Does the image of Indonesian contemporary artists matter? A theoretical review on brand image, acceptance & market opportunity

Samuel P. D. Anantadjaya; Irma M. Nawangwulan; Aninditya Kusumah; Yusup Budi Setio; Cindy Kartika Koswara

首页> 外文期刊>Independent Journal of Management & Production >Does the image of Indonesian contemporary artists matter? A theoretical review on brand image, acceptance & market opportunity

【24h】

Does the image of Indonesian contemporary artists matter? A theoretical review on brand image, acceptance & market opportunity

机译：印尼当代艺术家的形象重要吗？品牌形象，接受度和市场机会的理论回顾

获取原文

掌桥外文数据库（机构版） >>

开具论文收录证明 >>

文献代查 >>

页面导航

摘要
著录项
相似文献
相关主题

摘要

The issue surrounding brand image is always fascinating to ponder. This is true not only for products/services, but also for organizations and individuals. Like it or not, individuals are prone toward creating brand image to excel in life. From the understanding on products/services, personal marketing for artists are deemed necessary. Following the study on personal brand image, it is fascinating to evaluate the likelihood of impact toward public/market acceptance, and whether the level of public/market acceptance influences the level of market opportunity for those artists. Hence, it is expected that the relationships are adequately robust.

机译：关于品牌形象的问题总是令人着迷。这不仅适用于产品/服务，还适用于组织和个人。不管喜欢与否，个人倾向于创造品牌形象以在生活中脱颖而出。从对产品/服务的理解来看，艺术家的个人营销被认为是必要的。在对个人品牌形象进行研究之后，评估对公众/市场接受程度的影响可能性以及公众/市场接受程度是否会影响这些艺术家的市场机会水平，就很有趣。因此，期望这些关系足够牢固。

著录项

来源
《Independent Journal of Management & Production》 |2015年第2期|共44页
作者
Samuel P. D. Anantadjaya; Irma M. Nawangwulan; Aninditya Kusumah; Yusup Budi Setio; Cindy Kartika Koswara;
展开▼
作者单位

展开▼
收录信息
原文格式 PDF
正文语种
中图分类社会科学总论;
关键词

相似文献

外文文献
中文文献
专利

1. Effects of store image and store brand price-image on store brand purchase intention: Application to an emerging market [J] . Mbaye Fall Diallo Journal of retailing and consumer services . 2012,第3期

机译：商店形象和商店品牌价格形象对商店品牌购买意愿的影响：应用于新兴市场
2. Consumers' product evaluations in emerging markets: Does country of design, country of manufacture, or brand image matter? [J] . Leila Hamzaoui Essoussi, Dwight Merunka International marketing review . 2007,第4期

机译：新兴市场中的消费者产品评估：设计国家，制造国家或品牌形象是否重要？
3. Images of Authentic Muslim Selves: Gendered Moralities and Constructions of Arab Others in Contemporary Indonesia [J] . Mirjam Lücking, Evi Eliyanah Social Sciences . 2017,第3期

机译：真实的穆斯林自我形象：性别道德和当代印度尼西亚的阿拉伯他人的建构
4. Some Computers and Half-a-Dozen Graphic Artists, Not! Marketing Opportunities with Patents,Trademarks, and Brands [C] . Jonathon Pedersen Conference of the International Plant Propagators' Society . 2007

机译：一些电脑和半十几个图形艺术家，而不是！具有专利，商标和品牌的营销机会
5. The interpenetration between globalization and localization: Gender images in global brands and local brands commercials in contemporary Taiwan (China). [D] . Chen, Huey-Rong. 2005

机译：全球化与本地化之间的相互渗透：全球品牌和当代台湾（中国）本地品牌广告中的性别形象。
6. Using Images of Eyes to Enhance Green Brand Purchase Intentions Through Green Brand Anthropomorphism Strategies: The Moderator Role of Facial Expression [O] . Zelin Tong, Tingting Li, Jingdan Feng, 2020

