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BRAND MARKETING & MANAGEMENT

BRAND STRATEGY
Seven (7) Brand Approaches
These brand approaches are principles that may be applied in creating a brand strategy.
1. The Economic Approach – interactions between brand and consumer are perceived to be linear, functional
and transaction-based. Attending to the functional needs of consumers drives the brand strategy. This
approach creates stronger brands and optimizes brand performance because of its operational nature.
• Transaction Cost Theory – it is believed that every consumer is an economic man, thus all consumption
choices are a result of a reasoning process. In the perspective of the company, they invest on the
brand for the sake of the profit. Consumers, on the other hand, engage in transaction to maximize
their utility.
• Marketing Mix – it offers a managerial approach to facilitating the transaction between brand and
consumer. This marketing mix includes the 4 Ps.
a. Product – represents the tangible, physical product and the benefits that the consumer can gain
from buying the brand. This includes the design, brand name, packaging, functionality, quality,
and safety.
b. Price – refers to the price that consumer will eventually pay for the product. Its bases are the total
cost of manufacturing, distribution, and advertising the product. Competitive analysis also affects
the computation of the product price.
c. Place – refers to the distribution of the product from the manufacturer to the end consumer. It
makes the goods available in the right quantities in the right locations. A supply chain strategy
must be applied. This identifies the right channel partners and inventory management.
d. Promotion – represents the various elements that a marketing plan can consist of when promoting
a brand. Advertising covers the major portion of having the consumers aware of the product.
2. The Identity Approach – brands should express one unified and coherent identity, internally and
externally, using the visual and behavioral identity of the organization.
• Elements of the Identity Approach
a. Corporate Identity – it is an assembly of visual, physical or behavioral cues representing the
company that makes it recognizable to consumers and other stakeholders.
b. Organizational Identity – it refers to the behavioral and cultural aspects affecting brand identity.
Its key concepts are organizational behavior, culture and structure that affects how the members
perceive who they are and what they stand for as a company or organization.
c. Corporate Image – it is the key element to identity approach in brand strategy. It builds the
external representation of the organization. It also ensures consistency in the perception of the
brand image. It becomes the mosaic of impressions formed by variety of formal and informal
signals projected by the company.
d. Reputation – it is the measure of consumer evaluation over brand identity. Building a reputation
is a long-term process governed and defined by organizational behavior. Public Relations play a
major role in the reputation of a company. Its reputation must also be communicated to all the
brand’s stakeholders.
• AC2ID Framework
a. Actual – refers to the organizational behavior and everyday reality of the corporation.
b. Communicated – the brand identity expressed through all sources of communication.
c. Conceived – refers to the image/reputation of the corporation–how do stakeholders conceive
brand identity?
d. Ideal – represents the optimum positioning of the organization in the market at any given time.

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e. Desired – lives in the hearts and minds of the corporate leaders–equivalent of the strategic vision.
• External Elements of Brand Identity
a. Perception – it is the process of making-meaning where the brain identifies input patterns and
recognizes certain elements as being intertwined. Whatever is processed by the human senses
builds up the identity of the brand in the mind of the consumers.
b. Cognition – all inputs from these messages has to be recognized and perceived before they are
processed. Consumers construct mental representations and develop an understanding of what
they have perceived–recognition process. The cognition process is mental images capturing
spatial relationships and ensuring recognition.
c. Attitudes – these are the general evaluations people make of themselves, other people, objects
and issues. These are emotional influences of how people behave specifically for a brand. One
thing is for sure: people are more predisposed to act when some kind of change of circumstance
causes them to evaluate their attitudes.
3. The Consumer-based Approach – brands are mainly cognitive interpretations of the mind of the consumer
which companies maximize to create brand value. Since it relies on consumer perception of the brand in
its entirety, it makes use of brand equity to create strategies to build the brand.

Source: inc.com/john-discala/how-to-use-your-myers-briggs-personality-type-to-your- Source: venngage.com/blog/teacher-personality/

advantage.html
4. The Personality Approach – it assumes that personality traits are important drivers of emotional bonding
between brand and consumer. This approach draws insights from the field of psychology and consumer
behavior research.
• Consumer self – human beings attach meaning to possessions because we regard possessions as part
of ourselves. It is the key to understanding consumption patterns. Through consumer research and
psychology, it has been acknowledged that brands contribute to the consumers’ sense and
construction of self. Consumers’ self is structured in terms of two dimensions:
a. Attributes – these are physical manifestations and characteristics of the consumers.
b. Narratives – these are attributes linked and associated with one another and key events of life
structured as stories. Consumers use brands to play out their personal stories about their lives and
identities, positioning these brands in relation to society, culture, and other people.
• Brand-self congruence – it is defined by the consumers’ engagement in a matching process. Consumers
tend to identify and choose brands that are parallel to their self-image. It is through the consumers’
comparison of their self with the personality of the brand that they choose which product or service
they will patronize.
• Brand personality – the basis of a strong brand personality is insight into how the symbolic benefits of
the brand personality contribute to consumers’ construction and expression of self.
a. Sources of Brand Personality
o Direct sources – the set of human characteristics associated with the stereotypical brand user,
company employees, the CEO, brand endorsers. These human characteristics can be of both

