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Despite a well‐established corporate identity construct there is still ambiguity and disorientation regarding the corporate visual identity construct. The purpose of this paper is to investigate the inconsistent use of terminologies such as “symbolism” and “corporate design” as well as pointing towards an insufficient conceptualisation of the corporate identity and visual identity construct vis‐à‐vis other sensory dimensions.

A review of existing categorisations and conceptualisations of the corporate identity and visual identity construct is provided.

The paper presents a remodelled corporate visual identity construct that takes a holistic sensory perspective and proposes the corporate sensory identity construct as a more adequate and flexible reflection of current business reality.

The paper offers fundamental guidance for managers regarding the integrated and holistic utilisation of a set of sensory communication activities as part of their corporate identity management.

This paper contributes to the further understanding of the complexity of corporate identity management by addressing additional sensory dimensions apart from visual identity management. Moreover, by stressing the particular relevance of music and sound, this paper stimulates the integration of the auditory dimension as additional facet of a communication tool kit.

Describes the initiation and development of a corporate identity/visual identity programme, using a major UK university as a case study. Concludes that assessing a visual identity can be useful in identifying organizational weaknesses. However, whereas a weak visual identity may be a symptom of corporate malaise, a new visual identity, although powerful, should be used as part of an integrated approach when repositioning an organization.

Despite the significance of sound, hitherto the auditory dimension has been widely ignored with regard to corporate identity management and corporate communication. This paper aims to expand the domains of corporate identity and corporate communication by focusing on the auditory dimension as a component of company‐controlled communication.

Based on an extensive review of corporate identity and corporate communication literature, a set of hypotheses is proposed that reflect antecedents of corporate auditory identity management.

The paper not only illustrates the importance of the auditory dimension as part of corporate identity management, it also provides initial suggestions of antecedent factors that are expected to determine the utilisation of sound on a corporate level.

The presented discussion about the role of auditory identity vis‐à‐vis corporate identity management provides initial guidance for managers when considering the auditory dimension as a potential ingredient of their communication tool kit. Moreover, this paper advances existing knowledge by providing initial insight into the relationship between domains such as auditory identity and corporate identity, visual identity and corporate communication.

Designers have used Corporate Visual Identity Systems (CVIS) to widen the communications mix. Using name, symbol and/or logo, typography, colour and slogan, a CVIS helps transmit a company’s visual identity through fixed assets, such as buildings, vehicles and other business collateral. This wider view of business communications adds an eighth P, publications, to the seven Ps of service marketing: product, price, place, promotion, participants, physical evidence and process. Managerial literature suggests that firms who standardise their CVIS anticipate communications benefits beyond the usual marketing mix. A comparison of multinational companies with and without standardised CVIS supports this view.

The aim of the paper is to discuss corporate identities as they are expressed visually in annual reports in order to demonstrate how (and how much) the annual report as a statutory document is used strategically by companies as a means of investor relations in order to position the company as attractive to investors and other stakeholders.

An explorative visual analysis is employed on a corpus of six Danish companies from different branches of business and industry. The study is based strictly on a communication perspective and pays equal attention to the annual report's communicative purposes. In order to be able to draw conclusions on the strategic use of visual elements in annual reports, the findings from the visual analysis are further related to the corporate strategies of the companies as they are expressed through the companies' missions, visions, and values.

The study provides an empirical basis for concluding that visual elements are used strategically in annual reports to construct corporate identity aligned with company strategy in order to position companies as attractive to investors and other stakeholders.

This paper's contribution is to provide an empirical basis for a discussion of the potential of the annual report as a vehicle for constructing corporate identity.

The purpose of this paper is to attempt to examine how corporate identity (one of the elements of Balmer's 6Cs of corporate marketing) could be better understood, whilst also addressing how the deconstruction of one of the other elements (i.e. communications: corporate advertising) could provide deeper insight into what corporate identity truly means.

This paper examines various theoretical approaches which have compartmentalised the meaning of corporate identity. It also highlights how these compartments interrelate. The paper introduces the semiotic method and illustrates how this method could deconstruct firms' perception of corporate identity.

Two conceptual models and a semiotic method process were contributed. The first model reveals three main constructs of corporate identity, namely symbolism, behaviour, and corporate communications, and the second model reveals the corporate personality construct. The semiotic method reveals the positioning of corporate identity as a corporate personality construct.

This paper provides a better understanding of the meaning of corporate identity by developing two conceptual models and a semiotic method. The conceptual models provide an analysis of how various theoretical approaches which have compartmentalised the meaning of corporate identity interrelate. The semiotic method provides a stage‐by‐stage process of how a firm's perception of corporate identity is deconstructed. The conceptual models and the semiotic method give a better understanding of the meaning of corporate identity.

