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This autoethnographic article presents the adaptation of collage—an arts-based method traditionally used in face-to-face settings—into an online research tool. It emphasizes the increased relevance of such a transition in the wake of the digital shift and the Covid-19 pandemic. The work aims to reveal how digital collages can facilitate in-depth participant responses in a time when conventional research settings are inaccessible.

The article incorporates autoethnographic vignettes, which are identified in italics, that offer insights into my personal reflections on the transition and adaptation to an online mode. Firstly, I review how collage can be a valuable tool to include in focus groups and for elicitation during semi-structured interviews. Secondly, I review the challenges I experienced when conducting focus groups online to create the collages. Thirdly, I explore, in more detail, three examples of collages that reflect the diverse ranges that were produced and the insightful discussions that emerged from the participants describing the visual elements of their collages. Finally, the reflective nature of my autoethnographic vignettes provides an insight into the world of the researcher during this turbulent time.

Findings show that collage, whether physical or digital, remains an effective tool for eliciting nuanced understandings from participants. The research contributes to the arts-based research narrative by showcasing how the digital adaptation of collage methods can yield profound insights into participants' perspectives, therefore enriching the data beyond what traditional interviews could unveil.

These observations can provide support for other researchers who are contemplating the adoption of online arts-based research methods. Understanding how traditionally face-to-face arts-based research methods can be adapted for the digitally evolving landscape is important for shaping the future of online research.

The development of qualitative research methods addresses the need to explore, understand and interpret complex and subjective phenomena across various fields of study. These methods are guided by methodological frameworks, and data collection involves taking several precautions for observation or interviews. While these guidelines facilitate an emphasis on the objective aspects of discourse, accounting for subjectivity and emotions proves more challenging. However, these subjectivity and emotions are deemed as significant sources of information. In this chapter, we propose an innovative data collection method centred around creating collages and engaging in group discussions to decipher their meaning. Collage serves as a visual medium, and we recommend utilising semiotic analysis tools to comprehend its significance. To gain a more precise understanding of the value of collage as a data collection method, we studied a collage workshop organised by CREE. Through image analysis and exchanges, our findings reveal that collage acts as a physical medium that fosters exchanges, deepens ideas and restricts digressions. Additionally, collage allows for the expression and discussion of emotions linked to the image rather than the individual. The space of intersubjective reflexivity facilitated by collage enables a profound comprehension, critical assessment and augmentation of ideas and the interpretation of emotions without compromising the sensitivity of the author. This chapter’s main contribution is evidently manifested here.

This paper aims to offer a novel participatory visual research method, the mapping of identity (MOI) protocol that embraces the complex nature of contemporary consumers’ lived reality.

The MOI protocol is a two-phase methodology. The first phase includes collage creation, based on a taxonomy of attachments, followed by an elicitation interview structured around the participant’s collage. In phase two, the categories elicited in phase one are synthesised into key themes in collaboration between the researcher and the participant.

MOI methodology provides an effective platform for participants to bring together disjointed memories, fragments and thoughts. Two individual cases are presented that seem similar on the surface; however, when deconstructing these narratives, their lived experiences and the effect that these narratives have on the construction of the self are very different. Treating participants as co-researchers and letting the choices they make in their collage creation lead the interview empowers the participant and enables the researcher to better understand their complex identity articulations.

This study contributes a visual methodology capable of exploring and celebrating the complexities of self-identity.

MOI is a useful tool for facilitating self-exploration in liquid markets. Marketing experts should provide materials that are not too confining and facilitate consumers in expressing multiple voices.

The participatory nature of MOI methodology allows for the emergence of stories from those that might otherwise go unheard, helping to understand unfamiliar and sometimes unrecognised identities.

Marketing literature recognises the complex nature of contemporary lived reality; however, some of the intricate aspects of this reality have not been dealt with in all their complexity. A reason for this gap is the paucity of suitable research methods. The MOI protocol presented in this paper addresses this, providing an effective visual tool to explore the complex web of contemporary consumer life.