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a symbolic nature, like sophistication, or they can have a demographic nature, like age, social
class, and the likes. This type of source is always ‘person-based’.
o Indirect sources – these are the decisions made about the physical, functional and tangible
aspects that can be experienced by the consumer, like the price, shape, distribution and
promotion.
b. Creation of Brand Personality
o Identification of personality – identify personality dimensions and personality traits to be
communicated and built into the behavior of the brand. Relevant traits must be narrowed
down in order to create a specific and cohesive brand personality.
o Appeal – make sure that the personality is appealing to the consumer. Adjustments should be
made based on the analysis of how consumers use symbolic attributes of the brand.
o Understanding target groups – make sure that the right group of consumers are targeted and
the right brand endorsers are chosen. The typical consumer of a brand can have an enormous
impact on how the brand personality is perceived by the future consumers.
o Align the brand personality to the consumers – analyze the extent to which the brand is
congruent with customers’ self and align the personality accordingly.
o Develop communication platform – develop efficient communication platform for the
identified personality dimensions.
5. The Relational Approach – brands are perceived as existential beings that are viable relationship partners.
It is anchored in the brand relationship theory where there is a dyadic or equal exchange relationship
between brand and consumer.
• Animism – human beings have a tendency to endow objects and even abstract ideas with human
personality characteristics. Applying the relationship metaphor to a brand-consumer construct
requires an abstraction towards regarding the brand as something human. This personification of
brands becomes a validation to the consumers’ self-image. It increases the likelihood of consumers to
patronize a brand that relates to their personal needs.
• Relationship Theory – the use of the fundamental element in the development of the human psyche
advances the likelihood of consumers to perceive brands as a life-long help with their everyday
functions. It can be viewed in three (3) natures:
a. Psychological – the consumers’ idea of a product being an extension of the self becomes the
motivation for relating to a brand.
b. Socio-cultural – the variation of the consumers’ life conditions such as age, gender, status, class,
and culture are the motivation of how they relate to a brand.
c. Relational – the network of relationships affects one another such that the consumers’
consumption of a brand is affected by their consumption of other brands.

Source: planning.nsw.gov.au/Policy-and-Legislation/Under-review-and-new- Source: unsplash.com/s/photos/community

Policy-and-Legislation/Exhibition-of-draft-community-participation-plan

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6. The Community Approach – brands are in a triadic relationship scheme. Brands are seen in a social
perspective that drives the society or community.
• Brand-consumer exchange – these are social entities experienced, shaped, and changed in
communities. Brands give messages that the consumers respond to according to the activation of
brand meaning in their minds.
• Community Theory – it is a key concept in sociology characterized by three basic characteristics
which motivates consumption of brands:
a. Consciousness of kind
b. Shared rituals and traditions
c. Sense of moral responsibility
• Subcultures – it is a distinctive subgroup of society that self-selects on the basis of shared
commitment to a particular product class, brand, and consumption activity. These are often
identified through a hierarchical social structure, shared beliefs and values, unique jargons and
rituals, and unique modes of symbolic expressions. It tends to be more demanding and specific
compared to brand communities.
• Ethnographic research – it is a type of research widely used for establishing data for the brand
community. It deepens the understanding of marketers towards the consumers and their
consumption patterns and motivation for these behaviors.
• Netnography – it puts ethnographic practices to the cyberspace. The dynamics in the cyber world
is different from the actual world. This enables marketers to have a substantial knowledge of the
consumers specifically those who are consumers of the internet.
a. Observing brand communities – it is evident that consumers may hover towards being a die-
hard fan of the brand they patronize. Marketers use this behavior to gain deeper insight of
the consumers’ buying patterns. The information they gather helps in building up the new
marketing ideas. product innovation, and brand meaning.
7. The Cultural Approach – brands are considered cultural artefacts. This approach states that cultural
influences are vital to how the consumers perceive a brand. Example is Starbucks which is now
considered a brand icon for coffee along with its store, products and services. It molded the culture of
consumers and how they perceive the need for buying coffee from Starbucks or going to their store
for meetings, study groups, catch-ups and the likes.
• Cultural consumption – it refers to building cultural meaning through consumption of goods
constituted by advertising and fashion system.
• Iconic brands – an approach to branding that aims to alter the perception of a brand from a mere
brand to a cultural icon. An example is MAC Cosmetics, from being another brand when it comes
to makeup products, it has become a cultural icon especially for the beauty junkies. Most makeup
artists would sometimes cross reference makeup brands with MAC Cosmetics products. In
comparison, Ever Bilena is the cultural icon in the Philippines when it comes to local makeup
brands. Brands become cultural icons through the following common denominators:
a. Target a cultural contradiction – brands must be involved in societal matters that seems
contradicting to the brand. The unlikeliness of a brand to be involved in a contradictory
message brings curiosity to consumers.
b. Act as a cultural activist – brands must take radical actions to societal matters in order to give
cultural depth to the brand.
c. Create original expressive culture as an artist – brands must lead the aesthetic path and not
follow through others. Unique visual expression boosts the consumers’ perception of the
brand.

