BRAND IMAGE. CASE FINLAYSON · the third chapter, Finlayson and its Tom of Finland collection are introduced. The aim is to provide history about Finlayson and explain the company’s

TALLINN UNIVERSITY OF TECHNOLOGY

School of Business and Governance

Department of Business Administration

Moona Saloranta

BRAND IMAGE. CASE FINLAYSON Bachelor’s thesis

Supervisor: Iivi-Riivits Arkonsuo, Ph.D Tallinn 2017

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I declare I have written the bachelor’s thesis independently. All works and major viewpoints of the other authors, data from other sources of literature and elsewhere used for writing this paper have been referenced. Moona Saloranta……………………….....

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Student’s code: 145940�

Student’s e-mail address: [email protected]

Supervisor: Associate Professor Iivi Riivits-Arkonsuo, Ph.D.�

The thesis conforms to the requirements set for the bachelor’s theses

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Chairman of defense committee:

Permitted to defense:

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TABLE OF CONTENT

ABSTRACT INTRODUCTION ...................................................................................................................... 5

1. THEORETICAL FRAMEWORK .......................................................................................... 7 1.1 Brand and brand equity ..................................................................................................... 7

1.1.1. Definitions of brand .................................................................................................. 7 1.1.2. Brand equity .............................................................................................................. 8

1.2 Brand identity and brand image ...................................................................................... 12 1.2.1. Brand identity ......................................................................................................... 12 1.2.2. Brand image ............................................................................................................ 14 1.2.2.1. The formation of brand image .................................................................. 15 1.2.2.2. Positive and negative brand image ........................................................... 16 1.2.2.3. Influencing to the brand image ................................................................. 20

2. CASE FINLAYSON ............................................................................................................. 22 2.1. Introducing Finlayson .................................................................................................... 22 2.2. Introducing Finlayson’s Tom of Finland collection ...................................................... 24

3. RESEARCH METHODOLOGY AND RESULTS ............................................................. 25 3.1. Methods.......................................................................................................................... 25 3.2. Online survey results ...................................................................................................... 26

4. FINDINGS AND RECOMMENDATIONS ........................................................................ 36

CONCLUSION ......................................................................................................................... 41

REFERENCES ......................................................................................................................... 44

APPENDICES .......................................................................................................................... 46 Appendix 1. Online survey .................................................................................................. 46 Appendix 2. Quantitative data ............................................................................................. 50

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ABSTRACT The purpose of this bachelor’s thesis is to study brand image from a consumers’

perspective by using Finnish textile industry brand Finlayson as a case study. The purpose of

the research is to examine Finlayson’s new Tom of Finland collection, which is based on gay

erotic art created by Finnish artist Touko Laaksonen. The objective of the research is to

explore the collection and its effects to consumers’ attitudes about the company’s brand

image. The research question can be formulated: How the Tom of Finland collection has

influenced to consumers’ perceived brand image of Finlayson?

The research was implemented using an online survey method. The survey was formed

by combining two different research methods: qualitative and quantitative approach. The

questions of the survey were based on theories presented by Keller, Reichheld. The theory

part of the research focuses on defining the brand, brand equity, brand identity and brand

image. It also explains the formation of a brand image, the meaning of a brand image, and

how it can be influenced, and key concepts related to them.

The overall findings of the research indicate that the Tom of Finland collection had a

positive effect on the company’s brand image. Launching the new collection brought the old

traditional Finnish brand back to consumers’ minds. Furthermore, the findings indicated that

the younger generation’s images and associations about the brand’s new collection were more

positive compared to the older generations. Also, the Tom of Finland collection was attached

to a symbol, which drives equality and minorities rights.

Keywords: brand, brand image, brand associations, brand identity, brand equity, Finlayson

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INTRODUCTION

In today’s business world, it is critical for the companies to differentiate their products

from competitors to survive in the global competition. Companies have to create something

unique for the consumers in order to separate their goods or services from the mass. To stay

on the surface and in the consumers’ minds requires a constant development of the business

strategies. Getting into customers' favour can bring significant advantages for the company

and help it on the competitive battlefield.

This thesis focus on consumers’ perceived brand image. Finlayson was selected as a

case study for this image research, and the focus point of the research was Finlayson’s Tom of

Finland collection. Tom of Finland is a home textile collection, which is based on gay erotic

print created by Finnish artist Touko Laaksonen. Tom of Finland has been under lively

discussion in Finland recently as the movie related to Touko Laaksonen’s lifetime work

premier on 24th of February in 2017. The collection is also considered particularly bold, and

it touches the limits of chastity because the prints of the collection consist of highly

masculinized homoerotic pictures. The aim of this research is to provide new insight how

consumers received collection, which is based on a gay erotic theme and what associations

and feelings it raised in consumers’ mind.

The objective of this research is to find out how consumers’ perceived brand image

about Finlayson has changed after launching the new collection. The purpose is to examine

did the image of the company change positively, negatively or remained the same after

launching the Tom of Finland collection. The aim is also to find out what deeper feelings and

associations the new collection rises in consumer’s minds. The research question can be

formulated as How the Tom of Finland collection has influenced to consumers’ perceived

brand image of Finlayson? The aim is also to examine does age have an impact on the

consumers’ perceived brand image, and find out associations related to the collection.

The research study focuses on consumers’ point of view of perceived brand image. The

aim of this study is to provide new information about the state of Finlayson’s brand image

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and to examine what kind of attitudes this new, brave and limits braking collection raised in

consumers’ minds, and as well explore how well the consumers received the collection.

The hypothesis of the research is that the collection shares opinions among different

consumers, especially when comparing different age groups. The assumption is that the older

generation may have very strong negative feeling about the collection, which is based on a

gay erotic theme, and it may have affected negatively to consumers’ perceived brand image

about the Finlayson.

The study was carried out using a survey method that combines both quantitative and

qualitative research methods. The purpose of the quantitative approach is to collect data from

the respondents by using different kind of scale questions and multiple choice questions. The

qualitative approach instead concentrates on an open-ended question which aim was to find

out consumers’ deeper feeling about the perceived brand image and associations related to the

collection. The research includes two target groups. The age group one includes respondents

from age 16 to 35 and the age group two respondents from age 36 to upwards.

The literature review will work as a theoretical framework for the whole study. The

literature research is formed from related articles and relevant literature. The first chapter of

the literature review concentrates on brand and brand equity, and the purpose is to provide

overall understanding about branding. The factors related to brand equity are not the main

focus point of the research, but they contribute the understanding of the brand image. The

second chapter of the literature review starts with defining brand identity, which is an

essential part of understanding the formation of a brand image. After that, the chapter

concentrates on explaining the concept of brand image and its creation. The last part of the

literature review focuses on the meaning of the brand image and explaining what effects the

positive and negative brand image has on the company’s operations, and how a company can

influence to its brand image.

