By Gérald Mazzalovo (auth.)
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Extra info for Brand Aesthetics
The work of art reproduced the branded object without adding anything. The difference between the Campbell Soup poster signed by Warhol and the product itself lies only in the discourse built around it. It is the artistic theory alone which makes the work of art. This is the ‘vanguard’, the elite who knows the theory, which is able to identify what is art; hence, the crucial role of communication in contemporary art. Similarly, one needs to be ‘connected’ to know which brands are becoming fashionable.
The continuous and intense flow of new products and increased competition led companies to differentiate their products by playing on the aesthetic side of design. Bloch (1995) provides a useful model for studying the influence of the shape or form of goods on the reactions of consumers and on their processing of visual information. 3 where we show how our Brand Aesthetic Chain scheme comes to complete Bloch’s model. Under the heading ‘Form’ he includes all visual and tactile aspects of a product, as well as the quality of execution (Pye 1978), on which designers have to make choices.
We will return to the convergences between art and brand activities, a characteristic trend of postmodernism, later. An art historian interested in the aesthetic expression of the twentieth and twenty-first centuries could not ignore brands, which now generate the highest density of creativity of all human activities. 1b Influence of the visual appearance of products and spaces on consumers Quality of design influences commercial success (Gemser and Leenders 2001; Roy 1994; Cooper and Kleinschmidt 1987) as it adds value to the product by increasing the quality of user’s experiences associated with it.
Brand Aesthetics by Gérald Mazzalovo (auth.)