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d. Develop an authentic populist voice – A brand must be perceived as a credible representative

of a ‘populist epicenter’ (a non-commercial place like folk culture or social movement) which
is where new non-commercial culture is being created.
Market Orientation
Much of the approaches for brand strategy requires specific contexts for it to be effective, thus the need for
market orientation. A brand will not be established without the consideration of consumer insight. These
insights are ‘hot buttons’ unveiling that the emotional aspect, not rational, of consumer perception should be
considered for every brand strategy. This often results to excellent brand performance.
Since markets are not homogenous, market segmentation and market research were introduced. Knowing the
segments of the market led to a further variety of product categories which gives opportunity for brand
extensions.

COMMUNICATION OF BRANDS
Forms of Communicating Brands
• Advertising – it is a paid mass communication aimed to persuade the audience. This form of
communicating a brand utilizes emotional appeal among its audience to move the audience in
recognizing the brand as part of their consumption choices.
• Direct marketing – it is a targeted dealing of manufacturers or suppliers with the consumers. It
generates brand loyalty when done effectively.
• Sales promotion – it is the use of samples, coupons, “buy one, get one free” offers, gift certificates
and the likes to acquire new and lost customers to speed up the buying process of the consumers.
• Sponsorships and Endorsements – a form of brand communication that boosts the brand image
depending on events or endeavors the brand sponsors or the ambassador or endorser of the brand.
These situations and personalities add value to the overall perception of the brand.
• Public Relations – this form of brand communication creates a great dent in the consumer perception
of a brand if it is used successfully. It troubleshoots crisis and boosts efficiency of the brand. It
communicates the brand principles to all its stakeholders. It takes the form of press releases,
advertorials, newspaper/magazine columns, and internal and external events.
• Internet – it has become a vital part of marketing and management as citizens have moved to the
cyberspace. Most transactions happen online and this form of communication has been more
important than ever.
Main Channels of Communication of Brands
• Radio • Poster • Film
• Television • Flyers • Events
• Newspaper • Billboards
• Magazine • Internet

References
Bjerre, M., Heding, T., & Knudtzen, C. F. (2009). Brand Management: Research, Theory and Practice. New York: Routledge.
Huang, C.-C., Lu, S., & Quincy, R. (2012). SWOT Analysis: Raising Capacity of Your Organization. Huamin Philanthropy
Brochure Series - 2, 1-14.
Keller, K. L. (2013). Strategic Brand Management: Building, Measuring, and Managing Brand Equity. New York: Pearson
Education Limited.
Leland, K. T. (2016). The Brand Mapping Strategy. Irvine, California: Entrepreneur Press.
Temporal, P. (2010). Advanced Brand management. Singapore: John Wiley & Sons Asia Pte. ltd.
Wheeler, A. (2018). Designing Brand Identity. Hoboken, New Jersey: John Wiley & Sons, Inc.

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BRANDING AS STORYTELLING
Is storytelling really that important? How does it impact organizations and their branding?
Since communication is a vital component to any business or entity there is, it’s not enough to just let the
audience know that there is a message presented by an organization. Messages must be verified and
experienced to ensure that it penetrated the minds of the audience. Storytelling paves the way for awareness
and knowledge of a brand in the deepest part of the consumer’s mind. This handout aims to give light on the
role of storytelling when it comes to communicating a brand to an audience.