机译：使用眼睛的图像通过绿色牌子拟人策略来增强绿色品牌购买意图：面部表情的主持人作用
7. La banalisation du luxe (Democratization of luxury) Abstract : La plupart des achats pratiqués sont effectués par des clients occasionnels, ce qui a conduit les entreprises à s’adapter par une nouvelle stratégie. En effet, suite à l’intensification de la concurrence et à la concentration du secteur qui engendrent une contrainte de rentabilité immédiate, mais aussi en raison des impératifs nouveaux du marché, les maisons de luxe se voient obligées d’élargir leur offre afin d’ajouter à une clientèle dite traditionnelle une clientèle plus vaste. Dès lors, le secteur du luxe est progressivement passé d’une logique d’offre où seul un nombre restreint de personnes était ciblé, à une politique d’offre où des professionnels du marketing étudient la demande du marché afin d’orienter la production des biens vers un marché de masse. La banalisation est une problématique capitale et décisive car les maisons de luxe doivent préserver leur image de marque tout en élargissant leur clientèle : elles s’efforcent de créer et de pérenniser leurs marques, sans jamais oublier qu’une marque ne peut pas s’associer à n’importe quel objet, sous peine de menacer l’ensemble de ses représentations. Par conséquent, chaque nouveau produit présente un risque pour la gamme toute entière, d’où le risque d’une erreur stratégique par le choix de la banalisation. Le danger est de voir la clientèle aisée se tourner vers d’autres grands noms pratiquant toujours cet esprit d’élitisme qui caractérise le « luxe ». The luxury market is no longer reserved for an elite as its evolution over the last fifteen years clearly indicates. Luxury goods companies have been forced to adapt and resort to new strategies to take into account the fact that most purchases are now made by occasional clients. The keen competition and the on-going concentration in that sector – with the resulting short term profitability constraints - together with the new market conditions, have forced luxury goods companies to broaden their offer so as to add new customers to their traditional base. As a consequence, the luxury market has progressively moved away from an offer-driven logic – targeting a small number of people – in favor of an offer-based policy with marketing professionals studying market demand so as to direct the production of goods towards mass production. The democratization of luxury constitutes a major challenge for those companies which must preserve their image while broadening their customer base: they now strive to create and perpetuate their brand image, without ever forgetting that a brand cannot be associated to just any object, as this might constitute a threat to all its brand representations. Thus every new product constitutes a real threat to the whole range and there is a risk of making a strategic mistake by appealing to the mass market; and there is also a clear danger of seeing affluent customers turn to other great names that still foster this ‘elite spirit’ that characterizes « luxury ». [O] . Eric Vernier, Pierre Ghewy 100

机译：奢侈品的平庸化（奢侈品民主化）摘要：大多数购买都是由休闲客户制作的，这导致公司采用新战略。事实上，随着竞争的加剧和行业的集中导致了盈利的直接制约，而且由于市场的新要求，奢侈品公司被迫扩大其报价以便为所谓的传统客户增加一个更大的客户群。从那时起，奢侈品行业逐渐从以供应为导向的方式转变为只有少数人被定为供应方政策，营销人员正在研究市场需求以指导产品生产。货物进入大众市场。平庸化是一个至关重要且决定性的问题，因为豪宅必须保持其品牌形象，同时扩大其客户群：他们努力创造和延续其品牌，永远不要忘记一个品牌无法联想到在任何威胁他所有陈述的痛苦之下。因此，每个新产品都会带来整个色域的风险，因此通过选择平凡化就会产生战略错误的风险。危险的是看到富有的顾客转向其他仍在实践“豪华”特征的精英主义精神。奢侈品市场不会超过过去15年。奢侈品公司被迫采用新策略来充分利用其客户。由于市场领先的条件，激烈的竞争和该行业的持续集中迫使他们扩大了市场基础。因此，奢侈品市场已经从针对少数人的以报价驱动的逻辑向前发展 - 转而采用基于报价的政策与营销专业人士。对于那些必须在扩大客户群的同时保持形象的公司来说，奢侈品的民主化是一项重大挑战。对其所有品牌代表构成威胁。因此，每一种新产品都会对市场构成威胁，并且有可能通过吸引大众市场来制造战略错误;看到人们涌向那种“奢侈”的精神精神，也存在明显的危险。

Does the image of Indonesian contemporary artists matter? A theoretical review on brand image, acceptance & market opportunity

摘要

著录项

相似文献

相关主题

期刊订阅