This research explored how experiencing a country’s cultural heritage influences consumers’ authenticity evaluation of its luxury brands. It showed authenticity was culturally constructed and perception was influenced by marketing means selectively exposing the consumers to different brand attributes. It contributes to transcultural research by linking cultural attributes to brand authenticity attributes.

In many countries, domestic tourism is important in terms of both size and economic contribution (Massidda & Etzo, 2012). This study aimed to develop a measurement scale for place authenticity for domestic destinations. Moreover, the objective was to offer insights regarding the consequences of place authenticity while travelling within borders. Empirical literature on the authentic travel experience “within borders” is quite scant and the attention of policy makers is not adequately focused on its outcomes such as attitude, values and positive WOM. A very small body of literature has primarily focused on domestic tourists’ destination experience yet omits measuring authenticity perceptions (Chi & Qu, 2008; Massidda & Etzo, 2012; Milman & Pizam, 1995). Empirical data were collected from 456 American consumers who had travelled to domestic tourism destinations. This paper provides a new measure for place authenticity that destination marketers can use to gauge what consumers think of their domestic travel experience. In addition, the findings of this study suggest that place authenticity shapes key consumer outcomes such as attitude, values and positive WOM. Furthermore, place authenticity has significant indirect effects on value and WOM, consistent with the role of place authenticity’s effects being mediated by consumer attitude toward the destination. Finally, this study discusses the managerial implications for tourism destination marketing and positioning strategy.

One of the most significant challenges of modern strategic marketers refers to the ability of expressing the authentic value of fashion brand. This is particularly important for luxury goods, which are able to effectively impact on customers’ social attitude and behavior. Hence, pertinent literature is progressively focusing on the role of authenticity as a strategic element for marketing theory. Specifically, three elements have been associated with brand’s authenticity, namely quality commitment, heritage, and sincerity. In the present research we apply a validated empirical instrument concerning brand authenticity and its aforementioned three elements. Precisely, we will present and discuss the results of a survey implemented in the Tuscany region (Italy), thus aiming at investigating possible differences and/or similarities characterizing Tuscan customers’ perception of luxury brand authenticity. A structural equation model will be conceptualized and assessed in order to analyze the existing relationships between brand’s authenticity elements, namely quality commitment, heritage, and sincerity. The results confirm the hypothesized significance of these relationships among variables. Further, we will introduce the notion of mythopoiesis, which will be interpreted as a strategic vehicle able to appropriately communicate the traditional values, culture, and historical symbolic meanings of luxury fashion brand. Actually, marketing mythopoiesis results in being an effective element for translating a historical ‘stock’ of heritage into a strategic ‘flow’ of narrative capabilities by marketing managers.

