We use the term ‘target group’ in a somewhat unusual way. While it normally describes well-defined consumer segments, we deliberately include non-consumers in our frame-work. Additionally, we suggest a concept of brand target groups based on attitudes towards the brand.
As we have already mentioned, the traditional idea of ‘brand-friendly’ consumers is a bit outdated. Consumers do not always have a positive bias towards brands. They use them in ways not intended by brand managers, show active resistance, or even boycott brands (Holt, 2002).
A starting point for our framework can be found in the literature on ‘brand relation-ships’. In an interesting analogy to human relationships, the different types of relation-ships range from ‘arranged marriages’ to ‘secret affairs’ and ‘best friendships’ (Fournier, 1998). Further, we also draw upon Hirschman’s theory of ‘exit, voice and loyalty’
(Hirschman, 1970). Accordingly, we distinguish between three basic feedback mecha-nisms (related target groups in parentheses):
● Exit: describes a consumer who shows little interest in the brand’s activities, hardly trusts the brand, and therefore frequently switches brands (Unconcerned)
● Voice: describes an ‘angry’ consumer, either critical towards the brand or disap-pointed (Saboteur)
● Loyalty: describes a consumer who is very interested in the brand, and shows a lot of commitment: the brand is an important part of his self-concept (Devotee) Furthermore, we add to Hirschman’s framework with the idea of ‘twisting’ (Cova and Cova, 2001) in describing the following feedback mechanism:
● Twist: a self-conscious consumer who relates to the brand in a manner different from the brand’s established image (Twisters)
Further, we allow for the fact that an individual can take up different roles when con-fronted with different brands. Figure 8.5 shows the different target groups.
Unconcerneds: Logo. So?
Apart from a lack of motivation towards understanding the brand, price sensitivity can also explain this target group.
Saboteurs: No Logo!
Some consumers express distrust and active resistance against brands. Prominent examples include Naomi Klein’s widely discussed book No Logo!, the Canadian magazine Adbusters, and the ‘Attac’ movement. Paradoxically, this segment has been con-verted into a target group for specific ‘anti-establishment’ brands such as ‘No SweatTM’ apparel.
Research has identified various sources of distrust towards branding (Ozanne and Murray, 1995; Holt, 2002). Recent findings suggest that ‘emotional’ brands that lack authenticity in the consumer’s eye are susceptible to these reactions (Thompson et al., 2006). Managers should be especially careful in addressing the distrust of this target group.
Devotees: Pro Logo!
This target group consists of passionate, loyal customers for whom the brand is an inte-gral part of life and who engage in active word-of-mouth about the brand. Consumers choose brands that enhance their self-concept and give them the potential to communi-cate to others (Elliott and Wattanasuwan, 1998; Belk, 1988). Luxury goods benefit from this motive (Bearden and Etzel, 1982).
Consumers
Public opinion
Governments
NGOs
Competitors Media
Distribution partners Suppliers Employees
Managers
Brand
Twisters:
MY Logo! Unconcerneds:
Logo. SO?
Saboteurs:
NO Logo!
Devotees:
PRO Logo!
STAKEHOLDERS TARGET GROUPS
Figure 8.5 Brand target groups and stakeholders
Twisters: ‘ My’ Logo!
The concept of twisting – as a creative process – becomes particularly explicit in art. From Andy Warhol’s ‘Campbell’s Soup’ to Wang Guangyi’s ‘Great Criticism’, visual artists have used brands as a modern cultural resource. Other examples include the brand obsession of many Hip-Hop artists.
One famous precursor of the twisting phenomenon is the French designer Ora-ïto who produced several designs for luxury brands, such as the ‘Back Up Vuitton’ backpack for Louis Vuitton and the camouflage printed ‘Hack Mac’ laptop for Apple.
While some ‘brand twisters’ can be understood as the creative type of ‘saboteurs’, others are in fact real fans of the brand. These consumers prefer to redefine the brand’s meaning. The firm can, and in many cases does, encourage this behavior (including several firms that indulge in ‘send us your own slogan for the brand’ type campaigns).
Marketing should be concerned with the co-creation of value and the establishment of relationships (Vargo and Lusch, 2004; Lusch et al., 2006). ‘Co-creating’ can only be suc-cessful if both partners are considered equal. In the age of ‘bricolage’, it is the consumers who attach meaning to brands. On the other hand, the firm should still try to create some
‘concurrent areas’ to manage the core elements of its brand consistently.
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