The Art of Storytelling How Loyalty Marketers Can Build Emotional Connections to Their Brands Pdf

Abstract

The study of storytelling and brand dearest is justified by the need to sympathise the potential of storytelling as a tool that marketers have available to positively influence the beloved felt by the consumers toward a item make. In this case, we address the jewelry brand PANDORA as a case study. In our empirical research, we intend to empathise the office of storytelling in the creation of make love when it is used as a brand communication technique. In add-on, we chose the brand PANDORA because its products are also associated with stories; thus, we too intend to investigate whether this use of storytelling contributes to the cosmos of make love. The results demonstrate a positive impact of storytelling in the love felt by the consumers regarding the brand PANDORA. In addition, we conclude that the stories consumers associate with their own PANDORA jewelry make them like the jewelry and the brand itself even more, which shows that product narrative is an of import concept to add value to the product and the brand.

Introduction

In our global, fast-paced and connected society, brands face the challenge of standing out and beingness relevant, and many take undergone a path of humanization, aiming to build deeper connections with loyal consumers (Kotler, Kartajaya & Setiawan, 2017). As a result, the concept of brand honey has been suggested to depict a long-term relationship between make and consumers, which is based on "multiple interrelated cognitive, affective, and behavioural elements, rather than a specific, single, transient love emotion" (Batra et al., 2012, p. 6). Furthermore, storytelling has been considered a useful tool for expressing make values, for creating engagement betwixt brands and consumers and consequently for nurturing strong bonds between them (Fog et al., 2010).

Previous research has demonstrated the efficiency of storytelling as a advice technique that prompts emotional connections to brands (Fog et al., 2010) and enhances engagement, particularly online (Signorelli, 2014), as well equally motivates positive Discussion of Mouth (WOM) (Biesenbach, 2018b). In parallel, previous inquiry has also identified factors that lead to brand love (antecedents)—among which identification with the brand and self-expression are mentioned—and benefits that brand beloved delivers to brands—amid which engagement in online communities, loyalty and positive WOM (Roberts, 2005; Carroll & Ahuvia, 2006; Batra et al., 2012). Despite some common points between the concepts of brand love and storytelling, previous studies have non, to our knowledge, explored the possibility of storytelling being an antecedent that leads to brand love. Investigating this possibility is of import because stories, and the imaginary, emotions and values that are inherent to them, may be some other tool available for brands to build brand beloved and harvest the resulting benefits.

This study addresses the jewelry sector, focusing on PANDORA as a case study. Jewelry is a type of product with a symbolic dimension, that, by itself, is able to tell a story, represent a memorable moment, or even a connection to a person. PANDORA is a relevant case study because it is a jewelry brand that uses storytelling in advertizement and communication campaigns and, in addition to this, storytelling is nowadays in its own products. Each PANDORA piece has a distinctive pattern that assembly it with a certain narrative, or that allows consumers to interpret the piece associating it with a certain story, occasion, moment or person of their own life. Focusing on this brand allows our research to fulfill its chief objective: Empathise the office of storytelling in creating brand love when it is used in communication. But the specific nature of PANDORA likewise enables us to get farther and explore to which extent products which, in themselves, tell stories, contribute to adding value to the make past enhancing brand love. This becomes relevant, given that the concept of production narrative exists and is defined as "type of storytelling that is not most ad products, services or brands, only that adds value to the product" (Dias & Dias, 2018, p. 2).

Theoretical framework

Brand love and lovemarks

Ane of the purposes of branding has always been building relationships with (potential) consumers (Fournier, 1998). Ane of the main goals of these relationships is prompting frequent and/or increased purchases, thus leading to loyalty (Swimberghe et al., 2014). Amaro et al. (2020) indicate to an important difference between satisfaction and loyalty: Satisfaction is a momentary cognitive judgment resulting from a transaction with a brand, while loyalty implies a long-term melancholia connection with a brand. However, Ghorbanzadeh and Rahehagh (2020) debate that a theoretical construct that explains "the regular and rational sequence of satisfaction ultimately leading to the formation of consumer loyalty" (p. 1) is lacking and bespeak to emotional zipper and love equally possibilities to explore.

In the terminal few years, as brands strive to stand out and build meaningful and long-lasting relationships with fans and customers, the concept of brand dearest has been suggested to describe this process, drawing on previous enquiry in the fields of Psychology and Sociology about dearest for objects and fetichism (Sayers & Monin, 2007). In marketing, Fournier (1998) explored consumer–brand relationships and established that brands tin can accept the role of active partners to establish and nurture a bail. Percy, Hansen and Randup (2004) identified an emotional attachment to brands, and later, Giovanis and Athanasopoulou (2018) debate that emotional connections are used in branding mainly for differentiating purposes, just when they lead to emotional zipper, customers express preference for the make, and consequently loyalty over time.