The third chapter concentrates on the research made in the thesis. At the beginning of

the third chapter, Finlayson and its Tom of Finland collection are introduced. The aim is to

provide history about Finlayson and explain the company’s responsibility principles, after that

the story behind the new collection is introduced. The first part of chapter three is an

important part to understand the objective of the research. In the second part the research

result, findings, and recommendations are presented and followed by the conclusion which

combines all the elements of the thesis together.

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1. THEORETICAL FRAMEWORK

Chapter one will work as a conceptual framework for the whole thesis research. First,

the concepts of brand and brand equity are introduced, these are not the main focus points of

the thesis, but they provide essential information related to the brand image. After that, the

concept of brand identity is introduced to understand the formation of the brand image, which

is followed by defining the brand image and it related factors.

1.1. Brand and Brand Equity

In the following sub-chapter, the definitions of a brand and the concept of brand equity

are introduced as a basis for explaining the overall image about branding and its related

factors. The primary focus of this subchapter is not to investigate brand equity, but its related

factors brand awareness, brand loyalty, perceived quality and brand associations, which are

important factors and contribute the understanding of the brand image.

1.1.1. Definitions of Brand

There are many different definitions about brands. In many of them, the essence is the

differentiation between the brands and the symbols that the brands represent. American

Marketing Association’s (AMA) (quoted by Keller, 2013, 30) simplified definition of brand is

determined as a “name, term, sign, symbol, or design, or a combination of them, intended to

identify the goods and services of one seller or group of sellers and to differentiate them from

those of competition.” Based on this definition every time a marketer creates a new logo,

name or symbol for its goods or services a new brand is created. (Keller, 2013, 31)

Based on Kapferer’s definition which is slightly wider brands are the essential

elements that differentiate the company from its competitors. A brand is much larger entity

than just a name of a good or service, it can be seen as a vision factor that drives the

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formation of a product or service under a specific name. The vision that constructs of the

fundamental beliefs and encapsulates the core values of the brand is called the identity.

Brands are seen as non-material assets that creates extra benefits for the companies.

(Kapferer, 2013, 171, 9) Bivainienė et al.define brands as a critical asset for a company as it

is the biggest and most valuable asset that the company can dispose. (Bivainienė & Šliburytė,

2008) Based on Baskin’s and Earls’ definition brands have an important task in pulling

businesses together. It is particularly important in the firms that have both internal teams and

external teams taking care of the delivery of the goods and services. In this kind of

companies’ brands are essential elements for unifying different operators such like suppliers

and partners. (Basking & Earls, 2000, 8)

1.1.2. Brand Equity

Based on Marketing Science Institute’s definition (MSI, 1989) (quoted by Faircloth, et

al. 2001) “brand equity can be viewed by customers"...as both a financial asset and as a set of

favorable associations and behaviors" (Faircloth et al. 2001). While based on Farquhar

definition (1989) (quoted by Faircloth et al. 2001) “brand equity to a consumer follows from a

positive evaluation of, or attitude toward, the branded product”. (Faircloth, et al. 2001).

Feldwick (1996) (quoted by Wood, 2000) determined the brand equity as a measurement of

strength, which illustrates the level of consumers’ attachment that he or she has to the brand.

Also, Feldwick pointed out that brand equity demonstrates the brand’s total value, which is

seen as a separable asset when the brand is sold or added to the balance sheet. (Wood, 2000)

According to Aaker’s definition “Brand equity is a set of brand assets and liabilities

linked to a brand, its name and symbol, that add or subtracts from the value provided by a

product or service to a firm and/or to that firm’s customer”. (Aaker, 1996, 50) Brand equity

can be divided into four major categories: brand awareness, brand loyalty, perceived quality

of the brand and to brand associations. Brand equity is a factor that produces value for both

the company and the customer. (Aaker, 1996, 51)

Brand awareness describes consumers’ ability to recognize the particular brand from its

competitors. Brand awareness provides many competitive advantages for the company. A

customer that is able to identify the brand will more likely buy it because people are usually

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more comfortable with familiar products and services. Other assumptions that are related to

the awareness and familiarity of the brands are that the brand is probably more reliable than

the unknown brand, and the quality of the familiar brand is considered good as well. A brand

that is recognized over its competitors will often be selected instead of the unknown brands,

and this gives familiar brands edge over the competition. (Aaker, 1991, 57)

How to win the obstacles and reach customers’ awareness to become familiar? Brand

awareness consists of two components; brand recognition and recall. “Brand recognition is

consumers’ ability to confirm prior exposure to the brand when given the brand as a cue.”

(Keller,2013,73) In practice, this means that when the consumer goes to the shop, he or she is

able to recognize the brand and the ensemble around it, which he or she has already been

predisposed to. Brand recognition is extremely important in the situations where the customer

is in the shop, and the visual factors like brand logo, name and packing design are present,

and the decisions about the purchase are made on the spot of the acquisition. (Keller, 2013,

74) Based on Keller’s definition “Brand recall is consumers’ ability to retrieve the brand

from memory when given the product category, the needs fulfilled by the category, or

purchase or usage situation as a cue.” (Keller, 2013, 73) In practice, this means if a customer

recalls Kellogg's Corn Flakes the recall will depend on consumer’s capability to retrieve the

particular brand when he or she thinks about cereal category generally or what they would

want to have for a breakfast or a snack for example. It does not matter where the recall takes

place whether it happens in the store when performing the purchase or home when figuring

out what to eat for breakfast. That’s why the brand recall is critical in the situations when the

purchase decision happens out of the spot of the purchase. (Keller 2013, 74)

Aaker determined brand loyalty as “a measure of attachment that a customer has to a

brand.” (Aaker, 1991,95) Brand loyalty is a measurement of brand equity. Term Little brand

equity demonstrates a situation where the brand does not affect to the decision of purchase.

