Call for papers

Past, present and future challenges on customer experiences: digging knowledge across sectors

Guest Editors

- Giacomo Del Chiappa University of Sassari (gdelchiappa@uniss.it) 

- Martina Gallarza, University of Valencia (martina.gallarza@uv.es) 

Experiential marketing roots its origin in the early 1980s (Holbrook & Hirschman, 1982; Holbrook & Corfman, 1985), when academicians started to suggest a shift from primarily utilitarian conceptions of consumer behaviour towards an expanded experiential and phenomenological perspective where hedonic, symbolic, and aesthetic aspects of consumption are key aspects to be considered when grasping to fully understand consumption acts. Since then, the experiential paradigm has been attracting huge attention from both the researchers belonging to different disciplines (e.g. marketing, sociology, anthropology, psychology, etc.) and the industry. Overtime, different frameworks have arisen, where consumer experience has been conceptualized as a combination of escapism, aesthetics, entertainment and education (Pine & Gilmore, 1999), or dimensions of strategic experiential modules (Schmitt, 1999), namely sensory experience (SENSE), emotional experience (FEEL), thinking experience (THINK), operational experience (ACT) and related experiences (RELATE). More recently, both theoretical and empirical studies have showed that a key challenge for any marketers is to be able to provide authentic and memorable experiences (Gibbs & Ritchie, 2010). 

 References
- Biemans, W. (1998),“Marketing in the twilight zone”, BusinessHorizons, 41 (6), 69–76. Biemans, W. (2001), “Designing a Dual Marketing Program”, European Management Journal, 19 (6), 670–677.
- Calia, R.C., Guerrini, F.M. and Moura, G.L. (2007), “Innovation networks: from technological development to business model reconfiguration”, Technovation, 27 (8), 426-432.
- Etzkowitz, H. and Leydesdorff, L. (2000), “The dynamics of innovation: from nationalsystems and “mode 2” to a triple helix of university-industry-government relations”, Research Policy, 29 (2), 109-123.
- Gilliland, D. I. and Johnston, W. J. (1997), “Toward a model of business-to-business marketing communications effects”, Industrial Marketing Management, 26 (1), 15-29.
- Hirvonen, S., Laukkanen, T. and Salo, J. (2016), “Does brand orientation help B2B SMEs in gaining business growth?”, Journal of Business & Industrial Marketing, 31 (4). 472–487.
- Lamons, B. (2005), The case for B2B branding, Thomson South-Western, Mason, OH. Lichtenthaler, U. (2011), “Open innovation: pastresearch, currentdebates, and future directions”, Academy of Management Perspectives, 25 (1), 75-93.
- Lynch, J. and De Chernatony, L. (2004), “The power of emotion: Brand communication in business-to-business markets”, Journal of Brand Management, 11 (5), 403-419.
- Mudambi, S. (2002), "Branding Importance in Business-to-Business Markets: Three Buyer Clusters", Industrial Marketing Management, 31 (6), 525-533.
- Outsell Inc (2016), “Annual advertising and marketing study 2016: B2B advertising”, Accessed September 2, 2016 at https://www.outsellinc.com/search/d7entity/107124.
- Quelch, J.A. (1987),“Why not exploit dual marketing?”, Business Horizons, 30 (1), 52–60.
- Roijakkers, N., Hagedoorn, J. and van Kranenburg, H. (2005), “Dual market structures and the likelihood of repeated ties – evidence from pharmaceutical biotechnology”, Research Policy 34, 235–245.
- Solomon, B.D. (1985),“An alternative to new product development - business products for consumer markets”, Journalof Consumer Marketing, 2 (1), 56–60.
- Swani, K., Brown, B. P. and Milne, G. R. (2014), “Should tweets differ for B2B and B2C? An analysis of Fortune 500 companies’ Twitter communications”, Industrial Marketing Management, 43 (5), 873-881.
- Tarnovskaya, V. and Biedenbach, G. (2016), “Multiple stakeholders and B2B branding in emerging markets” Qualitative Market Research: An International Journal, 19 (3), 287-309.
- Vakratsas, D. andKolsarici, C. (2008). A dual-market diffusion model for a new prescription pharmaceutical, Intern. J. of Research in Marketing, 25, 282–293.
- Ylimäki, J. (2014), “A dynamic model of supplier– customerproductdevelopmentcollaborationstrategies”, Industrial Marketing Management, 43 (6), 996-1004. 

