are,
where they come from, what they stand for, and who their customers will be when they become part of the
story as consumers. These stories are symbolic statements that reinforce THUN identity and communicate its
values. This fits very well with what THUN does with the THUNIVERSUM, which is a place that both
literally and figuratively tells the story of the brand, the products, and the people who invented them. THUN
products are displayed in the THUNIVERSUM as in a theatrical performance: people who buy or collect
these items can really feel the THUN’s motto “Dreams come true... bringing heartfelt joy to us and to others”.
The exterior of the THUNIVERSUM

Panopticum
After entering the THUNIVERSUM, the visitor reaches the Panopticum, a large, dark and circular room of
400 m2
in which he/she engages in a multi-sensory experience.
The walls of the Panopticum are covered with 15 screens on which images of the Dolomites mountains are
shown, accompanied by music and sounds such as bells tolling, children voices and wind. The images are
always in motion and the mountains are pictured in each of the four seasons, at daytime and night time. The
whole sequence lasts 40 minutes, and a THUN angel also appears between the clouds. The images of the
mountains, which were taken with 420° wide-angle lenses from a helicopter, have been chosen because of
their strong link to THUN’s image, which is deeply rooted in the Alto Adige territory.
The Panopticum has a very precise function: it helps the visitor to forget the outside world and be ready to
approach THUN’s universe. It allows the visitor to enter a new emotional world, like Swarovski does with
Swarovski Crystal World in Austria. When the visitor feels he has forgotten the outside world and has entered
the THUN mood, he is ready to exit the Panopticum and enter the THUN Store or the Bistrò Caffè al Volo.
THUN Store
The THUN Store at the
THUNIVERSUM is the biggest
in Italy and can be considered the
true flagship store of the brand.
The store is decorated with light
colors that bring to mind the ones
of the materials used to
manufacture THUN products.
The surface of the walls is also
designed to give visitors the
tactile feeling of touching clay or
ceramics. The products are
grouped and arranged partly
following the classification into
THUN’s 4 worlds (Casa,
Momenti, Bimbo and Donna),
and also arranged according to
the different collections (e.g.
Angels, animals, etc.). Materials,
colors and light are employed differently according to the kind of products displayed: for example, colored
products are put directly on wooden surfaces, while white products are put on colored cloth in order to
enhance the contrast. The overall lighting tends to a golden and amber-like hue that gives an idea of peace
and relaxation. Light effects are managed to guide the visitors’ eyes to specific areas or products.
The THUN Store in the THUNIVERSUM

THUN Outlet
After experiencing the THUN Store, visitors
can immediately enter the THUN Outlet. Even
if it may appear somehow contradictory to put
a flagship store side-by-side to an outlet, the
two stores complement each other and tell two
different stories. The Store tells the story of
the brand, makes visitors dream, and
stimulates them to purchase the latest
collection and precious gifts; the Outlet
declines the same hedonic benefit in terms of
bargaining for a special offer or buying
second-choice products, souvenirs, old
collections. The atmosphere of the Outlet is
very different: intense brightness, geometric
furniture, and products displayed in bulks
communicate a sense of parsimony and
essentiality but without discounting the brand.
Most products are sold “naked”, without their
boxes; ceramic products carry a special sign that “certifies” they have been bought exclusively there;
shopping bags have to be bought.
Bistro Caffè al Volo
When the visitor is ready to leave the Panopticum, he can decide whether to enter the shop or go to the Caffè
Al Volo, the café/bistro located at the
THUNIVERSUM. It is a small and
intimate restaurant in which visitors can
taste the Tyrolian cuisine. The tables are
decorated with THUN centerpieces, and
the dishes and hot drinks are served in
THUN tableware and cups.
The atmosphere is soft and warm, thanks
to the skillful play of lights and the
relaxing music playing in the background.
The café is an outsourced business and it
is used both by visitors of the
THUNIVERSUM and by THUN
employees for their lunch break.
The THUN Club Lounge is a hidden exclusive space
dedicated to the members of the THUN Club. It is
accessible from a small entrance located in the store,
after having identified as THUN Club members.
The THUN Club Lounge has a circular structure, with
sofas and a table at its center. The guests can sit down
and drink a cup of tea served in THUN cups, while
watching videos about THUN on a flat-screen.
The Lounge serves also as a sort of museum that
displays the items of the "Private Collection", a series
of products dedicated to THUN Club members (e.g.
gold-coated decorated ceramic tiles or special figures).
Information material like the THUN Club Magazine
and touristic information is also available, and an
attendant is there with the task of helping THUN Club members with all their requests.
The THUN Outlet in the THUNIVERSUM
The Bistro Caffè al Volo in the THUNIVERSUM
THUN Club lounge

11.THUN Offices
Close to the THUNIVERSUM there is the THUN building: once factory plus offices, now it includes only the
offices, and the space dedicated to the production is now used for “soft” activities dedicated to reinforce the
brand equity both from a commercial and a marketing perspective. A second dimension, which crosses the
use of the space, is the internal versus external orientation of the brand building process: THUN does not
forget that managers and employees are primary stakeholders and should love the brand as much as THUN
fans. To this end, THUN’s interiors are designed to communicate the profound meaning of the brand, its
philosophy and its soul: green plants, a fish pond, relax areas, a kitchen equipped with tableware and tools
where people can prepare food and drinks, pieces of arts created by local artists and special objects created by
the people involved in the Fondazione Contessa Lene Thun Onlus. All this, together with special rooms
dedicated to individual and group activities related to the psychophysical wellbeing of THUN employees and
with other rituals, constitute a powerful tool of communication and constant nurturing of the brand meaning
from inside.
Some space freed from the factory is used for learning activities, related to creating value through stores.
There is a large room where THUN store managers meet to learn the latest advancements in store
management, a second room displayed as a THUN store where THUN retail managers constantly test new
ideas and atmospheres for their stores, and a third separate room exclusively reserved for testing new concept
stores.
THUNIVERSUM, THUN building, THUN offices are a real factory producing not a physical product, but a
constant update of the brand meaning.
12.Fondazione Contessa Lene Thun Onlus
The Lene Thun Foundation has been conceived and established in 2007 by Lene’s son Peter, whose desire
was to commemorate his mother and enhance her memory by highlighting and valorizing her artistic and
entrepreneurial life path.
Peter Thun often recalls how his mother considered modeling as an activity producing joy and also as a
therapy; in her own words: “when something comes into shape from clay, the day becomes brighter”.
Modeling clay by hands is a therapeutic action, which helps adults and children to free their fantasy and
imagination. For these reasons, the Foundation organizes workshops for people living in uncomfortable social
situations to stimulate their creativity and ability.
The creative and manual activities proposed by the Foundation are important means of communication with
others and self-expression: a new perspective, but also an opportunity to live a memorable experience.
"Modeling is a good chance to shape our lives with our hands."
Ursula Staub, therapist of the Lene Thun Foundation
Many projects have been put into practice, involving different people -
kids, elderly, young women – and different countries. Some projects are
conceived to help orphans and needy kids, some others have the aim of
improving social integration. Projects in Burkina Faso are developed with
educational, entrepreneurial and creative aims concerning ceramic art.
THUN employees are encouraged to take part in the activities of the
Foundation, and everybody is allowed to dedicate one week per year to
social work.
Some of the most gorgeous artifacts are displayed in THUN headquarters
in Bolzano and sometimes lent to museums for art exhibitions.
” Thinking about our neighbors: I think this is one of our most important
tasks”.
Count Otmar Thun
A young woman learning how
to model clay

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