This study assessed the effectiveness of brand image communication on consumer perceptions of cruelty-free fashion brands. Brand messaging data were gathered from postings on the official Instagram accounts of three cruelty-free fashion brands and consumer perception data were gathered from Tweets containing keywords related to each brand. Web crawling and natural language processing were performed using Python and sentiment analysis was conducted using the BERT model. By analyzing Instagram content from Stella McCartney, Patagonia, and Freitag from their inception until 2021, this study found these brands all emphasize environmental aspects but with differing focuses: Stella McCartney on ecological conservation, Patagonia on an active outdoor image, and Freitag on upcycled products. Keyword analysis further indicated consumers perceive these brands in line with their brand messaging: Stella McCartney as high-end and eco-friendly, Patagonia as active and environmentally conscious, and Freitag as centered on recycling. Results based on the assessment of the alignment between brand-driven images and consumer-perceived images and the sentiment evaluation of the brand confirmed the outcomes of brand communication performance. The study revealed a correlation between brand image and positive consumer evaluations, indicating that higher alignment of ethical values leads to more positive consumer assessments. Given that consumers tend to prioritize search keywords over brand concepts, it’s important for brands to focus on using visual imagery and promotions to effectively convey brand communication information. These findings highlight the importance of brand communication by emphasizing the connection between ethical brand images and consumer perceptions.

The paper examines how omnichannel communication of sustainability of luxury fashion brands enhance consumer brand engagement. We propose a multiple case study of four Italian high-end fashion brands. The study advances the literature on sustainable luxury fashion and omnichannel communication and offers guidelines for managers to effectively communicate sustainability.

Under the background of short video spray background, the industry accelerates into the short video marketing. Relying on KOL marketing and e-commerce platforms, a new form of economic development has been opened up. In order to compete for economic advantages, various market players are competing to use various brand communication strategies to make the brand broadcasting strategy gradually become the climate. At the same time, the media technology and communication means constantly enrich the brand communication strategy, which becomes the necessary premise for the enterprise to make profits, and triggers new marketing communication thinking. Through the analysis of the short video brand communication strategy, guide the market players to carry out brand communication in a reasonable and appropriate way and provide marketing reference for them. The paper analyzes the short video brand communication strategy under the short video mouth from the three aspects of phenomenon presentation, cause analysis and countermeasure analysis.

This research has adopted Word-of-Mouth (WOM) and social support theory along with a social media (SM) perspective to investigate why consumers enjoy using SM and interacting with luxury brand. Focusing on fundamental human needs, this study aims to examine fulfilment of which type of needs enhances interactivity on SM, encouraging in turn WOM adoption and brand-self connection. Our results have shown that consumers’ cognitive and integrative needs drive social interactivity and lead to WOM adoption and brand-self connection. However, no relationship is found between social needs and interactivity. Such relationship can only be strengthened with the presence of emotional support as perceived from the company and its brand.