This study aims to revisits the meaning of corporate identity (CI) in practice to identify its key dimensions and the interrelationships between them and to provide insights on how to operationalize the construct.

This study is based on a comprehensive literature review and qualitative research consisting of 22 semi-structured interviews with senior managers from 11 UK-leading companies, and three in-depth interviews with corporate brand consultants who worked closely with these firms in cognate areas.

The study identifies the following six key dimensions of CI in the UK industry: communication, visual identity, behavior, organizational culture, stakeholder management and founder value-based leadership.

The focus on UK leading companies limits the generalizability of the results. Further studies should be conducted in other sectors and country settings to examine the relationships identified in the current study.

This study identifies the salient dimensions of CI and, for the first time, the role of founder transformational leadership, employee identification and top management behavioral leadership as key dimensions and sub-dimensions of CI. The study also provides novel insights about the measurements for these dimensions. Additionally, this study introduces a model for the interrelationships between CI dimensions and their influence on corporate image, based on rigorous theoretical underpinnings, which lays the foundation for future empirical testing.

Although the prominence of social media for companies is widely acknowledged, a close examination of the literature reveals a lack of empirical research pertaining to the effect of consistency specifically on social media. Therefore, the purpose of this paper is to fill the gap in social media communication concerning the effect of consistent visual identity on social media users.

The study executed an experiment 2 (corporate visual identity condition) × 2 (organization type) between subjects design to map the effects of consistent visual identity on social media users appreciation of the visual identity, attitude toward the company, reputation and intention to commit to a company on social media.

The results of the study indicated the significant effects of consistent visual identity on social media users over the inconsistent conditions of visual identity on all dependent variables. Furthermore, there were insignificant main effects of organization type on general judgment, credibility, distinctiveness and reputation of the company.

This study presents the effects of consistent visual identity on social media platforms. The research will help marketing academicians, graphic designers and social media practitioners in online marketing by using its practical implications to strategically positioning their corporate brand in a social media environment.

This study provides novel insights on the impact of consistency on social media users. This is the first study to determine the role of consistent visual identity in the social media environment. It thereby adds to the literature of visual identity by developing the sphere of influence of consistency and its effects toward the user’s attitude.

The aim is to review and discuss main conceptualizations, themes and assumptions within organizational-level visual identity (VI) in order to identify potential avenues of theoretical advancement of VI as an independent construct.

An integrative review approach offers a structured, nuanced perspective on the concept by synthesizing extant literature through an iterative, critical and qualitative process.

The synthesis identifies three overlapping terms [corporate visual identity (CVI), visual brand identity (VBI) and VI] and two main themes (visual consistency and authenticity). The dominant assumptions underpinning consistency and authenticity are challenged by alternative understandings, which provide a platform for perceiving visual consistency and authenticity in new ways.

The review offers an overview of organizational-level VI that helps define the concept as well as critical reflections which open up for additional research avenues that may develop it and point to potential areas for exploration.

The review provides practitioners with a platform for discussing how to approach visual identities with regards to consistency and authenticity.

The review contributes with a synthesis of VI literature covering 50 years. It offers a structured presentation of and critical discussion on the underlying, dominant assumptions. By challenging these dominant assumptions, a palette of future research opportunities, with potentials to nuance and develop the concept as a unique construct, are presented.

The purpose of this paper is to develop a research model to investigate corporate visual identity (CVI) management from an organisational perspective. It is assumed that characteristics of the organisation and of the way a CVI is managed will affect consistency of CVI.

The model was tested in a survey carried out among employees in 20 Dutch organisations. Structural equation modelling with AMOS was conducted to get insight into the various influences and relationships.

CVI management characteristics – socialisation processes related to CVI, knowledge of CVI strategy, and CVI tools and support – have a strong impact on the consistency of CVI, and organisational characteristics affect the way CVI is managed. With the exception of the openness and dynamics of an organisation, no supporting evidence was found for a direct relationship between organisational characteristics and CVI consistency.

CVI has been measured by the judgement of the respondents, all employees of the organisation concerned. Therefore the measure was the perceived consistency of CVI. Further research could include a visual audit and the perception of external stakeholders towards the visual identity. There was no distinction examined among the main corporate visual identity and sub‐ or product brands. The study was conducted in the Netherlands, where the Dutch term huisstijl is unambiguous and clearly related to the corporate brand or identity. Future research can take different brands into account or can broaden the concept of CVI (including cultural aspects, language, rituals, myths, etc.).

The results indicate that CVI management matters, that CVI management is related to more general organisational characteristics, but that communication managers nevertheless have a considerable amount of freedom in determining the way they manage their CVI.

Corporate visual identity has received little attention in research and hardly been studied at all from the perspective of this paper. This paper has value to both researchers in the fields of corporate identity and organisational identity, as well as professionals involved in managing the corporate identity.