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This research finds out to what extent companies’ names are influenced by the place’s attributes versus the official branding policies of a place and, consequently, whether and how local companies “buy into” the place’s strategies put forth by official bodies.

This paper is both conceptual and empirical, as a mixed quantitative and interpretive approach is used. The companies’ names of a tourist industry (the tour and guiding companies) in three destinations are compared and pitched against the branding of these cities. The companies' names are classified into categories to ascertain whether they reflect (or diverge from) the official strategies. Finally, a conceptual model is developed to explain the findings: the strategic naming model (SNM).

Our main finding is that the overall business features of a place being stronger determinants to the naming strategies than tourist destination branding initiatives. The intrinsic features of a place seem thus to be “above” destination branding policies. The researched features account for different naming strategies, such as highly original names, flat names or non-strategic names.

As the work is based on a convenience sample, it cannot claim strong representativity. The fact that each of the three data sets was processed by a different researcher might bring up personal biases.

This work is a call for a more intensive use of naming strategies to the companies’ advantages, as naming is found out to be strategy used to a very low degree. Thanks to this research, companies will understand the different naming possibilities and be able to apply them to their strategies by choosing names which express “uniqueness” or “belonging”. Practitioners will also be aware of whether they are communicating towards the industry or towards the market.

No works were found that empirically pursue our research goals. Therefore, this research might be considered as a novelty. The proposed SNM model explains and relates the most usual company naming techniques, which were unrelated up to date.

The purpose of this paper is to develop an innovative branding method based on the hermeneutical approach and interpretive theory, to respond to the need of a simple and effective tool to build corporate identity through an industrial brand identity design and, being a new business, has been considered the brand perception of their stakeholders as the main input to analyze.

The case study of a small- and medium-sized enterprise (SME), that produces nanomaterials for the business-to-business (B2B) industrial market, is used to design the new hermeneutic branding method. The methodology process has been structured in four phases that have marked the investigation and that correspond to four different levels of knowledge that, in succession, between them, constituted the so-called hermeneutic circle.

This new approach allowed us to understand the social phenomenon related to the brand: its characteristic, context and the brand itself. Though hermeneutic analysis has confirmed that business strategy is only part of a more complex system of brand management, it must also consider the competitive environment and the views of the stakeholders.

This paper contributes to research on industrial branding by adopting the hermeneutical approach in managerial practice. This paper is the first of its kind in detail modelling the design phases of a B2B brand, providing an operational tool for marketing specialists.

There is a lack of research studies in the methods for designing industrial brands. The contribution of this paper lies in proposing a new interpretative approach that, acknowledging the different expectations of the stakeholder in the supply chain, allows to draw a B2B brand that communicates the system values of the product and company.

The purpose of this paper is to analyze the post type of the official account of the Korean fashion brands on Instagram and to analyze the images and keywords according to the use of the hashtag in it. This study also will provide data of how fashion brands use the new media of Instagram and how they promote it.

This study investigated the types of postings and keywords of hashtag(#) of fashion brand’s official Instagram account in order to analyze the post type and keyword. In total, six apparel brand companies were selected, with two in each of three categories (classic casual brand, outdoor sports brand and designer character brand), and seven types of postings were classified (lookbook and product, collection, broadcasting ads, brand issue, sensibility pictures, sponsorship and event). The frequencies were collected according to their types that were confirmed by four fashion major specialists.

First, the proportion of the types of postings varied according to the characteristics of the brand. Second, the six brands used keywords of a symbol because it is important to convey brand identity. Third, the sensibility keywords of each brand were investigated, and one of the designer character brands used only practical keywords without sensibility keywords. Fourth, this study examined the number of Instagram hashtags and hearts to determine if the reaction was in alignment with the marketing trends of the company’s official Instagram account and consumers. One of the classic casual brands, one of the outdoor sports brands and both designer character brands showed a high proportion of types of posts on Instagram that well matched with consumer response. As a hypothesis of this study, it was supported that the posting types of images and hashtags will be different according to the characteristics of brand.

Instagram is the fastest growing social network service (SNS) globally, especially among young adults. Instagram is noted for its strong SNS marketing but it has not been well researched in the apparel industry. The study results will help improve the brand image and promotion by using official Instagram account in the apparel industry.

The purpose of this paper is to explore fans’ reactions to corporate naming rights sponsorship of football club stadia and identify a range of contextual factors impacting these reactions.

A qualitative, quasi-ethnographic research design is adopted, focusing on three football clubs in North West England. Data are gathered through online message board discussions, focus groups and auto-ethnographic approaches.

Geographic, image and functional dimensions of sponsorship fit are noted as contextual factors in determining fans’ reactions to corporate stadium names. It is also proposed that some forms of fit (in particular geographic fit) are more important than others in this regard. Beyond issues of fit, three additional contextual factors are identified that potentially influence fans’ reactions to corporate stadium names: prior involvement with the club by the sponsor; fans’ perceived impact of the sponsorship investment; and whether the stadium is new or long-established.

Future research might examine the relative importance and implications of the identified contextual factors, alongside seeking other potential areas of contextual framing.

Sponsorship naming rights negotiations need to be sensitive to a variety of contextual factors. Furthermore, sponsors would do well to have a good awareness of their own brand image and its congruency with the identity of the club and fan base.

This nuanced, qualitative analysis extends existing, quantitative-based research by identifying a range of contextual factors which shape fans’ reactions to corporate stadium naming.

The purpose of this study is to determine how sonic logo’s acoustic features (intensity, pitch and pace) based on melodic tunes with no voice orient the response of consumers, attract attention, elicit levels of pleasantness and calmness and transmit brand personality traits.

A within-subject experimental factorial design is applied to measure emotional arousal (indexed as electrodermal activity) and enhancement on perceptual processing (indexed as heart rate), as well as self-reported factors, namely, calmness/excitement, pleasantness and brand personality scales.

Results show a significant increase on electrodermal activity associated with fast-paced sonic logos and a decrease in heart rate in slow-paced long sonic logos. Also, fade-up, pitch-ascending fast sonic logos are defined as more exciting and descending-pitch sonic logos as more pleasant.

The use of sonic logos with no voice does limit its implications. Besides, the use of three variables simultaneously with 18 versions of sonic logos in a laboratory setting may have driven participants to fatigue; hence, findings should be cautiously applied.

First, sonic logos are best processed in a fade-up form. Second, fast pace is recommended to orient response, whereas slow pace is recommended to transmit calmness. Practitioners may opt for fast-paced sonic logos if the design is new or played in a noisy environment and opt for slow-paced sonic logos in already highly recognized sound designs.

To the best of authors’ knowledge, this study is the first to combine psychophysiological measures and self-reported scales in a laboratory experiment on how sonic logo’s acoustic features orient response, transmit emotions and personality traits.