Cultural Iconic Branding

It is no secret cultural artifacts, be it human (for instance Woody Allen) and not (objects, like Coca Cola or places, like Paris), dominate our world. Marketing scholars like Douglas B. Holt concerns himself with questions; how exactly do brands become icons? Today’s entry will uncover this question by looking at the principles and logic of cultural branding.

The main founding of Holt was arguing that iconicity begins, once an artifact compels to one’s identity. The person, thing or even event have to be regarded as a symbol containing ideas and values to serve as ‘compass points’ of meaning for a society. The meaning as such is constantly re-evaluated in entertainment, journalism, politics and advertising. But how exactly does one artifact become a valued icon? Holt uses a constructivist to evaluate the rising of a brand. This entails carefully looking at the ‘authors’ involved, they are summarized as follows: companies, industries, intermediaries, and customers. Between the work of all these actors the brand will be shaped and molded. The first steps of a newly released product may have a look, however it does not yet contain a history; an anchor for sentimental attachment. Whereas brands we know have markers (names, logos, other distinctive design features), which fill consumer experiences. Continuously the brand partakes in; events by sponsoring, conversations, articles for evaluation in newspapers for example, eventually filling it with meaning. Mass culture studies are showing that brands partake in a certain identity myth, acting as a vessel for self-expression attaching to admired ideals. It relies on metaphor to be able to attach itself to imagination, while carrying symbolic ideals for eager and anxious consumers in due course constructing collective understanding of this brand.

Holt develops a branding model – cultural branding. Drawing results from most famous and relatable brands, they show how brands rise and stay as iconic cultural brands. Holt gathers six observations, which explain what iconic brands do. I will illustrate the following with the example of Jack Daniels. A classic product, constantly slightly evolving through careful evaluation and crafting towards the perfect design which represents ideals of authentic quality; it proves to maintain iconic brand elements.

  1. Through identity myths constructed by advertisements and also associating with inspirational figures brands address the imaginative desires and anxieties of consumers. This mainly refers to identity myth; they have the ability to calm tensions and create purpose in life. Over the years J.D. acquired a story: of Jack Daniels himself, who represented a mysterious man with seven mistresses (which is what the number is said to symbolize). J.D. represent a patriotic and independent spirit, which is said to be represented in the bottle too, seen in the bold and sharp shape of the bottle.
  2. Myths which reside in the brand become concrete in the experience of the consumers through continuous rituals (drinking, driving, wearing…).
  3. Brands rich with myth tend to reside in worlds, where places are separated from control. Then the myths performed increase in credibility and authenticity. Users of J.D. observe and freely believe in the “confident, masculine silhouette” when drinking a glass and partake in the myth of authentic legacy when performing the ritual of enjoying a glass.
  4. Brands motivate users to think and behave differently, acting as sort of activists.
  5. Brands become iconic through a few (rather than many) epic performances, which allow the crystallization of the myth into the culture, usually depending on contemporary problems.
  6. When brands contain a relatable and powerful myth, the brands become identity anchors allowing the other products of the brand to be in the light of the main-selling product, casting a sort of ‘halo effect’. In the case of J.D., having felt the heavy and strong material of the bottle one would believe J.D. glasses for instance to be so too.

 

http://www.sommeliers-international.com/sites/default/files/old_images/Articles//SI_134/Jack_daniel_2.jpg

Holt describes other branding models, comparing it to cultural branding. Mind-share branding; it is created through abstract associations ensuring dependent benefits for the consumer through repeated use. Emotional branding; created through interaction of customers, holding an emotional value. Viral branding; it is the newest trend created through a wide-spread circulation of the product, pushed by a ‘puppet master’ for further consumption. All of these fail to become cultural branding, due to their different performances, audiences and especially low identity involvement.

The creation of an iconic brand is mainly to maintain the continuous selling of a product, to achieve more and more profit. Social activist Naomi Klein voices concerns in what is considered to be the ‘bible of anti-globalization’. Similarly to Holt she shows that brands represent images or myths, rather than the actual product. This shift of marketing mainly occurred with the increase of technology and therefore more efficient production. This may seem fine and dandy to the consumers, however how these mass-produced artifacts are created in workshops holds horrors of their own. Workers in China get low wages, working six days a week ten hour shifts. The creation of myth, connection to emotions and familiarity to expressed associations tie consumers to the brand or product. All the while the big companies aren’t responsible for their production.

References

Holt, D. B. (2004). How Brands become Icons. The Principles of Cultural Branding, p. 1-38. Cambridge Mass.: Harvard Business School Press.

Klein, N. (1999). No Logo: no space, no choice, no jobs: taking aim at the brand bullies, p. 25-80 . New York: Picador.

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