BRAND EXPERIENCE
Customer Experience
According to Nathan Williams of Wolff Olins (as cited in Wheeler, 2018), it is the experience that a brand
creates and curates, through its products and services, that defines it in the minds of customers. Paul Pierson
(as cited in Wheeler, 2018) stated that brands can amplify engagement and solidify positive impressions by
carefully considering the customer’s journey, and seeing the interplay between physical sensory experiences
and compelling digital experiences.
In a world where competition among brands is fierce, a brand will standout with the validation they acquire
from what their consumers have experienced with their product or service. This experience becomes the initial
component to the story they will tell to other possible consumers. It validates the values and message of the
brand. A memorable experience generates positive buzz and is fun to share; a bad experience becomes a lost
opportunity that can sabotage the brand.
Fundamentals of Experience
According to B. Joseph Pine II and James H. Gilmore, as cited by Alina Wheeler (2018)
1. Work is theater and every business is a stage;
2. The experience is the marketing;
3. Even the most mundane transactions can be turned into memorable experiences;
4. Experiences you create should be treated as distinct economic offerings that engage your customers
and create memories within them;
5. Companies need not limit themselves to the physical realm, but can use virtual experiences that flow
from one another;
6. Experiences are an opportunity to generate new sources of both revenue and profits in an increasingly
commoditized world; and
7. Every element in the experience must have an organizing principle.
Principles of Digital Experience
Developed by Paul Pierson as cited by Alina Wheeler (2018)
1. Digital is not just a website. Consider all the places your audience uses technology to interact with
your brand;
2. Be human. People often use digital tools as a substitute for human interaction, but the experience
shouldn’t feel robotic;
3. Talk to people. Engage in conversation with your audience and listen–it builds trust;
4. Reach your audience where they are. Brand experiences shouldn’t be bound to a destination;
5. Be authoritative. The .com should be the truest representation of your product or service; and
Solve a problem for your users. Consider creating a tool instead of distributing a message.

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Physical Experience – The Senses

Senses are all the faculties such as sight, hearing, smell, taste or touch that is perceived as stimuli. Through
the senses, one builds a store of memories to help them predict and control the future. Most of the senses
comprise multiple feedback systems and are ultimately integrated in the brain, which checks for patterns that
have been experienced before. All of these senses help build and influence the brand experience of the
audience. The following are senses that are not categorized individually but according to how they build brand
experience.
Senses for close up
1. Primal sense – smell is the oldest of the human senses, originating in the chemical detection systems
found in our earliest ancestors. It is the only sense with a straight line to our emotions, as the olfactory
bulb is directly connected to the limbic system (the center for our brain’s emotions). Odors trigger
more emotional and evocative memories than the other senses but it is not vivid nor less specific. This
adds up to the overall experience of the audience. Needless to say, perception through smell varies
for every culture and upbringing.
2. Basic taste – taste is a sense that relies on the temperature of the food and the aroma that reaches
the olfactory receptors as a person chews. Sound in chewing also affects the perception of the taste
of food as sound may be connected with texture. Music that accompanies chewing may also affect
the food’s taste. Taste is used to give a sensory signature to a product that adds value to a consumer’s
brand experience.
3. Touch of reality – touch in many ways is different because it is basically ‘us’ as we are covered by skin
where every part of it can feel. Touch verifies what is really out there. It helps us know what is real
and what is not and just what is, like how the feeling of Pringles and Toblerone is so distinct that the
consumer will just know what it is.
4. Touching sight – touch is uniquely important because it provides the real physical evidence of what is
‘out there’, which we later rely on in order to make predictions based on what we see. According to
George Berkeley as cited by Neil Gains (2014), our visual perception of materiality, distance and spatial
depth would not be possible without haptic (touch) memory. Touch is the exploratory sense validated
by sight. This sense gives the consumer an experience of choice as touch reinforces their preferences.
Senses for distances
1. Touching shape – the sense of orientation and space (proxemics) is a sense beyond the person. It helps
us know the need-to-know for every extension created for man, thus the products we use every day.
This experience translated to branding are the physical specs of the product and how it affects usage.
Just like how the size of a mobile phone gives the user an expectation how to handle it and how to see
the world through it, it is the same with how the difference on the sizes of bottled beverages affect
how the product will be consumed.
2. Rhythm of life – the use of sonic icons makes brands memorable, just as music and song can also do.
The body is sensitive to the rhythms around us. Our body adapts to these rhythms; it keeps us in tempo
with the world; and hearing helps us see like how engine noise makes a pedestrian know that a car is
nearby so they won’t be run over. Ultimately, hearing gives us a sense of time and causality. This
experience evoked by the sense of hearing enables consumers to remember a brand over a long period
of time and recall them immediately.
3. Dominant sense – vision dominates all other senses, accounting for more than two thirds of all sensory
processing in the brain, thus a large part of brain activity. What is seen dominates the memory of
events. It recognizes threats, feelings, facial recognition and emotional coding. These elements are
necessary for one’s brand experience.

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4. Color of experience – Color is an important part of the visual experience. It is comprised of three (3)
dimensions: brightness, colorfulness (saturation) and hue. With colors, people make meaning which
evokes various sensations that can be used to establish brands.
BRAND CONTEXTUALIZED
The Power of Context
We constantly acquire information but it is sorted, consolidated, and assigned with levels of importance. Some
information are driven by emotions that it provides predictive outcomes that are beneficial or unfavorable to
the one who acquired the information. Most of these emotions are triggered by specific experiences of the
audience. Context is the key to meaning and the secret of the power of story. Thus, context establishes a
connection to the brand’s audience.
Archetypal Frameworks
According to Shalom Schwartz (as cited in Gains, 2014), beliefs or values are closely linked to emotional states
and to desirable goals. These frameworks are the main values the audience upholds that can be used as a
strategy in building a brand story. These are not random products of culture and storytelling, but reflect more
fundamental human aspirations for finding meaning in the world. This is what makes archetypes such powerful
tools for creating brand identity.

