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The purpose of this paper is to examine the effects of perfume on cotton fabrics and satisfy the perfume user’s curiosity on this issue.

In this study, the selected perfume was applied on woven and knitted cotton fabric samples in order to investigate the effects of perfume on mechanical and colour properties of the fabrics. For this purpose the chosen perfume was applied in two different amounts (four spraying and eight spraying) from the same distance to the fabric surface. Then the fabric samples were left for 24 hours in order to fulfill the daily usage conditions. Samples were evaluated in terms of tensile strength, pilling and abrasion tests, respectively. Colour measurement test was performed for investigating the fading effect of the perfume and FTIR analysis was carried out for examining the chemical changes.

Result of the study revealed that perfume did not have any effects on tensile strength properties of cotton knitted and woven fabrics and caused serious decrease in pilling and abrasion values and negatively affected colour characteristics of fabrics.

In literature there was no study investigating the effect of perfume on mechanical and colour properties of garment. Thus this study will be the first concerning this issue.

The purpose of this paper is to present a laboratory-based test method to evaluate colourfastness of silk fabrics when perfumes are applied on it.

Three different simple methods like simple spray method, rubbing and perspirometer were used. In simple spray method, standard quantity was sprayed from constant distance. In rubbing fastness tester, perfume sprayed fabric was subjected to rubbing. Similarly, perfume sprayed fabric was kept in perspirometer similar to perspiration fastness testing method. As a new method, perfume applied fabric was again treated with perspiration solution and colour change and staining were observed.

On comparing the different methods, it is suggested that method using fabric applied with both perfume and perspiration solution kept in perspirometer will simulate actual wearing condition and will give the actual effect of Perfume on fabric colour.

So far, no standard method is available. Hence, this test method will enable fabric manufacturers, perfume manufacturers and customers to be aware of effect of perfumes on fabric colour and aesthetics.

The purpose of this paper is to examine perfume packaging in Spain and its effects on Basque female consumers’ purchase decision. The study population was made up of females, as they represent the highest consumer in the perfume market, accounting for 67 percent of the total perfume sales (Trufragance.com). Furthermore, in the past few years the perfume industry has basically targeted females (McIntyre, 2013).

An empirical study was conducted using a questionnaire to collect primary data in order to test the hypotheses. The questionnaire was distributed to 400 randomly selected respondents, from the general female population.

The findings show a relationship between the independent variables (i.e. visual packaging design, verbal packaging design, and packaging benefits) and the dependent variable (i.e. consumer purchase decision) based on several reasons discussed thoroughly in this paper. Additionally, age, education level, marital status, monthly income, and employment category of sample subjects influence the effect of perfume packaging on purchase decisions.

The main limitation of this study is the use of simple random sampling. The research findings bear important implications for more functional, emotional, environmental, and socially responsible marketing practice where packaging is concerned.

The findings of this study contribute to the understanding of packaging as a strategic marketing tool and how it can significantly influence the female’s purchase decision. Thus, giving managers and marketers a competitive advantage in this increasingly growing market. A new concept and measurement scale is presented that can be used for identifying creative packaging design and its benefits.

This study remains one of few research works focusing on the four dimensions of packaging benefits: functional, social, emotional, and environmental. Furthermore, it attempts to fulfill the identified need for encompassing potential and generally accepted packaging elements, including both the visual and verbal elements. Therefore, the uniqueness of this study arises from its examination of both aspects simultaneously, which has been ignored in previous research.

The purpose of this paper is to utilise projective techniques as a method to capture and understand consumer reactions to celebrity‐endorsed perfumes. The paper illustrates how projective techniques can aid practitioners in their selection of celebrity endorsers.

The paper is part of a wider tradition of returning to qualitative methods when research based on existing theories offers only partial or little support for them. In total, 16 females participated in the study, which utilised a range of projective techniques, including picture association. For the latter, participants were exposed first to advertisements for two leading perfumes alone and then these advertisements incorporating four contrasting celebrity endorsers. Associations and reactions to the advertisements with and without celebrity endorsers were compared.

The analysis identifies that celebrity endorsers may have a significant impact on the perceived target market for a product, highlighting their potential role in repositioning a brand. However, the celebrity may crowd out the endorsed product. The role of personal liking is critical, although this is ignored in existing source models of celebrity endorsement.

The application of projective techniques demonstrates their usefulness in capturing responses to celebrity endorsements. The paper uncovers some of the reasons why previous research has generated results that only partially support the existing main theoretical frameworks.

Communicating the national values of artists and the role of product benefits as symbols of national values, infuse iconic national brands. This paper aims to validate a conceptual framework that offers empirical insights for cultural identity that drives brand management.

Case studies and cross-cultural focus group research establish the present study’s conceptual framework for cultural branding.

Brand awareness of a perfume named after a Cuban dancer and a spirit named for a Chilean poet, reflect authentic emblems of national identity. Informants’ behavior confirms the study’s model of icon myth transfer effect as a heuristic for cultural branding with clear, detailed and unprompted references to the myths and brands behind these heroines.

The study’s ethnography shows how artists reflect myth and folklore in iconic brands. Future research should assess whether the icon myth transfer effect as a heuristic for cultural branding occurs with cultural icons beyond the arts and transcends national boundaries.