Customers make the buying decisions based on the features, price, and suitability of the

product or service with only a little concern about the brand’s name. In the case where the

customer continues to purchase the brand despite the competitors’ competing products or

services, there is a substantial value attached to the particular brand. (Aaker, 1991, 94)

Commitment to the brand is one indicator of brand loyalty, and it is reflected to

situations how possible is that the customer will switch to another brand. Particularly in the

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situations where the brand is facing some changes in the price or other features. Loyal

customers will continue purchasing the products despite the changes. For this reason, it is

important for the brands to have brand loyal customer base in order to be successful and cope

with the competition. Also, gaining new customers is significantly more expensive compared

to keeping the existing ones. Particularly in the situations where the current customers are

satisfied with the brand and even have positive feelings about the brand. Because it is likely

that brand loyal customers will continue purchasing the products or services of the specific

brand in the future, brand loyalty can be directly translated into future sales, and it

demonstrates the brand’s equity. (Aaker, 1991, 95-110)

Brand loyalty is also attached to customer’s willingness to invest their own personal

time, energy and other resources for the brand. When the customer has very close connection

with the brand it will more likely promote the brand. This makes a customer “brand

messenger” to his or her family and friends. It is more likely that family and friends of the

customer will purchase and try the product or service when some of their inner circle has

recommended it first. (Keller, 2013, 120-121)

Based on Keller’s definition; “Perceived quality is customers’ perception of the

overall quality or superiority of a product or service compared to alternatives and with respect

to its intended purpose”. (Keller, 2013, 187) The process of fulfilling customers’ needs has

become a more demanding task for the companies over the years due to customers increasing

expectations about the products’ and services’ features like for example quality. Keller also

defines that the quality of the product does not only consist of the features and quality of the

product itself. Also, other features are linked to the product like for example the speed and

accuracy of the delivery and the installation of the product, and they affect to the formation of

the overall picture of the quality. (Keller, 2013, 187) Aaker confirmed that perceived quality

is directly linked to buying decisions of the customers’ and also to the brand loyalty of them.

Especially in the situations when a potential customer is not feeling motivated or is not able to

draw up a detailed analysis. Perceived quality can also promote a premium price for the

product or service, and this instead has impacts on the gross-margin of the product, the gross

margin can be invested back to the brand equity. (Aaker, 1991, 56-58) According to Oude

Ophuis and Van Trijp marketing strategy authors determine quality as a central concept in the

process of building satisfaction and value for the customers. (Oude Ophuis et al. 1995) Kotler

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(1994) (quoted by Oude Ophuis et al. 1995) claims that it does not matter how good the

marketing department is at selling products if the quality of them is unsatisfactory, the

products are not able to meet customers’ need and remain unsold.

Aaker pointed out that “A brand association is anything “linked” in memory to a

brand.” (Aaker, 1991, 222) The association consist of different elements for example product

attributes a celebrity spokesperson or some specific symbols. (Aaker, 1996, 97) Associations

linked to McDonald's could be such as Ronald McDonald, children, service restaurant, a

symbol such as the golden arches of letter M. (Aaker,1991, 223) According to Aaker; “Brand

associations are driven by the brand identity -what the organization wants the brand to stand

for in the customer’s mind.” (Aaker 1996, 97) Based on Keller’s definition brand associations

are sort of comprehensive nodes that are connected to the brand’s node in memory, and they

include the importance of the brand for the consumer. Different customers and market

segments have an impact of the formation of the brand associations. Opinions about the same

brand can vary widely depending on the point of view the brand is looked at. (Keller, 2013,

72-73) According to Lassar et al. 1995 definition brand strength plays an important role and

as it constitutes the formation of the brand association, which are held by the consumers.

Keller’s definition of customer based brand equity determines that the most important factors

in associations are the strength, favourability, and uniqueness of them. The strength of the

association illustrates the connection between consumer and the brand. Usually, the direct

experiences between the consumer and the brand constructs the strongest attribute and benefit

associations, and have major impacts on consumer’s opinions about the products or services

of the brand. Marketers aim is to create favourable brand associations and through them

convince customers that their products or services will fulfil the needs and wants of them, so

the customers is able to form positive brand judgments about their brand. The uniqueness of

the brand associations illustrates the situation where a brand has to be able to offer its

customers something different and unique and give them good reasons why to purchase the

particular products or services of the brand. Unique associations are critical in the situations

where the brand faces a lot of competition, and they affect directly to the success of the

company. (Keller, 2013, 76-78)

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1.2 Brand image and brand identity

In the following sub-chapters, brand identity and brand image and its related factors are

introduced. Brand identity and brand image are concepts that are intimately linked together

and resemble each other but in practice means different things. At first brand identity is

introduced in order to understand its impacts on the formation of a brand image. After that,

the concept of brand image is introduced. The primary focus of this chapter is to provide

overall understanding about brand image, the meaning and formation of it, and how the brand

image can be influenced. This section will serve as the main theoretical framework for the

whole research and survey questions.

1.2.1 Brand Identity

Brand identity’s aim is to create direction, intention, and meaning for the brand. It is

one of the key element of brand’s strategic vision. Brand identity is a unique combination of

brand associations which tells of what the brand stands for and what it represents. The

associations also work as a promise to the customer from the organization’s members. (Aaker,

1996, 225-226) Brand identity illustrates the aspect how the company would like the brand to

be perceived. (Aaker 1996, 22) According to Roy and Banerjee (2008), the brand identity can

be composed of different characteristics, values, advantages, personalities and differentiation.

The overall picture of brand image illustrates the associations what the brand wants to be

related to. (Roy & Banerjee, 2008)

Based on Aaker's theory brand identity is a sum of brand identities that can be seen

from four perspectives; brand as a product, brand as an organization, brand as a person and

brand as a symbol. Brand as product illustrates product attributes, quality and value of the

product and it determines the users and the country of origin. (Aaker,1996, 226-227) Product-

related associations are an important part of the brand identity because they are directly

connected to decisions about the brand choices and the use experience, which is formed from

the brand. (Aaker,1996, 257) Product attributes can provide functional and emotional benefits

for the customers. (Aaker, 1996, 261) It is important to be able to provide a minimum level of

quality for the customers in order to survive in the competition. For example, Starbucks’

brand identity is based on a reputation by which it will provide the finest coffee in the world

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with honesty and consistency matters. Quality is an important factor because it is the core

identity element for many firms. (Aaker 1996, 263)

Brand as an organization illustrates the organizational attributes and the international

nature of the product: local versus global orientation. Organizational attributes as innovation

such as concern for the environment is created together with the people, organization culture,

values of the firm and the company’s program. Organizational attributes are more durable and

resistant to competitive actions than product attributes. It is much harder to copy the entire

organization culture compared to product or service features. (Aaker 1996, s.267-269)