Brand beloved is defined by Carroll and Ahuvia (2006) as "the caste of passionate, emotional attachment a satisfied consumer has for a particular merchandise name" (p. 81), that differs from elementary attachment because of its long-lasting nature. It is a type of relationship that is built when consumers fulfill the post-obit requirements: (1) passion for the make, (2) zipper to the brand, (3) positive evaluations near the brand, (4) positive emotions and (five) declarations of dear. Albert and Merunka (2013) add three fundamental elements in brand love, namely (one) identification with the make; (two) trust in the brand; and (3) delivery to the make. Batra et al. (2012) reiterate that brand beloved is a long-term relationship created between the brand and consumers, which is based on "multiple interrelated cerebral, affective, and behavioural elements, rather than a specific, single, transient love emotion" (p. 6). The authors also indicate out some distinctions betwixt interpersonal love and love for a make. While in the erstwhile there is a feeling of altruistic concern for the loved i, this is not true in the dearest for a brand, every bit there is merely concern for what the make can exercise for the consumer. In addition, interpersonal love is a common feeling, while love for a make is unidirectional.

Equally enquiry moved on to explore the factors that atomic number 82 to brand love—usually referred to as antecedents—and to demonstrate the benefits that brands harvest when they are the objects of brand beloved—ordinarily referred to as consequences—becoming a "lovemark" became a goal for many brands worldwide (Sayers & Monin, 2007). Roberts (2004) coined the term "lovemark" to depict a brand capable of creating emotional bonds and personal relationships with the communities and social networks it develops. They are brands capable of triggering respect by beingness transparent and trustworthy, just others go beyond that by existence intimate, mysterious and seductive. Lovemarks understand that dearest is built upon respect, and these are brands that strive to create strong emotional bonds with their (potential) consumers, offer them more than than mere rational arguments or product benefits. Edwards and Day (2005) add together that lovemarks take three cardinal features: (ane) They are brands with active and inspiring behavior, and this is considering this type of brand seeks to make the globe a little better identify than this would exist if the make did non be; (ii) they have confidence rooted in their power to exercise things: "Confident brands are sexy. They are the ones everyone wants to exist seen with" (p. 79); and (3) they remain vibrant despite the changes the world is undergoing because they tend to have a high chapters for adaptation, managing to move in fourth dimension, remaining faithful to themselves and their history. Thus, brands demand to work on brand love antecedents to become lovemarks, and only then can they harvest the benefits of existence the object of brand beloved.

Antecedents and consequences of brand love

Different studies have mapped out several factors that lead to brand dear, exploring them every bit antecedents of this feeling/relationship between a client and a make. Even so, there is no consensus on this matter, as dissimilar studies reveal different aspects. Some authors highlight aspects that are too integrated in the concept of make equity (Aaker, 1991), and therefore add value to brands. That is the example of perceived quality, every bit Batra et al. (2012) found that people tend to be attracted to things that provide them with the necessary benefits and demonstrate high quality, arguing that it is challenging to generate honey for a brand that does not afford quality. Bairrada, Coelho and Coelho 2018 also refer to perceived value as the evaluation that consumers make regarding the utility of the brand based on the comparing of what they get from it (functional or symbolic characteristics) to what they requite (monetary or not-budgetary costs). The authors contend that prestige, the degree of status or esteem that consumers associate with a brand (therefore, allied to its most symbolic dimension) leads to brand love. Carroll and Ahuvia (2006) highlight, as Roberts (2004), the hedonistic features of the products themselves, that is, "the consumer's perception of the relative function of hedonic (every bit compared with commonsensical) benefits offered past the product" (p. 82) and highlight fun and pleasance as the ones that are nearly connected to brand love. Junaid et al. (2019) add together escapism as some other characteristic that leads to brand love. Recently, Safeer et al. (2020) corroborated that sensory and affective brand experiences have meaning impact in triggering brand love, while intellectual and behavioral experiences (related to perceived quality, for example) practise not have pregnant impact. Fernandes and Inverneiro (2020) also highlight the importance of brand experience. The authors add that brand experiences that are perceived every bit authentic are the ones with the most positive impact on brand love, thus identifying actuality equally an important antecedent. In reverse, Rodrigues and Borges (2020) institute that distrust and negative emotions have a negative impact on brand honey, reiterating the importance of actuality. Bairrada, Coelho and Coelho (2018) also mention brand uniqueness, that is, the degree to which consumers feel that the brand is distinct from competitors. The homo tends to similar the feeling of standing out from the rest, and thus, the choice of unique brands is of high relevance. Bergkvist and Bech-Larsen (2010) stress the importance of the identification with the brand, equally the closer the consumer cocky-epitome is to the make epitome, the higher is the level of identification with the make. Fernandes and Inverneiro (2020) reiterate the connection betwixt brand identification and make love. Carroll and Ahuvia (2006) also mention self-expression as an ancestor of make honey, every bit consumers value "the degree to which the specific brand enhances 1'south social self and/or reflects i's inner self" (p. 82), and thus prefer brands that help create and reinforce their identities and its expression. Finally, Keller (2013) mentions the sense of community, the "miracle in which customers feel a kinship or affiliation with other people associated with the brand" (p. 121) every bit a characteristic that nurtures make love. However, Fernandes and Inverneiro (2020) found that engagement in social media brand communities does not atomic number 82 directly to loyalty (at least among Millennials). People who engage with brands online may feel brand honey and be fans without being consumers. Nonetheless, brands can still harvest positive eWOM from these fans. Palazzo, Delgado-Ballester and Sicilia (2019) refer to cocky-brand connection as the result of the identification with one brand leading to engagement in its communities, arguing that both these factors foster make love. This rich strand of enquiry shows u.s. that different studies take identified numerous antecedents that lead to brand love. Some of them, such as perceived quality/value, hedonistic features of the make, self-expression and identification with the brand, are mentioned more than often, and others, such as brand uniqueness and authenticity, appear in, and so far, standalone studies and require farther exploration. It is possible to conclude that brand love only stems from a complex combination of factors, but the touch that each of the factors has on the creation and nurturing of brand honey is nevertheless unclear, equally well as the interdependencies or synergies betwixt the different factors.