Using the framework of social support, we aim to examine factors influencing social Word-of-Mouth (WOM) adoption. The proposed research model will be tested among customers who are active in the existing active social media platforms and have had experience in engaging with the activities of luxury brand communications. Introduction Today the most promising communication environment for reaching and interacting with stakeholders is the social media ecosystem (Hanna, Rohm and Crittenden, 2011). The social media has grown so rapidly in the past years that now impact the business processes and models (Henning-Thurau, Hofacker and Bloching, 2103). Many Brands begin to take advantage of the fluidity between social media and WOM for creating brand experiences that merge real and digital conversations, cutting through in incredibly powerful ways. However, the recent research (Godey, Manthiou, Pederzopli, Rokka, Aiello, Donvito and Sigh, 2016) suggest that luxury brands performing well in social media engagement. However, they are often lagged behind in WOM performance. Despite growing interest in examining the influence of social media marketing on consumer’s responses through brand equity creation (Godey et al., 2016; Jim and Ko, 2012), studies about social media in luxury brand communications remain to be scarce. An investigation of customer’s motivation behind participation in social media is timely and relevant which can help luxury brands unleash its potential. Moreover, development of an effective social WOM adoption model can help to provide a better picture of consumer interactions in online luxury brands communities, thus strengthen customerfirm relationship in longer term. Specifically, this research intends to answer the following two questions: 1) What are the major determinants of social WOM adoption in luxury brands communications? 2) Whether social support affects a. perceived source credibility; b. perceived information quality; c. user experience? Literature review Social media interactivity The concepts of social exchange (Blau, 1964) and the norm of reciprocity (Gouldner, 1960) have long been used by Marketing researchers to describe the motivational basis behind customer behaviours and the formation of positive relational attitudes (e.g., Wulf; Gaby; Iacobucci, Dawn, 2001; Rafiq; Fulford and Lu 2013). More recently these concepts have been used to explain why customers enjoy interacting with each other in social media (Liang, Ho, Li and Turban 2012; Godey et al., 2016). Social media interactivity is social interaction of people in social networking sites by Web 2.0 technologies such as Facebook, Instagram (Hajli, 2016). For instance, Facebook has more than two billion monthly active users which is a great example of a platform. In fact, people love to interact with each other. When they favourite and like each other’s posts that would reinforce the closeness. Online social support Recent research has found that social interaction can bring social value to their users and that the social media is a powerful vehicle for an individual to build close relationships with others and to enhance the individual’s well-being (Liang et al., 2012; Eastin and LaRose, 2005; Obst and Stafurik, 2010; Shaw and Grant, 2002; Xie, 2008). Social support has been found to be a major social value that social media users can obtain from an online interactions (Eastin and LaRose, 2005; Obst and Stafurik, 2010; Huang, Nambisan and Uzuner, 2010). Social support is a multidimensional construct which refers to an individual’s experience of being cared for, being responded to, and being helped by people in that individuals’ social network (Cobb, 1976). Schaefer, Liang et al.(2012) claim that , online social support consists both tangible (e.g. instrumental and appraisal support) and intangible elements (e.g. informational and emotional support). Given the specific context, this study mainly focuses on the latter. Informational support refers to providing messages, in the form of recommendations, advice, or knowledge that could be helpful for solving problems. By contrast, emotional support refers to providing messages that involve emotional concerns such as caring, understanding or empathy. These two types of messages are the major support mechanisms for social interactions (Hajli, 2016). Antecedents of social WOM adoption Information adoption can be defined as the process of engaging purposefully in consuming information (Cheng and Thadani, 2012). Informational support provided through social interaction of individuals in social media can be in the form of ratings, review, recommendations or referrals. Therefore, when consumers search for information provided by other users to make a better decision for their purchasing, they are adopting information. From a marketer’s perspective, this process also helps to build long-term advocacy. This research argues that social media provides more opportunities to the individual to adopt WOM. The existing literature has identified several antecedents of social WOM adoption and most of these studies focused on travelling websites (Filieri; Alguezaui and McLeay,2015; Hajli, 2016). Beldad, De Jong, Steehouder (2010) have categorized the major antecedents of social WOM adoption in the literature into three categories namely customer-based antecedents (e.g. user’s experience during the social interactions); website based antecedents (e.g. perceived information quality) and company based antecedents(e.g. perceived source of credibility). Source of credibility is considered as fundamental predictors of consumers’ acceptance of a message in traditional WOM adoption (McGinnies and Ward, 1980). To facilitate the evaluation of credibility of a source, more and more social platforms require contributors to create a web profile upon their registration. Customers need to provide personal information (e.g. profile picture, personal preference). Furthermore, many social media website utilise reviewer reputation systems to enable customers to assess the credibility of reviewers. Zhang and Watt (2008) argue that the higher source credibility of message perceived in online social media, the higher level of information adoption would be. Moreover, the quality of information in online reviews is perceived as a very important cue for consumers to assess the website (Filierri, et al., 2015). Krishnan; Biswas and Netemeyer (2006) point out that concrete information provided by the website such as detailed features of the product/service is likely to be perceived as more credible than those from abstract information like peripheral description of the product/service. Finally, in marketing literature user experience is strongly related with trust (Yoon, 2002). In an online context customers’ negative experience is likely to affect their trust about the company. As a consequence, they are likely to engage in negative WOM. Research shows that user experience has a strong impact on the social WOM adoption (Liang et al., 2012). Method Structural Equation Modeling (SEM) will be employed for examining the research objectives of this research. The questionnaire for this study will be created through a professional online-based survey tool. As this research focuses on the factors influencing social WOM adoption in relation with luxury brands communications, the proposed research model will be tested among customers who is active in the existing active social media platforms and has had experience in engaging with the activities of luxury brand communications such as posting review or comment other’s post). Result and conclusion This research has adopted the electronic WOM theory and the social media support theory along with a social media perspective to investigate how customer’s interaction in social media affects their behaviour in relation to luxury brands consumption. The results show that social WOM facilitates the evaluation by customers about the luxury products using social media. Moreover, WOM has emerged with broad accessibility and the capability to be evaluated and measured easily by other consumers. This study gives practical implications on how to use social media to develop online communities for luxury brands. In conclusion, when going online, luxury brand should consider the importance of converting the online brand strategy into an interactive and engaging experience for their users and online communities.

