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A walk through Luxury land

An analysis of the identity and image of high level brands

Written by Johan Edberg

Paper category

Master Thesis


Business Administration>General




Master Thesis: Luxury fashion brand Okonkwo (2009) began to analyze a luxury brand by asking a question: What is your name? A brand concept is the sum of expressions collected through its name, origin, story, history, visual images, logos, colors, shapes, language and products. Luxury fashion brands are very different from each other, but they all share the concepts and characteristics of prestige and status. Gucci's double G logo is not only a symbol, but also a tribute to the founder Guccio Gucci, hence the initial letter GG and its glorious history. Burberry plaid is one of the most famous visual images in modern times. And Louis Vuitton's color combination of brown and khaki has become a member of the brand. Okonkwo believes that the brand name is not only the most conspicuous, but also a very strong embodiment of the brand. It also tells us a lot about the origin of the brand. Salvatore Ferragamo is undoubtedly Italian, Junya Watanabe is Japanese, and Louis Vuitton is French. Other brands that may not come from the classic luxury area may try to imitate and use some storytelling to imitate another origin and culture; Diane von Furstenberg is neither Dutch nor German, but from New York. Comme des Garcons is from Japan and Jimmy Choo is from the UK. Tod's is not a shoemaker from the Anglican Church, but from Italy. There are also some fictitious characters/brand names, the brainchild of marketing enthusiasts, aimed at promoting and accelerating potential customers’ understanding of the brand and its value. Finally, the brand name should have two elements of origin at the same time to attract luxury customers who seek exoticism and universality by definition in order to conduct business in the global market. Ideally, the logo should be used as the name to illustrate the origin, history and heritage of the brand. Over time, it may be necessary to change the visual effect of the logo, but this suggests that Okonkwo (2009) should proceed with caution. If you do too aggressively, the brand will lose its means of identification, because the logo plays a key role in the identification of the brand and the product. The ultimate goal of the high-level brand concept is to express all the features of the brand, from business cards to flagships and actual products, in a consistent and easy-to-understand voice to express the ideas behind the brand in a way that they are all talking about or promoting. 3.1.3 Luxury brand identity Okonkwo continues to explore by stating another question related to the concept of identity; who are you? There are different opinions on the brand identity and its disposal and structure. My experience with this concept is that identity is the actual situation of the brand, while the image is the brand's efforts to be conceived (usually completed through communication efforts), and finally, the image is the market's vision of the brand. Luxury brands have an advantage in the development of their identity, because consumers have regarded them as belonging to the field of luxury goods, so they have been regarded as luxury brands and occupy such a position in the minds of consumers. High-end brands usually want this position too, and are striving to win upwards. When developing and/or maintaining an identity, a brand must take into account the luxury side of personality, and continue to highlight this side while acquiring other characteristics. Now all luxury brands have their own luxury side, but they also have other characteristics that keep them away from competition, which is of course natural, because it is difficult for two identical brands to coexist in the market. In order to distinguish itself from other brands, a brand needs to have clear, consistent and consistent communication, the unity between identity, image and image, and the correlation between all elements of the brand strategy, such as brand positioning, segmentation and concept (Okonkwo 2009). The important thing to note here is that these three axioms are difficult and almost impossible to realize. But people should always strive to be as close as possible to perfection (Larsson 2008). Efforts to control the public image of the company is of course impossible, because all consumers have different views of the company. No two customers are the same. However, through well-designed, relevant and consistent personality and communication strategies (analysis), the message conveyed to consumers becomes clear, which in turn is the basis for a unified understanding of the brand image. It is not advisable to tamper with identity too much or too frequently. If a major change is required, the brand is likely to have been struggling and urgently needs to change something. If changes are needed, the best, easiest and cheapest way is to change the expression of personal data or strengthen identity (Larsson 2008). It is worth noting that Jackson and Shaw (2009) pointed out that companies that are aware of the power of identity may make subtle changes to their identities over time. All in all, the core of a company's identity is almost its essence. To change the origin of Ralph Lauren, Hermes' quality standards or Apple's innovation strategy is simply absurd. 3.1.4 Aakers Identity System Uggla (2001) described David Aaker's brand identity system as one of the two main methods of identity concepts, and the other is the identity prism of Jean-Noel Kapferer. Both have the same basic knowledge, but are different in structure and focus. Aaker's theory is composed of brand essence, which is influenced by core identity, and core identity consists of sub-identities; product, organization, personality and symbol. These four are composed of several (twelve in total) dimensions. The twelve dimensions described below make it possible to construct and classify identities. In addition, the theory also includes brand promise and positioning (Uggla 2001). Read Less