On the other manus, brands strive to generate and nurture brand dear because of the benefits information technology affords, about which researchers share more agreement. Loyalty, the caste to which the consumer is committed with the repurchase of a make, is considered the almost important issue of brand love (Oliver, 1999; Carroll & Ahuvia, 2006), as it is straight reflected in the operation of the make, in its profitability. Ghorbanzadeh and Rahehagh (2020) agree, claiming that "brand love is the strongest antecedent of brand loyalty" (p. 1). Furthermore, Palazon et al. (2019) argued that brand equity tin increase every bit a outcome of brand love. Bairrada, Coelho and Coelho (2018) also highlight the willingness to pay a college toll for a specific brand in particular, when equivalent brands with lower price could exist as a event of make love. Carroll and Ahuvia (2006) add that positive Word of Oral cavity happens when consumers love a brand, as they tend to speak positively about it. Consumers who love a brand are more probable to comment positively and recommend a make to others. Amaro et al. (2020), who studied destination brands specifically, stressed WOM and eWOM as good reasons for edifice brand dear. More recently, Giovanis and Athanasopoulous (2020) reiterate that the main positive consequences of make love are loyalty, willingness to pay premium cost and positive eWOM. Keller (2013) adds agile involvement as another consequence of brand dearest, explaining that it "occurs when customers are engaged, or willing to invest time, energy, money, or other resource in the brand across those expended during purchase or consumption of the brand" (p. 121). Junaid et al. (2019) also consider make engagement a consequence of make love. Thus, although make love is a complex concept, only generated by a even so unexplored combination of antecedents, the literature on its consequences agrees that it is worth pursuing, equally it affords many advantages and added value both to brands and consumers.

In the next department, we explore whether and how storytelling fits within this overview of antecedents and consequences of brand love.

Storytelling in make communication

According to Fisher (1984), storytelling is such a powerful communication tool because man beings are inherently storytellers and symbol makers, that is, nosotros are human being narrans. Since bequeathed times, human being beings create symbols and communicate them through stories, thus organizing their experiences and promoting a communal style of life. Thus, storytelling can be defined, in a broader sense, every bit "carrying messages and sharing accumulated knowledge and wisdom to help navigate and explicate the earth around us" (Mancuso & Stuth, p. 18). Baker and Boyle (2009) add that storytelling goes well across the cognitive level, operating deeper, on an emotional and even "visceral" level. In addition, they argue that stories connect people to visions for the time to come that are larger than themselves and give them a purpose, connecting them to each other.

As the online world emerged and expanded, brands became the focus of online communities, in which storytelling stood out as a very effective way of prompting engagement and motivating shares (Pulizzi, 2012). Storytelling became a fundamental marketing tool, consisting of "using a narrative to connect your brand to customers, with a focus on linking what you stand for to the values you lot share with your customers" (Loyal, 2018, online). Woodside, Stood and Miller 2008 nowadays five arguments to why storytelling is essential to marketing: (ane) people naturally think narratively; (2) stories reinforce memorization; (three) stories afford pleasurable experiences; (four) brands and products can appeal to psychological archetypes, thus reaching a strong identification with consumers; and (5) stories afford clarity.

