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This paper aims to investigate the ways in which “non-collaborative co-creation” can affect brand equity as perceived by independent observers. It reports a study of the different effects on that perception attributable to non-collaborative co-creation that takes the form of either “brand play” or “brand attack” and is executed either by established artists or mainstream consumers.

A 2 × 2 between-subjects experiment (brand play versus brand attack; consumer versus artist) measured observers’ perception of brand equity before and after exposure to purpose-designed co-created treatments.

Non-collaborative co-creation has a negative effect on observers’ perceptions of brand equity and brand attack, causing a stronger dilution of brand equity than brand play. Artists either mitigate the dilution or have a positive effect on those perceptions.

Future research could usefully investigate the relative susceptibility of brands to non-collaborative co-creation, the effects on brands of higher complexity than those in our experiment, exposed in higher-involvement media, and the effects of more diverse forms of co-creation.

Brand managers must recognise that co-creation carries considerable risks for brand equity. They should closely monitor and track the first signs of non-collaborative co-creation in progress. It could be beneficial to recruit artists as co-creators of controlled brand play.

This study offers a more complete insight into the effect of non-collaborative co-creation on observers’ perceptions of brand equity than so far offered by the existing literature. It connects the fields of brand management and the arts by investigating the role and impact of artists as collaborative or non-collaborative co-creators of brand equity.

In the democratic digital environment, brand managers frequently deal with the unauthorized use of the brand by third parties. The phenomenon, known as brand hijacking, has been treated in different and sometimes conflicting ways in the academic and professional literature. The aim of this paper is to clarify the meaning of brand hijacking and to shed light on the various motivations and intentions underpinning the phenomenon.

A Delphi-based survey among both academic and professional experts was conducted to explore the key features of brand hijacking and expand existing theories.

The results of the Delphi survey enable the main brand hijacking actions to be mapped, based on two motivational axes (utilitarian–idealistic and destructive–constructive) and on the various intentions that guide the hijackers. The results help re-define the key elements of brand hijacking, through the lens of non-collaborative brand co-creation.

Managerial implications are presented in terms of the corporate response to the two main effects of hijacking, namely, brand reputational damage and brand repositioning.

The paper helps to shed light on the main components of brand hijacking, thus gaining expert consensus in refining the existent conceptualization in relation to a rapidly changing brand management scenario because of the gradual loss by brand managers of their traditional control.

In response to the rise of socially conscious consumers, brands have been taking a strategic approach to corporate social responsibility (CSR) to drive brand equity. Nevertheless, merely engaging in CSR is not enough to have a positive impact on the value consumers give to a brand. The success of a CSR program depends on its consumers’ perceived authenticity. Therefore, this study aims to investigate how the perception of CSR authenticity, and consequently brand equity, can be enhanced by leveraging brand value co-creation.

The study uses a mixed-method approach to test its hypotheses. Study 1 collects survey data from a national representative sample in the USA, which is analyzed using structural equation modeling. Study 2 collects experimental data from a public university’s research pool, also in the USA, which is analyzed using ANOVA and mediation analysis.

This study demonstrates that when consumers believe that a brand is co-creative – i.e. consumers are allowed to participate in the creation of value – they will likely perceive the brand’s CSR program as more authentic, which in turn will positively affect brand equity.

The findings of this study offer implications for academics and brand managers interested on how to effectively leverage CSR for brand building. Specifically, it demonstrates that embracing CSR alone may not be sufficient to enhance brand equity and that brand managers should consider leveraging co-creation to strengthen perceptions of CSR authenticity.

Corporate brands increasingly use influential, high reach human brands (e.g. influencers, celebrities), who have strong parasocial relationships with their followers and audiences, to promote their offerings. However, despite emerging understanding of the benefits arising from human brand-based campaigns, knowledge about their potentially negative effects on the corporate brand remains limited. Addressing this gap, this paper deepens insight into the potential risk human brands pose to corporate brands.

To explore these issues, this conceptual paper reviews and integrates literature on consumer brand engagement, human brands, brand hijacking and parasocial relationships.

Though consumers' favorable human brand associations can be used to improve corporate brand outcomes, they rely on consumers' relationship with the endorsing human brand. Given the dependency of these brands, human brand-based marketing bears the risk that the human brand (vs the firm) “owns” the consumer's corporate brand relationship, which the authors coin relationship hijacking. This phenomenon can severely impair consumers' engagement and relationship with the corporate brand.

This paper sheds light on the role of human brands in strategic brand management. Though prior research has highlighted the positive outcomes accruing to the use of human brands, the authors identify its potential dark sides, thus exposing pivotal insight.

For the design of this case study, the authors used primary sources of information from the shops visited by them in preparation of the case and website of Fred Perry and secondary sources of information from both academic and journalistic publications.

Fred Perry is a premium clothing brand, well-known for its polo shirts. It was created by Mr Fred Perry, a British tennis player. The brand’s stated values are integrity, personality and individuality. Throughout its history, the brand has been adopted by different British subcultures but recently it has faced a challenge because of the brand appropriation by the Proud Boys, a US far-right white supremacy group and other extremist groups as Antifa and hooligans. The nature and actions of the group mean that Fred Perry runs the risk of losing control over its brand equity. This brand hijack means that Fred Perry risks alienating some of its customers by openly opposing the group but also by embracing this subculture’s appropriation. Practically, the brand opposed the appropriation in a press release and by putting an end to the sale of the black and yellow polo shirts in the USA and Canada. Fred Perry has also made a lot of efforts to reposition the brand away from extremist groups while maintaining its strong historical and cultural roots. Through this case study, students will have the opportunity to discuss this topic and explore solutions for brands that face this type of dilemma.