The search for authenticity is a subject that has become very common in different areas of social knowledge in recent years. The key point is to recognize what makes something authentic and which factors could influence this perception. Although the academia not yet been able to reach a consensus on the definition of what makes something authentic, some authors propose this concept in the marketing of goods and services (Beverland 2005, 2006; Beverland, Lindgreen & Vink, 2008; Alexander, 2009; Molleda, 2009; Kadirov, 2010). We propose to extend this concept to the place branding context. Destinations can be authentic when they offer tourists unique experiences. These could be interesting to be branded in order to increase tourism demand. Tourism is a sector that, despite of the uncertainties of the global economic scenario, continues to grow. According to the World Tourism Organization, in 2014 there was an increase of 4.3% in the number of tourists who traveled the world, compared to the previous year. This represents 46 million more people that revisited a destination or traveled to new places. In financial terms, the global move rose to US$ 1.5 trillion in 2014 (UNWTO, 2015). The economy of many countries depends on tourism, both in terms of GDP and employment. For instance, Seychelles, Cape Verde and Malta have respectively 21%, 16% and 13% of their GDPs coming from tourism. The same source also reveals the list of the most competitive countries in the world in terms of tourism. The top four countries are Spain, France, USA and England (WEF, 2015). Currently, considering the competitiveness in the tourism sector, it is increasingly critical the need for destinations which present a singular identity and positioning. Offering excellent options of accommodation, good attractions and historic buildings are no longer differentials. Thus, place branding can be a powerful tool to face the competitive tourism scenario (Gilmore & Pine II, 2007). This study aims to promote a measurement scale for place authenticity and verify the influence of this concept for the tourist’s destination selection. In modern societies, individuals search for their uniqueness. Taylor (2003) points out that one of the decisive aspects to be an authentic positioning is the definition of their own identity, that is, the set of attributes such as personality, physical characteristics and perception of themselves. The dilemma of authenticity and inauthenticity is already considered one of the key points of western society (Grayson & Martinec, 2004). Considering the universe of brands, an authentic brand is associated to the consistency between brand identity and brand personality. It is related to the elements and/or characteristics, which are unique. Previous published studies (Beverland, 2006; Barreto, 2008; Molleda, 2009; Kadirov, 2010; Napoli et al. 2014) proposed some dimensions to define the composing elements for authenticity perception; however, they were more focused on product authenticity. Some dimensions include product tradition, manufacturing process, product design, certifications and guarantees, price positioning, product originality, cultural symbolism, product quality, nostalgic perception and brand credibility, among others. These dimensions are not directly applicable to touristic destinations. Considering this literature gap, we decided to propose a new measurement scale specifically for places (touristic destinations). In the case of tourists, Gilmore and Pine II (2007) state that this kind of consumers search to live unique and authentic experiences. These authors emphasize that the choice of a place to visit can be considered personal reaffirmation, in the sense of having a certain personality or belonging to a particular group. The proposed model for this study states that place authenticity is guided by place tradition and place legitimacy and plays a mediating effect from place image to destination selection. For place image, we considered the natural characteristics of a touristic destination, the quality of services and the original manufacturing production of that place. These dimensions also came from the qualitative steps of this research. Previous studies (Selby & Morgan, 1996; Govers & Go, 2009) emphasize the positive impact of place image to increase consumer’s visiting desire. Before access destination selection, place image plays an important role for place authenticity perception, being that the core evaluation about a place. The first three hypothesis are: H1: The greater the perception about natural characteristics of a place, the greater the perception about place authenticity. H2: The greater the perception about the quality of services, the greater the perception about place authenticity. H3: The greater the perception about original manufacturing production, the greater the perception about place authenticity. Destination selection for vacation is related to consumer’s choice about the next place to go during his/her free time. Literature reveals that consumers’ perception about a place can be decisive for choosing or not a place for vacation (Gilmore & Pine II, 2007). Hypothesis 4 assumes that: H4: Place authenticity has a positive and significant impact on consumer’s destination selection. This study is organized in two main research stages. The first was dedicated to the developing a place authenticity measurement scale. We followed Netemeyer, Bearden and Sharma (2003) steps that include literature review, qualitative and quantitative steps. After the literature review we ran two qualitative studies with four in-depth interviews with tourism managers and eight in-depth interviews with consumers. Managers’ criteria selection was strategic public and private functions. Consumers’ criteria considered: age, gender and personal finance responsibility. The main objective of these steps was to collect more information about “what makes a place authentic” and “how we can define place image”. Initially 32 items were proposed, being 12 for place authenticity and 20 for place image. The first survey with 152 respondents was used to test the proposed scales. The second stage was defined by another survey with 152 valid respondents. We adapted from Napoli, Dickinson, Beverland, and Farrelly (2014) a 3-item scale for destination selection. The main objective of this last step was to retest the measurement scale with a new sample and test the proposed model using structural modeling equation. We used a 10-point agreement scale for all constructs. Qualtrics solutions to collect data were used in both surveys. The qualitative approach and the literature review were relevant to propose some items to measure place image and place authenticity. Previous studies emphasized the power of place image for tourism managers in order to increase destination desire for potential consumers (Selby & Morgan, 1996; Govers & Go, 2009). Echtner and Ritchie (1993) written one of the first manuscripts to promote a measurement scale to place image. It was a very robust proposition that included attribute-based images, holistic impressions, and functional, psychological, unique and common characteristics, considering a combination of structured and unstructured methodologies. Although it is a very complex scale. We proposed a new scale by listening to managers and potential tourists (consumers) about what defines the main aspects of place image. Considering place authenticity, the main characteristics that define this concept are related to place tradition and history, which are related to culture, socio-economic history and how people recognize the uniqueness of its tradition. Place legitimacy is related to the originality of place characteristics and what makes this place unique. In the first survey group, we had 152 valid responses, 64% women. Age range was from 26 to 37 years old. Main income rate (61%) was US$1600. Respondents should be the main responsible for the last destination choice. After a descriptive analysis, we ran an exploratory factor analysis (EFA) with varimax rotation and principal components as extraction method. Results showed the adequacy of the proposed scale (KMO=0.886, Bartlett's 4807.951, p<0.000). Four items were deleted considering the communalities verification (under 0.50). Three dimensions were defined: place image, which means the natural characteristics of a place (6 items, α=0.938), the quality of services (7 items, α=0.914) like infrastructure and the original manufacturing production of that place (4 items, α=0.807). Two dimensions defined place authenticity: place tradition (7 items, α=0.938) and place legitimacy (5 items, α=0.934). In the second survey group, we had 152 valid responses, 62% women. Age range was from 26 to 37 years old. Main income rate (61%) was between US$1600 and US$2500. Respondents should be the main responsible for the last destination choice. The second stage included a new survey to confirm the measurement scales and test the proposed model. After descriptive analysis, we ran a confirmatory factor analysis (CFA). Results demonstrated the adequacy of the measurement model with tolerable goodness of fit (CMIN 403.114, DF = 142, CMIN/DF= 2.839, IFI=0.916, CFI=0.915, TLI=0.886, NFI=0.876, NFI=0.835, RMSEA=0.110). Probably sample size influenced the goodness of fit. We refined the measurement scale holding the essential items for each scale, considering CFA analysis (appendix 1). The final measurement proposed is defined for the natural characteristics of a place (4 items, AVE=0.80, CONF=0.93), the quality of services (4 items, AVE=0.84, CONF=0.95), the original manufacturing production of that place (3 items, AVE=0.76, CONF=0.90). Place authenticity: place tradition (4 items, AVE=0.77, CONF=0.93) and place legitimacy (4 items, α= AVE=076, CONF=0.93). The proposed model was tested using the structural modeling equation. Results demonstrated to be suitable, with an acceptable goodness of fit (CMIN 310.219, DF = 97; CMIN/DF= 3.198; IFI=0.907, CFI=0.905, TLI=0.867, NFI=0.876, RFI=0.817, RMSEA=0.121). All hypotheses were confirmed. There is a positive impact from natural characteristics (β=0.371, p<0.000), quality of services (β=0.236, p<0.000) and original manufacturing production (β=0.597, p<0.000) on place authenticity (R²=92%). There is also a positive impact from place authenticity to destination selection (β=0.427, p<0.000, R²=18.2%). Three major results emphasize the literature contribution of this research. First, the two-dimension place authenticity measurement scale. Place tradition and place legitimacy are the core concepts to measure place authenticity. Second, the influence of place image on place authenticity. This is useful for tourism managers since place image can be treated by marketing campaigns. The better the place image the greater the place authenticity perception. This relation explains 92% of the place authenticity construct. Thirdly, the relevance of place authenticity on destination selection. Public and private investments for some touristic place can be reinforced by marketing efforts in order to increase positive aspects for place image and place authenticity. Therefore, promoting increase in the percentage of destination selection. People are looking for unique experiences in unique places.