These arguments resonate with some antecedents of brand love. For example, storytelling provokes emotional reactions and connections with consumers, allowing them to lower their defenses and be more easily persuaded (Biesenbach, 2018). It is also fundamental for brands to stand out in the digital earth, as storytelling conveys distinctive elements of brands, it helps consumers understand the make'southward identity and core values (Mucundorfeanu, 2018). Stories enrich brands with a more substantial emotional and imagetic heritage and, therefore, make them more attractive to consumers. Roberts (2004) was the offset to insinuate to storytelling as a tool that contributes to strengthening the position of lovemarks, as this communication technique appeals to emotions and inspires consumers. Stories highlight information, appeal to emotions and sensory details and, therefore, have the power to reinforce lovemarks. Junaid et al. (2019) alluded to the importance of the imaginary, as they consider escapism a hedonistic characteristic of brands that leads to brand love.

In addition, as brands become storytellers, they besides become humanized, as they proceeds and express a personality (Biesenbach, 2018). Bergkvist & Bech-Larsen (2010) also stress that brand love stems from stiff symbolic and emotional meanings that make a brand unique and trigger brand identification. Delgado-Ballester (2020) besides stresses that stories are essential to create brand–consumer identification. In addition, Kemp, Porter III, Anasa and Min 2021 studied brand storytelling online and found that stories lead to personal connections with brands, particularly if they convey emotions. Personal connections, on their turn, lead to consumer engagement online and to positive eWOM. This effect is even stronger if the storytelling stems from user-generated content instead of branded content.

Research on storytelling as a make communication technique reveals several components that are needed in a storytelling campaign. Structural aspects such every bit a timeline structure and a contextual setting are mentioned past Delgadillo and Escalas (2004). The importance of strong characters is stressed by Fog, Budtz, Much and Blanchette (2010), every bit well every bit Biesenbach (2004) and Denning (2006). Fog, Budtz, Much and Blanchette (2010) and Delgadillo and Escalas (2004) also emphasize the importance of a plot, and Biesenbach (2018) adds that the plot is more attracting if it revolves around conflict. There is a stronger trend toward the importance of conveying a stiff message—identified equally an important feature by Fog, Budtz, Much and Blanchette 2010, Denning (2006), Simmons (2009) and Mckee and Gerace (2018)—and its symbolic dimension that conveys emotions and values—emphasized by Fog, Budtz, Much and Blanchette (2010), Denning (2006), Simmons (2009), Tormes et al. (2016) and Mucundorfeanu (2018). Regarding the content of storytelling, Williams, Atwal and Bryson 2019, researching on luxury brands, suggest that the nigh common topics are craft, innovation, origins, myth, glory, provenance and collectability. Dias and Dias (2018) suggested that storytelling tin can get beyond communication and be applied to products, calculation value to them through an additional symbolic layer.

Considering the components of stories, and the benefits that storytelling tin can afford to brands, our study sets out to explore whether storytelling tin be considered an antecedent of brand beloved.

Methodology

Inquiry questions

Our enquiry aims to explore whether using storytelling has a positive outcome on the development of make dearest. We consider the use of storytelling within two dimensions of marketing that are explored by PANDORA, adopting the following enquiry questions:

RQ1—Does using storytelling every bit a communication technique contribute to the evolution of brand love?

RQ2—Does integrating storytelling in products contribute to the development of make love?

Method

We adopted a qualitative method, developing a single exploratory case study focused on the make PANDORA. The qualitative approach, although non offer the generalizability that is characteristic of the quantitative method, can afford an in-depth understanding of a relevant case that can provide insights and spot trends that can be applicable to other cases, as the different possibilities of analytical generalizability demonstrate (Hoijer, 2008; Halkier, 2011).

Inside the sector of jewelry and watches, PANDORA stands out as a brand with the features required to exist the object of this type of case report: It uses storytelling equally a promotional communication technique and, additionally, it is unique in associating storytelling to its products, thus being a critical example to study the relationship betwixt storytelling and the evolution of make love (Yin, 1994).

PANDORA equally a case study

PANDORA was founded in 1982 by the jeweler Per Enevoldsen and his wife Winnie, in Copenhagen, Denmark. Currently, it covers the design, production and sales of the products. Co-ordinate to PANDORA's 2020 Annual Report, the brand is present in over 100 countries and employs well-nigh 26 000 people. Its revenues in 2020 were around 2,56 billion euros.

The yr 2000 was a turning signal for PANDORA, when the brand launched its iconic bracelet that can exist personalized with collectable differently shaped pieces. This product was and then successful that it opened the way for PANDORA's internationalization. The brand arrived in Portugal in 2004.