Recently, practitioner literature in English education has taken up the issue of writing-related shame in classrooms, calling for teachers to help students develop resilience. One possible approach for nurturing shame resilience around writing is dialogic collaging: students make and dialogically engage with collages and with colleagues to explore the self-as-writer and to connect with others around writing struggles and joys. The purpose of this paper is to share and critically reflect on this pedagogical approach.

To share, interpret and consider the limitations and implications of the dialogic collaging pedagogy in service of writing-related shame resilience, the authors offer a multi-voiced narrative about one classroom instantiation of college, from the perspective of a university writing teacher and a student of writing.

On the interpretation, this story unfolds three central themes as follows: dialogic collaging can help students to develop a more realistic and situated sense of self-as-writer. That is, students can come to appreciate how “becoming a writer” is a process they – and others around them – are already in, rather than an unreachable achievement at which they will inevitably fail. The stance of playfulness nurtured through the dialogic collage process can provide a helpful distance between self and writing. These processes may – under certain conditions – support shame resilience.

The conclusion reflects on whether more explicit attention to shame could be fruitful and on the dynamics of teacher vulnerability in writing classrooms.

The authors hope to inspire writing teachers – particularly in secondary, post-secondary and adult education – to engage with dialogic collaging as part of their pedagogical repertoires.

Dialogic collaging is a pedagogical approach not previously discussed in the literature on secondary and post-secondary writing instruction, offering one promising way to address writing-related shame. It can make visible and build solidarity around how others are also in the midst of a process of becoming – as writers and/or with writing. This appreciation can help nurture a more realistic, playful and shame-resilient stance toward self-as-writer.

This chapter presents a form of both co-participation theory and artful inquiry methodology as useful approaches in carrying out research into the student experience. Participatory Pedagogy is predicated on repositioning participants as co-producers of knowledge by introducing them to important aspects of the research, providing a platform to foster expression and affording opportunities to co-shape the research process. Artful inquiry can take many different forms, but collage in particular has the capacity to bring new meanings to the surface even in well-researched fields, such as the student experience. In supporting a Participatory Pedagogy approach, collage can unpack powerful testimonies of personal experience. A practical application of this pairing is also presented based on research into the student experience. This gives readers an insight into how it can be applied to a study, what its limitations might be and especially how students, particularly those from under-represented backgrounds, can benefit from being involved.

This study aims to focus on understanding the consumer-luxury brand relationships among Generation Z. Generation Z is an up-and-coming generational cohort that has received limited research attention in the domains of both consumer-brand relationships and luxury branding, despite its growing size and purchasing power. Therefore, this study highlights the distinctive patterns of Generation Z’s relationship with luxury by identifying their choice of a luxury brand, the nature of the brand relationships, what characterizes these relationships and the internal and external influences that shape these relationships.

This study used brand collage construction. A total of 56 Generation Z respondents created brand collages that covered 38 different luxury brands. The data from the collages and their accompanying descriptions were evaluated using content analysis.

This study identifies Generation Z’s unique yet expansive view of luxury that encompasses not only traditional luxury but also masstige and non-traditional luxury brands. Moreover, the findings generally support that Generation Z’s relationships with luxury brands are characterized by “like” rather than “love”; while Generation Z may feel a high level of loyalty toward luxury brands in terms of attitudes and behaviors, they do not necessarily have strong, passionate feelings for them.

The findings of this study offer a comprehensive understanding of Generation Z’s brand relationship with luxury. Luxury marketers need to recognize that for Generation Z consumers, luxury is an integral part of their everyday lifestyle more than a display of success, which is clearly different from previous generations.

The purpose of this paper is to suggest and recommend an alternative visual technique to collect scenario planning information. This visual technique is known as collage or papier collé.

A case study example of using collage construction to collect scenario planning information is presented.

