Small, independent and privately owned luxury companies face a number of challenges in today’s globalized and increasingly digitalized luxury market dominated by big luxury groups. However, the Internet and Social Media also create new opportunities. They enable luxury brands with limited resources to reach out to an international clientele and build brand awareness. Moreover, new channels and platforms allow for multifaceted storytelling, interactive communication with customers and data analysis for quick and continuous learning and improvement of strategies. While many luxury brands have long struggled in the digital sphere, which in many cases represents the exact opposite (e.g. openness, accessibility, dynamic change, etc.) of what luxury stands (or stood) for, a growing number of young and daring luxury brands with no legacy and heritage, embraces digital technology as an important, if not vital part of their business model from day one. Given the often high investment needed to start and sustain a company in the luxury segment, “born digital” luxury start-ups need to show a great deal of creativity, pragmatism, flexibility and a good sense for the actual tastes and preferences of their globally dispersed target group in order to be successful and cut out their share of the market in due time and despite fierce competition. By analyzing the case of VAULT, a Swiss luxury watch brand founded in 2014, the present study explores the main challenges of the young luxury brand with regards to positioning, communication, distribution and business development and the role of the Internet and Social Media for the company’s success. By deriving recommendations for similar brands, the study aims at a practical, but also a theoretical contribution.

Brand extensions are a critical strategy for the introduction of new products, which are often prone to failure. The use of an established brand can help promote acceptance of the new product by reducing perceived risk, enhancing efficiencies in terms of distribution and promotion, and reducing overall costs associated with launching the new product. Previous research regarding brand extensions has shown that various factors influence success of brand extensions (e.g., marketing support and retailer acceptance). One of the most important factors driving brand extension success is the fit between a parent brand and its extension. A new marketing construct, emotional attachment to a brand, has recently been introduced to the brand extension literature. However, the role of consumers’ brand attachment, in terms of reactions to a brand extension has largely been ignored by researchers. The lack of research on brand extensions and brand attachment is somewhat surprising, given the considerable body of research findings that show consumers who are emotionally tied to a brand respond differently to that brand due to increased attachment. Building on this body of work, we propose that consumers who are emotionally attached to a brand will be less impacted by the degree of fit between the parent brand and its extension. In this research, we show that emotional attachment with a brand is an important factor underlying consumers’ responses to a brand extension. In particular, we explore the moderating role of brand attachment on consumers’ responses to extensions that vary in terms of fit with the parent brand. We also explore the process underlying observed effects. These issues are examined with an experiment regarding extensions for a real-world brand. Further, mediated moderation analyses indicate that the moderating effect of brand attachment is mediated by brand image fit, but not by product category fit. Implications of our findings for managers and researchers are also are provided.

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 purpose of this study is to recognize the Brand chef(Star chef) in Korean society to globalize the Korean cuisine. There have been so many famous chefs in Europe, USA and Japan such as Auguste Escoffier, Paul Bocus, Pierre Gagnaire, Ferran Adria, Thomas Keller, David Bouley, Alain Ducasee and Nobu Matsuhisa. They have developed their own cuisine and food culture and delivered their food culture to the other countries. We must educate the Korean brand chefs to inform our Korean food and Korean culture to the foreign country. The school, the government and the industry must recognize the power of the Korean brand chefs.