Support from the private sector, for example by firms, has been solicited to ease tourist attraction financial constraints and to help their restoration and maintenance out of Corporate Social Responsibility (CSR) activities (United Nations, 2010; Europanostra, 2013). When engaging in these partnerships, firms may display different level of altruistic motivation. For example, the Italian fashion company Tod’s demonstrated high altruism by agreeing to restore the Colosseum without any economic or financial return. American Express, however, sought promotional rights when the firm agreed to contribute to the restoration of the Statue of Liberty. Finally, the ticketing agency Eventim renamed the Hammersmith Apollo (now Eventim Apollo) in London following their involvement in the restoration, thus pursuing more strategic, rather than altruistic goals. Non-altruistic goals and the fear that the involvement of a company may generate scepticism in visitors, as they could perceive the authentic image of a tourist attraction to be jeopardized. Managers of tourist attractions are faced with a dilemma: should they seek financial support from third parties (e.g. firms), or would this compromise the appeal of the site, leading to a drop in the number of visitors? In order to address this problem, we conducted two experiments to examine how firms' involvement in restorations affects tourist attractions. We found that firms' altruistic motivations (that denotes the support of a cause without demanding anything in return) are positively associated with tourists' intentions to visit the attraction (Study 1). Moreover, we found that this relationship is mediated by visitors’ perceived authenticity, in other words the belief that the real aspect of the site has not been irreversibly altered. We confirm the robustness of our findings in Study 2, additionally showing how this effect is stronger in the case of heritage sites compared to non-heritage sites. To the best of our knowledge, our results are among the first to show how a lack of altruism in CSR activities can negatively affect the target of the campaign (in this particular case a tourist attraction). Results also suggest managers of tourist attractions with high heritage value to assess the altruistic motives of the firm carefully before engaging in a financial partnership.