Marketing, Fashion and Creative Industries. Interconnections and Mutual Influences

Guest Editors: Raffele Donvito, University of Firenze (raffaele.donvito@unifi.it) 

Creative industries have received growing attention throughout the years by marketing and management literature due to the evident and mutual influence between creative industries and marketing. Scholars still discuss on the definition of “creative industry”, although one of the most accepted definition refers to the Department of Media, Culture and Sport (DCMS) who defines creative industries as “industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property” (2001, p. 5). The DCMS (2001) report lists also the categories of the creative industries, considering advertising, architecture, the art and antiques market, crafts, design, designer fashion, film and video, interactive leisure software, music, the performing arts, publishing, software and computer services, and television and radio. However, there is no commonly accepted list of the activities that form the “creative industry”, thus the DCMS list should be considered as a point of departure by many contributions that expand the list towards other cultural or knowledge-based activities (Lazzeretti, Capone, and Boix, 2012; Troilo, 2015). Indeed, various scholars and practitioners have attempted in the identification of adding fields to clarify the concept of creative industries throughout the years. Particularly, Hesmondhalgh (2002) identifies advertising and marketing, broadcasting, film, internet, music, print and electronic publishing, and video and computer games as the core of cultural industries and as activities more related to some form of industrial reproduction. Gordon and Beilby (2006) add also activities associated with artistic and cultural heritage, whereas Eurostat includes some cultural, tourist and recreational activities. Within this wide background, creative industries are particularly linked to fashion by way of design and creativity (Kim, Ko and Lee, 2012); according to many scholars and opinion leaders, fashion is a form of art, which can transform an image or a person’s identity, concerning the constantly changing of aesthetics (Entwistle, 2002).
Recently, literature on fashion marketing and creative industries is moving the attention toward digital contexts. Digital spaces, such as social networks, online communities, or other digital platforms are exploited for monitoring external creativity activating co-creation processes (Grönroos, & Voima, 2013). Moreover, the communication processes on social media and the integrated marketing communication strategies are finalized to improve the engagement status of consumers in order to boost loyalty, advocacy and consumer participation to the value creation (Brodie et al. 2011). Indeed, given the proliferation of creative production that takes place within online communities and social networking sites, as well as media sharing sites, social media has taken a turn toward creative production today (Barnes, 2006). Simultaneously, new actors have appeared within the communication process; thus, not only user generated contents, but also blogger and influencers need to be considered for the overall understanding the effects on fashion and creative industries of the digitalization (McQuarrie, Miller, & Phillips, 2013). The growing interest toward Instagram, Snapchat, Youtube, Facebook and other social media that base their customer engagement primary on visual communication (e.g. photography, video), has fostered the relevance of visual communication in storytelling (Kim, Lloyd, & Cervellon, 2016).
Furthermore, networks between fashion firms, creative individuals and/or other firms related to traditional creative industries such as painting, movies or music are even more intensified. Collaborations between artists and couturiers reinforced this connection to the point where the boundary between the two worlds of art and fashion was creatively blurred (Duggan, Ginger Gregg, 2000). Design has become progressively more significant in business-to-consumer markets in recent years, with increasingly design-led products, retail environments and promotion now being the norm, in differentiating retailers from their competitors in a volatile financial climate (Goworek, Perry, & Kent, 2016).
The aim of this special issue is to stimulate scholars in discovering and deepening important global trends that seem to vanish the traditional boundaries between firms and customers, and between different industries. As such, submissions that seek to offer novel insights into the dynamics of creative industries and their linkages with marketing and fashion will be appreciated.

The guest editor welcome rigorous contributions which address the above-mentioned aims or respond to proximate issues pertaining to (but not limited to) the following suitable topics:

- The evolution path from the work of art to the craft creation and the luxury product, and its consequences in terms of consumer perception and brand associations.
- The evolving mutual influence and interconnections between marketing, fashion, architecture, art and antiques markets.
- How fashion photography and fashion modeling embed the concept of “aesthetic markets”, considering the critical management of the intrinsic fluctuations of the aesthetic value across space and time.
- The role of fashion shows, events, expositions and museums within the integrated marketing communication strategies and their direct connection to the creative industries.How social media can be managed in order to stimulate engagement and creativity of individuals (internal and external), useful for the activation of co-creation processes in organization designed for embracing open innovation approaches.
-The impact of digitalization in the art and music industries, considering the effects at product, distribution and communication policies and the related consequences in consumer experience and fruition.
-The blurring boundaries between art, painting and fashion and the consequent improvement of “artistic based” brands.
- How communication and storytelling requirements stimulate collaboration between fashion industry and cartoon, comics and movies industries and their impacts on consumer behavior and perception.