MODELS OF MOTIVATION
MOTIVATION BRANDS
Self-enhancement
Power – motivation from social status, prestige, control Apple, Chanel, Gucci, Hermes, etc.
or dominance.
Achievement – motivation from personal success, Harvard University, University of the
competence or social standards. Philippines, Microsoft, Google, etc.
Openness to change
Hedonism – motivation from pleasure and sensuous The Face Shop, Coca-Cola, Jollibee, etc.
gratification.
Stimulation – motivation from excitement, novelty and Nike, North Face, Speedo, Sting, Cobra Energy
challenge in life. Drink, Gatorade, etc.
Self-direction – motivation from independent thought Cebu Pacific, Air Asia, Klook, Agoda, etc.
and action, creating and exploring.
Self-transcendence
Universalism – motivation from understanding, Pru Life UK, World Health Organization, World
appreciation, tolerance and protection for all. Wildlife Fund, etc.
Benevolence – motivation from preservation and Lola Remedios, Dove, etc.
enhancement of the welfare of others.
Conservation
Tradition – motivation from respect, commitment and Cabalen, Chowking, Sbarro, etc.
acceptance of the customs and ideas of culture and
religion.
Conformity – motivation from restraint of actions, Kojie-san, Belo, Skin White, etc.
inclinations and impulses likely to upset or harm others
or violate social norms.
Security – motivation from safety, harmony and stability Philam Life, UnionBank, etc.
of society and relationships.

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10 Goals that Drive Humans

These goals are used by organizations to modify their brand that will touch on the goals identified.
1. The desire to be taken seriously;
2. The desire for ‘my place’;
3. The desire for something to believe in;
4. The desire to connect;
5. The desire to be useful;
6. The desire to belong;
7. The desire for more;
8. The desire for control;
9. The desire for something to happen; and
10. The desire for love. (Gains, 2014)

ARCHETYPES
FRAMEWORK BRANDS
Archetype of Belonging
Caregiver – compassionate, protective, generous, Johnson & Johnson, Pampers, Volvo,
empathetic, and supportive Campbell’s
Everyman – appeals to everyone, being okay just as they IKEA, Puregold, SM, Levi’s
are as part of a group of equals, ordinary, and
commonality
Seducer – lover, partner, passionate, erotic, friend, Victoria’s Secret, Hotel Sogo, Red Horse
intimate, enthusiast, sensualist, hedonist, harmonizer,
and team builder
Archetype of Freedom
Joker – trickster, entertainer, comedian, playful, and M&M’s, Orocan, Pepsi, Wendy’s
spontaneous
Rebel – different, challenging the norms, disruptor, and Harley-Davidson, Apple, Dove
non-conformist
Explorer – outdoor pursuits, wanderer, pioneer, North Face, Timberland, Amazon.com,
individualist, seeker, and pilgrim Starbucks, Sandugo, Tribu
Archetype of Ego
Artist – inventor, innovator, creator, musician, writer, LEGO, Crayola, Swatch, Pixar Animation
dreamer, or mad scientist
Warrior – hero, performance-enhancing, principled, Nike, Under Armour, Audi, Islander, Gatorade,
cause, vision, way of life, and courageous Sting, Extra Joss
Catalyst – makes big changes, influencer, transformative, Mastercard, PayMaya, Lazada, Shopee, Grab,
and standing strong Uber, Angkas
Archetype of Order
Guru – wise, intellectual, teacher, philosophical, expert, CNN, Kim Atienza, IBM, Google, Wikipedia
and thinkers
Ruler – dominant, stable, secured, in control, prominent, Microsoft, Mercedes-Benz, Louis Vuitton,
and leader Facebook, Jollibee
Idealist – utopian, optimist, pure, saint, magical, and Disney, Pillsbury, Tide, Joy, Surf, Coca-Cola,
provides stripped down solutions to problems McDonald’s

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BRAND CAMPAIGN
Storytelling
Storytelling is a fundamental element of brand success. A crucial part of human evolution, especially in
information communication, information retention, and customer interaction. It is predominantly the way
people interact and communicate. Much of the information memorized and retained come from a story told
by another person.
The development of media and advertising moved brands in creating campaigns from a variety of experiences
told through stories. Most of these campaigns maximize emotional appeal to influence consumer behavior.
To tell a brand story means to dramatize a story suitable to transport and elaborate on the core contents of a
brand’s message, key values and propositions. At the same time, a brand story puts the story’s components in
order across all campaign channels so it would be compounding to the whole idea of the campaign.
Applied to an organization, storytelling becomes the way a brand communicates the need for the products or
services they offer. The success of a brand story relies on identifying the key roles in moving the brand story.