Despite the COVID-19 pandemic and the obligation to close stores worldwide during considerable periods, Alexander Lacik, the CEO, considers that 2020 was a "turnaround" year for the brand, as online sales grew 103%, and that company was able to focus on becoming more sustainable. He states that in 2020, PANDORA "cemented [its] position as a desirable and affordable luxury brand" (PANDORA Annual Written report 2020, p. 6).

Co-ordinate to the brand'south Web site, its mission is to offer women a universe of loftier-quality jewelry, with handmade finishing, contemporary design and affordable prices, thus encouraging women to limited their individuality. The brand'due south slogan is "unforgettable moments," because the make believes that the individuality of each woman is shaped past personal, unique and memorable moments that they accept lived, their stories. Thus, the brand's identity is built around personal stories and the special moments that each adult female lives.

Thus, PANDORA is a relevant brand as a case study because it consistently uses storytelling in its promotional communication, whether in advertizing, whether in content marketing. In addition, it incorporates storytelling in its own products, every bit each PANDORA piece has a unique design that affords it a symbolic dimension, thus enabling consumers to associate a specific piece to a sure moment, story or even person. When this bracelet with personalized pieces was launched, information technology was innovative and unique. The symbolic dimension of PANDORA'south products enables the consumers to eternize the most important moments of their lives. Likewise, it takes the concept of product narrative (Dias & Dias, 2018) to another level: Brand communication may propose a narrative—storytelling, but each customer appropriates the pieces and ascribes pregnant to them—storydoing (Natal et al., 2017; Lledó, 2019; Rojas, 2019). As a consequence, each bracelet is personal and unique, and "tells the story" of its user.

PANDORA is an appropriate make for studying the relationship between storytelling and the creation of antecedents and consequences of brand love because it uses this technique in its communication, incorporates it in its products and brand identity and enables their customers to use it, creating their own stories.

Data drove and assay techniques

In social club to explore our research questions, we conducted interviews with loyal customers of PANDORA, because these are the most likely to present brand love (Roberts, 2004), and we too wanted to make certain that our sample was familiar with PANDORA's storytelling, both being users of its products and following its communication, particularly on social media.

As a information collection technique, we used in-depth semi-structured interviews (Guerra, 2006). The previous research on the antecedents and consequences of brand dearest that nosotros discussed above is quantitative and relies mostly on surveys. To our knowledge, the qualitative method has non been applied to explore this topic. Withal, the qualitative arroyo affords deeper insight into the "views, experiences, beliefs and motivations of consumers" (Gill, Stuart, Treasure & Chadwick, 2008, p. 292). We considered this approach appropriate to study why loyal customers develop brand love toward PANDORA.

Before the interview, an informed consent grade was sent to all volunteer participants by e-mail, explaining the research protocol, what their participation would entail, ensuring their anonymity, and also that their data would be used only for scientific purposes. The grade also collected their authorization to record the sound of the interviews, explaining that these would exist transcribed and anonymized, and later that the recordings would be destroyed (Creswell, 2009).

The interviews were face to confront, and lasted, on average, 52 min. We followed a protocol with 3 moments: (one) greetings, summary of the research project and of what is required of the participant, clarification of any questions and collection of the signed consent form; (2) semi-structured interview, addressing three themes (antecedents of brand love; storytelling in the advice and products of PANDORA; consequences of brand love); and (3) thanks and farewell.

For data analysis, we used thematic assay (Boyatzis, 1998) using nVivo software. We considered as categories the antecedents and consequences of make love, and besides the components of storytelling that were reviewed in the theoretical section. Our analysis consisted of two stages: (1) First, we selected units of analysis that fit our predefined (drawing on theory) categories and (2) 2d, we overviewed our data, looking for emergent categories. In Table ane, we present an overview of our interview script, demonstrating the correspondence between the script questions and the thematic analysis' categories, every bit well as their theoretical grounding.

Table 1 Summary of interview script and thematic assay' categories

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Sampling and sample

We studied a non-probabilistic sample of twenty participants, selected co-ordinate to two eliminating criteria: (ane) being loyal customers of PANDORA, that is, owning more than ane piece of PANDORA jewelry and using information technology regularly, and (2) following at least ane PANDORA social media profile.

Within these homogeneous criteria, nosotros tried to obtain a diversified sample according to age, residence area and lifestyle and used the snowball sampling method for that purpose (Taherdoost, 2016). Nosotros started with 5 participants who were recruited among the researchers' contacts' network, then, they were asked to recommend other acquaintances who filled our eliminatory criteria. This technique too prevented biases inherent to convenience samples, as we did not know most of our participants previously (simply the first 5).