References
- Barnes, S. B. (2006). A privacy paradox: Social networking in the United States. First Monday, Vol. 11 No. 9.
- Brodie, R. J., Hollebeek, L. D., Juric, B., & Ilic, A. (2011). Customer engagement: conceptual domain, fundamental propositions, and implications for research. Journal of Service Research.
- Department of Media, Culture and Sport (DCMS) (2001). The Creative Industries Mapping Document, HMSO, London.
- Duggan, G. G. (2000). From Elsa Schiaparelli’s Shoe Hat to Tom Sachs’ Chanel Guillotine; Surrealism’s Fashionable Comeback. CIHA, September.
- Entwistle, J. (2002). The Aesthetic Economy The production of value in the field of fashion modelling. Journal of Consumer Culture, 2(3), 317-339.
- Gordon, J. C. & Beilby-Orrin, H. (2006). International Measurement of the Economic and Social Importance of Culture. Statistics Directorate OECD, Paris.
- Goworek, H., Perry, P., & Kent, A. (2016). The relationship between design and marketing in the fashion industry.Journal of Fashion Marketing and Management: An International Journal, 20(3).
- Grönroos, C., & Voima, P. (2013). Critical service logic: making sense of value creation and co-creation. Journal of the Academy of Marketing Science, 41(2), 133-150.
- Hesmondhalgh, D. (2002). The Cultural Industries. Sage, London.
- Kim K., Ko E. & Lee Y-I (2012). Art Infusion in Fashion Product: The influence of Visual Art on Product Evaluation and Purchase Intention of Consumers, Journal of Global Fashion Marketing, 3-4, 180-186.
- Kim, J. E., Lloyd, S., & Cervellon, M. C. (2016). Narrative-transportation storylines in luxury brand advertising: Motivating consumer engagement. Journal of Business Research, 69(1), 304-313.
- Lazzeretti, L., Capone, F., & Boix, R. (2012). Reasons for clustering of creative industries in Italy and Spain. European Planning Studies, 20(8), 1243-1262.
- McQuarrie, E. F., Miller, J., & Phillips, B. J. (2013). The megaphone effect: Taste and audience in fashion blogging. Journal of Consumer Research, 40(1), 136-158.
- Troilo G. (2015). Marketing in Creative Industries. Value, Experience and Creativity, 1st edition, Palgrave Macmillan Education UK, London.

Submission Deadline
Full Paper Submission Deadline: September 16th, 2017

Authors should submit full papers to the Guest Editor of this MC Special Issue at the following e- mail: raffaele.donvito@unifi.it

Submissions will undergo a double blind, peer review process. Full paper manuscripts must follow the submission guidelines of MC 

Preference given to the submissions that are:
 Accepted as Extended Abstract by a Track and Symposium Chairs of “2017 Global Fashion Management Conference at Vienna” (2017 GFMC).
Registered for the 2017 GFMC at Vienna.
Presented in the 2017 SIMktg-GAMMA Joint Symposium: Marketing, Fashion and the
Creative Industries. Interconnections and Mutual Influences in the 2017 GFMC at Vienna.

Please note that 2017 GFMC at Vienna deadline for Extended Abstract Submission is February 6th. Authors should submit their extended abstract related to the theme of this special issue, “Marketing, Fashion and the Creative Industries. Interconnections and Mutual Influences” to the 2017 GFMC at Vienna – 2017 SIMktg-GAMMA JOINT SYMPOSIUM Chair. Authors should also inform their intention to be considered for this MC special issue to the chair of this Symposium at the time of submission to GFMC.

2017 GFMC at Vienna submission guidelines. Maximum length for extended abstract: Five (5) page single spaced 8 1⁄2" x 11" pages (including tables, references, etc.). A4 paper settings are not acceptable. Complete submission guidelines for the extended abstract to 2017 GFMC at Vienna are located at: http://gammaconference.org/2017/
2017 GFMC at Vienna – 2017 SIMktg-GAMMA JOINT SYMPOSIUM Chair: Raffaele Donvito, Department of Economics and Management, University of Florence, Via delle Pandette 9, 50127, Florence

If you have questions, please contact the Guest Editor of this MC special issue.

Buying, gifting, renting, sharing... In search of a new theory of acquisition Marketing and consumption scholars traditionally consider buying as the main practice through which individuals obtain consumption resources.