Marketers often attribute the premium charged on a luxury brand over a value brand to innovation in product form (Von Hippel 1986). One way of conveying this innovation is through the use of perceptual cues which use visual depiction of a product (Gregan-Paxton, Hoeffler, and Zhao 2005). Consequently, what we think of as high fashion or innovation in product form is essentially novelty in the perceptual cues of a product (Cox and Cox 2002) and it is known that moderate levels of novelty can increase complexity (or incongruity) of product design and is in general, favored by consumers (Cox and Cox 2002). However, despite the fact that novelty in form offered in high fashion or complex products is expected to bring value, we predict that novel designs are perceived as more favorable depending on their positioning as luxury (value) brands. In detail, we expect that value brands more than luxury brands benefit from novelty of form and that peripheral cues in product design informs a sense of brand authenticity which drives preferences. Past research showed that a product’s positioning in advertising moderates the effect of schema incongruence on product evaluation (Noseworthy and Trudel 2011). When products with a moderately incongruent design are positioned based on their functionality, they are evaluated more favorably. Conversely, when products are positioned based on experiential dimensions, this effect is reversed, and moderately incongruent designs are evaluated less favorably. We believe that these relationships can be explained using the perception of hedonic or utilitarian benefits offered by the product. In general, consumers are motivated by utilitarian concerns until they think that they have earned the right to indulge in hedonistic consumption (Kivetz and Simonson 2002). With congruent products, consumers may infer functionality from memory, and they are therefore liberated to indulge in hedonic pleasure. With incongruent products, however, consumers must work out the functionality of the product for themselves. Thus, we expect that brand positioning will influence the way novel designs are evaluated on functionality, such that novel designs are perceived as more functional in the value (vs. luxury) brand positioning (H1). Also, we predict that consumers of luxury brands will prefer prototypical designs to novel ones (H2). Recently, Stanton, Townsend, and Kang (2015) analyzed automobile market and showed that consumers prefer novel designs if their consideration set includes allpossible automobiles, but changed to prototypical designs, when the consideration set was entry-level automobiles. In addition, Hagtvedt and Patrick (2014) revealed that altering the form of a product has a more positive impact on product evolutions in a utilitarian context rather than a hedonic one. This is because luxury brands have a greater capacity to be extended into other product categories due to their hedonic potential, namely their ability to provide emotional benefits (Hagtvedt and Patrick 2009). Based on these findings, we postulate that brand positioning will moderate the influence of product design on functional evaluations and perceived comfort, such that only under the value (vs. luxury) brand positioning, individuals will prefer novelty over typicality. Lastly, given the consumers’ motivation of luxury brands for conspicuous consumption and desire for authenticity (Beverland and Farrelly 2010), we predict that consumers will avoid novel designs in a luxury brand. We believe this to be true because in order to convey the status which such consumers seek, the brand must be instantly and easily recognizable to others. In this case, a novel design can be a threat to this transmission of status, and may bring about less favorable evaluations of the brand. As a result, a novel design, even a moderately incongruent one, will be seen as a violation of the brand’s authenticity and the diminished authenticity will therefore explain the less favorable evaluations. Thus, we expect that for value (vs. luxury) brand positioning, brand authenticity will mediate the effect of product design on evaluations (H3). To test our hypotheses, a pilot study was conducted in advance to identify whether luxury positioning would influence the perceptions of functionality when evaluating the same novel design. Participants (N = 102; 63.7% female; Mage = 35.78) were recruited in an online panel and were randomly assigned to one of two conditions of brand positioning: a value brand positioning or a luxury brand positioning. The experiment was a between-subjects factorial design and from the pretest, Serafini brand was chosen as a luxury brand and New Balance brand was chosen as a value brand. Then, Participant saw an advertisement that featured the novel shoe design and indicated their perceived functional efficacy, the concept (value-luxury) of a presented product, and perceived status conferred by purchasing the product. As expected, participants saw Serafini as more of a luxury brand (M = 4.76) than New Balance (M = 3.92) and indicated that purchasing the same product by Serafini conferred more status to someone (M = 4.83) in comparison to purchasing the same product by New Balance (M = 4.22; t(100) = 2.18, p < .05). Importantly, participants viewed the novel design featured in the luxury brand advertisement of (Serafini) as less functional (M = 4.95) in comparison to the novel design featured in the value brand advertisement (New Balance; M = 5.50; t(100) = 2.19, p < .05) although the design of the two products were the same (H1 supported). Next, in Study 1, we intended to identify whether brand positioning would influence typical designs of a product in the same way that it would novel designs. Participants (N = 263; 59.7% female; Mage = 38.03) were recruited in an online panel and were randomly assigned to one of four conditions in a 2 (brand positioning: value vs. luxury) × 2 (product design: typical vs. novel) between-subjects factorial design. In this study, however, we used a fictitious watch brand (Dali) to manipulate the brand positioning. Manipulations were adopted from Hagtvedt and Patrick (2009). Like pilot test, pretestconfirmed that the manipulations worked as intended (Mvalue = 4.85; Mluxury = 5.67; t(39) = 2.19, p < .05) and participants rated Dali as having different abilities to confer status (α = .81; Mvalue = 4.43; Mluxury = 5.26; t(39) = 2.68, p < .05). After, each participant saw an advertisement that featured the new product and that corresponded to the randomized condition that they were assigned and responded to the questionnaires asking their perceived functional efficacy, overall attitudes toward the product, perceived comfort as well as the measures for the manipulation checks. As expected, result showed that in the absence of luxury brand positioning, the novel design was evaluated more favorably (M = 5.00) than the typical product design (M = 3.90; F(1, 259) = 18.74, p < .001). This effect was consistent with past studies that demonstrate the moderate incongruity effect (Noseworthy and Trudel 2011; Meyers-Levy and Tybout 1989; Mandler 1982). However, in the presence of the luxury brand positioning, this difference was not significant (Mnovel = 4.46 vs. Mtypical= 4.25; p = .41). Also, an analysis of functionality indicated that in the value brand condition, the novel design was perceived to be higher in functionality (M = 4.88) than the typical product design (M = 4.39; F(1, 259) = 4.25, p < .05). However, in the presence of the luxury brand positioning, this difference was not significant (Mnovel = 4.57 vs. Mtypical= 4.79; p = .35). Finally, analysis of comfort indicated that in the value brand condition, the novel design was perceived to have more comfort (M = 4.45) than the typical product design (M = 3.82; F(1, 259) = 6.97, p < .01). However, in the presence of the luxury brand positioning, this difference was not significant (Mnovel = 4.14 vs. Mtypical= 4.33; p = .44). Thus, the results supported H1 and H2. To replicate the observed effects and to identify the underlying mechanism, Study 2 was followed. Same recruitment method and experimental design in Study 1 was used with a fictitious camera brand OLEG. Pretest confirmed that the manipulations worked as intended. Experimental procedures were similar to Study 1. However, this time, brand authenticity was measured (Morhart et al. 2015) in addition to the measures used in Study 1. Again, result indicated that in the absence of luxury brand positioning, the novel design was evaluated more favorably (M = 4.85) than the typical product design (M = 3.92; F(1, 209) = 10.30, p < .005) and in the presence of luxury branding, this difference was not significant (Mnovel = 4.50 vs. Mtypical= 4.57; p = .80). Also, result showed that in the value brand condition, the novel design was perceived to be higher in functionality (M = 4.79) than the typical product design (M= 3.89; F (1, 209) = 11.75, p < .001) and in the presence of the luxury brand positioning, this difference was not significant (Mnovel = 4.44 vs. Mtypical= 4.51; p = .79). Regarding comfort, in the value brand condition, using the camera with the novel design was perceived to be more comfortable (M = 4.49) than the typical product design (M= 3.82; F(1, 209) = 6.34, p < .01). However, in the presence of the luxury brand positioning, this difference was not significant (Mnovel = 4.06 vs. Mtypical= 4.25; p = .46). Lastly, mediated moderation analysis (Hayes 2012; Model 8; bootstrapped with 10,000 draws) found that only when design presented was typical, was there mediation through authenticity (95% confidence interval [CI]: .07, .86), but not when presented with the novel design (95% CI: -.60, .24) and thus, provided support to H3.Overall, three studies showed that while product evaluations and functional inferences with novel designs are higher for value brands, they are not for luxury brands. Also, we provided perceived authenticity as an underlying mechanism. From our findings, we provide four theoretical contributions. First, by showing that only value, not luxury brands benefit from novel product design, we demonstrated that brand positioning is another moderator to the effect of schema incongruity that consumers prefer a moderately incongruent product design over a congruent design or an extremely incongruent design (Noseworthy and Trudel 2011; Meyers-Levy and Tybout 1989; Mandler 1982). Second, although the research in product design and innovation has shown that the novelty in perceptual cues may signal innovativeness to consumers and thus engender favorable product evaluations (Gregan-Paxton, Hoeffler, and Zhao 2005; Cox and Cox 2002), we found that such novelty in perceptual cues in product design may not work in certain circumstances – when the product is positioned as luxury. Third, this research contributes to the understanding of luxury branding by offering evidence that prototypical designs benefit luxury brands because they increase perceived authenticity. Fourth, we broaden the research on authenticity in the aspect that merely having a novel or fashion forward design may impair authenticity and cause unexpected results. Managerially, we provide guidelines in that although brands benefit from novel designs in general, the manager of a luxury brand should be cautious when changing the design of a luxury good, especially ones in which functionality and comfort are important attributes. In other words, a luxury brand manager should adopt fashion and design in a way that is beneficial to the consumer. Some luxury brands, such as Porsche, are well-respected for their innovation, while other luxury brands, such as Louis Vuitton create value through promotion of a particular lifestyle (Reddy and Terblanche 2005). For brands that are particularly sought for their functional benefits, like Porsche, the importance of the impact of novel designs on perceptions of authenticity is particularly important. In addition, managers must be aware that novelty is not always perceived the same way. Consumer inferences on functionality and comfort can be elicited for fashion forward designs for value brands, where the novelty of design is used as a strategic tool. Nevertheless, when it comes to the luxury products, this effect might not appear and impairs brand authenticity. To extend our research, potential future research may examine the effect of novel designs on inconspicuous luxury goods. When conspicuous consumption is decoupled from the luxury brand, it is doubtful that prototypical designs would still be favored among consumers of luxury brands. Also, future research could examine the effect of other kinds of innovation. In our research, we mainly examined the product form and design as a method of innovation. However, it is possible that other kinds of innovation method can be used (i.e., change in product concept) and thus, can be potential future research topics. Finally, we believe that how other kinds of positioning might influence the relationship that we revealed could be studied further. For example, there are instances where value brands try to create a luxury line. In such instances, the effect of authenticity may differ from what we observed.

