https://academic.oup.com/jcr/article/46/2/330/5253362
This article discusses how serial brands can live long under the changing social and cultural background by using the combination method, taking James Bond series as an example, and finally comes up with a theoretical model to explain the necessity of continuity and change.
At the beginning of this article, “Brand longevity refers to how long a brand has endured and this endurance, as conceptualized by Smith (2011), is due to the achievement of social salience (A group or group event with a certain characteristic value or characteristic in social activities) and continued consumer engagement.”
However, this article is only aimed at series brands and worked on analysis, such as James Bond, so this model can be theoretically framed in Transformers and Marvel superhero films. But for example, there are limitations for some emerging brands, for some brands that do not need to be serial.
For the second point of the definition of brand longevity in Smith’s research, “continuous consumer engagement”, I have a simple deep talk with May, the co-founder of Blooming Dance in London. She said, “we are not worried about the lack of sustainable consumers, because London is an immigrant city, and many new overseas students and Chinese come to London every year.”
My survey groups are concentrated in the Chinese dance studios in London, including Blooming dance, Comedian, Krew and Rocky Dance. They get consumers in the same way – by publishing content on social media platform with a large number of hashtags. In fact, through the positioning of users’ IP addresses and the recommendation of algorithmic big data by social media, international students with relevant interests will see relevant content in social media, and thus they have “continuous consumers” (this method is also applicable to all who have seen Carrie on social media).
For these brands, the so-called “sustainable consumers” are more because the brands rely on the power of modern technology. Therefore, they just need to create content, fight with the algorithms of social media platforms, and wait for consumers to come, rather than the brands themselves to find some consumers. In this case, consumers see the same things, and homogenization is very serious. But what if they are abandoned by the algorithm? This happened to other platform which I have experiences.
Therefore, I don’t think this is an excellent, or good way, because I personally think that as an ordinary content publisher (especially a small brand with great competition in the blue ocean market), people will always fall behind the algorithm, and the algorithm will always run ahead of these brands. I think it is also necessary for consumers to see the product content more intuitively. Therefore, my intervention is to call them to focuses on “offline”.
“BRAND LONGEVITY: Enduring love”, 2007, Brand Strategy, , pp. 25.
Booming brands drive change through new ideas, ways of marketing products, and a series of innovative additions.
Sood and Dr è Ze (2006) focused on how to introduce new elements to keep the brand fresh and thus bring sustainable brand value. This is like a control variable method.
I contacted Fish, the partner of Comedian dance studio in London, and asked her whether she and her team could do some flash mob events at the entrance of major universities in London at the beginning of the school season in September. It’s very gratifying that fish accepted my opinion and comedian will discuss the feasibility of this activity on August 31.
