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The purpose of this paper is to offer a critical reflection on the experience and challenges associated with conducting a family ethnography along with methodological guidance that generates insights for future researchers.

This paper uses a family ethnography as a methodological approach to investigate family consumption in context with a view towards capturing detailed consumption experiences.

A family ethnography is a valuable but challenging methodology to follow in its preparation, practice and publishing. Despite these challenges, they are surmountable with some lateral thinking to conduct methodologically and ethically sound ethnographic research.

The method, challenges and guidance offered here can be used to make the most of ethnography as a methodological approach to family research.

The critical reflection of the experience and challenges of conducting a family ethnography along with the practical advice offered here may guide those considering using ethnographic research.

Contributions include a critical reflection on the experience and challenges of conducting a family ethnography, ethical and methodological guidelines to overcome them and operational guidelines for their use.

Strategic analyses of Mediterranean destinations have well documented the impacts of mass tourism, including high levels of seasonality and landscape degradation as a result of the “anarchic” nature of tourism development in these destinations. The lack of a strategic framework is widely recognised in academic and popular discourse. What is often missing, however, is local voice and attention to the local particularities that have shaped the course of tourism development in these places. Focusing on narratives of people living and working in Santorini, Greece, this paper aims to examine tourism development as a particular cultural experience of development.

The authors conducted narrative interviews with 22 local residents and entrepreneurs. Participants belonged to different occupational sectors and age groups. These are supplemented with secondary data, consisting of books, guides, documentaries and online news articles on Santorini.

The analysis and interpretation by the authors identify remembered, experienced and imagined phases of tourism development, which we label as romancing tourism, disenchantment and reimagining tourism.

Professionalisation has certainly allowed the improvement of quality standards, but in transforming hosts into service providers, a distance and objectivity is created that results in a loss of authenticity. Authenticity is not just about what the tourists seek but also about what a place is or can be, and the “sense of place” that residents have and use in their everyday lives.

Local narratives offer insights into the particularities of tourism development and the varied, contested and dynamic meanings of places. Place narratives can therefore be a useful tool in developing a reflexive and participative place-making process.

The study serves the understanding of how tourism, subject to the global-local relations, is a particular experience of development that shapes a place’s identity. The case of Santorini shows how place-making involves changing, multilayered desires and contradictory visions of tourism and development. This makes socio-cultural and environmental challenges hard to resolve. It is thus challenging to change the course of development, as various actors at the local level and beyond have diverse interests and interpretations of what is desirable for the place.

This paper aims to address what it means to brand a city as “smart”. In other words, what ideas, understandings and actions are mobilized by the discourse of smart cities in a particular context.

Taking a brand interpretive approach, this paper uses deconstructive criticism to understand the performativity of smart cities within the Brazilian Charter for Smart Cities and to expose hegemonic power structures and the various colonizations that disenfranchise consumers and citizens of the Global South.

This paper finds that the branding of smart cities within the Brazilian Charter for Smart Cities is largely performative and rhetorical in nature. The authors identify those dimensions of the smart city that are materialized by this branding performance. For example, the authors identify how the Charter calls forth issues around technological solutionism, sustainability and social inclusion. At the same time, the analysis draws attention to the dimensions of smart cities that are disguised by such performances.

The implications of the work suggest that the authors need to understand the designation “smart city” as a branding performance. More research is required in context to determine in exactly what ways smart city projects are being implemented.

Rather than adhering only to the rhetoric of smartness, cities have to work hard to make smartness a reality – a smartness constructed not just on technical solutions but also on human solutions. That is, the complexity of urban issues that are apparently addressed in the move to smartness demand more than a technological fix.

The research offers a novel lens through which to view smart cities.

This paper aims to elucidate how cultural intermediaries shape the subjectivity of other marketplace actors in fashion, thus preserving the illusio underpinning this field of cultural production.

Narrative interviews were conducted with cultural intermediaries in the fashion industry. These were supplemented with non-participant observations, carried out simultaneously during the research process. Interview transcripts and field notes were analysed using a combination of holistic-content and categorical-content analysis.

As the fashion field is constructed around beliefs as to what constitutes value, the empirical data demonstrate how fashion models’ embody the illusio of the field and authenticate the values, meanings and identities inherent in it through aestheticised and rarefied styles of performance. These activities seduce other market actors and engender a willing suspension of disbelief that in turn mobilises affective intensities resulting in perceptions of legitimacy.

This research adds greater clarity to what cultural intermediaries do when they mediate between economy and culture. To do this, our research is analysed in terms of the ritual performance, the sensibility of the model, the use of the body and the performative fusion.

The paper offers practical implications insofar as it deconstructs the two core ritualistic aspects of the fashion industry which each season yields significant tangible outputs in various forms. The combination of narrative inquiry with observation allows for a better understanding of how these events can be best channelled to mediate the illusio of this cultural field.