Guest Editors: Matteo Corciolani, University of Pisa (matteo.corciolani@unipi.it) • Stefania Borghini, Bocconi University (stefania.borghini@unibocconi.it) • Daniele Scarpi, University of Bologna (daniele.scarpi@unibo.it) 

Since the seminal studies of Howard and colleagues (Howard 1963; Howard and Sheth 1969), a large stream of research called “buyer behaviour” has conceptualised buying as the predominant, if not unique, practice in acquiring products. Now, however, the association between acquisition and buying is challenged by the continuous development of new and alternative acquisition practices. With the rise of the sharing (or gift) economy in the last decade, individuals are increasingly getting consumption resources by renting, sharing or even bartering them. That is, buying is no longer the only practice they can use to satisfy their needs (Bardhi and Eckhardt 2012). Indeed, peer-topeer communities, sharing platforms and swapping communities are just a few examples of the new systems through which it is now possible to acquire desired products (Belk 2010, 2014). The new scenarios through which consumers acquire goods and services is particularly interesting from the viewpoint of marketing and related subjects. The sharing economy is an emerging market, in which new business models are gaining significant attention. Airbnb, Uber and Zipcar are only some of the numerous successful cases that are developing in the market. Thus, it is important to understand how the market is changing and which paradigms are becoming fundamental to compete in it successfully (Lamberton and Rose 2012). From the consumer’s point of view, this trend is particularly relevant because it clearly shows that the theories about marketing and consumer behaviour should be reconsidered. For instance, we traditionally see the consumption process as “a cycle of acquisition, consumption (use) and possession, and disposition processes” (Arnould and Thompson 2005; MacInnis and Folkes 2010). However, we tend to equate acquisition with buying. Instead, acquisition should be better problematised to identify the various ways through which consumers actually obtain consumption objects. New studies in this emerging stream of research are introducing new constructs into the literature, such as access-based consumption (Bardhi and Eckhardt 2012), sharing (Belk 2007, 2010) and consumer gift systems (Giesler 2006). These new labels are particularly useful in interpreting the new context of consumption. However, new research is needed to understand how the marketplace is evolving. This special issue will discuss how acquisition practices are changing and what this means for marketing and consumer behaviour theories.

This call for papers solicits both theoretical and empirical contributions, which draw on different research streams and disciplines, including marketing, organisation, sociology, anthropology and psychology.

Methodologically, we welcome qualitative, quantitative and mixed-method research approaches.

Topics of Interest (include, but are not limited to): • Access-based consumption • Acquisition practices • Bartering • Borrowing • Collaborative consumption • Crowdfunding • Donation platforms • Gift economies • Peer-to-peer communities • Renting • Sharing economy

References
- Arnould, Eric J. and Craig J. Thompson (2005), “Consumer Culture Theory (CCT): Twenty Years of Research,” Journal of Consumer Research, 31 (March), 868–82.
- Bardhi, Fleura and Giana M. Eckhardt (2012), “Access-based Consumption: The Case of Car Sharing,” Journal of Consumer Research, 39 (December), 881–98.
- Belk, Russell W. (2007), “Why Not Share Rather Than Own?” Annals of the American Academy of Political and Social Science, 611 (May), 126–40.
- Belk, Russell W. (2010), “Sharing,” Journal of Consumer Research, 36 (February), 715–34.
- Belk, Russell W. (2014), “You Are What You Can Access: Sharing and Collaborative Consumption Online,” Journal of Business Research, 67 (August), 1595–600.
- Giesler, Markus (2006), “Consumer Gift System: Netnographic Insights from Napster,” Journal of Consumer Research, 33 (September), 283–90.
- Howard, John A. (1963), Marketing Management: Analysis and Planning, rev. ed., Homewood, IL;
- Richard D. Irwin. Howard, John A. and Jagdish N. Sheth (1969), The Theory of Buyer Behavior, New York: John Wiley. - Lamberton, Cait P. and Randall L. Rose (2012), “When is Ours Better than Mine? A Framework for Understanding and Altering Participation in Commercial Sharing Systems,” Journal of Marketing, 76 (July), 109–25.
- MacInnis, Deborah and Valerie S. Folkes (2010), “The Disciplinary Status of Consumer Behavior: A Sociology of Science Perspective on Key Controversies,” Journal of Consumer Research, 36 (April), 899–914.

Full paper submission deadline: July 17th, 2017

Authors should submit full papers to the Guest Editors of this MC Special Issue at the following e-mail: matteo.corciolani@unipi.it.

Submissions will undergo a double blind, peer review process. Full paper manuscripts must follow the submission guidelines of M&C.