Key Roles in a Brand Story

1. Villain - A situation, object, or person that causes frustration or problems to the customer. It is important
that the villain is identified for it moves and influences the whole perception of the audience of what is
needed to solve the problems caused by the villain. A campaign basically aims to eliminate the villain
identified.
2. Victim - The customer; the “damsel in distress.” It is important for a campaign to be clear in communicating
that the customer is the victim so as to convince the audience that they are affected with a problem that
is needed to be solved.
3. Hero - The brand sympathizing and solving the problem of the customer. The campaign makes sure that a
reliable hero is the solution to the identified problem that the victim can totally relate to.

Brand Campaign
A brand campaign has the purpose of developing a brand with the aid of communication. It is the part of brand
management that is visible to the consumer (“branding”). The main goal of a brand campaign is to make their
brand standout compared to other brands. Behind all this is the insight that a brand has a higher value of
recognition and that the consumer connects certain attributes, features and achievements with it. Thereby
the brand is supposed to aid the consumer’s orientation amongst the offerings and radiate trust.

References
Gains, N. (2014). Brand EsSense: Using sense, symbol and story to design brand identity. Philadelphia: Kogan Page Limited.
Pousttchi, K., & Wiedemann, D. G. (2010). Handbook of Research on Mobile Marketing Management. New York: Business
Science Reference.
Stone, G. (2019). Branding with Powerful Stories: the villains, victims, and heroes model. Santa Barbara, California:
Praeger.
Temporal, P. (2010). Advanced Brand management. Singapore: John Wiley & Sons Asia Pte. ltd.
Wheeler, A. (2018). Designing Brand Identity. Hoboken, New Jersey: John Wiley & Sons, Inc.

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BRAND MARKETING & MANAGEMENT

In as much as brands are the faces of an organization, marketing tools and management endeavors are needed
to bring these brands closer to their consumers. Communicating the brand marketing strategies has a huge
impact on the effectivity of establishing the brand among its stakeholders. This handout will give light to the
tools and strategies in order to effectively market brands to the consumers.
Branding, Marketing, and Management are important tools and functions for any organization, but they have
different, yet still complementary, functions.
Branding
Branding answers the question “why?” and establishes the principles and values of an organization. It refers
to the overall long-term strategy of a company. Branding is who you are as an organization and your promises
to the consumers. This is the first and foremost to all the endeavors that could exist within a company.
Marketing
Marketing answers the question “how?”. It materializes the long-term strategy of a company through short-
term tactics that establishes the brand to the minds of the consumers. Marketing is what the organization
does to attract the consumers and persuade them with the brand message and promise.
When it comes to the overall strategy of communicating the organization’s principles and values in the
corporate setting, branding comes first and then marketing, and finally, management. A company must know
first who they are before they deliver the products or services to the consumers. If the company does not have
a strong idea of their brand, it puts their organization to a great disadvantage.
Management
Because of the developments that took place over the last 30 years in the business’ perspective over their
customers and their behavior, the important and complex role of brand management emerged. This aspect
provides sustainability to the branding and marketing efforts of a company. There were many cases of
unsuccessful relationships or dynamics between customers and the products and services available. Thus,
having products sold on the market does not guarantee an increase in sales. Therefore, companies started
establishing their brand to give clarity and direction to the marketing tools that will be used by the brand.

BRAND EQUITY
Brand Equity
Brand equity refers to the descriptive aspects of a brand such as symbols, imagery, or consumer associations
that reflect the strength of the overall consumer perception. Basically, it is the added value endowed to
products and services with consumers.
Key Elements of Brand Equity
1. Brand Knowledge – Brand Knowledge creates the differential effect that drives brand equity. It is the point
of comparison among brands of the same product line or services.
• Associative Network Memory Model (ANMM) – This involves the use of linkages of memory to
influence perception. An information stored in our memory gets associated with other
information when introduced to a general concept. These ideas form a network that establishes a
general concept.
• Components of Brand Knowledge
a. Brand Awareness – The strength of the brand traced in one’s memory. Consumer’s ability to
identify and recall a brand among all other information specifically in their consideration set.
The increase in familiarity of the brand happens through repeated exposure. The more the

