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The purpose of this paper is to propose an initial, exploratory and tentative theoretical construct related to the current consumption of landscape as a key symbolic and physical element in territorial representation and evocation, and for the deployment of place branding strategy. It constructs a line of argument to support what shall be referred to as “landscape branding”, that is, the paradigmatic role of landscape in place branding. It is, therefore, of interest to define the value of landscape as a social and cultural construction, which is why the paper awards importance to the specific analysis of their capacity for visual and/or aesthetic evocation within the context of a general branding strategy for geographical spaces.

To develop a sufficient proposal for sustaining “a theory of landscape branding”, the paper deploys a meta-analysis, that is, an extensive review and interpretation of the literature related to visual landscape and place branding, to propose a tentative initial approach to landscape-infused place branding theory.

The relationship existing between landscape images and texts and their possible situating and subsequent interpreting within the context of the political, cultural and economic logics of contemporary society give rise to a renewed analytical framework for cultural geographies (Wylie, 2007). At this point, place branding becomes a recurring argument for the consumption of carefully staged places, representing, to use Scott’s terms (2014), the arrival of a cognitive-cultural capitalism characteristic of post-Fordism.

From a practical perspective, the landscape branding approach provides several benefits. First of all, regardless of the fact that many commentators have argued that logos, slogans and advertising campaigns are relatively ineffective in place branding, practitioners still seem to be focussed on these visual design and advertising tools. The landscape branding approach facilitates an identity-focussed perspective that reconfirms the importance of linking reality with perception and hence reinforces the need to link place branding to policy-making, infrastructure and events.

Landscapes’ imageability facilitates visual storytelling and the creation of attractive symbolic actions (e.g. outdoor events/arts in attractive landscape and augmented reality or landscaping itself). This is the type of imaginative content that people easily share in social media. And, of course, landscape branding reiterated the importance of experience. If policymakers and publics alike understand this considerable symbolic value of landscape, it might convince them to preserve it and, hence, contribute to sustainability and quality of life.

The novelty lies not in the familiar use of visual landscape resources to promote places, but in the carefully orchestrated construction of gazes, angles, representations, narratives and interpretations characteristic of geographic space, which somehow hijack the spontaneous gaze to take it to a certain place. Everything is perfectly premeditated. According to this, the visual landscape represents a critical point as a way of seeing the essence of places through a place branding strategy. In this sense, that place branding which finds in visual landscape a definitive argument for the projection of aspirational places imposes a new “way of seeing” places and landscape based on a highly visual story with which to make a particular place desirable, not only for tourism promotion purposes but also with the intention of capturing talent, infrastructures and investment, among other objectives.

The purpose of this paper is to investigate how simultaneous use of devices such as personal computers, tablets and smartphones impacts the sponsors that receive brand integration during the broadcasts. Advances in technology now allow fans to consume broadcasts of televised events almost anywhere via personal computers, tablets and smartphones. These devices are also frequently utilized as “second screens” to communicate with fellow consumers on social media, access additional content or otherwise multitask during televised consumption.

An initial study served to test the applicability of the theoretical framework of a dual coding theory in this new context, followed by a 3 × 2 between-subjects design utilized to advance understanding of the influence of second screens on brand awareness of the sponsors of televised events.

Results demonstrated that both brand recognition and recall were reduced by second screen activity across nearly all audio or visual consumption experiences. Further, while second screen use in an audiovisual setting did not interfere with consumers’ ability to recognize brands, indicating they were able to multitask and were not distracted, it inhibited their ability to recall brands from memory. This result provides evidence that second screen use may interfere with elaborative rehearsal and reduce cognitive capacity.

Given that marketers are investing more resources than ever to achieve brand integration during televised events, these findings suggest that brands face challenges in achieving a requisite return on their investments.

This study represents the first empirical investigation of the impact of consumers’ use of second screens in the academic literature, and has important implications for the sponsors of televised events.

This paper aims to consider the visual literacy mobilized by consumers in their use of brand aesthetics to construct and communicate a curated self.

The research surveyed a range of visual material from Instagram. Specifically, the goal was to use “compositional interpretation”, an approach to visual analysis that is not methodologically explicit but which, in itself, draws upon the visual literacy of the researcher to provide a descriptive analysis of the formal visual quality of images as distinct from their symbolic resonances. The research also incorporates 10 phenomenological-type interviews with consumers. Consistent with a phenomenological approach, informants were selected because they have “lived” the experience under investigation, in this case requiring them to be keen consumers of the Orla Kiely brand.

Findings indicate that consumers deploy their visual literacy in strategic visualization (imaginatively planning and coordinating artifacts with other objects in their collection, positioning and using them as part of an overall visual repertoire), composition (becoming active producers of images) and emergent design (turning design objects into display pieces, repurposing design objects or simply borrowing brand aesthetics to create designed objects of their own).

