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Chapter 4 shows and tells how to create visual art to achieve deep understanding about stories that individuals tell. Creating visual narrative art (VNA) of stories achieves several objectives. First, creating VNA revises and deepens sense-making of the meaning of events in the story and what the complete story implies about oneself and others. Second, creating VNA surfaces unconscious thinking of the protagonist and other actors in the story as well as the storyteller (recognizing that in many presentations of stories an actor in the story is also the storyteller); unconscious thinking in stories relating to consumer and brand experiences reflect one or more archetype (Jung 1916/1959) fulfillments by the protagonist and the storyteller; given that almost all authors agree on a distinction between processes that are unconscious, rapid, automatic, and high capacity, (System 1 processing) and those that are conscious, slow, and deliberative (System 2 processing, see Evans, 2008), VNA enables and enriches processing particularly relating to system 1 processing–enabling more emotional versus rational processing. Third, creating VNA of stories is inherently and uniquely fulfilling/ pleasurable/healing for the artist; using visual media allows artists to express emotions of the protagonist and/or audience member, to vent anger, or report bliss about events and outcomes that words alone cannot communicate; VNA provides a tangible, emotional, and holistic (gestalt) experience that is uniquely satisfying and does so in a form that many audience members enjoy over and over again. Chapter 4 elaborates on the rationales for its central proposition, briefly reviews relevant literature on VNA, and illustrates one mode of VNA for the complementary stories told by a consumer and brand.

This study explores the meaning of Cinderella archetype through the use of visual narrative art (VNA) created from the chosen motion film. First, the present study describes basic concepts of several qualitative research methodologies including visual sociology, cognitive sculpting (CS), storytelling, and VNA. Mapping contexts that the movie describes deepens the understanding of the stories and enactments. Second, the paper briefly examines the Cinderella archetype in storytelling. Finally, the paper illustrates VNA via CS of a subject movie for improving interpretations and sense-making of the story.

This study explores archetypes of luxury brand Chanel through the use of visual narrative art created from studying consumer blog entries. The chapter describes visual narrative art as a qualitative research tool. Mapping contexts and stories that blog entries describe figure out the archetype of the brand. This study extends understanding of archetypes of luxury brand from different consumers’ perspectives.

The main thesis here is that the stories that some brands tell to consumers enable consumers to achieve archetypal experiences. Examining the stories consumers tell in natural contexts involving shopping for and using brands informs explanations of associations of archetypes, brands, and consumers. The study advances the use of degrees-of-freedom analysis (DFA) and creating visual narrative art (VNA) as useful steps for confirming or disconfirming whether or not the stories consumers tell have themes, events, and outcomes that match with the core storylines told by brands. As a proposal, an extension of thematic apperception tests (TATs) is relevant in applying the DFA to brand-consumer storytelling research. The study includes a review of early work on TATs, DFA, archetypal theory, and how brands become icons. The study's theory, method, and findings provide useful tools for brand managers and researchers on issues that relate to psychology and marketing.

Are consumers tired of standing out? This study probes whether or not fast fashion understands the implicit behavior of their customers while dressing up or down. Retailers tend to market their more ready-to-wear (dress-down) fashion product in an approach that allows the customer to customize the outfits to become easily “me-self,” through a big selection of accessories for men and women such as hats, glasses, and scarves. Versus the dress-up look that echoes with conforming to social norms. Today marketers seem to misunderstand the tendency that when one dresses down they often seek to blend in more with the environment rather than display their own personality through fashion. The study extends the literature through explicating the process of picture introspection and member check using confirmatory personal introspection (CPI). Even though when one dresses down you would expect more individuality, according to the findings the subject sample was also more inclined to blend in society and stand out less. In the dress-up look there was a strong call for displaying features of a powerful and strong individuality.

This study explores how young, adult millennials address a series of tensions between autonomy and conformity issues in different situations. The main finding is how consumers negotiate to release tension by combining and adapting culturally established fashion discourses to achieve their objective at a satisfactory level. The research describes six photos of three participant-observers in “dress-down” and “dress-up” occasions. The study applies a confirmatory personal introspection (CPI) method (including visual auto-driving and member checks) to analyze fashion discourses. The main findings include tension descriptions when the hegemonic look is not the one that the consumer expected according to the situation. Through this tension consumers choose between conformity and autonomy. Consumers often express resistance to dominant fashion norms and negotiate key existential tensions. The study contributes to (McCracken, G. (2008). Transformations. Bloomington, IN: Indiana University Press.) post-modern transformation proposals and builds from Goffman's (1959) presentation of self in everyday life – the self is indeed porous and encourages excursions in and out as McCracken (2008) suggests.