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consumer sees, hears, thinks, and experiences the brand, the stronger it registers to the
consumer’s memory.
o Components of Brand Awareness
 Brand Recognition – it is the consumers’ ability to confirm prior exposure to the
brand when given the brand as a cue. So if an avid customer of Nike sees a shirt
with the swoosh logo or the statement “just do it.”, they will automatically
recognize that the shirt is a product of Nike.
 Brand Recall – it is the consumers’ ability to retrieve the brand from memory
when given the product category, the needs fulfilled by the category, or a
purchase or usage situation as a cue. For example, if a regular Filipino household
drinks coffee every morning and if the brand that pops in their head with the
category coffee drink is Nescafe, then it exhibits brand recall.
o Advantages of Brand Awareness
 Learning Advantages – The first step of building strong brand awareness is to
register the brand in the minds of the consumers. With the proper brand
elements, the building of brand awareness gets easier.
 Consideration Advantages – Raising brand awareness will increase the likelihood
for the brand to be a member of the consideration set in the mind of the
consumer. Being a part of the choices among brands strengthens the brand.
 Choice Advantages – Raising a strong awareness of the brand leads the brand to
be the top of mind choice of the consumer among brands in the consideration set.
b. Brand Image – It is the consumer’s perception of the brand and its associations. Through
repeated exposure and awareness, it leads to strong associations. A great way to build brand
image is through the use of different social media platforms. The frequency of published
content from these platforms boosts the exposure of the brand.
 Brand Associations – Brand image relies heavily on the associations created with the
brand. Strong, favorable, and unique associations of marketing strategies or tools with the
brand highly impacts the overall brand knowledge. Brand associations take two forms:
 Brand Attributes – these are the descriptive features that characterize a product
or service such as physical characteristics and personality.
 Brand Benefits – these are the personal values and meanings that the consumers
attach to the product or service attributes. These are the promises of the brands
that sets them apart from their competition.

Source: logonoid.com/disney-logo/ Source: planetminecraft.com/project/disney-castle- Source: youtube.com/user/

hybrid/ DisneyShorts/videos?app=desktop

2. Brand Experience - Brand experience is the feedback to the brand story. It becomes the very connection
of brand story, and brand perception as the brand’s message is translated and perceived by the senses
creating response and experience.
3. Brand Positioning – Brand positioning is the heart of marketing strategy. It is the “act of designing the
company’s offer and image so that it occupies a distinct and valued place in the minds of the consumers.”
(Keller, 2013)

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Positioning basically means finding the proper “location” in the minds of a group of consumers or market
segment. It is vital to brand management as it takes the basic tangible aspects of a brand to build the
intangibles in the form of an image in people’s minds.
• Key Elements of Brand Positioning
a. Target Market – It is an important element of brand positioning because different consumers have
different brand knowledge structures and thus different perceptions and preferences for the
brand.
 Market segmentation – it is the division of the market into distinct groups of homogenous
consumers who have similar needs and consumer behavior, thus requiring similar marketing
mixes. The more finely segmented the market, the more likely that the company will be able
to implement marketing programs that will meet the needs of one segment. Market
segmentation has two major bases for categorizing the market:
 The Entrenched – they are the highly committed to using the brand, and will not switch
in the foreseeable future.
 The Average – they are committed to the brand, but not as strongly as the entrenched.
 The Shallow – they are not content, but waiting for a better alternative.
 The Convertible – they are discontented and actively seeking alternative brands.
 The Available – they are actively considering conversion, and may switch immediately.
 The Ambivalent – they are attracted to the brand, but need motivation to switch
brands.
 The Unavailable – they are not interested in switching in the foreseeable future.

Source:
homeshop.ph/nestle-milo-actigen-e-chocolate-milk-drink-300g bruneimarketplace.com/beverages/others/chocolate-and-malted/milo-activ-go-rtd-1-l/
clickthecity.com/hot-off-the-press/a/16630/refuel-and-re-energize-with-milo-r2 nestle-cereals.com/sg/en/products-promotions/brands/milos-brand/milos
sessiongroceries.com/product/milo-nutri-up-sachet/ africanhut.com/products/nestle-milo-bar-kosher-80g_104761

b. Competition – It is an element of brand positioning that identifies the other choices of customers of a
specific market segment. This gives a full circle for the brand’s equity and how it will be perceived and
experienced by a consumer.
 Nature of Competition
 Indirect Competition – marketing strategy suggests not to define competition too narrowly.
Research on noncomparable alternatives suggests that even if a brand does not face direct
competition in its product category, and thus it does not share performance-related attributes
with other brands, it can still share more abstract associations and face indirect competition
in more broadly defined product category.
 Multiple Frames of Reference – since competition of brands has moved to a broader category,
brands need to identify to more than one frame of reference. Most functions of a product can
be performed by a different type of product. A good example would be brands of high-end
cameras that take aesthetically pleasing photos against smart phones that are becoming
sophisticated when it comes to photography and can be published immediately.
 Points-of-Parity – POPs refer to shared qualities between brands.
 Category POP – it represents necessary–but not necessarily sufficient–conditions for
brand choice. It is set by the consumers’ expectations.

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 Competitive POP – it is designed to negate competition’s points-of-difference. It breaks

even any area that which competitors are trying to take advantage over a brand.
 Correlational POP – these are potentially negative associations that arise from the
existence of other, more positive associations for the brand. An example would be
“inexpensive” yet “high quality” brands which are often the promotional strategy of
different brands.
 Points-of-Difference – PODs refer to the attributes or benefits that consumers strongly
associate with a brand, positively evaluate, and believe that they could not find to the same
extent with a competitive brand. Consumers’ brand choices mostly depend on perceived
unique qualities and associations of a brand over the competition.