현대사회는 조직구성원들의 혁신을 요구하는 지식기반 사회이며, 인적자원의 관리와 혁신이 기업의 경 쟁력을 높이는 중요한 요인으로 작용하고 있다. 이러한 상황에서 기업조직은 구성원들의 혁신을 지향하 는 적극적인 리더십의 발휘를 통해 구성원들의 바람직한 행동을 이끌어 내고, 이를 매개할 수 있는 요인 을 찾기 위한 노력을 해야 한다. 이에 본 연구의 목적은 리더십의 효과성에 대한 연구의 필요성이 제기 되고 있는 리더의 감성지능과 리더의 진정성이 부하의 셀프리더십 및 부하의 혁신행동에 어떠한 영향을 미치는지와 이러한 리더의 감성지능 및 리더의 진정성이 부하의 혁신행동에 미치는 영향력에 대한 부하 의 셀프리더십 매개효과를 검증하기 위한 것이다. 이러한 연구 목적을 위해 부산과 경남의 13개 제조기업 317명의 구성원을 대상으로 실증연구를 실시하였다. 연구결과, 첫째, 리더의 감성지능과 리더의 진정성은 각각 부하의 혁신행동에 긍정적인 정(+)의 영향을 미치고 있음이 확인되었다. 둘째, 리더의 감성지능과 리더의 진정성은 각각 부하의 셀프리더십에 긍정적인 정(+)의 영향을 미치고 있음이 확인되었다. 셋째, 부하들의 셀프리더십이 혁신행동에 유의한 긍정적 정(+)의 영향을 미치고 있음을 검증하였다. 넷째, 리더 의 감성지능과 부하의 혁신행동 간의 관계 및 리더의 진정성과 부하의 혁신행동의 관계에서 부하의 셀프 리더십 매개효과를 검증한 결과, 각 관계별로 부하의 셀프리더십의 매개효과가 있음을 검증하였다. 이는 부하의 셀프리더십이 리더십과 부하의 혁신행동의 관계에 적극적인 영향을 미치고 있음을 알 수 있다. 본 연구는 리더의 감성지능과 진정성이 부하의 셀프리더십을 매개로 부하의 혁신행동에 영향을 주고 있다는 종합적인 새로운 모델을 제시하였다는 이론적 시사점과 조직에서 구성원들의 혁신행동을 강화하 기 위해서는 리더의 감성지능과 진정성, 그리고 부하의 셀프리더십의 역할이 중요하다는 실무적 시사점 을 제공한다. 마지막으로 본 연구의 한계와 향후연구 방향을 제시하였다.

최근 조직의 커뮤니케이션에서 공중들이 중요하게 인식 및 평가하고 있는 진정성은 다양한 분야에서 연구들이 급증하고 있으나 서로 다른 개념적 정의와 측정으로 인하여 진정성 개념의 타당성과 다차원성에서 이론적 한계를 지니고 있다. 이에 본 연구는 보편적으로 사용가능한 커뮤니케이션 진정성의 측정을 위한 다차원적 개념의 표준 척도를 개발하고 대표적인 PR 활동인 CSR과 위기관리 분야에서의 차이를 살펴보고자 하였다. 기존 연구들을 바탕으로 도출한 21개의 측정항목들을 가지고 탐색적 요인분석을 한 결과에서 진정성은 이성적(진실성), 감성적(진심성), 그리고 행동적(실천성) 3가지 차원으로 구성됨을 확인하였다. 그리고 사전적 성향의 PR 활동인 CSR의 경우는 행동적 진정성이, 사후적 PR 활동인 위기관리 커뮤니케이션에서는 감성적 진정성이 다른 차원들보다 더욱 크게 공중의 커뮤니케이션 진정성 인식에 영향을 주는 것임을 알 수 있었다. 결국 커뮤니케이션 진정성은 진심, 진실, 실천의 의미를 포함하는 이성적, 감성적, 행동적 차원으로 구성된 다차원적 구성개념이라는 것이 확인되었다.

The study investigates the influence of “country of ingredient authenticity” towards product and brand evaluations of luxury brands and ultimately how these constructs influence the willingness to buy and recommend luxury brands.