To date, there has been very little consumer research that explores cultural intermediaries and less still that offers an empirical glimpse of their performance. This research adds greater clarity to these embodied performances that legitimate other market actors’ suspension of disbelief while also demystifying the ambiguity with which cultural intermediaries are discussed in consumer research.

This paper aims to understand the relationship between family togetherness and consumption. This is important given the inherent tension permeating discourses of family consumption and a lack of a critical understanding about how togetherness is experienced, expressed and performed. The Nintendo Wii and Wii gaming were explicitly chosen to engage in a more nuanced understanding and to provide a route to access families in their natural consumption habitat.

An interpretive ethnographic methodology was utilised to investigate family consumption in context and used in conjunction with the biographical narrative interpretive method to capture reflective and detailed informants’ consumption experiences. Holistic content analysis was used to interpret and aid thematic development.

Opportunities for idealised family togetherness afforded by the Wii still appeal to family members. Idealised family togetherness is accessed through collective, “proper” Wii gaming but is ultimately unsustainable. Importantly, the authors see that relational togetherness and bonding is also possible, and as such, the lived experience, expression and performance of family togetherness are not prescriptive.

Family togetherness is a useful and important lens through which to understand the dynamic relationship between family, consumption and the marketplace. The authors suggest that current conceptualisations of togetherness are too idealised and prescriptive and should be open to critical rethinking and engagement by both academics and industry practitioners to communicate with and about families and to explore how to be part of relevant and meaningful family conversations.

This paper aims to consider the visual literacy mobilized by consumers in their use of brand aesthetics to construct and communicate a curated self.

The research surveyed a range of visual material from Instagram. Specifically, the goal was to use “compositional interpretation”, an approach to visual analysis that is not methodologically explicit but which, in itself, draws upon the visual literacy of the researcher to provide a descriptive analysis of the formal visual quality of images as distinct from their symbolic resonances. The research also incorporates 10 phenomenological-type interviews with consumers. Consistent with a phenomenological approach, informants were selected because they have “lived” the experience under investigation, in this case requiring them to be keen consumers of the Orla Kiely brand.

Findings indicate that consumers deploy their visual literacy in strategic visualization (imaginatively planning and coordinating artifacts with other objects in their collection, positioning and using them as part of an overall visual repertoire), composition (becoming active producers of images) and emergent design (turning design objects into display pieces, repurposing design objects or simply borrowing brand aesthetics to create designed objects of their own).

This research has implications for the understanding of visual literacy within consumer culture. Engaging comprehensively with the visual compositions of consumers, this research moves beyond brand symbolism, semiotics or concepts of social status to examine the self-conscious creation of a curated self. The achievement of such a curated self depends on visual literacy and the deployment of abstract design language by consumers in the pursuit of both aesthetic satisfaction and social communication.

This research has implications for brand designers and managers in terms of how they might control or manage the use of brand aesthetics by consumers.

To date, there has been very little consumer research that explores the nature of visual literacy and even less that offers an empirical investigation of this concept within the context of brand aesthetics. The research moves beyond brand symbolism, semiotics and social status to consider the deployment of abstract visual language in communicating the curated self.

The need to explore consumer reactions to any form of marketing is central to the marketing concept and this paper reports part of an industry‐funded project to investigate how consumers interact with direct marketing. The programme was qualitative, based on both individual depth interviews and group discussions. A theme of “paradox” emerged from the research in a variety of ways. Consumers generally take a pragmatic view of marketing activity, but at the same time they are sceptical of much direct marketing. The research identifies consumers’ key concerns with direct marketing as: privacy, control and relevance. The resulting “gaps” between direct marketing practice and consumer expectations and desires produce clearer areas for the direct marketer to address.

This paper aims to reframe and enhance the relationship marketing literature through advocating an emphasis on process and a renewed commitment to social and informational exchanges.

The paper is conceptual. It takes as its starting‐point the recognition that customers exist in complex dynamic systems in which they enact multiple roles. However, current implementations of customer relationship management (CRM) typically only view customers through a single lens (as customers) that denies firms a holistic view of those with whom they interact. Moreover, CRM systems typically embed and script actions (i.e. call centre options, offers driven by cross‐selling and segmentation) rather than enabling rich communication and facilitating appropriate responses that emerge from that communication. It is argued here that, as a consequence, both parties to a relationship need to negotiate the nature of systems that connect them, because those systems, in part, determine the content of relationship exchanges.

Understanding of the central argument will contribute to better organisational‐customer interactions and more informed relationship management techniques.

The paper argues for a renewed emphasis on processes and on social/informational exchanges within those relationships. This initiates a process of frame restructuring that will benefit RM.

This paper argues for the consideration by managers of postmodern phenomena and how they might impact on the field of direct marketing communications. It begins by outlining the conditions of postmodernism and then discusses the decline of individualism and the emergence of neo‐tribes (Cova, 1997). The paper then progresses by identifying the role which direct marketing might have to play within a postmodern world and argues for a focus on direct response television advertising.