Possible participants were invited via phone call. If they were interested, the informed consent course was sent via email. If they agreed to participate, the contiguous interview was scheduled. We describe them in more particular in Tabular array 2.

Tabular array 2 Characterization of our sample

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Although a qualitative approach allowed usa to get deeper insight into the human relationship between storytelling and brand honey, nosotros stress that our sample is small and non-probabilistic and therefore does not allow any generalization of the findings. Our findings are insights and trends that bespeak to topics which should be addressed in further research.

Findings and Discussion

Antecedents of brand beloved

Among our 20 participants, who are loyal customers of PANDORA, nosotros establish all the antecedents of brand love that we considered as data analysis categories and were able to observe that some of them are more than frequent or considered more important by our participants. Table three presents a summary of the presence of brand beloved antecedents towards the brand PANDORA in our sample, and examples of quotes by our participants.

Tabular array 3 Antecedents of brand dear toward PANDORA in our sample

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The make love antecedents that are mentioned more frequently and afforded more than importance are a stiff identification with the brand, reinforced by self-expression (Carroll & Ahuvia, 2006), as all participants consider that the brand enables them to express certain aspects of their identity (Bergkvist & Bech-Larsen, 2010) and this is achieved due to the great diverseness of pieces and the power to personalize the products and also because the self-image of most participants correspond with the brand epitome that they perceive (Kapferer, 2003; Albert & Merunka, 2013).

Regarding self-expression, the participants referred to 2 aspects: The brand helps them in expressing their identity and personality, merely likewise in expressing their life story. For some of the participants, these two aspects are closely continued, as they believe that they "are" their stories—"I have a piece in my bracelet that is a hedgehog. Other people ordinarily find it cute and funny, but information technology has a story. One day I saved a hedgehog that had been run over and was lying in the middle of the route. For me, that piece represents who I am, my values, someone who stops and helps a poor beast" (P10). Others consider that it is an added value the fact that the jewels have a symbolic dimension connected to memories, of import moments, emotions and even people. This is also the most mentioned element of singularity associated with the brand (Bairrada, Coelho & Coelho, 2018), along with the association betwixt the products and stories (Dias & Dias, 2018).

The symbolic dimension of each PANDORA piece is of import for each user, even if others do not know the story backside them. However, there is likewise a sense of belonging to a community (Keller, 2013), every bit several participants reported having talked to other PANDORA users about the significant behind each piece, shared stories and felt an instant connectedness considering of their dear for the same brand.

Prestige was the brand dearest antecedent that caused more than debate amid our participants. Prestige is usually associated with luxury and exclusivity (Bairrada, Coelho & Coelho, 2018), and PANDORA is an affordable brand that can exist used by anyone, every day. However, our case study demonstrates that it is possible to feel brand love without the presence of this antecedent.

Storytelling and brand love

In the second part of the interview, we explored to which extent the storytelling of the make PANDORA was important and valued by our participants, considering if dissimilar applications of this technique—in branded content, in advertising and in products—were recognized and valued. On Table four, you can notice data regarding the importance of PANDORA using storytelling, and corresponding quotes.

Table 4 Importance of storytelling and relation with brand dearest toward PANDORA in our sample

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All of the participants admit that PANDORA uses storytelling equally a communication strategy. All the participants follow PANDORA on social media and enjoy the content created by the make very much. They claim to connect with the brand because of the stories portrayed and of the values conveyed, which they chronicle to the brand love antecedents of brand identification and self-expression. For example, Participant 2 states: "For me, PANDORA is well-nigh love, friendship, connection. It's also about each woman beingness unique, being a result of the well-nigh important moments in her life." Amidst the consumers who follow dissimilar profiles, Instagram is the favorite.

All of our participants also identify storytelling in PANDORA's advertising, although they claim not enjoying advertising and not paying much attending to it. McKee and Gerace (2018) claim that storytelling and entreatment to emotions favor memorization when compared to facts and data, and although about participants merits disliking ads and not paying attention to them, 12 were able to retrieve ads, 5 found out nigh new products because of ads and 2 bought PANDORA products due to ads.

All of the participants agreed that using storytelling in advice is central to communicable their attention and is one of the master reasons they like PANDORA. When asked nigh the importance of unlike components of stories discussed—characters, time and space, plot and bulletin—they highlighted the message, explaining that when the make tells stories that resemble their lives or appeal to values that they share, they place with it (Mucundorfeanu, 2018). Thus, the appeal to shared values stands out as the main reason why our participants identify with PANDORA and appropriate it for their self-expression (Fog, Budtz, Much and Blanchette (2010); Tormes et al., 2016).