Among the current trends that set the social and cultural scenario pertinent to marketing, the search for authenticity by consumers has taken the highlights, to the point that it is considered “one of the cornerstones of contemporary marketing” (Brown et al. 2003, p. 21).This trend is normally interpreted as a reaction to the traits of current post modern society, characterized by hyper materialism, globalization, virtualization and commercialization of experiences (Arnould e Price 2000). In this context, individuals turn with growing interest towards what is “genuine”, “real” , “faithful to the original” or “of undisputed origins” (Boyle 2004). In our paper we propose, under a consumer-based perspective, to explore the role played by corporate museums in the search for authenticity by individuals. Based upon this, the museum -- in the quality of “ bearer” of the corporate identity and image -- would consent to offer its visitors a holistic view of the brand’s original culture and values, in a synthesis that integrates past and present. From this point of view, the experience offered to visitors would reinforce their connection to the brand (Mitchell e Mitchell 2001), consolidating their involvement and loyalty towards it (Mitchell e Orwing 2002). The corporate museum would therefore arise as a vehicle to create and consolidate a profound relationship between brand and consumers. However, only a few of the research efforts sustained so far have tried to explore empirically the museum’s potential as a platform to enrich and strengthen brand authenticity. Our attention is focused on a museum created by a well known luxury brand (Gucci Museum, located in Florence) for the purpose of investigating its role as a tool for authentication, capable of strategically connecting past, present and future. After a synthetic literature review and a brief introduction of the museum under research, the methodology of the explorative research will be explained and finally, the main results obtained will be presented. Literature review According to Beverland (2009, p. 16), brand authenticity must be interpreted as “subjective, socially constructed, and given to an object by consumers, marketers and others”. Overcoming the modernist concept, authenticity is redirected towards individual valuations that are socially negotiated, more than towards objective attributes (Beverland e Farrelly 2010). The extant literature has identified the multidimensional and multi attribute aspect of the construct. In regards to the former aspect, the seminal work of Beverland (2005), theoretically identifies three dimensions that are conceptually relevant for brand authenticity: - objective, connected to the object and its artistic, historical or qualitative veracity; - subjective, deriving from the individual attribution of an authentic status to the objects, understood as expressive of formal harmony, equilibrium or of a connection with a determined time and location; - self expressive, connected to the genuine manifestation of individuality which is conveyed by the consumption of certain objects. Once the multidimensional nature of the construct is ascertained, it is possible to outline the various attributes that define it (Beverland 2006; Gundlach e Neville 2012; Brown et al. 2012; Grayson, Radam, 2004; Napoli et al. 2014). In view of the objective dimension, the perceptions of authenticity appear to be rooted in the brand’s tangible reality, which can be evaluated based on its observable characteristics: the corporate exponents; the geographical roots; the longevity; production characteristics; the product attributes. As to the subjective dimension, a brand can be interpreted as authentic if it is capable of conveying certain associations. These may initially regard the connection of the brand with individual history, as well as its evolution over time (in terms of continuity of positioning, style, aesthetics and image coherence). Also, the commitment towards quality, which expresses the brand’s responsibility towards its own products and the promises conveyed to the market (credibility, reliability) come together to induce the image of authenticity. In the same direction, there are also several perceptions in operation which are connected to the brand’s peculiarities, such as originality, pioneering and exclusivity. Furthermore, brand authenticity is also fuelled by an ensemble of value associations, connected to the pursuit of non purely commercial objectives, to its genuine priority of artisanal objectives or, more generally, to its integrity, naturalness or sincerity. Finally, for the self expressive dimension, brand authenticity may derive from its capacity to connect to the image and concept that customers have of themselves. The perception of authenticity can result from the fact that it suscitates in individuals sensations of self effectiveness, problem solving capabilities and therefore perceptions of having reached performance related objectives. A brand can then be understood as authentic also by its capacity to make consumers feel that they are part of a social or territorial community to which they feel linked. Furthermore, for people who attribute a particular value to moral principles, authenticity is associated to ideals and virtues which the brand continuously follows by means of ethical standards which allow individuals to feel truer to themselves. In conclusion, brand authenticity can be interpreted as the result of the interaction between objective factors, subjective constructs and existentialist motivations. Beverland and Farrelly (2010) observe that consumers seek different forms of authenticity, based on their own personal objectives. The understanding of how consumers associate a variety of authenticity attributes to brands and the ways in which those components reciprocally influence each other appears to be an extremely useful from the point of view of brand management. In fact, the brands that propose to refer to uniqueness in their strategies, must find leverage on the dimensions that are reputedly relevant for consumers and, for each one, identify the most critical attributes. Research methodology To investigate the capacity that brand museums of fashion luxury brands have to contribute towards the perception of brand authenticity, we conducted an esplorative research on the Gucci Museum’s visitors. The survey was held based on content analysis of the reviews posped on Tripadvisor by the visitors themselves. The research was therefore based upon 79 reviews, heterogeneous in terms of the geographic provenance of the commentators, date of visit and overall evaluation. Of these, 45 were published in English, 26 in Italian, 4 in Portuguese, two in French and two in Russian. Considering the evaluation, that is the rating expressed by visitors on a scale of 1 to 5, the most part (77,22%) of comments expresses a medium-high rating (corresponding to ratings 4 and 5). Finally, more than half of the comments were published during the same month as the visit and less than 5% within the following six months or more. Those reviews underwent a content analysis, a methodology considered appropriate in the extant literature (Pan et al. 2007; Banyai 2010; Volo 2010; Li e Wang 2011) for the purpose of investigating the perceptions, impressions and general feeling associated to a certain tourism destination, or a visitation experience. Discussion In trying to understand how the museum structure might add value to the brand’s meanings, in strengthening the perceptions of authenticity, we attempted to insert the brand authentication process into the broader museum visit experience, investigating how the brand’s authentication tools may have been influenced (positively and negatively) by the perceptions of authenticity of objects and experiences. The Gucci Museum acquires a real museum legitimacy, standing on the same level as other Florentine cultural sites; it was interpreted as a memory site, where the brand’s history and fashion history are connected thanks to the remembrance of past events, people or periods, effectively “dignifying” the museum and the visit as a fundamental part of Florentine tourism. Some visitors “authenticate” corporate structures as true cultural institutions. As such, they are legitimized in the righteous pursuit of preserving and being custodians not only of brand history but also of the precious testimonials of Italian fashion. Concerning the contents, that is, the objects displayed at the museum, several reviews attributed to these a real and proper museum aura, bearing artistic worth and interpreted as true masterworks. The process by which these visitors project their own perceptions of authenticity to the objects observed, seems to be tied as a conceptualization of constructivist nature to several elements that go from stylistic-aesthetic value and quality of the products, a result of knowledgeable artisanal mastery, to the refinement and creativity of the objects themselves. For some visitors, the objects collected in museums acquire authenticity in view of their antiquity and rarity. What is relevant is the indexical authenticity of objects. It is conceivable that this process for the authentication of objects may be susceptible of influencing the brand image perceived by visitors. For some visitors, the products displayed in commercial venues acquire, by the end of the visit, an aura that brings them closer to museum pieces, expressive of the same creativity, artisanal mastery or symbolic connection with the past. The same visit to the maison’s points of sale is lived by some as an occasion to observe up close the brand’s masterworks, showcased but distant and untouchable during the museum visit. Most reviews, when describing the museum visit, made reference not so much to impressions and evaluations regarding the museum structure or the objects it contains, but instead, to the visiting experience as a whole. For these reviewers, the corporate museum represents a platform on which to experiment authentic moments. From this viewpoint, the notion of existential authenticity seems more relevant than the authenticity of the objects, as postulated in a post modern approach. In reference to the dimensions of authenticity that can be imbued in an experience, it was possible to conceptualize the role of the corporate museum as a vector for the experimentation of different types of authentic experiences. In the first place, the corporate museum – thanks to its setting and content displayed – was identified as a medium capable of conveying a surreal experience. As such, it allows an authentic experience from the intrapersonal point of view, offering the opportunity for immersion into an atmosphere, a world far from reality, feeling transported into the past or into a world of imagery, thus departing from the commonplace. The museum was also understood as an occasion to live an evasive experience in regards to traditional Florentine museums.. Finally, the museum visit is lived by some as an opportunity to consolidate existing personal connections and/or to establish new ones. Deepening the analysis, it is possible to verify that the exhibition spaces are interpreted as a frame for the consolidation of personal relations with the individuals that share the visit experience. The visit to the museum distinguishes itself because it is a collective experience, an opportunity to spend time with other people that allows for the sharing of common passions towards the brand and its history.

