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Given the controversial nature of the effectiveness of loyalty programs (LPs), this paper examines the effect of a new type of LP, namely green LPs, on consumers' perceived value of LPs. Specifically, the authors identify three types of green LP design and test their impact on perceived value.

An experimental protocol involving 1,016 shoppers was adopted in order to analyze the three types of green LPs identified in the literature.

Supported by social exchange theory (SET), the results show that a green LP can influence the perceived value of LPs. Such programs can drive psychological value in addition to the economic value linked only to monetary incentives. LPs rewarding sustainable behavior appear to be the most significant generators of value.

Since corporate social responsibility (CSR) is now critical to a company's success, this study investigates how firms can integrate it in order to improve the effectiveness of their LP design.

Hybrid structures are emerging in the leisure sector that are neither museums nor amusement parks, but which borrow elements from both. Dedicated to the exploration of a cultural theme (cultural heritage, ecosystems and historic events), they use experiential marketing levers to entertain large publics while at the same time pursuing the cultural integrity of heritage. This study aims to examine how visitors perceive and experience the offer proposed by these hybrid museums and how they manage the dual (cognitive and sensorial) stimulation. The authors then consider the extent to which the experiential levers used to dramatize these venues help to deliver a unique experience.

The authors developed a qualitative approach based on a case study methodology. The authors first selected the case studies (the Cité du Vin – a wine museum in Bordeaux, France and the Cité de l’Océan – a museum dedicated to the ocean at Biarritz, France) and analysed them from two angles. The authors began by examining the managerial perspective from secondary data to identify the experiential levers used by providers and the promises made to visitors in terms of experience. The authors then analysed the visitors’ experiences through a netnographic approach. The data were drawn from visitor reviews of their experience as posted on Tripadvisor.

The authors show that hybrid museums manage to provide visitors with edutainment value, but the promise made by managers for a memorable experience by way of an immersive journey is not kept. The authors demonstrate that a hybrid museum environment contains certain elements that prevent visitors from enjoying immersion. More specifically, the authors note issues regarding the way the theme is expressed through spectacular buildings, the way visitors are free to choose their visit and the scenarization presented through digital devices. The authors also show that hybrid museums are perceived largely as traditional museums and so are subject to culturally-established preconceptions.

This contribution concerns a topic that has drawn little attention in the marketing literature, namely, hybrid museums. The authors adopted a qualitative methodology from the perspective of both the provider and the consumer to gain a global understanding of the hybrid museum. The data were analysed using a manual thematic analysis, completed with a QDAS to support the findings.

The purpose of this paper is to show that the branded wine concept refers to a very heterogeneous category as regards wine made in France, but this sort of wine can appeal to certain types of consumers.

An initial qualitative study was carried out to explore consumer representation as regards branded wine. A second, quantitative, study enabled us, through a cluster analysis, to identify brand‐sensitive consumer segments in the wine field.

There is a divergence in consumer representation between novices and experts. The former considers A.O.C.s (Appellation d'Origine Contrôlée, a French official label of protected geographical indication) and regions as brands while the latter have a narrower vision of what a branded wine means. The “discoverers”, the youngest consumers (18‐29 years old), who are interested in wine and have little knowledge of it are most liable to be influenced by wine brands. The novices and routine consumers are also brand sensitive but to a lesser degree. The experts, on the other hand, are not influenced by brands.

The influence of the brand derives from the declarative. A more indirect measure which mixes the brand with other wine attributes would be preferable. The use of a sample of convenience means results can only be generalized with caution.

There indeed exists a place for branded wines on the French market but an association is needed with other attributes such as the origin and/or the grape variety.

Little research has been devoted to the French consumer's acceptance of branded wines.

The purpose of this paper is to study the impact of the level of perceived atypicality in a wine label's design on the consumer's aesthetic appreciation and purchase intent. Furthermore, it intends to highlight the moderating role of perceived risk in the relationship between these three variables.

Four Bordeaux wine labels providing the same information but with different designs are tested on a sample of 166 individuals. The respondents evaluate the labels in terms of perceived typicality and aesthetic appreciation. They are then asked to indicate what their purchase intentions would be for each label in respect of five different consumption occasions.

The results indicate a strong preference for the most typical label. However, this preference decreases when the perceived risk associated with the consumption occasion also decreases. For those consumption occasions perceived as less risky, the respondents seem more willing to choose labels with a moderately atypical design.

This research provides some answers to a problem recently raised with representatives of the wine industry: given that consumers seem to prefer traditional labelling, to what extent is it possible to differentiate a product in terms of design? The authors' results indicate that the acceptance of atypical designs is linked to the level of perceived risk at the moment of purchase. A brand that targets consumption occasions that are perceived as only slightly risky will therefore more easily be able to depart from the visual codes of its product category.