This research has implications for the understanding of visual literacy within consumer culture. Engaging comprehensively with the visual compositions of consumers, this research moves beyond brand symbolism, semiotics or concepts of social status to examine the self-conscious creation of a curated self. The achievement of such a curated self depends on visual literacy and the deployment of abstract design language by consumers in the pursuit of both aesthetic satisfaction and social communication.

This research has implications for brand designers and managers in terms of how they might control or manage the use of brand aesthetics by consumers.

To date, there has been very little consumer research that explores the nature of visual literacy and even less that offers an empirical investigation of this concept within the context of brand aesthetics. The research moves beyond brand symbolism, semiotics and social status to consider the deployment of abstract visual language in communicating the curated self.

This paper aims to investigate how and when visual referents in brand visual aesthetics (i.e. colours, shapes, patterns and materials) serve as design applications that enable consumer diasporic identity.

This paper uses an innovative methodology that triangulates 58 in-depth interviews with diasporic consumers, 9 interviews with brand managers and designers and a visual analysis of brands (food retailer, spices and nuts, skincare, hair and cosmetics, ice cream and wine) to provide a view of the phenomenon from multiple perspectives.

This study illustrates how and when particular applications and compositions of product and design referents support diasporic identity for Middle Eastern consumers living outside the Middle East. Specifically, it illustrates how the design applications of harmonising (applying separate ancestral homeland and culture of living product and design referents simultaneously), homaging (departing from the culture of living product and design referents with a subtle tribute to ancestral homeland culture) and heritaging (departing from the ancestral homeland culture product and design referents with slight updates to a culture of living style) can enable diasporic identity in particular social situations.

Although applied to the Middle Eastern diaspora, this research opens up interesting avenues for future research that assesses diasporic consumers’ responses to brands seeking to use visual design to engage with this market. Moreover, future research should explore these design applications in relation to issues of cultural appreciation and appropriation.

The hybrid design compositions identified in this study can provide brand managers with practical tools for navigating the design process when targeting a diasporic segment. The design applications and their consequences are discussed while visually demonstrating how they can be crafted.

While previous research mainly focused on how consumption from the ancestral homeland occurred, to the best of the authors’ knowledge, this study is the first to examine how hybrid design compositions that combine a diaspora’s ancestral homeland culture and their culture of living simultaneously and to varying degrees resonate with diasporic consumers.

This study aims to address research calls to investigate how (visual) consumption experiences carry and convey meanings to individuals. Applying McCracken’s meaning transfer model to a photographic exhibition, the authors expand this model into the realm of aesthetic experiences to explore how the meaning of such an (visual) experience emerges and flows to (novice and expert) consumers.

This research uses an interpretive case study of the photographic exhibition “Facing Mirrors” hosted as part of the Biennale of Contemporary Art, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records.

The evidence highlights the moveable nature of meaning within an aesthetic context and illustrates the critical role of semiotics and of the different ritualistic behaviors enacted by novice and expert visitors as a means of unfolding and creating the meaning of such an experience.

The findings provide implications in terms of (co-)creating authentic, immersive and meaningful (brand) experiences in the fields of visual consumption and customer experience management.

Practical implications to arts organizations are also provided in terms of curatorial practices that emphasize the material, emotional and dialogic nature of photographs as a visual art form.

The study provides new insights into (visual) consumption experiences by bringing the meaning transfer model together with a semiotic approach, thus illustrating different performances and sense-making activities through which (expert and novice) visitors (co-)create and appropriate the value of their aesthetic experiences.

The purpose of this paper is to explore the brand selfie phenomenon on two different levels. On the level of consumer brand experiences, the focus is on how brand selfie practices add new features to brand experiences and consumer–brand relationships. On the level of marketplace brand image, the authors explore how consumers contribute to marketplace conversations by posting brand selfies in social media and how this practice shapes and changes brand image.

The researchers conducted an extensive search on different social media platforms to collect various types of brand selfies. The authors approach brand selfies as rich visual texts and their analysis comprises four key steps: descriptive analysis, response analysis, formal analysis and polytextual thematic analysis.

On the level of consumer brand experiences, the findings illuminate how different types of brand selfies extend the brand experience in space and time and transfer it into the hybrid space of the consumer-defined social networks. On the level of marketplace brand image, it is illustrated how brand selfies contribute to the process of co-creating brand meaning in the social media.

The study proposes a typology of brand selfie assemblages showing how consumers contribute to the visual production and consumption of brand meanings. The brand selfie is a unique material and expressive reality enabling us to theorise new perspectives on how consumers consume brands and how aggregates of brand selfie production and dissemination affect marketplace dynamics.