Brand as a person illustrates the personality of the brand. It illustrates the relationship

that the customer has with the brand. Brand as a person can be represented by using various

types of adjectives; upscale, trustworthy, competent, impressive, active, humour, fun, formal,

casual, youthful or intellectual. A customer might use brands as a way to express their

personalities. For example, Apple user may interpret themselves as casual, creative and anti-

corporate persons. (Aaker, 1996, 270-271)

Brand as a symbol illustrates visual aspects; visual imaginary, metaphors and the

heritage of which the brand holds. A potent symbol can create many benefits for the firm. It

can create a feeling of togetherness between the consumer and the brand and provide structure

to identity. This instead makes it much easier for a customer to recognize and recall the brand

when possible. Powerful and memorable visual imagines related to the brand remains more

easily in consumers’ minds. For example, McDonald’s M letter’s golden arches. (Aaker 1996,

273)

Figure 2. Brand Identity Layers Source: (Aaker 1996, 278)

Figure 2 illustrates the layers of brand identity which consist of core identity and

extended identity. The core identity describes the brand's timeless and unchanging core that

remains constant over time. The core identity is essential to the meaning and the success of

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the brand. The associations of the brand remain unchanged in the core identity, even if the

brand itself faces new changes like entering new marker areas or faces changes in the product

features. Brand identity should consist of elements that are unique, valuable and differentiates

the brand from the others. (Aaker 1996, 279-281) Based on Aaker’s definition; “The extended

brand identity includes elements that provide texture and completeness.” (Aaker,1996, 283) It

helps to create a more comprehensive picture about the brand and what it stands for. Extended

identity is more susceptible to changes compared to core identity. (Aaker, 1996, 283)

1.2.2. Brand Image

Brand image is the picture that is formed about the company in the consumer’s eyes. It

describes the feelings and emotions that the brand evokes in consumer’s mind when he or she

thinks about the brand. These are the basic features, which enables the company to develop a

competitive advantage for their business. Understanding these fundamental characteristics can

bring significant competitive advantage for the company, and is a primary concern for the

brand management in the long run. It is also critical for the companies to understand how

consumers shape and reshape the picture of the brand image, and what kind of relationship is

formed between the brand and the consumer. (Roy & Banerjee, 2008) According to Aaker

Brand image illustrates the overall image how the consumers and others perceive and see the

brand. (Aaker, 1996, 22)

Based on Dobni’s and Zinkhan’s (1990) compacted review about a brand image

(quoted by Baloglu S. et al. 1999) a brand image is a broadly observed phenomenon, which

has evolved through the emotional interpretation of the consumer. They also came to the

conclusion that the formation of an image is influenced by both the elements of product

stimuli and the perceiver’s characteristics. (S. Baloglu et al. 1999) Dobni and Zinkhan, (1990)

(quoted by Low et al. 2000) also determined that “Brand image is defined as reasoned

emotional perceptions consumer attach to specific brands”.

Based on Kapferer’s (1992) definition of brand image (quoted by Faircloth et al. 2001)

"the customer forms an image through a synthesis of all the signals emitted by the brand...".

Also, Kapferer (quoted by Faircloth et al. 2001) determined that brand image is a result of a

process where customer decodes, extracts and interprets the signals that are sent by the brand.

(Faircloth et al. 2001)

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1.2.2.1. The Formation of Brand Image

When defining the creation process of the brand image, it should be taken into an

observation that it is important for a strong brand to have rich and clearly defined brand

identity. And it is important that this clear brand identity is communicated sufficiently to the

target markets. A company’s brand image should expose the real concept of the brand, which

consumer experience while using the products or services of the brand. A recent customer is

looking for associations that reveal him or her new and unique experiences, that he or she can

combine with the brand. If the consumer’s expectation about the brand does not fit to the

brand image, which they have formed from the company the customer could not find what

they're looking for. This instead provides competitors great opportunities in the competition.

(Janonis & Virvialite, 2007)

Figure 2. Elements of Corporate Image Source: (Vuokko, 2003, 111) Figure 2 illustrates the formation of the brand image and its different factors introduced

by Vuokko (2003). The image that the brand forms is created by the sum of many aspects and

the company cannot decide how the image is created in consumers’ minds. Many different

factors affect the formation of the image: values, attitudes, prejudices, hearings, beliefs,

information, knowledge, experiences and observations. Values, attitudes, prejudices, hearing

and knowledge are factors, which the company is not able the affect directly. It is hard to

overcome prejudices and beliefs only by increasing communication because they are feeling

that are deeply drawn in the consumers. If a consumer has particular prejudices about the

company and its actions the image cannot be changed just by convincing the customer that

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beliefs do not reflect the reality of the company. Changing a brand’s image is possible but it

takes a lot of effort from the company and the getting there might take a long time.

Information, knowledge, experiences and observations instead are factors that the company

can directly influence. It is important for the company to inform customers about their

products and try to actively affect to the experiences that consumer forms from the brand, so

the image that is created is not formed randomly. If a company wants to create a good image

of itself, it must pay particular attention to two things, good action and good communication.

It is important that communication works both inside and outside of the company, and that

they are accordance with same line and give a unified image about the company. Good

communication is based on good planning and accurate definition of imagery goals, and it

should fulfill them in a proper manner. A company may have many brand images that vary

depending on which stakeholders’ view the brand is looked at. Different stakeholders form an

image of the company on the basis of the issues that are important to them and their

relationship with the company. For example, for a customer, it might be the quality of a

product and for the owner of the company, it might be the profitability. For this reason, it is

impossible for the company the create only “one brand image” that is shared with all the

stakeholders. That’s why it is important for the companies to understand that creating a

positive brand image in all stakeholders’ mind is impossible and it is important to accept the

presence of negative images. The primary image should remain the same; this means that

images of different stakeholders should contain same some of the same elements. (Vuokko,

2003, 111)

2.2.2.2. Positive and Negative Brand Image

The ways how the company acts as a business tells the same time what the company

wants to communicate with itself to others. The messages that the company communicates

can be concrete issues like the company logo, or abstract things like for example a donation to

charity. These messages affect to the brand image that is formed from the company. The

brand image of the company is also affected by the fact what consumers expect from the

brand’s products or services. Also, other customers’ opinions about the brand and its goods

and/or services affect to the creation of the brand image. Particularly in the situations where

the customer has no previous experiences about the brand, other customers’ opinions about

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the brand has a significant influence the brand image that the customer forms. A good

reputation has a positive impact on the formation of the brand image and bad reputation

instead has negative. If the customer has no experiences from the brand and has not yet

formed opinions based on other customers’ opinions the brand image of the company is

neutral. (Ylikoski, 2000) Berry (2000) (quoted by Cretu et al. 2007) studied the influence of

branding in customer service situation. In the study, Berry found out that “meaning” of the

brand was considered more significant compared to derives of the customer, which they

experienced in the customer service situation. In this kind of situations, the reputation of the

company might have significant implications on consumers purchasing process. (Cretu et al.

