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The purpose of this paper is to examine how users on social media view brands with a heritage. Consumers commonly post opinions and accounts of their experiences with brands on social media. Such consumer-generated content may or may not overlap with content desired by brand managers. Drawing from “The medium is the message” paradigm, this study text-mines user narratives on Twitter1 to shed light on the role of social media in shaping public images of brands with heritage through the lens of the stereotype content model.

The study uses a data set of almost 80,000 unique tweets on 12 brands across six categories, compares brands high versus low in heritage and combines dictionary-based content analysis with sentiment analysis.

The results indicate that both user-generated content and sentiment are significantly more positive for brands low rather than high in heritage. Regarding warmth, consumers use significantly more positive words on sociability and fewer negative words on morality for brands low rather than high in heritage. Regarding competence, tweets include more positive words on assertiveness and ability for low-heritage brands. Finally, overall sentiment is more positive for brands low rather than high in heritage.

Important from co-creation and integrated marketing communication perspectives, the findings provide brand managers with actionable insights on how to more effectively use social media.

To the best of the authors’ knowledge, this research is among the first to examine user-generated content in a brand heritage context. It demonstrates that heritage brands, with their longevity and strong links to the past, need to be aware of how contemporary social media can detract from their image.

Extending research on cultural differences in aesthetic appreciation, the purpose of this paper is to show how a more interdependent self-construal, a cultural and individual difference variable related to one’s social self, impacts the influence of visual harmony on consumer evaluations of marketing artifacts’ attractiveness.

Data were obtained via three studies from a total of 1,498 consumers in Australia, Brazil, China, France, Germany, and Italy. Marketing visuals included the design of products, packages, typefaces, and logos. Self-construal was both measured and manipulated.

The results indicate that a person’s self-construal moderates the effect of visual harmony on attractiveness. Specifically, the positive effect of visual harmony on attractiveness – through self-congruity – is more pronounced with consumers possessing a more interdependent self-construal, and with products that are more hedonic than utilitarian.

Given the pivotal role attractiveness has in influencing consumer behavior, understanding what differences, at the individual and cultural levels, impact the harmony-attractiveness relationship helps marketers to better match the visual design of marketing stimuli to target audiences.

This study is among the first to show how the social-self impacts consumer response to marketing visuals. Further, value stems from adopting a holistic perspective on design, clarifying the process mechanism, and identifying boundary conditions.

More and more wine producers realise the opportunities that lie within designing extrinsic product attributes for promoting their wine. Unique packaging (e.g. special bottles) or labelling is supposedly more efficient in differentiating the (augmented) wine product than changing the core product (fluid) itself. Wine exhibition awards (medals or diplomas, usually at the gold or silver level) have become particularly popular for the purpose of signalling an outstanding quality to the buyer. This can be observed in grocery store assortments as well as in special wine stores. The potential relevance of this strategy draws from the fact that only a fraction of worldwide sales of bottled wine goes to educated wine connoisseurs who evaluate the real value of a wine by attributes like varietal, producer, vintage, vineyard, etc. The average wine consumer's choice is likely to be influenced to a greater extent by product attributes that require less of an insiders' knowledge. Exhibition medals could be of special interest to wine suppliers by quickly conveying a summary of expert opinions. Interested buyers would not be required to read the sometimes extensive information written in usually small letters on the labels. Instead, medals etc. enable them to quickly and reliably evaluate the quality.

Providing satisfying shopping experiences is a major goal in retail management because satisfaction guides re-patronage behavior. The purpose of this paper is to demonstrate that the visual complexity of an environment’s interior design (i.e. the overall amount of visual information in an environment) influences the shopping experience by impairing customers’ information processing and self-regulation resources.

Two quasi-experimental field studies were conducted in two different cultural contexts (i.e. Germany and Singapore) to enhance the external validity and robustness of the findings.

Both studies provide evidence that an environment’s visual complexity impairs the shopping experience. Study 1 shows that visual complexity places a perceptual load on customers which mediates the complexity-experience relationship. Study 2 replicates this finding in a different setting and extends it by showing that load relates to lower self-control, which in turn, mars the experience. Furthermore, the negative effect of complexity on the experience is more pronounced with shoppers pursuing utilitarian rather than hedonic shopping goals.

The findings in a supermarket context may not transfer to environments in which the visual design is an important component of the value proposition and where shopping goals are largely hedonic in nature.

