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In recent years, scholars have begun suggesting that marketing can learn a lot from art and art history. This paper aims to build on that work by developing the proposition that successful artists are powerful brands.

Using archival data and biographies, this paper explores the branding acumen of Pablo Picasso.

Picasso maneuvered with consummate skill to assure his position in the art world. By mid-career, he had established his brand so successfully that he had the upper hand over the dealers who represented him, and his work was so sought-after that he could count on selling whatever proportion of it he chose to allow to leave his studio. In order to achieve this level of success, Picasso had to read the culture in which he operated and manage the efforts of a complex system of different intermediaries and stakeholders that was not unlike an organization. Based on an analysis of Picasso's career, the authors assert that in their management of these powerful brands, artists generate a complex, multifaceted public identity that is distinct from a product brand but shares important characteristics with corporate brands, luxury brands and cultural/iconic brands.

This research extends prior work by demonstrating that having an implicit understanding of the precepts of branding is not limited to contemporary artists and by connecting the artist to emerging conceptualizations of brands, particularly the nascent literatures on cultural, complex and corporate brands.

The purpose of this research is to extend the results of previous studies regarding corporate reputation scales and identify new and specific items relevant for studying global corporate reputation from a customer’s point of view.

This research was based on the qualitative projective “Album on Line” (AOL) technique. The authors used a sample of 12 French consumers distributed equally between affective and cognitive scenarios. An individual-difference multidimensional scaling approach (INDSCAL) was applied to display the overall semantic space among generated items.

The exploratory AOL approach generated 62 items related to both cognitive and affective orientations characterizing online and offline corporate reputation. The results uncovered six semantic clusters for each scenario. All in all, seven new items could be added in the process of building a new global corporate reputation measurement scale by adding: avant-garde, singularity, exclusivity, savings, return policy, freeness and speed.

This research makes it possible to propose a new global corporate reputation measurement scale with sound psychometric properties. This scale will be adapted for click and mortars and pure players. This paper unlocks future perspectives by suggesting a causal model that integrates online corporate reputation and its main antecedents and consequences.

From a managerial perspective, this research offers insights to managers with the main orientations surrounding the components of global corporate reputation. Moreover, the AOL mappings delineate which quadrants the managers would like to be fitted into or avoid, and hence define more precisely which key elements should be stressed or discarded.

This research outlines AOL, an original qualitative projective technique that can be used to understand customers’ thoughts, which are stocked and collected as images. Moreover, this research intends to analyze the gathered data using both INDSCAL and fuzzy k-means cluster analysis to reduce conventional biases related to subjectivity.

The purpose of this monograph is to present the first English translation of a unique French colonial report on women living under colonial rule in West Africa.

The issue begins with a discussion of the contribution this report makes to the history of social development policy in Africa, and how it serves the on‐going critique of colonisation. This is followed by the English translation of the original report held in the National Archives of Senegal. The translation is accompanied by explanatory notes, translator’s comments, a glossary of African and technical terms, and a bibliography.

The discussion highlights contemporary social development policies and practices which featured in identical or similar forms in French colonial social policy.

As the report demonstrates, access to basic education and improving maternal/infant health care have dominated the social development agenda for women in sub‐Saharan Africa for over a century, and will continue to do so in the foreseeable future in the Millennium Development Goals which define the international community’s agenda for social development to 2015. The parallels between colonial and post‐colonial social policies in Africa raise questions about the philosophical and cultural foundations of contemporary social development policy in Africa and the direction policy is following in the 21st century.

Though the discussion adopts a consciously postcolonial perspective, the report that follows presents a consciously colonial view of the “Other”. Given the parallels identified here between contemporary and colonial policy‐making, this can only add to the value of the document in exploring the values that underpin contemporary social development practice.

The purpose of this paper is to evaluate the connections between art and marketing in order to develop enhanced insight into how visual art and the art world can inform marketing theory and practice.

An indepth analysis of a range of relevant literatures is carried out in order to heighten understanding of art as a way of knowing within the marketing discipline. A range of meanings of art and marketing are considered and an analysis of their intersections is carried out.