2007)

Also, one indicator to measure the company’s health and state of the brand is the

likelihood to recommend scale introduced by Reichheld (quoted by Keller, 2013). Reichheld

pointed out that there is just one question that is beyond others “How likely is it that you

would recommend this product or service to a friend or colleague?”. Reichheld suggested that

customer is willing to recommend the product or service if he or she is satisfied with it and

another way around. The results of recommendations arise from the customer’s overall

experiences from the use of the products or services. Reichheld uses a Net Promoter Score

(NPS) in the interpretation of the responses. Usually, in a survey consumers are asked to

evaluate their likelihood to recommend on a scale from zero to ten. Marketers divide

consumers based on their likelihood to recommend. Customers whose answer was between

zero and six are classified as detractors, customers whose answer was between 9 and ten are

classified as promoters and customers whose response was between seven and eight are

classified as passively satisfied, and will not be included. Market leaders usually have very

high NPS like for example Apple, which NPS is 77% and Amazon.com 74%. A regular NPS

is usually ranked between 10-30 percent range. (Keller, 2013, 345) According to Gremler

(1994), Price and Feich (1984) and Reingen (1987) (quoted by Yasin et al. 2013) Positive

word of mouth advertising also works as a recommendation. The result of positive WOM is

usually enough to convince someone to try specific products or services from a specific

provider. (Yasin & Shamin, 2013)

Brand image research makes it possible for the company to measure its position

compared to its competitors. Image research’s aim is to find out what imageries customers’

have about the brand and the company. The image research should be directed to wide range

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of company’s stakeholders in order to find out different customers’ opinions. These customers

might be regular customers or even potential customers who do not have experiences with the

company yet. The purpose of the image research is to find out customers’ expectations and

imageries about the company, the questions in the image research may also be related to

product quality or for example, customers’ user experience. The sample size depends on the

fact what is wanted to be achieved with the image research. Sometimes it is good to examine

the entire consumer base and on the other hand, limit the research target to consider only

limited consumer groups to find out detailed information on the specific target group. (Lotti,

1998, 15-16, 174-175)

A positive brand image is a great asset for the company because the brand image

significantly affects the customers' perceptions of the company’s operations. (Ylikoski, 2000,

136) To create a positive brand image a company needs to organize different marketing

programs that connect unique, strength and favourable associations into the brand’s memory.

These associations may be brand attributes: that illustrates the properties which describe the

products or services, or a brand benefit: that represents the personal value of the brand, which

means that a consumer is attached to the attributes of the product or service. (Keller, 2013,

77) Based on Aaker’s theory (1991) (quoted by Faircloth, et al. 2001) positive associations of

the brand should result from a positive brand image.

Consumers create brand attributes and benefits in various manners. According to

Keller’s customer based brand equity (CBBE), does not make a difference between in what

sources the brand associations come from and the way in which they have been formed. In

CBBE only thing that is relevant is the uniqueness, strength, and favourability of the

associations. In practice, this means that consumer can create brand associations in many

different ways, not just as a result of marketing activities. These ways might be for example

direct experiences that the customer experience with the product or service; experiences from

online surfing; experiences from the word-of-mouth advertising, or experiences from other

mercantile or non-impartial sources like consumer reports or some media vehicle. It is

important for marketers to recognize and to take into account the impact of these variety

sources of information and create ways to manage them in so far as is possible. (Keller, 2013,

76)

According to Ylikoski brand image has strong effects on many issues. For example, it

affects the customer's perceived notions about the quality and the level of satisfaction that

19

arises from the use experience of the service, which instead affects the entire level of the

customer satisfaction. These customers’ experiences affect to the brand image. Good

experiences strength a positive brand image and bad experiences weaken it. A good brand

image is like a protective wall that protects the company from bumps. If the customer has a

positive brand image of the company, he or she is more likely to ignore minor mistakes and

forgives them. Instead, a customer who has a negative brand image of the company, small

errors may seem bigger in the consumer’s eyes that they actually are. The brand image is the

result the customer forms on the basis of the emotions, experiences, and perceptions. This

picture that the customer forms from a company may differ a lot compared to the picture how

the company would like the brand to be perceived. In this case, the company’s brand identity

differs from the brand image that customer has formed from the company. Also, a positive

image has a major role when managing company’s external relations with other customers.

(Ylikoski 2000, 137) According to Krishnan (1996) (quoted by J. B. Faircloth et al. 2001) if

the firm has a high level of brand equity the associations related to it are more likely to be

positive than the brands that have low brand equity. This instead also affects to the brand

image that is formed from the company. (Faircloth et al. 2001)

Brands have a significant role in consumers' everyday lives (Yasin & Shamim, 2013).

Based on Caroll and Ahuvia (2005) (quoted by Yasin et al. 2013) brand love is determined as

the state of obsessive feelings for the brand l. Yasin and Shamim pointed out that there are

many features that are associated with the brand love, which the consumer experience. These

features include things like attachment to the brand, the passion toward the brand, positive

assessments about the brand, confessions of love toward a brand and positive feelings for the

brand (Yasin &Shamim, 2013). Keller's brand love scale is a great tool for measuring

consumers ‘attitudinal attachment to the brand. There are many different versions of the brand

love scale, but in most of them, there are presented a different kind of statements about the

brand which consumer correspond by their preferences. For examples statements like “I Love

this brand”, “This brand makes me happy” or “This brand does not awake in me any

particular feelings”. (Keller, 2013, 347)

Reported by Gray and Balmer (1998) it is important for companies to create and

maintain positive brand image about the company. This positive or negative picture about the

company has an impact on consumers’ behaviour toward the company. It affects their

attitudes, opinions, and willingness to either support the company or to refuse grant support.

20

A negative brand image might have major impacts on company’s financial performance. If

the customer has created negative brand image toward the company, it leads to a deterioration

in sales, which in turn affects to the entire company’s financial situation. Everything that the

company says does or makes works as a communication channel to the publicity and reflects

company’s ways to work. (Grey et al. 1998) Based on to Ylikoski’s theory (2000) some of the

messages that the company communicates might be unintended and cause unwanted negative

publicity. This negative publicity might cause extensive damage to company’s brand image.