The findings advance theory by showing that it is perceptual load and its outcome, reduced perceived self-control, which are largely responsible for the negative effect of visual complexity on the shopping experience. This finding should encourage managers to proactively manage and reduce the complexity of their service environments.

This study is the first to show how the visual complexity of a retail environment influences a customer’s shopping experience. It offers novel insights into the underlying mechanism of perceptual load and self-control as process mediators of visual complexity on the shopping experience.

This paper aims to examine how visual and haptic package design characteristics singularly and jointly affect consumers' brand impressions.

Integrating and extending design perception with congruence and fluency theories, the paper presents three research propositions that are tested in three studies. Bottled water serves as an example category with data provided by professionals and consumers.

Study 1 identifies key types of holistic bimodal designs (Modern, Big Grip, Prototypical‐Small, Boxy Billboards, and Prototypical‐Large) based on brand visual and haptic factors. Study 2 relates these types to unique single‐modal brand impressions. Study 3 determines how consumers evaluate brands depending on the semantic congruence between haptics and visuals. Except for the excitement dimension, brand evaluations are more positive under conditions of high rather than low congruence.

The findings are obtained for a single category (bottled water) using experiments designed to highlight and focus consumer attention on the formation of impressions. The findings may thus not fully reflect consumer responses in actual retail purchase situations.

The paper provides preliminary guidelines on how to utilize visual and haptic cues in the design of brand packages for stimulating desired consumer responses.

The work presented in this paper contributes to the literature on design‐based brand inferences and semantic congruence by integrating the visual with the haptic perspectives.

The purpose of this study is to adopt a functional perspective to integrate and extend three streams of research, the first distinguishing between global affect and discrete emotional episodes, the second highlighting the capability of places to elicit emotions and the third demonstrating the differential impact of discrete emotions on consumer response. Doing so shows that four positive place emotions have a significant and variable influence on consumer purchase intentions for brands originating there.

A focus group pilot corroborates that places relate to contentment, enchantment, happiness and pride, which impact consumer response. Study 1 uses landscape photographs to show the four place emotions influence purchase intention for bottled water. Study 2 retests the impact of place emotions, using short vignettes and establishes the moderating role of product hedonic nature. Study 3 replicates emotion effects, corroborating their non-conscious nature and establishing their impact in the presence of place cognitions.

Together, the empirical studies provide evidence for effects of four discrete place emotions, especially with hedonic products and under conditions of cognitive load. Effects are robust when a person’s mood, buying volume, category knowledge, impulse buying tendencies and place cognitions are included as controls.

The study contributes to a better understanding of the emotional dimension of origin effects by adopting a novel, theory-based perspective on discrete positive place emotions impacting consumer response.

Managers invest substantially in places to elicit positive feelings, gravitating toward the view that all they need to do is create a global positive effect with consumers. The study informs this perspective by demonstrating how discrete emotions influence consumer response.

This study is among the first to examine discrete positive place emotions as possible drivers of consumers’ purchase intention.

This study aims to integrate Roccas and Brewer’s (2002) social identity complexity theory with the brand symbolism literature to propose a new construct: brand identity complexity (BIC). Different than previous conceptualizations of identity complexity which focus on the degree of internal differentiation of the personal self, BIC focuses on the degree of complexity in the social self and is defined as a consumer’s subjective representation and psychological state of belongingness to multiple identity-constructing brand ingroups. BIC impacts the adoption of new brands as they relate to the social self.

Three experiments were performed to test BIC’s predictive power. Study 1 measures BIC and tests its influence on the adoption of new brands positioned as unique. Study 2 manipulates BIC through priming and tests its influence on the adoption of new brands that appeal to independence. Study 3 also manipulates BIC and examines its influence on the adoption of brand extensions.

Study 1 demonstrates that high BIC consumers are more likely to adopt a new brand that appeals to a unique social self. Study 2 shows that high BIC individuals are more likely to adopt a new brand that appeals to an independent self. Study 3 shows that high BIC consumers are more likely to adopt a brand extension with a low fit to the parent category. All three studies offer evidence of the mediating role of identity-driven payoffs.

The findings suggest that individuals perceive their multiple brand ingroups to be more or less complex. This outcome merges the social identity theory with consumer–brand relationship research and adds to an emerging stream of research that explores personal, situational and cultural differences in the social self and its relation to commercial offers.

Marketers can benefit from the findings by better understanding which brand appeals will be more effective with target consumers and under what conditions.

This research develops a conceptual framework for understanding the development of brand ingroup-based identity complexity.