BRANDIND MARKETING AND CREATIVE INDUSTRIES

WHAT IS BRANDING

The process involved in creating a unique name and image for a product in the consumers' mind,

mainly through advertising campaigns with a consistent theme. Branding aims to establish a

significant and differentiated presence in the market that attracts and retains loyal customers.

A brand is a name, term, design, symbol, or other feature that distinguishes an organization or

product from its rivals in the eyes of the customer. Brands are used in business, marketing,

and advertising. Name brands are sometimes distinguished from generic or store brands.

Branding is a set of marketing and communication methods that help to distinguish a company or

products from competitors, aiming to create a lasting impression in the minds of customers. The

key components that form a brand's toolbox include a brand’s identity, brand communication

(such as by logos and trademarks), brand awareness, brand loyalty, and various branding (brand

management) strategies.[5] Many companies believe that there is often little to differentiate

between several types of products in the 21st century, and therefore branding is one of a few

remaining forms of product differentiation.

Sub branding

Sub-branding is when a main brand creates a subsidiary or secondary brand. (For example, Diet Coke or
Nacho Cheese Doritos). Sub-brands are typically created as an opportunity to reach a new audience.
Sub-brands can then build and sustain relationships with the new audience. This new brand’s attributes
are distinct, yet related to the main brand. Sub-brands often have their own brand standards, logo, color
treatment, etc. while some sub-brands reflect the same identity as the parent brand

Brand extension
A brand extension is when a company uses its leverage to launch a new product in a different

category. Snickers Ice Cream Bars are a brand extension of the Snickers Candy Bars. Harley-

Davidson found success with this strategy through its clothing line.

Co-branding

Co branding is the utilization of two or more brands to name a new product. The ingredient brands help

each other to achieve their aims. The overall synchronization between the brand pair and the new product

has to be kept in mind. Example of co-branding - Citibank co-branded with MTV to launch a co-branded

debit card. This card is beneficial to customers who can avail benefits at specific outlets called MTV

Citibank club

.Multi branding strategy

Multi branding strategy is when a company gives each product a distinct name. Multi branding is

best used as an approach when each brand in intended for a different market segment. Multi

branding is used in an assortment of ways with selected companies grouping their brands based

on price-quality segments. Procter & Gamble (P&G), a multinational consumer goods company

that offers over 100 brands, each suited for different consumer needs. For instance, Head &

Shoulders that helps consumers relieve dandruff in the form of a shampoo,

Fighting brands

The main purpose of fighting brands is to challenge competitor brands.

Attitude branding and iconic brands

Attitude Branding

In today’s economy filled with consumer over-stimulation, people are driven by their feelings and
emotions. This has created a new form of branding, known as attitude branding. Attitude branding is
where a company chooses to represent a feeling that does not have a direct connection to the product.
Nike Corporation is one of the forefathers of attitude branding, with its billion dollar phrase of “just do
it.” The slogan itself is not particularly related to their products; it does not purport any particular details
about Nike shoes or athletic gear. Instead, the branding strategy promotes a lifestyle, an emotional
connection with the consumer. This is clearly seen in Nike commercials, which rarely highlight the shoe,
but instead focuses on people achieving their athletic goals.

There are four key elements to creating iconic brands (Holt 2004):

An icon brand is a symbol-intensive brand that carry powerful universal values making it instantly

recognisable thanks to ownable and distinctive codes. Typical icon brands are luxury brands such

as Chanel, Armani or Prada, or globally admired jewellers such as Bulgari, Cartier and Tiffany

1. "Necessary conditions" – The performance of the product must at least be acceptable,

preferably with a reputation of having good quality.

2. "Myth-making" – A meaningful storytelling fabricated by cultural insiders. These must

be seen as legitimate and respected by consumers for stories to be accepted.

3. "Cultural contradictions" – Some kind of mismatch between prevailing ideology and

emergent undercurrents in society. In other words, a difference with the way consumers

are and how they wish they were.

4. "The cultural brand management process" – Actively engaging in the myth-making

process in making sure the brand maintains its position as an icon.

MARKETING

The management process through which goods and services move from concept to the customer.

It includes the coordination of four elements called the 4 P's of marketing:

(1) identification, selection and development of a product,

(2)determination of its price,

(3) selection of a distribution channel to reach the customer's place, and

(4) development and implementation of a promotional strategy.

For example, new Apple products are developed to include improved applications and systems,
are set at different prices depending on how much capability the customer desires, and are sold

in places where other Apple products are sold.

Marketing is based on thinking about the business in terms of customer needs and their

satisfaction. Marketing differs from selling because (in the words of Harvard Business School's

retired professor of marketing Theodore C. Levitt) "Selling concerns itself with the tricks and

techniques of getting people to exchange their cash for your product. It is not concerned with the

values that the exchange is all about. And it does not, as market invariable does, view the entire

business process as consisting of a tightly integrated effort to discover, create, arouse and satisfy

customer needs." In other words, marketing has less to do with getting customers to pay for your

product as it does developing a demand for that product and fulfilling the customer's needs.

CULTURAL POLICIES AND CREATIVE INDUSTRY

Cultural policy is the government actions, laws and programs that regulate, protect, encourage

and financially (or otherwise) support activities related to the arts and creative sectors, such

as painting, sculpture, music, dance, literature, and filmmaking, among others and culture, which

may involve activities related to language, heritage and diversity.

Cultural policy can be done at a nation-state level, at a sub-national level (e.g., U.S. states or

Canadian provinces), at a regional level or at a municipal level (e.g., a city government creating a

museum or arts center). Examples of cultural policy-making at the nation-state level could

include anything from funding music education or theatre programs at little to no cost, to hosting

corporate-sponsored art exhibitions in a government museum, to establishing legal codes (such

as the U.S. Internal Revenue Service’s 501(c)(3) tax designation for profit enterprises) and

creating political institutions (such as the various ministries of culture and departments of culture

and the National Endowment for the Humanities and the National Endowment for the Arts in the

United States), arts granting councils, and cultural institutions such as galleries and museums.

Similar significant organizations in the United Kingdom include the Department for Culture,

Media and Sport (DCMS), and Arts Council England.

Ideas create the industries and societies that generate the capital and income that lifts the world

up. That is simple to say but difficult to achieve.

In the 1990s we began to talk about creative industries. We bundled fashion, design, advertising,

architecture, publishing, software, movies, television and similar enterprises into their own

sector. They became a lobby. In major economies, creative industries make up about 3%-5% of

employment. As poorer economies develop, the size of their creative industries grows.

The term “creative industries sector”, though, is a bit of misnomer. For any industry can be

creative. Conversely, fashion and design industries and their ilk often are lame. Little is creative

or even interesting about today’s consumer computer companies.

In 2000, creative industries promised us a brilliant future. Some 30% of the population would

belong to the creative class. The baton of creativity would pass from computing to bio-

technology. Broadband networks would revolutionize business. Yet none of this happened.

Creative people do what most people including most clever people do not do. They take what

others normally think of as being unrelated and put them together. That is what it means to be

creative.
Our larger problem is that we mistake glamour for creation. We think that working in the air-

conditioned pastel offices of a designated creative industry makes us creative. It does not. We

need to stop mistaking pretty labels for real entities.