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The increased involvement of customers in their experience is a reality for all service organisations. The purpose of this paper is to explore the way organisations collaborate with customers to facilitate consumption of cultural experiences through the lens of co-production. Although organisations are typically an integral part of the co-production process, co-production is typically considered from a consumer angle. Aligned with the service ecosystem perspective and value-in-cultural context, this research aims to provide greater insight into the processes and resources that institutions apply to co-produce experiences with consumers and the drivers and inhibitors of such processes.

Case study research with three exemplar organisations, using in-depth interviews with key informants was used to investigate the processes organisations follow in co-producing the service experience with customers, as well as the drivers and inhibitors of organisational co-production of the service experience in the cultural sector.

The findings illuminate that cultural organisations are co-producing the service experience with their customers, as revealed through a number of key processes: inviting customers to actively participate in the experience, engaging customers and supporting customers in the co-production of the experience. Increasingly demanding consumers and a changing competitive landscape are strong external drivers of co-production. Visionary leadership and consumer-focussed employees are internal factors impelling organisations to co-produce experiences with consumers. A strong curatorial orientation, complex organisational structure, employee attitude and capability gaps and funding constraints are impediments towards organisations co-producing experiences with consumers.

This paper addresses a gap in Service-Dominant logic theory, arts/cultural marketing and broader services marketing literature by proposing a broadened conceptualisation of co-production of the service experience. This conceptualisation can be used as a platform to derive strategic imperatives for managers of service organisations. The findings highlight the key practices and resources that are central to organisations co-producing experience with customers. In this way, greater understanding of institutional logics and practices that underpin experience co-production emerges.

This paper aims to explore the factors that drive and inhibit national stakeholder organisations’ engagement with an established an umbrella place brand identity (PBI) in the context of country branding, during the PBI implementation stage.

This study adopted a case study approach to examine Australia’s current country brand identity initiative: Australia Unlimited, as an example of PBI. Data were collected through in-depth interviews with senior executives (n = 39) representing 30 Australian national organisation stakeholders across a range of sectors (i.e. government agencies, public and private organisations and industry associations).

The tension between the PBI and the brand identity of the stakeholders’ own organisation was an emergent finding at the heart of potential disengagement. Moreover, stakeholders’ perception of the leadership of the organisation managing the place brand plays a key role in influencing their engagement with PBI.

The findings contribute to place marketing theory by identifying drivers and inhibitors of stakeholders’ engagement that originated from the PBI itself (PBI-centred factors) and from the stakeholder organisations (stakeholder-centred factors).

The findings provide a practical framework for place brand managing organisations to foster stakeholders’ engagement during the implementation stage of a PBI initiative.

Place branding research to date has focussed primarily on resident stakeholders’ engagement in the development of PBI initiatives. This paper contributes to knowledge by proposing a framework that encompasses the drivers and inhibitors of national stakeholder organisations’ engagement with PBI during its implementation phase.

This study aims to illuminate the way in which consumers question the authenticity and worth of musicians, leading to a classification of selling out. The authors contribute to the debate on authenticity by attending to the question of worth that is under-examined in existing literature, by drawing upon French pragmatic sociology with specific attention to convention theory to understand conflicting interpretations of worth.

The considerations music fans go through navigating whether artists are selling out and the loss of worth were explored through 22 semi-structured interviews, complemented by focus group discussions (20 participants) and analysis of an online video blog.

The study identified three key themes: “Authenticity and Worth in the Inspired World”, “Selling Out as Loss of Worth” and “Signifiers of Selling Out”.

The emergent themes enable us to understand the worth that consumers place on musical artists, and the clash between the ideologies of the market world and the inspired world. The ideas regarding selling out and the signifiers may apply to other consumption experiences where the clash between the inspired and the market worlds exists and the conflicting ethos of each can lead to a loss of worth and selling out.

In this research, the authors examine situations in which consumers stigmatise as “sell outs”, artists who are marketised under the influence of capitalist social relations of production. As a result, these artists lose their authenticity and worth in the eyes of consumers. In doing so, this research contributes to the debate on authenticity by attending to the question of worth that is under-examined in existing literature.

The purpose of this paper is to investigate the role Australian University marketing students’ cultural backgrounds play in their learning and their perceptions of assessment and explores whether current assessments appropriately address the differing needs of a culturally diverse student population.

The paper adopts a qualitative approach utilising five focus groups, each comprised of 12 students.

Results indicate learning environments, learning and assessment approaches and assessment tasks each bring their own benefits, constraints and challenges to studying in a culturally diverse environment. Principles are presented for adoption by marketing educators in order to foster a vibrant, inclusive learning environment which meets the educational needs and wants of a culturally diverse student cohort.

The number of students representing different global regions or countries limited this study. With the exception of students from Australia and the Asian region, there were minimal students representing other cultural backgrounds despite every attempt being made to be culturally inclusive across global regions.

The paper presents the principles of C.U.L.T.U.R.E. and recommends their integration into learning approaches and assessment practices across Schools and Faculties at the tertiary level.

This paper fulfils an identified need to study a culturally diverse student cohort's perceptions and attitudes towards learning approaches and assessment practices and their perceived relevance to the provision of core graduate business and generic skills necessary for employability in the global marketplace.

While the body of work exploring brand orientation has grown, there has been a general failure to build on extant research and generate a holistic conceptualization of brand orientation. This paper aims to develop a model of the key drivers, impediments and manifestations of brand orientation in a museum context.