Our work analyses the theme of authenticity as a process of self-appropriation pursued by companies during their existence. The goal is to investigate this process by identifying the trade-off companies have faced. By doing this, we propose to recognize the sources of brand authenticity. The research methodology is based on the case analysis of Tuscan wine companies that are emblematic for the topic investigated.

In a period of crisis and uncertainty as the current, heritage marketing is a suitable strategic opportunity because it associates values and meanings to products and services by using corporate heritage or brand heritage in order to communicate identity, continuity and stability. Heritage marketing seems particularly appropriate for high symbolic fashion brand that require the ability to transmit identity and to generate symbolic meanings. In relation to high symbolic fashion brand, an opportunity for heritage marketing strategies is to narrate the myths associated with the brand. In fact, literature has highlighted that fashion brand can be associate to the concept of myth thanks to the presence of symbolic values and meanings. Heritage and myth are concepts linked to time and progression. Therefore, they should continually innovate and evolve in relation to the community of reference in order to find a balance between continuity and renewal. However, a risk of heritage marketing strategies is to merely celebrating the past thus losing the ability to generate and regenerate myths and symbolic values. This paper aims to provide a critical contribution to heritage marketing literature highlighting the risk of obsessive fixation in the celebration of the past. In order to avoid this risk, the paper proposes that a possible solution might be the integration of mythopoesis which is the ability to generate and regenerate myths in order to create and perpetuate sense and meaning through narrative.

Concepts from country-of-origin, the authenticity concept and ingredient branding make up the essential literature for this scale development. This study intends to develop a scale specifically to measure consumers’ motivation to seek for ingredient authenticity in luxury brands. The proposed methods for scale development and its implications are also highlighted.

본 연구에서는 식품 중 식물성 식품원료의 진위 판별을위하여 분자생물학적 기법을 이용한 판별법을 개발하였다.종 판별을 위한 유전자로 엽록체에 존재하는 matK 유전자와 핵 내에 존재하는 ITS 유전자 부분을 대상으로 하였으며, 가공식품에의 적용을 고려하여 PCR 산물의 크기는200bp 내외가 되도록 종 특이 프라이머(species-specificprimer)를 설계하였다. 대상종으로는 버섯류 6종(팽이버섯,표고버섯, 양송이버섯, 영지버섯, 새송이버섯 및 느타리버섯), 견과류 3종(밤, 잣 및 호두), 과실류 1종(대추), 채소류 6종(알로에, 미나리, 부추, 오이, 고추냉이 및 겨자), 콩류 2종(녹두, 팥) 및 기타 3종(과라나, 흰민들레 및 민들레), 총 21종을 선정하였으며, 종 특이 프라이머를 이용하여 예상되는 PCR 산물의 생성 유무를 확인하였다. PCR분석 결과, 21종의 식물성 식품원료에 대하여 각각 예상된 PCR 산물을 확인하였으며, 프라이머별로 비교종에서비 특이적 PCR 산물(non-specific PCR product)이 생성되지 않음을 확인하였다. 본 연구에서 개발된 종 특이 프라이머는 가열 및 가공된 식품 중 21종의 식물성 식품원료의 진위 판별에 이용될 것이며, 불량식품 근절에 적극 활용될 것으로 기대된다.

This study aimed to redefine the concept of fishing village tourism. In addition, it aimed to carry out detailed analyses of the influences of authenticity and non-authenticity of fishing village experience on tourist’s satisfaction as well as the influences of tourist’s experience on their satisfaction. The study evaluated responses of people who visited research target fishing villages in the East sea area(Hwasung-si Baegmi-ri) which had been rated as successful case. The evaluation was performed to analyze how tourist satisfaction would be influenced by the authenticity of the fishing village experience program based on the authenticity theory(Wang, 1999) and the experience realms theory(Pine & Gilmore, 1999). This study tried to find out realistic factors of the experience realms theory through field investigation, conducting interviews, and holding discussions. From these, the cause-and-effect structure of authenticity, tourism experience and satisfaction could be identified. The results of hypothesis tests are as follows; With respect to the relationship between authenticity and satisfaction in hypothesis I, authenticity did not have a statistically significant effect on satisfaction, while non-authenticity had a significant influence. As a result, the research hypothesis I that authenticity influences satisfaction was partially supported. Regarding hypothesis Ⅱ of the link between authenticity and tourism experience, a significant effect of authenticity was found in education experience, entertainment experience for Baegmi-ri village. The effect of non-authenticity was significant on deviation experience. Consequently, hypothesis Ⅱ was also partly supported. The relationship between tourism experience and satisfaction in hypothesis Ⅲ was significant in education, entertainment, and deviation experiences which lends support to hypothesis Ⅲ to some extent.