In addition, all the participants also acknowledge that PANDORA assembly stories to its products (Dias & Dias, 2018). Consumers value this very much, as stories add a symbolic dimension to products that enhance their value (Biesenbach, 2018; Fog et al., 2010). For example, Participant 17 states: "If the pieces didn't have a story, they would be ordinary. If I lost them I wouldn't exist sad. If I lost PANDORA, it would be a disaster."

Each of the twenty participants told us a story about one PANDORA piece that was special for them, commonly associated with an important moment or retentiveness, or to a person—due east.1000., "I take 1 piece that always makes me express joy. Right earlier turning 18, I got my drivers' license and asked my parents for a automobile. On my birthday, my father gave this PANDORA piece that is a automobile and said 'Here you become, that's the auto you have been asking for'. I was a bit mad at the time, simply now it'southward my favourite piece considering I laugh every time I look at it and information technology'southward a memory of my 18th altogether" (P14). All the consumers concur that the story associated with the product adds value to it, as it gains a symbolic and affective dimension (Dias, L. & Dias, P., 2018)—"The pieces remind me of of import moments, moments that made me who I am. These pieces eternize festive dates, and when I habiliment the jewelry I conduct with me memories of those adept moments, a positive free energy. The story behind each piece is very valuable and meaningful for me" (P12). This shows that storytelling integrated in products fifty-fifty prompts consumers to go from storytelling to storydoing, embedding the brand in their own stories (Natal et al., 2017; Lledó, 2019; Rojas, 2019).

All of the participants mention the values depicted in the stories, highlighting family, dearest, friendship and self-expression. If the values conveyed past the brand and the ones that are important for consumers coincide, this leads to a strong identification of the consumers with the make (Signorelli, 2014). Thus, according to our participants, stories and values do reinforce brand love, as they favor the cosmos of an emotional and affective relationship with the jewels, and past extension with the brand. This is illustrated by Participant 15: "The stories make me develop a special amore for the brand. When I call up about jewelry, the first brand that pops to mind is PANDORA. I think that's because every piece I own is very meaningful for me." Thus, nosotros concluded that storytelling plays a very important role in the evolution of brand beloved, particularly if entailing shared values and personalization (Karahanolu & Sener, 2009), and that it tin, therefore, exist considered a brand honey antecedent.

Consequences of brand love

After verifying that almost antecedents of make love are nowadays in our interviewees regarding PANDORA, and observing that, in their view, the use of storytelling past the brand enhances their connexion to it, we fix out to search for the consequences of brand honey. Table 5 presents a summary of the presence of consequences of brand love towards the brand PANDORA in our sample, and examples of quotes by our partipantes. We consider these elements as consequences of make dearest, and not of like concepts such as satisfaction, loyalty or emotional attachment to brands, because we have already established the beingness of brand honey for PANDORA among our participants—they all own PANDORA pieces and apply them regularly, they follow PANDORA on social media, and they express a strong identification with the brand. Thus, they take a long-lasting relationship with PANDORA, and they expressed "declarations of love" during the interviews (Carroll and Ahuvia, 2006).

Table v Consequences of brand dear toward PANDORA in our sample

Full size tabular array

Loyalty is a very evident brand love consequence present amidst our participants. All of them already own several PANDORA pieces and expressed intention of buying more in the near future (Albert & Merunka, 2013; Oliver, 1999). Actually, 13 of the participants already know exactly what they are going to purchase.

Another of import consequence of brand love is positive WOM (Carrol & Ahuvia, 2009), as all of the participants declare having recommended PANDORA in the past and beingness willing to recommend it again in future. The master reason for this is that, according to them, the brand is meaningful, is more than a piece of jewelry, information technology has an important symbolic and melancholia dimension (Dias & Dias, 2018). Besides, all participants declare existence willing to pay a bit more for PANDORA's products, if necessary, generally considering they value the symbolic and affective dimension of the products. Participant 11 also refers to collecting every bit an important factor leading to loyalty and to willingness to pay more for the products—"Then you have to feed your habit, y'all take your bracelet and y'all want to complete information technology, to fill up it with important moments and stories."

Concerning active engagement, information technology was more difficult to assess this brand honey upshot because, out of the 20, merely half alleged actively searching most the brand or engaging with it in some way (Keller, 2013). We observed that younger consumers (under 25 years old) are more actively engaged with the brand.

Finally, 16 of our participants declared because themselves as PANDORA "brand lovers." They justify their answer mentioning that they wear their jewelry frequently and generally that they take created emotional links to the jewels due to the stories and moments that they represent.

Thus, nosotros conclude that using storytelling in communication is important for setting a context for the make and for expressing values that generate identification from the consumers (Roberts, 2004; Newlin, 2009), but applying storytelling to the products really makes a difference in adding symbolic and affective value to them (Dias & Dias, 2018). Storytelling can be considered an antecedent of make dearest and has a stronger impact when information technology is applied to products themselves.