BRAND VALUE
Brand Value
Brand value is distinguishable from brand equity. It is the estimate of the brand’s financial value defined as
the net present value of the future earnings that can be attributed to the brand alone. These financial results
can only be achieved once good brand equity is established and managed.
Globally, 70 percent or more of the market capitalization of companies are represented by intangible assets,
a significant part being the value of brands themselves (Temporal, 2010). Brand names are often worth
multiples of the value of the actual businesses, thus selling and buying brand names for a considerable amount
of money. Other intangibles assets include patents, customer lists, licenses, know-hows, and major contracts.
Measures of Financial Strength
1. Mergers and Acquisitions – Potential acquirers of branded goods companies, together with investors
and bankers, desires legitimacy of their investment as it reflects in the value of intangible and tangible
assets.
2. External Investor Relations – The actions and contribution of external investors help strengthen the
financial value of a brand. A good relationship means stability for the brand and it will be achieved by
building a world-class brand portfolio.
3. Internal Communications – The increasing value of a brand boosts management morale, thus
organizational performance. A part of it manifests with internal royalty rates based from the brand
value that can be used by the management.
4. Marketing Budget Allocation – The value of the brand assists to how budgeting decisions are made. In
turn, these decisions accumulate in good brand stewardship and strengthens the financial value of the
brand.
5. Internal Marketing Management – These are techniques that allow senior management to compare
success of different brand strategies and the relative performance of particular marketing teams.
6. Balance Sheet Reporting – Intangible assets such as acquired brands are amortized.
7. Licensing and Franchising – Identified financial value of brands sets realistic charges for licensing and
franchising.
8. Securitized Borrowing – Brands along with its investors secure the brand value as group of illiquid
assets–such as debts, stocks, hedge funds, interests–are sold to investors.
9. Litigation Support – Whenever legal cases are won by brands, brand value increases. Legal provisions
and regulations become advantageous to the company.
10. New Product and Market Development Assessment – Brand value becomes a measure for identifying
the best brand, best market extension, and best consumer segment.

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SWOT ANALYSIS
SWOT Analysis
SWOT Analysis is a strategic planning method used to evaluate the external and internal factors of an
organization’s environment. It can be used by any field of knowledge specially in problem solving. Brands use
the SWOT Analysis tool in order to have a full-view perspective on how companies can reach the optimum
value of the brand.
Purpose of SWOT Analysis
1. Redirect organization’s focus on strengths, minimize weaknesses and threats, and take greatest
possible advantage over opportunities.
2. Determines feasibility of objectives. It sets achievable goals and objectives, as well as the subsequent
steps.
3. Helps the organization dedicate itself to the mission, fulfill the vision, adjust to social context, achieve
strategic goals, develop effective action plans, and conduct objective evaluations.
4. Gathers meaningful information from strengths, weaknesses, opportunities, and threats, to maximize
the benefits of your evaluation and advantage.

These are the questions needed to be answered for each area of the analysis:
Strengths Weaknesses
• What advantages does your organization have? • What could you improve?
• What do you do better than others? • What should you avoid?
• What unique or lowest-cost resources can you • What factors limit your growth?
draw upon that others cannot? • What are people in your market likely to see as
• What is your organization’s unique selling your weaknesses (challenges)?
proposition? • What factors may cause you to lose your sale?
• What do people in your market see as your
strengths?
• What factors mean that you “get the sale”?
Opportunities Threats
• What good opportunities can you spot? • What obstacles are you facing?
• What interesting trends are you aware of? • Are quality standards or specifications for your
• Who can be your partner? job, products or services changing?
• Who can be your potential investor? • Is changing technology challenging your position?
• How to keep and develop your key stakeholders’ • Are changing policies and social context
interests? challenging your service area?
• Could any of your weaknesses (challenges)
seriously affect your business?
• What are your competitors doing?

References
Bjerre, M., Heding, T., & Knudtzen, C. F. (2009). Brand Management: Research, Theory and Practice. New York: Routledge.
Huang, C.-C., Lu, S., & Quincy, R. (2012). SWOT Analysis: Raising Capacity of Your Organization. Huamin Philanthropy
Brochure Series - 2, 1-14.
Keller, K. L. (2013). Strategic Brand Management: Building, Measuring, and Managing Brand Equity. New York: Pearson
Education Limited.
Leland, K. T. (2016). The Brand Mapping Strategy. Irvine, California: Entrepreneur Press.
Temporal, P. (2010). Advanced Brand management. Singapore: John Wiley & Sons Asia Pte. ltd.
Wheeler, A. (2018). Designing Brand Identity. Hoboken, New Jersey: John Wiley & Sons, Inc.

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