Catalogue


Brand aesthetics [electronic resource] /
by Gérald Mazzalovo.
imprint
Houndmills, Basingstoke ; New York, NY : Palgrave Macmillan, 2012.
description
230 p. : ill. ; 23 cm.
ISBN
9780230336735
format(s)
Book
More Details
imprint
Houndmills, Basingstoke ; New York, NY : Palgrave Macmillan, 2012.
isbn
9780230336735
restrictions
Licensed for access by U. of T. users.
catalogue key
8541037
 
Includes bibliographical references and index.
A Look Inside
Summaries
Bowker Data Service Summary
This volume explores the growing importance of aesthetic factors in the success of brands and the reluctance of brand managers and academics to deal with these issues. It proposes a series of theoretical and practical managerial instruments which analyse the aesthetic aspects of various brand manifestations.
Main Description
Explores the growing importance of aesthetic factors in the success of brands and the reluctance of brand managers and academics to deal with these issues. Proposes a series of theoretical and practical managerial instruments which analyze the aesthetic aspects of various brand manifestations.
Description for Bookstore
Explores the growing importance of aesthetic factors in the success of brands and the reluctance of brand managers and academics to deal with these issues
Long Description
Consumption is going aesthetic. The attention devoted to the formal aspect of products and services has become central to building the competitiveness of enterprises, as confirmed by the success of brands such as Absolute Vodka and Desigual. In Brand Aestheticsthe author explores the growing importance of aesthetic factors in the success of brands and the reluctance of brand managers and academics to deal with these issues. He proposes a series of theoretical and practical managerial instruments that offer the advantage of being able to analyze the aesthetic aspects of the various brand manifestations and allow a more refined management of design, creation and communication activities.The tools introduced are applied to specific brands like Samsonite, Citroën, Mercedes and Pininfarina. In order to illustrate the operational capability of the concept of brand aesthetics, Gérald Mazzalovo has chosen to deepen the linear dimension of formal expression and concludes his study with an online survey unveiling some fascinating results.
Long Description
Consumption is going aesthetic. The attention devoted to the formal aspect of products and services has become central to building the competitiveness of enterprises, as confirmed by the success of brands such as Absolut Vodka and Desigual. In Brand Aesthetics the author explores the growing importance of aesthetic factors in the success of brands and the reluctance of brand managers and academics to deal with these issues. He proposes a series of theoretical and practical managerial instruments that offer the advantage of being able to analyse the aesthetic aspects of the various brand manifestations and allow a more refined management of design, creation and communication activities. The tools introduced are applied to specific brands like Samsonite, Citroën, Mercedes and Pininfarina. In order to illustrate the operational capability of the concept of brand aesthetics, Gérald Mazzalovo has chosen to deepen the linear dimension of formal expression and concludes his study with an online survey unveiling some fascinating results.
Long Description
Consumption is going aesthetic. The attention devoted to the formal aspect of products and services has become central to building the competitiveness of enterprises, as confirmed by the success of brands such as Absolute Vodka and Desigual. InBrand Aestheticsthe author explores the growing importance of aesthetic factors in the success of brands and the reluctance of brand managers and academics to deal with these issues. He proposes a series of theoretical and practical managerial instruments that offer the advantage of being able to analyze the aesthetic aspects of the various brand manifestations and allow a more refined management of design, creation and communication activities.The tools introduced are applied to specific brands like Samsonite, Citroën, Mercedes and Pininfarina. In order to illustrate the operational capability of the concept of brand aesthetics, Gérald Mazzalovo has chosen to deepen the linear dimension of formal expression and concludes his study with an online survey unveiling some fascinating results.
Table of Contents
List of Tables and Figuresp. x
Forewordp. xiv
Acknowledgementsp. xvi
Introductionp. 1
Brand Aesthetics: Theory and Direct Applications
Brand Aesthetics: An Oxymoron?p. 11
Introduction to the conceptp. 11
The contribution of Jean-Marie Flochp. 12
The Relevance of the Conceptp. 16
The impact of the sensory world on consumer attitudesp. 16
Aesthetic dimensions of objects and servicesp. 18
Influence of the visual appearance of products and spaces on consumersp. 20
Aesthetic experiencep. 21
The aesthetization of the everydayp. 23
Plastic differentiationp. 23
Convergence of art and brandsp. 26
Dandyismp. 30
Managerial implications of the conceptp. 32
Communication issuesp. 32
Creation issuesp. 33
