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The purpose of this paper is to broaden the external validity of the “brand alliance” theory, as it is set up by Simonin and Ruth, by analysing transnational brand alliances. It aims to discuss the significance of country of origin in this context.

Based on a broad literature review of the brand alliance and country of origin literature the authors conducted an empirical study that examined consumer attitudes towards cross‐national brand alliances.

The findings demonstrate the role that the relationship between country of origin fit and brand fit plays in predicting consumer attitude towards cross‐border brand alliances; and that when brand familiarity decreases, the positive influence of country of origin fit on attitudes towards the brand alliance increases, and is greater than that of brand fit.

The degree of importance that consumers place on each product in the brand alliance was not taken into account. Future research could also analyse product categories that have strong country of origin associations (e.g. German beer or French pastries) or that belong to the low involvement category.

An interesting result for managers when they set up a cross‐national brand alliance, as the study demonstrates the importance of brand familiarity and of country of origin fit.

The findings replicate those of Simonin and Ruth, which is a useful result because their findings might be attributed also to cross‐boarder alliances. The study represents a noteworthy extension of previous research by introducing a new variable, the “country of origin fit.”

This paper aims to examine how visual and haptic package design characteristics singularly and jointly affect consumers' brand impressions.

Integrating and extending design perception with congruence and fluency theories, the paper presents three research propositions that are tested in three studies. Bottled water serves as an example category with data provided by professionals and consumers.

Study 1 identifies key types of holistic bimodal designs (Modern, Big Grip, Prototypical‐Small, Boxy Billboards, and Prototypical‐Large) based on brand visual and haptic factors. Study 2 relates these types to unique single‐modal brand impressions. Study 3 determines how consumers evaluate brands depending on the semantic congruence between haptics and visuals. Except for the excitement dimension, brand evaluations are more positive under conditions of high rather than low congruence.

The findings are obtained for a single category (bottled water) using experiments designed to highlight and focus consumer attention on the formation of impressions. The findings may thus not fully reflect consumer responses in actual retail purchase situations.

The paper provides preliminary guidelines on how to utilize visual and haptic cues in the design of brand packages for stimulating desired consumer responses.

The work presented in this paper contributes to the literature on design‐based brand inferences and semantic congruence by integrating the visual with the haptic perspectives.

This paper aims to investigate the commonalities and asymmetries between consumer responses to different types of natural designs across countries.

Data were gathered through a survey in three European countries ranking differently in what concerns Hofstede’s (1981) uncertainty avoidance dimension (UAD). Respondents can vary strongly in the way they interpret and use rating scales, exhibiting a variety of response styles. In the analysis of consumers’ preferences for logo design, this article apply constrained dual scaling (CDS) to account for response styles in categorical data.

Results demonstrate the broad appeal of natural logo designs, suggesting that design preferences are similar within countries with different cultural orientations. However, findings indicate that cultural dimensions influence how consumers respond to different types of natural logo designs. Indeed, the positive effects of organic designs are even more salient in countries with higher UAD. Thus, when managers prepare to launch their brands in countries that exhibit more discomfort with uncertainty, they should consider incorporating organic visual identity elements into their logos to achieve the maximum positive affect.

Companies invest extensive time, research and money in generating, promoting and modifying their logos. This paper provides important implications for international brand managers aiming to build a consistent and favorable brand image. From a methodological perspective, the results come from the analysis of clean data – that is, data after applying CDS, which increases the validity of the cross-country comparison.

This paper aims to study how logo design characteristics influence consumer response. Based on an in-depth literature review on consumer responses to logo design, the authors included in this research one fundamental dimension of logo design, namely, naturalness and investigated the influence of the different types of natural logo designs on affective response.

In total, 96 logos were selected as design stimuli. The logos were previously classified, according to the naturalness of the logo design, as having an abstract, cultural or organic design. Responses were gathered through a survey in Portugal, including two studies with 220 participants.

Results show that naturalness is an essential logo design element which significantly influences consumer affective responses to the logo, and that natural logos are clearly preferred to abstract logos. Additionally, this research indicates that, within natural logos, organic designs are favored over cultural designs.

The findings presented suggest that affect toward unknown organic logos is at the same level as affect toward well-known abstract logos. This is a relevant finding from a managerial point of view, as familiarity, an essential cognitive response toward the brand that has a cost for the firm, can be replaced cost-free with unknown organic logos.

This paper is a first exploration of responses to different types of natural logo design. The results should guide managers in selecting or modifying logo designs for achieving a positive affective response.