A number of useful concepts are developed, including that of the marketing manager as an artist. Viewing marketing through visual art is seen as an avant garde response to addressing the continuing theory/practice gap.

Following an art‐based way of knowing in marketing has the potential to challenge more mainstream paths of thinking by opening up the ways in which we visualise marketing theory and practice. Thinking about marketing through art should not be seen as a general panacea for addressing current inadequacies of marketing theory, but should instead be viewed as an alternative mechanism in which contemporary marketing theory and practice can be enriched by the transference and juxtapositioning of art‐based thought with long established ways of thinking about marketing.

Artistic creativity is seen as a key factor in stimulating marketing decisions. Viewing the marketer as artist also mirrors the actual behaviour of the marketing manager by providing insight into intuitive thought processes and visualisation techniques.

Arts marketing research in general is making progress in terms of its theoretical and practical contributions to the wider marketing discipline. It is believed that papers such as this will contribute to the ongoing research agenda by stimulating much needed critical debate.

Although fewer than 150 years have passed since Jacques Daguerre perfected the first photographic image in 1839, the flood of evolving equipment and applications has already generated a broad and richly varied field. Simultaneously one of the youngest arts and one of the newest technologies, photography is now used in medical research, space exploration, criminal investigations, agricultural production, design of industrial machinery, ad infinitum. At one extreme, it records family life and supplies the surest method of identification on drivers' licenses. At the other end of the spectrum, photography (once denounced in haute couture) has within the past five years not only become an “acceptable” art form, but has assumed centerstage in museums and exhibits throughout the United States and Europe.

Religious tendencies have increased in post-Arab Spring countries, raising the question of whether this geopolitical event has affected consumers' orientations towards foreign products, including those that have positive country-of-origin image. This paper investigates the effect of Islamic religiosity on the relationship between consumer ethnocentrism and buying intention towards products from a developed country (France) in an Arab Spring country (Tunisia).

A survey questionnaire was lunched and data was collected from 492 Tunisian consumers living in both rural and urban areas. Research hypotheses were tested using a Partial Least Square- Structural Equation Modelling (PLS-SEM) method.

Tunisian consumers do not associate their ethnocentric feelings towards French products with their Islamic religiosity. Results show that both highly and moderately religious Tunisians trust French products because of their high country-of-origin image and their potential social connotations.

The results of this paper contribute to the literature that focuses on understanding consumption behaviours in developing countries in the aftermath of geopolitical events such as the Arab Spring.

This study aims to explore how haute cuisine excellence is and can be self-represented on the websites of three-star restaurants and juxtaposed onto the websites of external authoritative food guides.

In total, 26 French Michelin three-star restaurant websites and their reviews in the prominent Michelin and Gault and Millau dining guides were examined. This data was then processed using lexicometric software.

Five semantic universes emerged, showing that restaurants and dining guides do not emphasize the same elements of culinary excellence. While restaurant websites emphasize the charismatic leadership role of the chef through family history, professional recognition and vicarious learning, the two iconic guides are far from rating the criteria they claim to: For the Michelin Guide, criteria other than cuisine appear central. Conversely, Gault and Millau, far from its nouvelle cuisine principles advocating democratization at lower cost, insists on fine products.

It remains essential for restaurants to use a repertoire of cultural components and symbols, capitalize on the charismatic and architectural roles of their chef and showcase fine products that are representative of classical cuisine. Storytelling and dynamic narrative add-ons, regularly updated on large-audience social media, appear central to increasing restaurants’ perceived value, communicating innovation and attesting to their singularity and uniqueness.

To the best of the authors’ knowledge, this is the first empirical study to overlap the lexical perspectives of three-star restaurants and iconic guides’ websites.

The budget hotel sector in the United Kingdom was established in 1985 and is now experiencing accelerated growth. If this sector simulates some of the developments that have occurred in the US and French budget/economy hotel sectors, then traditionally‐minded operators in the country will have to reconsider some of their original long‐term strategies. The growth and success of the US and French budget/economy hotel are reviewed, and parallels with the emerging growth and success of the UK budget hotel are drawn. In summary the authors consider that the concept of service quality will provide the best foundation for successful strategies in the next decade.