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The competitive luxury market raises higher requirements for luxury brands to effectively involve young generations in creating and endowing meanings to products, services and experiences. Several researchers suggest that art experiences create a fertile source of co-creation practices for cultural customers as they could engage in cognitive, emotional and imaginal activities to endowing meanings to products or services. Hence, bridging art and luxury is of significance for luxury brands to create value and engage their customers. This chapter delivers the essence of value for luxury brands and their customers and focusses on how luxury brands deploy art-based initiatives as a favourable technique in which value co-creation takes place.

Although prior works in online retailing have addressed the influence of trust on customer responses, they conceptualized trust as a single dimension. Based on social-psychological literature and sociological literature, this study proposes that consumer trust in an online retailer has two principal forms: cognitive trust and affective trust. The purpose of this paper is to examine various factors influencing the development of each form of customer online trust and the subsequent effect on customer satisfaction (CS) and loyalty intention (LI).

Survey approach is employed to validate the research model. Data are collected from 334 Indian consumers and using structural equation modeling the causal pathways of the model are investigated.

The results show that cognitive trust and affective trust are empirically distinguished variables in online retailing context. Cognitive trust and affective trust are found to mediate the relationship between perceived website quality, security and privacy policy, prior-interaction experience, perceived e-tailer reputation and shared value and CS. CS also positively influences LI toward the online retailer.

The paper provides interesting insights about Indian consumers’ evaluation of online retailers. These useful insights would enable both international and national online retailers to develop and apply different strategies to improve customer trust, which is a key driver of CS and LI.

Drawing from signaling theory and organizational studies literature, this paper investigates the relationship between different antecedents and affect-based and cognition-based trust in online retailing context. In particular, this is the first study to examine multi-dimensional nature of consumer trust in online retailing context. Besides, this paper clearly shows that cognitive trust and affective trust are the mediating variables that positively affect CS toward online retailers and help in building strong customer LI.

A petroleum fraction having a boiling range 200–250°C (kerosene), free from aromatic and n‐paraffin hydrocarbons was oxidised by bubbling air at 130–150°C, at normal pressure, in the presence of cobalt naphthenate as a catalyst. Optimum yield of oxynaphthenic acid was obtained after sixteen hours and thirty minutes oxidation at 140°C. Two layers were formed, the bottom product was a viscous liquid insoluble in petroleum ether and alcohols. Oxyacids, mainly hydroxy naphthenic acids, were obtained after treatment and purification of the viscous liquid.

The purpose of this paper is to present videography as a rising method available for academics. Visuals are increasingly omnipresent in the modern society. As they become easy to create and use, videos are no longer only for ethnographers and specialist researchers.

In the society of “user-content generation,” visual data are incredibly important, original, and powerful sources providing researchers with opportunities to inventively make their results more resonant and more broadly accessible.

Moreover, videography offers the opportunity for researchers to become a kind of artist since they become visual producers.

This paper offers concrete advices for researchers who want to to become visual producers.

Researchers have to make their results more resonant and more broadly accessable.

Videography is a new way (an artistic one) to present results of research.

This chapter explains the role and potential of colour and lighting as two important elements of the service atmosphere in tourism and hospitality service encounters. The chapter first explains the importance of colour and lighting in services from the perspective of customers’ sensory perceptions. Then, the chapter provides examples to demonstrate how psychological/neuro-marketing tools of Eye Tracker and Facial Recognition, Galvanic Skin Response (GSR) and Heart Rate (HR) can be used to understand the role of colour and lighting in customer satisfaction in tourism and hospitality service encounters. Based on this perspective, the study offers recommendations to design service environments in terms of colour and lighting.

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.

Several studies in management science have called for a better understanding of the experience economy approach to develop wine tourism. Few studies, however, have analysed experiential dimensions in the context of French wine-growing regions. The purpose of this paper is to focus on the difference between what wine tourism providers consider relevant in their market offer and what customers expect from their wine tourism experience. A new categorisation of wine tourists’ expectations based on Pine and Gilmore’s (1998) four realms model and Quadri-Felliti and Fiore’s model (2012) are developed.

A mixed methodology, qualitatively analysing 17 semi-structural interviews with the main wine tourism stakeholders in the Alsace region in north-east France and quantitatively analysing 233 questionnaires on wine tourists’ expectations and behaviours are adopted.

The study reveals a difference between experiential offers predicated on an educational approach and the explicit expectations of wine tourists (combining aesthetics, conviviality and authenticity, whose central focus is an encounter with the winemaker). Overall, the findings point to a need for greater inclusion of the experiential aspect in the offer designed for wine tourists.

The study identifies a gap between the educational dimension that professionals tend to promote in their offers and the real expectations of wine tourists who express more interest in the aesthetic dimension provided by an attractive visit environment and an enjoyable experience. At the heart of the authentic experience for wine tourists is meeting the winegrower, making authenticity a major factor.

The purpose of this study is to examine the role of scent congruence with the brand image in the formation of consumers’ reactions to the atmosphere of a place.

Using a factorial design (i.e. scent congruent with the brand image, scent not congruent and control), an experiment was conducted in a multi-service and hospitality space welcoming both local consumers and tourists (N = 303).

The findings show that when the scent is perceived as congruent with the brand image, reactions in the store are more favourable. It is not enough to use a scent that “smells good” or that is congruent with other factors (e.g. sensory environment); the scent must be perceived by consumers as consistent with the brand image. Findings also reveal that the diffusion of a scent congruent with the brand image improves guest satisfaction, intention to revisit and perceptions of the product and service.

The limitations are both the emphasis on direct links and the focus on a French brand (café/co-working space franchise). It would be appropriate to extend the research to other contexts.

The findings show how important it is for hospitality organisations to use scents to generate a positive impact on their guests. Hotel, restaurant and café managers wishing to enhance customer reactions through the creation of an olfactory atmosphere should take scent congruence with the brand image into consideration.

The study of the effects of the atmosphere on consumer behaviour as a function of olfactory congruence with the brand image uses in-situ experimentation (café/co-working and food and beverage area).