The aim of this article is to investigate the relationship between visual merchandising elements and consumer affective response by focusing on a function‐oriented product – intimate apparel.

In this paper, a different perspective on visual merchandising is offered through the different types of intimate apparel retailers (from fashion‐oriented, mass market‐oriented to fashion forward). This is presented in an interpretive study of Hong Kong Chinese female consumers, between the ages of 25 and 35. A qualitative approach is employed and the grounded theory method is chosen. A total of eight focus group interviews are conducted with 64 subjects.

The findings indicate that participating subjects have two points of view when evaluating visual store displays, which include utilitarian and hedonic aspects. The utilitarian aspect relates to the actual needs of consumers, such as garment deterioration, seasonal changes and occasions. The hedonic aspect finds that the perceived female image governs consumer interpretation and acceptance of visual displays. It also reveals that the need to be feminine sets the guidelines to evaluating visual stimulus in stores. Display elements, such as mannequins, colour, lighting and props that emphasize feelings of feminine sexuality, tend to trigger negative affective responses in consumers which finally affect purchase intentions.

The authors aim to explore consumer affective response on visual stimulus in stores by considering the aesthetic, symbolic and cultural perceptions of a function‐oriented product – intimate apparel. The literature to date tends to focus on the interaction between individual visual merchandising elements (e.g. colour, lighting) with consumers. However, the product nature and its symbolic meaning have not been seriously taken into consideration. Due to the immense market potential in the East, applying western‐developed theories may not be universally appropriate. There may be different results and patterns in consumer behaviour. Thus, this study aims to enrich existing knowledge of atmospheric management by including the interaction of Eastern values and product nature on affective responses.

This paper examines visual representation in marketing communication from a distinctive, interdisciplinary perspective that draws on ethics, visual studies and critical race theory. An ontological approach is offered as an alternative to phenomenologically based approaches in marketing scholarship that use consumer responses to generate data. Suggests ways to clarify complex issues of representational ethics in marketing by applying a semiotically‐based analysis that places ontological identity at the center of societal marketing concerns. Analyzes representations of the exotic Other in disparate marketing campaigns, including advertising, tourist promotions and music, as examples of bad faith marketing strategy. Music is an important force in marketing communication, yet marketing studies have rarely considered music and its visual representations as data for inquiry. Feels that considering visual representation within marketing from an ontological standpoint contributes additional insight into societal marketing and places global marketing processes within the intersection of ethics, aesthetics and representation.

This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles.

The study applies visual culture perspectives and methods to the research and writing of brand history. Iconic Western images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data about the brand. The primary sources consist chiefly of photographs from the nineteenth century and films and television shows from the twentieth century. Most visual source materials were obtained from the US Library of Congress, the Smithsonian Institution, the Buffalo Bill Center of the West and the Internet Movie Firearms Database. These have been augmented by written sources.

Within a few years of the launch of the Winchester brand in 1866, visual images outside company control associated its repeating rifles with the settlement of the American West and with the colorful people involved. Some of these images were reproduced in books and others sold to consumers in the form of cartes de visite, cabinet cards and stereographs made from albumen prints. Starting in the 1880s, the live Wild West shows of William F. Cody and his stars entertained audiences with a heroic narrative of the period that included numerous Winchesters. During the twentieth century and into the present, Winchesters have been featured in motion pictures and television series with Western themes.

Historical research is an ongoing process. The discovery of new primary data, both written and visual, may lead to a revised interpretation of the selected images.

Based largely on images as primary data sources, this study approaches brand history from the perspective of visual culture theory and data. The research shows how brands acquire meaning not just from the companies that own them but also from consumers, the media and other producers of popular culture.

The authors provide an understanding of how the hero identity is culturally constructed and evolving. The authors focus on heroism within an arts marketing framework through an interrogation of Northern Ireland murals. In this paper, the authors elaborate on the links between arts marketing thought and the notion of hero and draw conclusions around what the authors see as a fruitful area for arts marketing theory.

The authors have adopted a narrative approach, incorporating biographical method, visual analysis and ethnography in interpreting cultural murals. The authors assess representative examples in Northern Ireland using a thematic framework.

The murals the authors assessed have evolved from having a specific community focus to increasing numbers which now represent a “shared”, and therefore more modern version of the hero.

The authors identify an emerging, aesthetically balanced portrayal of cultural murals, with a different set of heroic priorities compared to the past, which should encourage further related research elsewhere.

Northern Ireland murals are no longer the preserve of specific communities and are now also shared spaces which appeal to both the local population and cultural tourists.

Although analysis and evaluation of political murals has been carried out in other disciplines, the authors add to the limited insight from an arts marketing perspective.