This work aims to explore how authenticity of a newly independent country is being restored in the face of legacy left by invaders. To surface crucial elements of geopolitical authenticity, I turn to Estonia as a country representative of many nations that went through the tumultuous changes of the last century. The end of the twentieth century left a powerful mark on the geopolitical scenery of the planet. Countries’ borders were changed or restored, and new formal maps were redrawn. Only the break up of the former Soviet Union has resulted in 15 independent countries, with Estonia being one of them. The joy of freedom came up with economic, political, and cultural challenges including the challenge of restoring authenticity of a country.

The purpose of this study is to discuss the concept of brand authenticity by examining how Harley-Davidson motorcycles became popular in the Japanese market. My particular focus will be on interactions among consumers, corporations, and distributors regarding brand authenticity. Not all Harley-Davidson stores are authorized. There are unauthorized stores throughout Japan. The advertisements made by unauthorized distribution channels sometimes emphasize brand elements that are clearly not endorsed by Harley-Davidson. Some of these dealers are even critical of Harley-Davidson’s own marketing activities. All this raises the following questions: How did they manage to interact with consumers and increase sales in Japan, home of well-known motorcycle manufacturers? More specifically, what obstacles did they encounter and how did they overcome these obstacles as they sought to expand sales? To answer these questions, this study focuses on the concept of brand authenticity. In a field of research known as Consumer Research, or more specifically Consumer Culture Theory (Arnould & Thompson, 2005), there is a theoretical viewpoint that consumers have a hand in creating brands, which are understood to be social constructs. Among various concepts that exist, brand authenticity is particularly relevant to, and is thus the focus of, this study. Authenticity as used herein is related to the concept of something being genuine, real, and true (Belk & Costa, 1998). Authenticity is a socially constructed interpretation of the essence of what is observed and a set of expectations regarding how such a thing ought to look and feel (Beverland & Farrelly, 2010). These kinds of beliefs regarding brands are closely tied to the formation of identity (Thompson, Rindfleisch, & Arsel, 2006). For example, sometimes there is a conflict in the brand community between those who seek to pursue profits through an expansion of the brand’s market share and those who seek to protect the authenticity of the brand (Muñiz & Schau, 2005). Companies that provide products and services must consider this tension when building brand authenticity. This is because the excessive use of brand traditions and stories around those traditions can lead to a loss of authenticity as consumers view such actions as exploitative (Brown, Kozinets, & Sherry, 2003) This study uses qualitative research methods, specifically participant observation, semi-structured interviews, questionnaires, and documents. I performed a comparative analysis on this data based on individuals and organizations that deal with Harley-Davidson. Data compiled through continuous observation was particularly valuable. The sites surveyed were authorized dealers, non-authorized dealers, various events, and motorcycle parts shops. The following two points were found in this case study. First, many owners classify the Harley-Davidson brand in two ways: authentic and unauthentic. Certain owners are actively expressing their opinions as to which brand is authentic. Harley-Davidson Japan, which was established in 1989, has expanded the number of authorized dealers that help operate the group. Harley-Davidson motorcycles that had been sold before the manufacturer strengthened its marketing activities are commonly called “vintage,” while those that were sold thereafter are known as “current.” Some owners seek authenticity in “vintage” Harleys. These owners believe that brand authenticity belongs to products that are sold in small shops. The existence of fan clubs at the grassroots level is also important to them. “Vintage” Harleys have those. In other words, whether a motorcycle has authenticity is not necessarily determined by its physical characteristics. Given these circumstances, Harley-Davidson Japan and its authorized dealers make efforts to emphasis their continuity with the past and convey the tradition to owners by holding various events to introduce the brand’s history. “Vintage” Harleys are also on display at such events. In Japan, authenticity among owners is not necessarily a matter of perspective based on one’s identification with an outlaw versus an enthusiast perspective (cf Schouten & McAlexander, 1995). “Vintage” Harley owners are not necessarily “outlaw bikers”. Most of them regard outlaw bikers as unauthentic. The lack of modern marketing is valued among them. Second, certain unauthorized dealers selling “vintage” motorcycles differentiate themselves from competitors and build their businesses by reinterpreting and strengthening the brand classification. These dealers were critical of Harley-Davidson Japan’s marketing activities, and viewed themselves as the proper flag bearers of the Harley brand. One reason for this was that they felt that the quintessential nature of Harley-Davidson — the individuality of the dealers — was lost in the expansion of authorized dealers and the resulting homogeneity. Thus, these dealers don’t seek to become authorized, but rather to propagate the Harley image to the next generation and maintain their shops as in the past. They focus on sales and repair of models not handled by authorized dealers. Against this background, Harley-Davidson Japan and the authorized dealers set up booths at events where many distributors and owners that provide authenticity to “vintage” models participate, and expanded their contact with the diverse group of owners and potential customers. In addition, they make an effort to expand the use of authorized parts made to legal standards, and sponsor traffic safety activities in an effort to expand their customer base and rid themselves of the negative image caused by illegal modifications and noise pollution. As noted above, while there is some conflict around brand authenticity, the efforts of Harley-Davidson Japan, authorized dealers, and unauthorized dealers to differentiate from competing dealers and other motorcycle manufacturers have contributed to the expansion and maintenance of their customer base. This study showed that brand authenticity is a shared set of beliefs about the nature of things we value in the world.

Employing a 2 (Source disclosure: Health agency vs. Co-created) x 2 (Co-creator identity: General vs. Specific) between-subjects fractional factorial design, this research explores how the disclosure of consumer involvement in developing public health messages can increase advertising effectiveness. This effect is enhanced by revealing the co-creator’s identity and experience with the health issue.