A collective case study design was used, consisting of key informant interviews using a semi‐structured interview protocol and analysis of institutional documents and observational research. Interviews took place with well‐known museums across three countries: the UK, the USA and Australia. This paper demonstrates the richness of qualitative case studies as a method of theory building and as a precursor to further empirical research.

The case study findings reveal both a philosophical and behavioral aspect of brand orientation. Thus, six attributes are presented that include brand orientation as an organizational culture and compass for decision‐making and four brand behaviors (distinctiveness, functionality, augmentation and symbolism). The conceptual model also depicts the critical antecedents to brand orientation in a museum context.

This study provides a foundation for future brand research by offering a holistic conceptualization of brand orientation and identifying the primary antecedents in a museum context. Future research may wish to empirically establish a valid and reliable scale of brand orientation and examine its explanatory potential. Future research may also consider other contexts to provide further insight into the drivers and inhibitors of brand orientation.

If organizations seek to establish a strong brand orientation they must devote resources to establishing the brand as a dominant organizational philosophy that guides decision‐making. In addition, brand‐oriented organizations must establish the brand as a distinctive asset that communicates relevance and accessibility and invest in augmenting initiatives that enable the organization to connect with customers on a personal and emotional level.

Using an exploratory method the authors are able to reconcile a number of approaches to brand orientation and provide a conceptualization that incorporates the philosophical and behavioral approaches to business orientations. Museums face substantial resource constraints, competing needs of multiple stakeholders and increasing market turbulence. If museums can achieve such significant organizational change then the sector presents an interesting exemplar for many other non‐profit organizations.

In the light of recent changes in the international environment, the purpose of this paper is to consider whether the drivers of, and impediments to, retail internationalisation and the business strategy adopted have also changed.

Interviews were conducted with 12 UK and US retailers. These exploratory data were combined with a review of the literature to explore changes in the drivers and impediments of retail internationalisation.

Findings of this study suggest that, while a variety of factors drive retail internationalisation, profit growth is the most dominant motivator. In terms of impediments to foreign expansion, domestic market conditions were a barrier to the initiation of foreign expansion, whilst the regulatory environment and previous experiences presented obstacles in the process of internationalisation. Interviewees also expressed a desire for increased standardisation, while acknowledging the need for a substantial degree of adaptation in response to cultural differences.

The research findings are limited in terms of their generalisability.

Much of the existing research into retail internationalisation was conducted in the 1990s. Given the substantial changes that have occurred over the past 15 years, the value of this paper lies in the updating of knowledge.

The purpose of this study is to examine empirically the relationship between psychic distance and adaptation of the retail offer across a range of countries.

Data were collected using a mail survey of randomly selected non‐food retailers that operated stores in at least three foreign countries.

Findings of this study suggest that a substantial proportion of retail offer adaptation is explained by psychic distance. In particular, differences in market structure, business practices and language between the home and foreign market significantly increase the extent to which retailers adapt their offer.

The research findings may be limited in terms of their generalisability across retail sectors, as the study focused on non‐food retailers only.

These results have implications for researchers and managers in suggesting that we need to go beyond consumer behaviour differences to explain fully the degree to which international firms standardise or adapt their strategies in foreign markets.

Much of the existing research into standardisation and adaptation is limited in terms of geographic scope and a focus on the marketing strategies of manufacturing and export firms. Thus, this paper addresses a substantial gap in existing research by empirically examining the relationship between psychic distance and adaptation in a retail context and across a range of countries.

This paper seeks to empirically examine the relationship between corporate image and customer satisfaction in the leisure services sector. It also aims to examine the mediating impact of employees and servicescape on this relationship.

Data were collected from a sample of 195 individuals who had visited an Australian zoological garden over a specified time period. Confirmatory factor analysis was used to test the validity of the measures, whilst structural equation modelling and multiple regression were used in hypothesis testing.

Findings reveal that corporate image has a significant positive relationship with customer satisfaction. Although the results indicate that the relationship between corporate image and customer satisfaction is not mediated by either servicescape or employees, they imply that corporate image and employees directly influence customer satisfaction.

A single‐case study design was implemented, limiting the generalisability of the findings. This provides an opportunity for replication of the model in other leisure services environments and services contexts outside the leisure services industry.

The findings reinforce the need for leisure services operators to prioritise the development of a strong, clear corporate image. The extended analysis illustrates that the disaggregated dimensions of corporate image are valuable to consider in terms of directing managerial strategy. Employees and servicescape are key aspects of the service offer on which management needs to focus to ensure that their desired corporate image is communicated and reinforced.

This study addresses an identified need to further examine the relationship between corporate image and customer satisfaction. It also contributes to corporate branding research by broadening the conceptualisation of the corporate image construct. Moreover, this study contributes to the corporate image literature by examining the mediating factors of employees and servicescape.

The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand?

Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions.

The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity.

These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective.

Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature.

The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.

The purpose of this research was to develop a comprehensive measure of brand orientation and empirically examine whether a fashion retailer's brand orientation assists in explaining variations in its retail offer advantage over competitors. This study provides a conceptualisation and operationalisation of brand orientation within the context of fashion retailing. Four dimensions of brand orientation are introduced including distinctiveness, functionality, value adding and symbolic. The results suggest that the more brand oriented the fashion retailer, the greater its retail offer advantage over competitors. It concludes with new insights and suggestions for fashion retailers in driving greater differentiation and competitive advantage.