(Ylikoski 2000, 138)

According to Zarantonello, Romani, Grappi, and Bagozzi, (2016) The most

consequential and strongest negative feelings that the customer may experience toward the

brand is a called the brand hate. McDougal (quoted by Zarantonello et al. 2016) defines the

word hate as a combination of primary emotions that includes emotions like anger, disgust,

and fear. Based on Zarantonello et al. these feelings may be due to the negative experiences

between the customer and the brand or the company. As a result, the consumer may speak in a

condescending manner about the company. For example, the clothing store Abercrombie &

Fitch has been criticized for their action only to hire attractive people who look like models as

their shop assistant, and want their brand to represent only by stylish and skinny people.

(Zarantonello et al. 2016) According to Hollenbeck and Zinkhan (2010) and Krishnamurthy

and Kucuk (2009) (quoted by Zarantonello et al. 2016) consumers may set up a Facebook

clubs where they share their negative emotions toward the brand with other consumers.

Sometimes these actions go so far that they even take action toward the targets that they hate.

(Zarantonello et al. 2016)

2.2.3. Influencing to The Brand Image

If a company wants to control, the formation of its brand image it first must be able to

understand how consumers constructed the view about the company’s brand image and how

the image has been born. Influencing to the brand image also requires repeated investigations

about the brand image at regular intervals. When exploring the brand image, it is important to

look at the target group and stakeholders group of the brand. If the company’s mission is to

change the brand image of the company that the customers’ have formed, it is important that

the company has a comprehensive understanding of their own organization's vision. This

21

image represents the objective picture of how the company wants to be perceived and seen in

the eyes of consumers and stakeholders. (Ylikoski 2000, 139)

In order to change the brand image of the company, the company must be able to

relocate the factors beyond the company's current image is based on. It is important that the

development of the new picture is based on a realistic view of the company. The first step in

the formation process of the brand image is to find out the differences between the current

image and the objective image. If the negative image of the company is based on a deficiency

of activities, way to correct the image is by improving the organization’s activities. Also,

marketing communications is a way to affect the brand image, but if the picture provided by

the marketing does not correspond to reality, it has negative impacts on the formation of the

brand image, and the brand image continues to deteriorate. (Ylikoski, 2000,139-140)

The aim of the first chapter was to provide overall understanding about brand image and

its related factors. The purpose was to provide understanding what brand image means and

how it is created in consumers’ minds. To understand the comprehensive picture about the

brand image, it is important to investigate the factors behind it. What factors the company can

influence by their own action and what they cannot. All activities the company does tell same

time what the company wants to communicate to it stakeholders. These activities have an

influence on consumers’ perceived brand image about the company. Also, brand identity has

an important part in the formation of a brand image. Is the picture transmitted by the company

self-realistic and corresponds to the customer's perceived image of the company? It is

important for the company to attach strength, unique and favourable brand association to their

brand to create strength and positive brand image about their company. The first chapter

works as a theoretical framework for the whole study and survey question. Theories

introduced in the first chapter helped to explore the case company of this research and to

reach the intended goals of this research study.

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2. CASE FINLAYSON The next chapter concentrates on Finlayson and its new Tom of Finland collection which

was selected as the case company for this research. First, the chapter will introduce Finlayson

and its history and responsibility principles, after that the new Tom on Finland collection and

story behind it is introduced. The reason why Finlayson was selected as a case company was

because of the Tom on Finland based collection. Tom of Finland has been under very

intensive discussion in Finland for avail as the movie based on Touko Laaksonen, creator of

Tom on Finland, and his life’s work premiere on 24th of February in 2017. Also, the

collection has attracted a lot of public debate and lively discussion as it based on gay erotic art

and touched the limits of chastity.

2.1. Introducing Finlayson

Finlayson is a Finnish textile company, which was founded by James Finlayson in

Tampere in 1820. A few decades later Finlayson becomes the biggest industrial enterprise in

the Nordic countries and behind the company’s growth was its courage and open-mindedness.

At the time Finlayson had its church, hospital, school and fire department and it also created

its own social security system, which was entirely new at the time. Also, a major part of

Finlayson’s history was that it was the first company in Finland which provided women the

ability for an independent life for providing housing and place to work. (Finlayson 2017)

In the year 2014 Finlayson’s was bought by new owners Jukka Kurttila, who is the

chief executive officer, Petri Pesonen, and Risto Voutilainen. The new owners with marketing

background wanted to reform the entire brand and bring it back to people’s attention.

(Kauppalehti 20.4.2016) The first step for that was to respect the traditions of Finlayson

history and try to act as responsibly, courageously and without prejudice like its founder

James Finlayson. The new owners started to think what responsibility means in today’s

society. Today Finlayson’s goal as a company is to become the most transparent textile

23

industry company in the world. They want to open their supply chain completely transparent.

One important mission for the company is to work for the traceability of cotton. And also, one

goal is to increase business operations and create economic welfare for the enterprise.

(Finlayson, 2017) The company pays a lot of attention to ethical premises, for example,

Finlayson stopped cooperation with Finnish department store Kärkkäinen for moral reasons

that fight against Finlayson’s values. Finlayson wants the entire company work according to

the same line which is in harmony with the company's ethical values. The owners of

department store Kärkkäinen had published papers that communicate Semitism. (Kauppalehti

24.4.2015) Currently, Finlayson is organizing Finnish lion project which aim is to create

hundred new Finnish lions and correct the misunderstanding that is attached to the bearing.

(Yle Uusiset, 9.1.2017)

Finlayson has defined corporate values and responsibility objectives very clearly. Based

on the company’s financial responsibility, Finlayson wants to provide reliable and stable jobs

for its employees and act as a responsible tax payer for the economy. According to social

responsibility, they want to express themselves as a company and participate in the social

debate. Finlayson wants to protect things that matter to them and stand behind them, and work

behalf of equality and tolerance. Finlayson intends to collaborate with partners who share the

same principles and values than they do. Based on the environmental responsibility, their

intention is to minimize the environmental costs that are caused by the business operations.

Also, their aim is to create better and more sustainable product solutions that take into account

the product life cycle and pay attention to the recyclability of the goods (Finlayson 2017)

Finnish economic research; “Finland’s most interesting brands,” which aim was to find

out what brands interest Finnish people the most, Finlayson was ranked in the fourth place out

of ten based on the experts' point of view. The experts pointed out that the most exciting

brands were united with courage and innovativeness. Instead based on the consumers' point of

view Finlayson was not selected among the ten most attractive brands of Finland.