In the current digital word, social media represent a relevant tool for marketing and communications strategies, which create new opportunities for firms to engage with their customers (Leeflang, Verhoef, Dahlström, & Freundt, 2013; Lemon & Verhoef, 2016; Libai et al., 2010). Among the sectors that leverage on social media in their communications, the luxury industry represents a main one. As previous research has mainly analyzed the consumer-side (Godey et al., 2016; Jin, 2012; Kim & Ko, 2012) overlooking the firm-side, the aim of this study is to investigate the cross-cultural issues faced by foreign luxury brands in implementing their social media strategies in China by carrying out a qualitative inquiry. China is the setting of analysis as it represents an increasingly relevant luxury market, characterized by the role of digital media as main communications and sales channel. Data collected consist of semistructured interviews with managers from foreign luxury brands operating in China in order to understand the issues faced and the strategies implemented. Moreover, an analysis of their social media presence on Chinese platforms such as WeChat and Weibo is conducted by considering the type of response activated among users. As pointed out by Belk (2017), qualitative advertising research can provide a better understanding of consumer response to advertising also in the rapidly growing field of social media, which have been mainly unexplored by qualitative approaches (Hadija, Barnes, & Hair, 2012). Moreover, an analysis on the firm-side will fill a gap in the existing literature and provide relevant managerial implications for international firms that operate in China.

Despite of its strategic role in shaping corporate image, Instagram predicts that 70% of its contents are not seen by users due to content overload and saturation problems. As more than 95 million photos are shared on Instagram on daily basis, when accessing Instagram, users are bombarded with a lot of visual information and consequently tend to selectively choose photos to pay attention to. Therefore, it is important for marketers to design an ads that has the ability to stop consumers and hold their attention for enough time to be processed cognitively before they scroll up or down to see other photos. This study investigates how visual aesthetic, vividness, and message type of pictures posted on Instagram affects customer responses. A content analysis of 3,952 brand content posted between July and December 2017 was conducted from the official Instagram accounts of seven global luxury brands. The top-listed brands on the Luxury Fashion Social Index namely Burberry, Calvin Klein, Chanel, Gucci, Hermes, Louis Vuitton, and Prada; were investigated as they were considered as good representatives of luxury brands with good social media presence. The coding guide in this study included the numbers of consumer responses (likes and comments), visual aesthetic (classical and expressive), vividness (high and low), and message type (literal and symbolic). For the independent variables, binary coding was used. ANOVA was used to test the hypotheses. Findings suggest that brand posts using expressive aesthetic image received more likes and comments on Instagram than the ones with classical aesthetics. Brand posts with high level of vividness receive more likes and comments than the ones with low level of vividness. Brand posts adopting using symbolic message receive more likes and comments than the ones implementing literal message. The results also suggest that there was a significant interaction between visual aesthetics, vividness, and message types in generating likes Brand content on Instagram using a combination of expressive aesthetic, high vivid, and symbolic message generates more likes and comments than any other combinations. Instead, the content adopting a combination of classical aesthetic, low vivid, and literal message produced the least responses. From theoretical perspective, findings can extend and modify media richness theory to luxury brand and social media contexts. Instagram can be used to display brand contents with various levels of vividness. This study imply that luxury consumers favor expressive aesthetics and symbolic message more positively indicating that they tend to have high level of need for cognition in consuming brand messages. Luxury brand marketers can increase their cognitive load by increasing the level of information complexity increasing the number of colors or patterns, using metaphoric statements, or crafting symbolic messages when creating brand posts on Instagram.