Collage construction was deemed well suited to scenario planning as it overcome some of the problems of verbal communication techniques, providing an additional technique that allows the scenario planner to analyse information from multiple angles and sources. Through using multiple techniques, the scenario planner is able to increase “trustworthiness” of the data and analysis and build confidence that the future scenarios are “authentic”, “believable” and “applicable”.

A major limitation of this study is that only one case study is presented. To ensure “trustworthiness” across a variety of industries and cultural contexts, further replication would be needed.

Collage construction can prove to be a valuable additional tool for the scenario planner when verbal communication is limited or problematic.

This research recommends a scenario planning technique that does not necessarily rely on verbal communication skills.

The purpose of this study is to employ the collage technique, an unstructured qualitative association instrument, with respect to place branding initiatives and to uncover internal stakeholders' perceptions of the region or destination.

The first part presents a general framework of brand and destination branding in the field of tourism research. The empirical study was carried out in selected Alpine tourism destinations. In the first stage the authors identified the main representatives of stakeholders in two Austrian tourism destinations. In the second, the collage technique was used to obtain stakeholders' perceptions of the tourism destination brand.

The findings reveal that different internal stakeholders trace different perceptions of tourism places and illustrate the importance of using the collage as a technique to explore the various identities of a place.

It is argued that internal destination stakeholders do not share the same brand perception of the destination brand and they do not share a common identity, which is communicated through the destination management organisations (DMOs). However, more research is needed to support these findings as the study is limited by its sample size and focus on the Alpine region of Tyrol, Austria.

The results suggest that DMOs should establish better identities within their destination. In particular, they must consider that the collage is a very important technique in communicating the desired brand identity to internal destination stakeholders.

This paper seeks to clarify the effectiveness of the collage method as a tool to measure stakeholders' identities of selected tourism destinations. The paper demonstrates the importance of employing different association methods (word or picture) in recognizing stakeholders' knowledge and opinions of destinations as a primary step in analyzing stakeholders' brand identity perception.

The purpose of this paper is to investigate young female consumers' motivations and perceptions of their alcohol consumption in the context of the changing drinking culture among women.

All the data were collected on a university campus in Poland. The research was conducted in two phases, using two research methods: consumer diaries and consumer collages. In Phase 1, purposive sampling was used to establish a group of five female students, all aged 22, who were asked to keep individual written diaries. In Phase 2, consumer collages were prepared and interpreted by four groups consisting of 24 female students.

Both sets of data were thematically analysed, and the emerging themes were divided into two major issues: drinking motives and control and limits.

This research is limited by a small sample recruited from one university, and the indicative findings should be used in further research.

Better understanding of female students' drinking culture will help to develop more targeted and effective policies and social marketing programmes to prevent further rise in alcohol consumption among female students.

This research contributes to the existing literature by deepening our understanding of the unique characteristics of female undergraduate students' drinking, and identifying the areas of convergence between male and female alcohol consumption. It also explores the motivations behind these convergence processes and highlights areas in which differences between genders are still strong.

This research was motivated and initiated by a request from industry to present a life skills learning programme to supplement young workers’ training. Subsequently, the dilemma faced by facilitators and trainers to assess the learners’ attainment of the learning outcomes of a life skills learning programme provided the impetus to develop an alternative assessment method – the collage and the stimulus instruments. A model developed by the researchers guided the development of the alternative assessment method and the stimulus instruments. Taking into account the demands, requirements and characteristics of life skills, a collage consisting of ten pictures and ten verbal concepts was developed to assess the learners’ attainment of the learning outcomes of a particular life skills learning programme. The life skills learning programme was presented to 18 artisans employed in industry. The selected material in the collage depicts more than one life skill and reflects the learning outcomes of the programme. The article is published in two parts. Part 1 is outlined above. The second part of the article will report on the outcomes of the application of the assessment instrument with the subject group of young workers.