The study challenges conventional branding, where the brand is the myth, and the myth reflects the myth market. The authors show how the myth connects to a national identity yet exists independently of the brand. The branding strategy ties the brand to the existing myth, an alternative route for cultural branding mediated by the icon myth transfer effect.

These two Latin American brands provide a much-needed connection among the branding literatures and images surrounding gender and nationalism in lesser-known markets.

Most research explores iconic myths, brands and folklore in one country. This study extends cultural branding through social history and by testing a conceptual model that establishes how myths embody nation-specific values. Iconic myths are a heuristic for understanding and describing brands, revealing an unexamined path for cultural branding.

In the advertising of self‐projective products, marketers have focused on image advertising. However, today advertisers are integrating direct response with image based advertising, in essence, to “get more bang for the buck”. Hence, the purpose of the study was to investigate direct response advertising in upscale fashion magazines in the European Union as well as the USA. Eight hundred and seventy advertisements of perfumes, women’s apparel and cosmetics were evaluated via the editions of Vogue. Direct response advertisements were most prevalent among advertisements of women’s apparel and primarily in US editions of Vogue. Furthermore, advertisements for perfumes and women’s apparel were image based while advertisements for cosmetics were balanced. Implications of the findings are given regarding advertising fashion products in the European Community.

The inclusion of softeners (20 g/l), namely, Siligen VN (silicon based), Basosoft SWK (cationic), or Leomin NI (nonionic), in a dimethyloldihydroxy ethylene urea (DMDHEU, 50 g/l) finishing formulation of 65/35 cotton/polyester blended fabric, enhances the resiliency of the fabric, which is expressed as the dry wrinkle recovery angle (WRA). The fabric acquires the ability to keep a rose oil fragrance upon storage up to 3 months. Improving the WRA and acquiring the ability to keep the fragrance can be descendingly arranged as follows: Siligen VN>Basosoft SWK>Leomin NI. Increasing the Siligen VN concentration (0-30 g/l) in the finishing formulation is accompanied by a small increase in the WRA, and a noticeable enhancement in the ability to keep the rose oil fragrance upon storage. By increasing the rose oil concentration (100-300 g/l) in a perfumed bath of cross-linked/Siligen VN, the softened fabric is accompanied by a slight drop in the WRA, and a decreasing ability to keep the fragrance up to 3 months.

However, the extent of the fragrance is higher at higher rose oil concentrations, regardless of the storage time. The ability of the fabric to keep the fragrance can be attributed to solubilization and/or encapsulation of the perfume in the oleophilic segments of the softener, and its slow release with time, so that the smell can be sensed. This ability decreases after increasing the storage time up to 3 months, and depending on the type of perfume oil used, is descendingly arranged as follows: jasmine oil > rose oil > sandal oil.

Outlines a method for using content analysis of print media to answer questions about how to present products for effective consumer advertising. Argues that the application of content analysis to consumer research should become standard practice for marketers, using the perfume industry as a case example. Concludes that content analysis yields insights on how to integrate a product visually with its consumers to produce advertising that embodies relative values.

Analyses the advertising content of three self‐image projective products (perfume, cosmetics, and women′s apparel) in the UK, German, French, Spanish, and Italian editions of Vogue magazine. Tests for the degree of standardisation versus localisation of the advertising of these products. Suggests that marketers/advertisers standardise perfume advertisements to a greater degree and apparel to a lesser degree.

The purpose of this paper is to examine the interesting but largely unexamined impact of self-uncertainty on the persuasiveness of self-deprecating advertisement.

In the present research, the experimental design and survey methods are used to collect data. Furthermore, the ANOVA and bootstrap analysis methods are adopted to verify whether a self-deprecating advertisement is more persuasive for consumers experiencing self-uncertainty and explore the mediating role of self-verification.

Study 1 indicates that people experiencing self-uncertainty are more likely to engage in actual self-verification. Study 2 demonstrates that consumers experiencing self-uncertainty are more likely to purchase products in a self-deprecating advertisement (vs. self-enhancing advertisement), and actual self-verification motive underlies this effect. In Study 3, a novel boundary condition for the main effect–product type (hedonic vs. utilitarian) is found, and it further reveals that the impact of self-uncertainty on the persuasiveness of self-deprecating advertisement will attenuate when the advertised product is utilitarian.

This research reveals that self-deprecating advertising is more desirable for consumers who experience self-uncertainty. Based on the conclusions in this paper, the self-deprecating advertising is more attractive and desirable for consumers who are reminded about their personal uncertainties. Thus, marketers could employ self-deprecating (vs. self-enhancing) advertisement to promote products. For example, in order to promote the waterproof function of iPhone 12, Apple China released a self-deprecating advertisement of “Splash proof and water resistant. Don't worry, iPhone.”

First, this research not only sheds new light on the relationship between self-uncertainty and the persuasiveness of self-deprecating advertisement but also verifies the mediating role of self-verification motive in this relationship. Moreover, this research reveals that self-uncertainty is a significant factor in how people react to the self-deprecating advertisement. It is noteworthy that the self-uncertainty effect is more likely to be found when the advertised product is related to hedonic or experiential consumption as opposed to utilitarian consumption.