Most researchers agree that core to the value proposition of luxury brands is their sym-bolic content and the image they convey (e.g., Dubois and Paternault 1995, Albrecht et al. 2013). One of the key mechanisms through which the brand is charged with symbolic content is advertising (McCracken 1986). Advertising is a key medium in the meaning creation process which is strongly controlled by brand management and intentionally used to convey a certain image to consumers (Kim, Lloyd, and Cervellon 2015). Given the importance of advertising to the luxury industry, it is surprising that only little re-search exists that explores how luxury brands build and communicate their brand in ad-vertising (Freire 2014, Mortelmans 1998, Mortelmans 2014). This study closes this gap by identifying the key themes and codes which luxury brands use in their advertising, analyses their usage and evolution over time, category and brand to show similarities and differences between the advertising of luxury brands. This pro-vides the basis to answer the following research questions: • What are the main thematic and stylistic codes that luxury brands use in print adver-tising? • How do the thematic and stylistic codes vary between brands? • How do the thematic and stylistic codes vary between categories? • How do the thematic and stylistic codes vary over time? This research thus contributes to the advancement of luxury advertising theory as it pro-vides a comprehensive framework for academics and practitioners alike, to analyse and design luxury print advertisements. Drawing on research in the areas of luxury advertis-ing and semiotics, we develop a conceptual framework allowing to analyse and catego-rise print campaigns of luxury brands along the three dimensions’ brand, category and time for over 500 advertisements of luxury fashion brands. The study has important im-plications for academic research as well as the luxury industry. This study identifies the identity-relevant and symbolic codes used in creating a luxury brand and thus adds to an enhanced understanding of how luxury is communicated and constructed.

This study confirms that the shopping experiential values perceived by Chinese tourists affect their product and store attitudes through the emotions of entertainment and escapism. It is particularly notable that this study verifies diverse roles of different emotions such as entertainment and escapism in the context of tourist shopping. This study employs empirical analysis on tourists, and provides practical implications including the importance of shopping experiential values for developing retail strategies. The summary of the main results is as follows. First, the results of image attribute on each cultural marketing communication pattern, uniqueness on cultural communication and public interest on cultural sponsorship had the most positive responses. Second, the analysis on the relationship among brand attitude, artist attitude and purchase intention showed that aesthetics and communicativeness positively influenced both brand attitude and artist attitude. Also, both brand attitude and artist attitude had a positive effects on purchase intention. Third, the differences between lifestyle brand and high, low fit artist, aesthetics and public interest showed positive effective relationship toward brand attitude while nobility and communicativeness showed positive effective relationship toward artist attitude as far as artist fit is high. The notable result of the analysis on relationship among the cultural arts lifestyle groups are as follows. Aesthetics to artist attitude, uniqueness to brand attitude were found to have highest response from mass culture enjoyers group, while proponents of high culture group showed greatest response to nobility toward artist attitude. The analysis of the relationship differences in patterns, the effect on nobility to artist attitude, brand attitude to purchase intention for cultural communication displayed highest. For cultural sponsorship, communicativeness to brand attitude, brand attitude to artist attitude to purchase intention showed the most positive effect, while, in cultural corporate image pattern exhibited a great response aesthetics toward brand attitude and communicativeness toward artist attitude, the second strongest effect on brand attitude to artist attitude to purchase intention. The implication of the study is that it demonstrates the relationship of image attribute specifying each pattern from the previous studies and investigates the difference in the relationship of brand attitude, artist attitude and purchase intention among image attribute. In addition, by demonstrating the difference in the relationship among the cultural arts lifestyle groups, as well as the high and low fit between lifestyle brand and artist, the study provides an insight and a specified path for marketers as they plan out ways to utilize cultural marketing communications. Finally, by verifying the relationship among patterns, our study offers useful points of reference also for artists or art foundations who plan it with lifestyle brands using strategic approach to consumers by specified means.