(Markkinoini & Mainonta 14.03.2017) Finnish Association of Advertisers awarded Finlayson

as a Brand Builder of the year in 2015; the recognition is awarded annually to an exemplary

member of the marketing communications company. (Markkinointi & Mainonta, 15.9.2015)

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2.2. Introducing Finlayson’s Tom of Finland Collection

Finlayson’s Tom of Finland collection is a textile collection that is based on gay erotic

art. The collection is a tribute to the art of Touko Laaksonen and his lifetime work. The

collection consists mainly of duvet covers, towels, napkins and shopping bags having a print

of substantially masculinized man figures on them. The collection is made up in co-operation

with the Tom of Finland Foundation. The Tom of Finland collections intends and aim to give

a strong message behalf of tolerance. (Finlayson 2017)

The history of Tom of Finland is based on Touko Laaksonen’s life. Touko Laaksonen

(1920-1991) was Finnish artist whose production included very masculinized, gay erotic

pictures. In his lifetime, the publication of his gay erotic images was perilous and dangerous

as Finland being a very anti-gay country at the time. Now as the world has changed these

pictures has come into their justice. Touko Laaksonen drew more than 3,500 pictures over his

lifetime, and now these same pictures adorn people's shopping bags, duvet covers, and home

textiles with full liberties. (This is Finland, Tom of Finland from fringe to mainstream, 2017)

The collection has raised many opinions and talk among Finnish people. In particular,

the collection has irritated nationalist and far right circuits when Finlayson first launched a

gay erotic collection and after that cut cooperation with the department store Kärkkäinen due

to the ethical reasons. Due to this actions Jukka Kurttila, the CEO of Finlayson has received

many hate messages and death threats. (Yle Uusiset, 9.1.2017)

The sales number of Tom of Finland collection was a disappointment when they first

launched the collection. But after a while, the company understood that the value of the

collection was attached to the branding and marketing. The goodwill of Tom of Finland

collection has been around one million euros around the past few years. (Yle Uutiset,

9.1.2017)

The total goodwill of Finlayson, increased by 53% in the year 2016 compared to the previous

year. (Markkinointi & Mainonta, 29.3.2017) Finlayson was rewarded by Retail Award in the

year 2015 for the launch of the Tom of Finland collection, which was considered as years

marketing act. The reason why Finlayson was selected was that the launch of the collection

was brave and opens new doors to international markets and the collection renewed the old

traditional Finnish brand and brought it back to life (Markkinointi & Mainonta, 26.2.2015)

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3. RESEARCH METHODOLOGY AND RESULTS

This chapter focus on the thesis research. First, the chapter concentrates on the research

methodology, which was used in the online survey. After the methods, the research results

gained by the survey are explained.

3.1. Methodology

The case study was conducted by using both qualitative and quantitative research

methods to supplement each other. The research concentrates on consumer’s point of view,

and the aim of the research is to find out how the Finlayson’s Tom of Finland collections has

affected to consumers’ perceived brand image. The survey was conducted using mainly

quantitative research approach because it is very suitable for brand image research when the

aim is to collect a large number of respondents. Also, a survey method was selected because it

is an easy and quick method for the respondents, which in turn makes the collection of the

replies easier and allows access to a large number of data. The whole question survey is based

on Keller's, Reichheld's and Lotti's theories, which are introduced in the first chapter and they

work as a theoretical framework for the whole study.

The quantitative approach of the survey mainly consists of different kind of scale

questions and closed multiple choice questions in order to collect numerical data, which the

researcher can use to drawn up numerical representations and to write summaries. These

quantitative measurements are used to measure the depth and extent of brand awareness and

uniqueness, strength and favourability of the brand associations. A quantitative research

approach is also an excellent tool for finding out consumers’ feelings, judgments and the state

of the brand relationship, which is attached to the brand. (Keller, 2013, 339) Also, Reichheld

Net Promoter Score (quoted by Keller, 2013) is used in the survey to find out customers’

likelihood to recommend the collection. According to Reichheld, it is the only question that

matters, and the willingness to recommend is connected to customers’ overall user experience

26

from the brand. (Keller, 2013) The sample has been divided into two age groups based on

Lotti’s theory, the age group 1 includes respondents from age 16 to 35 and the age group 2

from age 36 to upwards, to find out more detailed information from different age groups and

compare the responses with each other. (Lotti, 1998)

The qualitative research approach instead uses different kinds of open-ended question.

The open-ended questions are used to find out consumers’ deeper feelings, and associations

related the Finlayson’s Tom of Finland collection, and to find out how this collection affected

to their opinion about Finlayson’s brand image. The aim is to find out did the image that

consumer perceived changed positively, negatively or not at all after launching the Tom of

Finland collection. (Keller, 2013)

3.2. Online Survey Results

This chapter concentrates on the data that has been collected through the question

survey. The online survey was created with Google forms, and the survey was addressed to

Finnish people. The aim of the survey is to find out overall associations that are attached to

Finlayson’s Tom of Finland collection and to determine what impacts the Tom of Finland

collection had on Finlayson’s brand image. First, the overall results of the survey are

presented, and after that, they are presented by age groups. The age group one contains

respondents from age 16-35 and the age group two from age 36 to upwards. The research’s

aim is to examine is there an existence of difference about opinions and attitudes among

different age groups. The survey was sent with e-mail or Facebook message to 250 persons,

and the total number of respondents was 169. The response rate of the online survey was 67,6

%.

Figure 3. Age and Gender Distribution of Respondents, n=169 Source: Appendix 2, Table 2.1

27

The intention of the first set of questions is to gain background information about the

respondents. The bar chart of figure 3 illustrates the age and gender distribution of the

respondents. The major part of the respondents consists of the age group 46 and upwards

covering 38% of all the respondents. The second largest group includes respondent from age

16 to 25 covering 28% of all the respondents. The third largest group included respondent

from age 26 to 35 covering 27% of all respondents. The smallest group includes respondents

from age 36 to 45 covering 7% of all the respondents. A majority of all respondents were

female covering 64% of all respondents and 36% were male. The age group one includes 94

respondents, which contains 56% of all the respondents and the age group two includes 75

respondents, which contains 44% of all the respondents. In the age group one, n=94, 62% of

the respondents were female, and 38% were male. In age group two, 67% of respondents were

female and 33% were male.