Conclusion

Our findings take shown the presence of about antecedents and consequences of brand love regarding the brand PANDORA among our sample, and xvi out of our 20 interviewees draw themselves as PANDORA lovers. In improver, nosotros also observed that they admit the use of storytelling by PANDORA, both in make communication content marketing and advertising and associated with the make's products.

Next, nosotros set up out to explore the relationship betwixt storytelling and brand beloved, in the example of PANDORA. According to near of your interviewees, the use of storytelling has the effect of generating, enhancing and reinforcing brand dear, equally it was a crucial factor for them to feel identification with the make and to develop emotions toward it. Using storytelling in communication is important to catch attention and generate identification between the values embedded in the stories and the ones that are of import for consumers (Pulizzi, 2012). This identification based on shared values is a deeper connectedness than the ones based on individual features or lifestyle and thus is an important foundation for loyalty and positive WOM, beneficial consequences of brand beloved (Kotler, Kartajaya & Setiawan, 2017). However, our participants highlight the importance of associating stories to products every bit a way of extending the products and enhancing their value. These narrative products (Dias & Dias, 2018) have a symbolic and affective dimension that makes them more than products, and they become symbols, mementos, an extension of the user. In the case of PANDORA, because of the collectible nature of their products, necklaces and bracelets that tin can be personalized with diverse pieces, the clan between products and stories goes beyond storytelling, every bit users become storydoers (Natal et al., 2017; Lledó, 2019; Rojas, 2019), using the pieces to build their own symbolic narratives. This holistic approach to storytelling as a branding strategy (Fog et al., 2010) is, therefore, key to success in building and nurturing brand dearest. Thus, nosotros conclude that storytelling can be considered an ancestor of brand dear, that our interviewees relate specifically with loyalty, positive WOM and willingness to pay more.

Our participants consider that storytelling prompts identification with the brand, cocky-expression, sense of belonging to a community and perceived value of the products and make, and this effect is shaped by brand identity, as the personalizable nature of PANDORA's products is intimately continued to self-expression and identity. Despite beingness central in the case of PANDORA, in which storytelling is not only applied to communication but besides to products, there is the possibility of other brands existence able to nurture brand dear without resorting to storytelling. The literature on the antecedents of make dear, so far, reveals that each of them is not a requirement for the blossoming and nurturing of make love, simply they are complementary and act synergically, reinforcing each other.

Retrieving our inquiry questions, we ended that storytelling equally a communication technique contributes to the evolution of brand love, particularly by triggering identification with the brand values and emotional zipper to the make (Berkvist & Bech-Larsen, 2010; Biesenbach, 2018). Thus, one academic contribution of our study is presenting storytelling every bit an boosted ancestor of brand honey. Also, storytelling contributes to reinforcing other antecedents of brand love, namely make identification. Another contribution is highlighting the forcefulness of applying storytelling to products, as this symbolic dimension adds value to the products, and enables users to appropriate them for self-expression (Dias & Dias, 2018). In the example of PANDORA, our participants stress that it is because of their symbolic dimension that they feel so attached to PANDORA's products, and are loyal and engaged customers.

Our enquiry presents contributions to communication and marketing professionals, by attesting the strength of storytelling and by demonstrating the synergic nature of the relationship between several antecedents and consequences of brand honey. Additionally, other brands can learn from PANDORA to employ storytelling beyond their advice, because it is precisely the narrative nature of the brand'southward products that our participants value the most (Dias & Dias, 2018).

Existence a case study, our findings are not generalizable but they reveal relevant insights for using storytelling in branding, and for the pattern of future enquiry on storytelling equally an antecedent of brand dearest, on the synergies between antecedents and consequences of make dear, and on narrative products, with a broader telescopic, considering different production categories and different types of brands.

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1. CECC – Universidade Católica Portuguesa, Lisbon, Portugal

   Patrícia Dias

2. FCH – Universidade Católica Portuguesa, Lisbon, Portugal

   Rita Cavalheiro

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Correspondence to Patrícia Dias.

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Dias, P., Cavalheiro, R. The role of storytelling in the creation of brand love: the PANDORA case. J Brand Manag 29, 58–71 (2022). https://doi.org/10.1057/s41262-021-00254-half-dozen

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• Revised: 14 July 2021

• Accustomed: 17 September 2021

• Published: 06 October 2021

• Issue Appointment: Jan 2022

• DOI : https://doi.org/10.1057/s41262-021-00254-6

Keywords

• Storytelling
• Brand honey
• Love brands
• Product narrative
• Marketing

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