Fashion brands are influenced by multiple identities. Even though, for example, the brand name might still be associated with one or more creative founders (Gucci, Prada, Chanel, Hermès, Adidas, Joop) the brand image, and moreover the overall brand reputation are influenced by many different identities. For instance, a specific product identity (e.g., Gucci’s Bamboo Bag), the identity of the city or country of origin (Florence, Italy), the identities of well-known key customers as brand ambassadors (Sophia Loren, Vanessa Redgrave, Lady Diana, Naomi Watts etc.). Of course, also fashion brands who are not directly associated with the name of creative founders are composed of the effects of several identities. In the case of e.g. Nike especially successful athletes (Steve Prefontaine, Michael Jordan etc.), specific sports and sport events, and product lines tailor-made for them did help to build a strong brand reputation. All in all, it seems to be expedient to understand fashion brands as more of less complex systems composed of several identities. To deal in more detail with such “brand systems” is becoming particularly important against the background of several strategic challenges – e.g., when fashion brands are growing older and the creative founders lose their specific gravitational power, when in the process of internationalization new countries gain more and more importance who’s citizens might not have a strong access to the existing brand reputation drivers, or simply when in the context of the growing global competition the fashion brand needs to be “refreshed”. Against the background of cultural differences, or even - as within countries - lifestyle differences between different groups of customers, it can also be quite possibly that very different reputation drivers account for the success of a brand. Thus, it is necessary to identify, in different contexts, the relevant reputation drivers, and to analyze which interplay of those drivers might be particularly promising. Is it the creative founder, the corporate heritage, the country and/or city of origin, a special designer, a specific corporate culture, an outstanding product design, attractive key customers etc.? Which combination of such identity factors leads to what kind of success (e.g., brand loyalty, brand trust, price premium)? Will, for instance, heritage especially lead to brand trust, whereas an outstanding product design and specifically attractive key customers create the readiness for a higher price premium? And, is it necessary to create sub-brands to especially highlight specific identities in the process of building a brand system (e.g., the sub-branding of a Michael Jordan product line in the case of Nike)? Or is sufficient to only communicate an alignment with the brand (e.g., ads showing Naomi Watts wearing a Gucci Bamboo Handbag)? In other words, which kind of brand system, and which kind of brand communications has to be designed to attract specific target groups and to sustain competitive advantages? The present contribution aims to present a conceptual framework for analyzing “brand systems” in the fashion industry. Concomitantly, an approach of measuring such brand systems will be presented. Furthermore, a concept for analyzing the impact of several sub-identities on the development of the overall brand reputation and brand success against the background of existing contingencies will be outlined. With the introduction and discussion of such a conceptual framework it especially is intended to initiate the launching of an international research project which attempts to find an answer basically to the following question: Which via an integrated branding and brand systems communication carefully crafted composition of sub-identities might be how successful under what kind of situational conditions?

The global luxury market is relentlessly growing over the last few decades, defying the global economic crisis. It is estimated that the luxury market is made up by a continuously enlarging heterogeneous group of 330 to 380 million consumers worldwide. The consumption of luxuries goes beyond the riches and wealth of countries, as the highest luxury spenders are to be found in places like the Middle East, Japan, and China. Luxury goods’ penetration relatively to GDP is low in countries like Germany and the U.S. and high in Italy, France, and South Korea. Wealth and economics alone cannot explain the economics underlying luxury consumption; culture is an important driver of growth in this sector. Culture gives meaning to luxuries, affects the perceived value and motivations to buy luxury goods, and determines luxuries’ signaling power and potency as differentiators and identity signifiers. Today, despite the size, growth and geographical spread of the luxury goods market, cross-cultural research is limited and rather scattered in different fields. Much of the research undertaken draws from Hofstede’s typology of culture and focuses on a narrow range of conceptual issues. The purpose of this presentation is to review and summarize existing cross-cultural research on luxury products and to identify fruitful future research directions that will expand our understanding of luxury goods marketing. In addition, attention will be given to examining current trends and behaviors in the field