This case is designed to be used in a marketing management, brand strategy or consumer behavior/culture course, especially in the subfield of market segmentation in the telecommunications sector. Specifically, this case is designed for college seniors or master students with basic strategic marketing training. This case will help students understand the difference between the brand identity that the brand owners intend and the brand image that consumers actually perceive. It provides the basis of discussions on the topics of brand management, consumer culture, consumers-brands relationships, brand architecture, brand equity, brand appropriation and repositioning strategy.

This paper aims to discuss the notion of displacement, which refers on the one hand to the displacement faced by a diaspora and on the other hand to the diaspora’s hijacking of brands from their home country.

This is a conceptual paper supported by empirical evidence in the form of three case vignettes of brand hijacks by diasporas or reverse diasporas.

The three case vignettes show how the displacement does not only exist on the side of the brands; it is also found in the culture of the host country or the country of origin which is changed by the appropriation of the brand made by the (reverse) diaspora.

This paper argues why it is important for both consumer culture studies and brand culture research to pay more attention to the role of the “invisible diaspora hand.” Although sustained by some qualitative evidence, the paper is a theoretical construction that needs to be discussed and challenged.

This paper answers calls to go beyond space and place when it comes to market spatiality and to introduce other geographical concepts like diaspora.

The purpose of this study is to question the prospective relevance of conceptual articles on branding.

The paper advocates the development of conceptual articles with prospective relevance by emphasizing two key elements – the form and the context of discovery. The paper is illustrated with empirical data on how some branding researchers have produced such conceptual articles.

To author such articles the researchers might focus more on the initial phase of theorizing, when their intuition makes it possible to imagine new reality through alternative forms. The paper also highlights a need to reconsider the role of essays in branding research, particularly in writing conceptual pieces of prospective relevance.

The connection between intuition and form is crucial to producing prospectively relevant conceptual articles. By evolving along the middle ground, without falling into empirical production on the one hand or guruization on the other, the researcher can give form to emerging branding phenomena.

The paper renews the debate on the need for more conceptual articles by focusing on a forgotten but crucial dimension: foresight relevance.

The purpose of this paper is to propose a framework for brand meaning co-creation between brands and fans on Facebook.

A case study methodology was applied. Brand posts in the form of text, pictures, videos and fan comments of three brand pages – Nike Run, Mizuno and Jack Daniel’s – were collected and analyzed in a netnographic manner. Seven influential fans of the Nike Run brand page, who were identified in the data, and one marketing manager of each brand were interviewed.

This paper shows how brand meanings are orchestrated by brand managers and co-created through a process in which the brand leads the dialog through several types of brand actions. It also shows how fans engage in this dialog through multiple forms of reactions. A brand page’s content should be curated by its manager based on the role of the content on fans’ lives and their potential reactions and not merely on the meanings that the brand desires to communicate.

This paper proposes a conceptual framework for understanding brand meaning co-creation at the micro-level of brand-fans daily interactions. Nevertheless, this study analyzed only three brand pages in two product categories – alcoholic beverages and running. Therefore, the authors do not claim that one can extrapolate from their findings.

The brand meaning co-creation process that is identified here provides a useful frame of reference for brand managers who seek to understand how they can best influence fans to co-create brand meanings in directions that benefit their companies.

This paper evolves with the co-creation of brand meanings literature by proposing a framework of brand meaning co-creation on Facebook. This framework can help brand managers to fine tune their content strategy in social media.

The implications of multiple organizational identities for branding research have been scarcely considered. This paper aims to explore what sources of identity internal stakeholders use to construct organizational identities and corporate identities, and identify how diversity emerges in the perceived identities across various stakeholders.

The empirical study includes 59 in-depth interviews with internal stakeholders in a business-to-business service company.

Employees may perceive identity diversity as a strategic benefit for the company, and employees may not identify with a uniform corporate identity. The corporate identity could become more identifiable for employees through managerial recognition of different dimensions of identity diversity, such as multiple professional and locational identities.

The study bridges insights between organizational identity and corporate identity and problematizes identity coherence and consistency as strategic principles for corporate branding by proposing an alternative approach guided by identity diversity. Additionally, the study discusses identity diversity-based approaches to internal branding and co-creation in branding.

This paper aims to present historical examples of collaborations between brand strategists and artists; provide an extensive, structured overview of existing published research on such collaborations and their effects; present seven papers comprising this special issue; and discuss ideas for further research into brand–art collaboration.

This is an editorial based mainly on an extensive and broad literature review.

First, this editorial underpins the relevance of brand–art collaboration in the past and present by reference to real examples. Second, it structures the diverse literature into four key aspects of the topic: inspiration, insights, identity and image. Third, it provides a glimpse of the seven papers selected for this special issue. Fourth and finally, it identifies a total of 16 avenues for further research, on four levels (artist, brand owner, consumer and cooperation process).

This editorial and the entire special issue together represent the first anthology on the topic of the interface between brand management and arts. The collection and classification of the existing literature, the formulation of ideas for future research and the content of the seven papers are collectively excellent starting springboards for new and fresh brand research projects.