Organizational issuesp. 33
Cultural issuesp. 34
Conclusions on the relevance of brand aestheticsp. 35
Postmodern consumptionp. 35
Emergence of the postmodern brandp. 36
Historical Foundations: From Experimental Aesthetics to Postmodernismp. 37
Experimental aestheticsp. 37
Fechnerp. 38
The heirs of Fechnerp. 38
Berlynep. 40
Business and aestheticsp. 41
Product designp. 42
Artificial intelligence and computer-aided designp. 43
Brand aestheticsp. 44
Postmodernism and the aesthetics of consumptionp. 44
Art historyp. 45
Brand Identityp. 47
The semiotic nature of brandsp. 47
The notion of invariancep. 48
Dynamic coherence of identityp. 49
The need for brand evolutionp. 51
Brand ethics and aesthetics: The EST-ET© diagramp. 53
Communication chain and brand manifestationsp. 55
Communication chainp. 55
Brand manifestationsp. 56
Four areas of brand aestheticsp. 60
More-or-less explicit meaningp. 61
Stylep. 64
The creative processp. 64
Non-identification of aesthetic invariantsp. 66
Facts of style and facts of fashionp. 68
Kunstwollenp. 68
Figurative and plastic meaningsp. 68
Baroque and classical stylesp. 72
Independence from the historical periodp. 74
Full semioticsp. 74
The 'baroquization' of daily lifep. 78
The Chain of Brand Aestheticsp. 83
Limitations of the semiotic approachp. 83
The dialectics of brand identityp. 84
The three ends of aesthetic treatmentsp. 84
The decorative/ornamental endp. 85
The functional endp. 86
The representational endp. 86
Diagram of the chain of brand aestheticsp. 90
Methodology for an audit of brand communicationp. 92
Conclusions on brand aestheticsp. 94
Brand Aesthetics: Applications to Linear Aesthetic Expressions
Lines and Formsp. 101
Space, time, force, movement and expressionp. 103
Concretization of linesp. 103
Strokesp. 104
Boundary between two areasp. 104
Axis of an elementp. 105
Axis of compositionp. 106
Linear expression and baroque stylep. 106
The Relevance of Lines in Brand Aesthetic Managementp. 108
Recent examples of relevant linear aesthetic treatmentp. 110
Citroën logop. 110
Gucci fragrancesp. 112
Caisse d'Epargne logop. 113
Zippo Blu lighterp. 114
Managerial implicationsp. 114
Marketing optimizationp. 115
Adjustment of the brand identityp. 116
Understanding trendsp. 116
Organizational benefitsp. 117
A brief literature reviewp. 117
Experimental studies of simple geometric shapesp. 117
Computer-aided design (CAD)p. 119
Semioticsp. 120
Other literaturep. 122
The Semiotic Square of Linearityp. 123
Four basic linear plastic elementsp. 123
Straight, angular and curved linesp. 123
The sinuous linep. 124
Mathematics of the four linesp. 128
Degree of complexityp. 130
The SINC© squarep. 133
The semiotic squarep. 133
The square of linearityp. 135
Relations of complementarityp. 136
History of the tangentp. 139
Possible Meanings of the Four Linesp. 141
Semantic considerationsp. 142
Straightp. 142
Angularp. 143
Sinuousp. 143
Roundedp. 144
From figurative to symbolic and plastic meaningsp. 145
The straight linep. 145
The angular linep. 146
The sinuous linep. 146
The single-curved linep. 147
Questions of convictionp. 147
Triangle, square and circlep. 148
Symbolic meaningsp. 149
The straight linep. 150
The angular linep. 150
The sinuous linep. 150
The single-curved linep. 151
Plastic meanings and morep. 151
Riegl: Organic and crystalline stylesp. 153
Worringer: Empathy and abstractionp. 159
Joly: The instinct of formsp. 161
Arnheim: Lines and conceptsp. 162
Solomon: Attempt at a plastic grammarp. 166
Managerial Applications of the SINC© Squarep. 168
Summary of the meanings structured by the SINC© squarep. 168
Semantic nucleip. 168
Operating precautionsp. 170
Gradients of significationp. 170
Examples of applications of the SINC© squarep. 171
Mercedesp. 171
SAPp. 173
Gehry's benchp. 175
Analytical methodology of linear brand manifestationsp. 178
Meaningful linear differential gapsp. 179
Forms of coherencep. 179
Other applications of the SINC© squarep. 181
Consumers' Preferences for the Four Linesp. 183
Research hypothesesp. 183
General question on the existence of preferences for certain linear aspectsp. 184
Hypotheses of links between gender and consumer preferences for linesp. 184
Research methodologyp. 185
Conceptual design of the surveyp. 185
Method of paired preferencesp. 186
Likert scale from 1 to 5p. 187
The SINC© squarep. 187
Choice of visual stimulip. 187
Software supportp. 191
Composition of the samplep. 191
Responses to the general question on the: existence of preferences for certain linear aspects and discussionp. 192
The degree of complexity of the linesp. 194
The 'baroquization' of daily lifep. 195
Postmodern trendp. 196
Results for the hypothesis of the correlation between gender and preferences for linesp. 197
Other resultsp. 198
Examples of managerial use of the research results and methodologyp. 199
Paul Smith fragrancesp. 200
Zippo lightersp. 201
Intel logop. 203
Chewing gump. 204
Limits of the investigation and future researchp. 204
Methodological limitationsp. 204
Conceptual limitationsp. 205
Conclusionsp. 206
Notesp. 211
Bibliographyp. 212
Indexp. 219
Table of Contents provided by Ingram. All Rights Reserved.

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