Consumers today are not passive recipients of a constructed brand identity that is communicated towards them. Instead research suggests that the consumer is in fact an active part in constructing brand meaning. Salzer-Mörling and Strannegård (2004) held that brand managers are confronted with the fact that they are not the owners of the brand who can actively manipulate brand images in the minds of passive consumers. The importance of consumption activities and how these play a part in the development of meaning has been demonstrated by authors such as Wallendorf and Arnould (1991), who interpreted the consumption rituals of Thanksgiving and explored the linkages and cleavages between consumer ideology and consumer practice. Arnould and Price (1993) investigated the relationship between client expectations and satisfaction and concluded that the narrative of the rafting experience (multiday river rafting trips in the Colorado River basin was the empirical context for their article) rather than relationships between expectations and outcomes was central to its evaluation. Belk and Costa (1998) showed the creation of fantasy consumption enclaves through processes of inventing and mythologizing tradition, and Peñaloza (2001) investigated consumers‘ cultural production processes at different levels and concluded that consumers negotiate meanings and that business activities and specific references are significant for consumers in providing authenticity. In later research it is argued that brands belong to and are created within groups, communities or tribes (e.g. Brown, Kozinets and Sherry Jr., 2003), or that consumers are actively creating brandscapes (Thompson and Arsel, 2004) neo-tribes (Cova and Cova, 2002), the concept of brand communities (Muniz and O‘Guinn, 2001; McAlexander, Schouten and Koenig, 2002; Muniz and Schau, 2005; Algesheimer, Dholakia and Herrmann, 2005), subcultures of consumption (Schouten and McAlexander, 1995), and brand cultures (Schroeder and Salzer-Mörling, 2006). Muniz and O‘Guinn (2001) emphasized the triangular relationship between consumers and the brand and consumer relationships. McAlexander, Schouten and Koenig (2002) broadened this perspective by studying customers´ relationships with a branded product and related marketing agents, institutions as well as other customers. In their view, consumers socialize around brands, which are defined as brand objects, but they still consider brand meaning as being developed first by marketers. Related to the brand community is the concept of ‘neo-tribes‘, examined by Cova and Cova (2002), who hold that a tribe is not necessarily a brand community, since brand communities are explicitly commercial, whereas tribes are not. However, when a tribe is organized around a same passion of a cult-object it exhibits many similarities with a brand community (p. 603). Alongside the concept of brand community research has viewed the consumer-producer dichotomy in new ways of co-production: the customer as co-producer (Wikström, 1996; Vargo and Lusch, 2004), the reversal of consumption and production (Firath and Venkatesh, 1993), the consumer role in production and consumption (Firath and Venkatesh, 1995), consumers as customizers and producers (Firath, Dholakia and Venkatesh, 1995), customers as active co-creators of experience (Prahalad and Ramaswamy, 2000), the concept of customerization (Wind and Rangaswamy, 2000). Bendapudi and Leone (2003) viewed customer co-production in the construction of goods and ser-vices and claimed that consumer co-production extends to meanings as well and that consumers are not ―just passive receptacles of brand identity projected by marketers; they are active co-producers of brand meanings (p.26). They called for more attention to the implications of consumer co-produced marketing images given the empowerment of consumers through the Internet. Kozinets et al. further (2004) introduced the notion of ―interagency where consumer and producer interests are embedded in one another. Quinton and Harridge-March (2010) investigated relationships in online communities and the potential influence of consumer generated communication in online discussion fora on wine. This paper views consumer generated communication on luxury brands online and its impact on luxury brand image. With the growth of the Internet and brands’ use of it so has consumer initiated sites grown. Consumer communities and brand communities are today an active participant in the creation of brand value and brand meaning. However there is still a gap in the empirical research on consumer-generated communication and how this type of communication impacts brand image. A conceptual framework for consumer community communication is presented and three empirical examples of consumer-generated communication and its impact on brand image are presented. The approach is a qualitative online study. Consumer community sites show clear examples of information, distribution and conversation aspects. This study shows that information seeking is the most prevalent in the impact on brand image. The strength of this research lies in its qualitative nature with consumer interviews and online observations of consumer-generated brand communication. Given the exploratory nature of this research the online material had to be systematized during the course of the work and could not be chosen based on a set of criteria or evaluation methods already established.

This study presents the Analytical Hierarchy Process (AHP) as a potential decision-making method for obtaining the relative weights of alternatives through pairwise comparison in the context of hierarchical structure. The aim of this study was to elicit prior strategies for brand communication for Korean restaurants overseas. We created a questionnaire and surveyed experts at government agencies, restaurant companies, and universities from October to November 2011. By applying the pairwise comparison matrix, relevance was perceived as a more important strategy evaluation criteria than effectiveness or urgency. The highest-ranked strategy was the 'Identification of the BI and positioning of Korean restaurants' followed by 'Development of Korean food content for overseas promotion', 'Development of locally customized Korean food recipes and new Korean menus', 'Development of marketing communication strategies for Korean restaurants by countries', and 'Development of Korean restaurant differentiation strategies'. The results of this study can be used for effective Korean food globalization by enhancing the competitiveness in the world market.

As the service quality measurement has been developed, various fields of service quality measurement have evolved. Especially the development of the mobile communication service and its status has been watched with keen interest. The growth of mobile communications has not developed alone. It evolved with the growth of the mobile communications company and the device manufacturer. This research investigates the mutual relation sand influence between the service quality and the device quality. This is a distinguished phenomenon within the existing research. Currently in Korea mobile devices can be purchased independently of network provider; however, there are also arrangements whereby the manufacturer supplies devices through only selected service providers. The model of service quality measurement is not a simple fragment model for the service quality anymore. It is required to establish the ultimate model for the service quality to determine if the customer differentiates between the device and service quality. Knowing if a customer differentiates between device and service can aid strong brands when deciding which partners to select for collaborative strategies. The aim of this research is to determine the significant difference between the models of service quality measurement based on differing levels of brand awareness.