Figure 4. Recognition of the Company, n=169 Source: Appendix 2, Table 2.2 Figure 4 illustrates the recognition and familiarity of the company. The respondents

were presented with various statements from which they were able to choose all the

alternatives which they find appropriate. A majority of the respondents have purchased

Finlayson’s products receiving total 103 responses out of 169 and covering 61% of all

respondents, 43% knew the company well, and 20% would like to purchase the products in

the future. Only one respondent out of 169 did not recognize the company. When comparing

the responses between the two age groups, the result was very similar. In the age group 2,

n=75, the purchase percentage was a little bit higher covering 65% of the respondents and in

the age group 1, n=94, the percentage share was 57%. And also in the age group 1 the

willingness to purchase the products in the future was a little bit higher covering 23%

28

compared to age group 2, where the percentage rate was 16. In age group 1 only one

respondent did not recognize the company covering 1% of the age group 1, and in the age

group 2, the number of respondents was zero.

Figure 5. Recognition of Tom of Finland collection, n=169 Source: Appendix 2, Table 2.3

Figure 5 illustrates the familiarity of the Finlayson’s Tom Finland collection.

According to all respondents, 85% were familiar with the Tom of Finland collection receiving

144 responses out of 169, and 15% of the respondents were not familiar with the collection

receiving 25 responses out of 169. When comparing the age categories majority of the

respondents in both age groups were familiar with the collection. In age group 1, 84% of the

respondents were familiar with the collection and 16% we’re not. In the age group 2, the

familiarity percentage was a little bit higher covering 87% of the respondents and only 13 %

of the respondents were not familiar with the collection.

In the next set of questions, the respondents were asked an open-ended question. The

respondents were shown different kinds of pictures of the products of the Tom of Finland

collection and they had to comment on their opinion about the products. The purpose of the

questions is to find out customers’ deeper feelings and associations related to the collection.

The question received 169 responses, and all the respondents answered comprehensively to

the question. The majority of all comments were positive, and respondents shared quite

similar opinions about the collection, which made it possible to make generalizations about

the responses. Only a few of the comments were negative. The most common responses were

such as the collection is very brave, it takes a stand, it drives equality, it’s provocative, it’s

different and drives minority’s rights. The collecting also raised negative feelings in some of

the respondents and they felt that the collection was not their style or thing, they felt that they

don’t belong in the target group and would not purchase the products. Only a few of the

29

respondents’ tone of the response was very negative, and they felt that the collection was

rubbish and repulsive. When comparing the results of the different age groups, the age group

2 shared more negative feeling about the collection compared to age group 1, but still, the

majority of the comments in both age groups were positive. Also, the tone of responses was

slightly more tolerant in the age group 1.

“Brave and experimental. Unconditional and violated the limits. Raises opinions.” (Male, age between: 16-25) “The collection is deviant, eye-catching and makes a stand. It raises positive imageries in me, and it is evident the collection strives to take a stand on sexual issues. This is not done by highlighting “basic” rainbow colours (which is stereotypically combined to homosexuality) but instead highlighting the colours of black and white. This, in turn, limits the overall look of the campaign.” (Female, age between: 26-35) “Fine, artistic, valuable, provocative. The images have a great artistic value and are lifted as an important symbol for minorities.” (Female, age between 16-25)

“A tassel bag and a small bag are the only ones that are tolerable where the printing is appropriate. Linen, padlock and everything else in the picture is a bit too much. Generally, the collection does not ignite me.” (Female, age between 26-35) “Masculine, fun in a good spirit, trendy and brave. As a company, Finlayson made a strong statement for Finnish design and quality appreciation. 10 points.” (Male, age from 46à) “I was surprised positively when Finlayson took over this theme. They don’t fit in my home's interior or style, but they are fun and it raise Finnish pioneering art.” (Female, age from 46à)

“To my taste too homosexual. Internationally brave and affects to the brand image positively.” (Male, age from 46à)

“This theme does not interest me at all. I would not buy such prints to myself but I would not be bothered or mind at all that they are offered to others. “ (Female, age from 46à)

Figure 6. Respondent’s opinions about the products of the Tom of Finland collection, n=169 Source: Appendix 2, Table 2.4

Figure 7. Respondents’ emotions about the collection, n=169 Source: Appendix, Table 2.5

30

Figure 7 illustrates a modified version of Keller’s brand love scale, and its aim is to

capture respondents’ emotions about the Tom of Finland collection. The respondents were

presented different kinds of statements about the Tom of Finland collection, and they were

able to select all the statements according to their preference. The purpose of this question is

to measure consumers’ attachment to the brand. According to all responses the statement “this

collection makes me happy” got the highest number of the replies receiving 67 responses out

of 169 and covering 41 % of all respondents. The statement “this collection is totally

awesome” got the second highest number of the replies receiving 66 responses and covering

39% of all respondents. The statement “this collection rages me got the lowest number of the

replies receiving 0 responses. In the age group 1, n=94, 50% of the respondents felt that the

Tom of Finland collection is totally awesome and 44% of the respondents felt that the

collection makes them happy. Statements “I hate this collection” and “This collection rages

me” got both zero responses out of 94. In the age group 2, n=75, the statement “this collection

makes me happy” got the highest amount of responses covering 35% of the respondents and

the statement “This collection does not awake any special feelings in me” received the second

highest number of responses covering 28% of the respondents. The statements “I love this

collection” and “This collection rages me” got both zero responses out of 75 covering 0%

from the responses.

Figure 8. The respondents’ interpretations from the adjectives, n=169 Source: Appendix 2, Table 2.11

31

In figure 8 the respondents were presented a different kind of adjectives, and they had to

evaluate them by scale numbers from (1) the adjective describes really badly to (5) the

adjective describes really well. The purpose of this set of questions was to find out

respondents’ associations and opinions about the brand. The majority of all respondents

(n=169) felt that adjective “tolerant” describes the collection really well covering 53% of all

respondents, 56% from age group 1 (n=94), and 49% from age group 2 (n=75). Adjective

“striking in a good way” received the second largest number of respondents covering 47% of

all respondents, 51% from age group 1 and 43% of age group 2. Based on all respondent 46%

felt that adjective “forerunner” describes the company very well, in the age group 1 the

percentage share was 43% and in the age group 2 the percentage share was a little bit higher

covering 49%. According to all respondent majority felt that adjectives “funny and

humorous” describes the collection well and covered 34% of the responses and 40% of the

age group 1. Instead in the age group 2, a majority felt that the adjective describes the

collection very well covering 36% of age category 2. According to all respondents’ majority

felt that adjective “uncomfortable” describes the collection really badly covering 40% of all

respondents, 40% of the age group 1 and 39% of age group 2. The majority of the respondent

felt that adjective “striking in a bad way” describes the collection really badly and covered

47% of all respondents, 49% of age group 1 and 44% of age group 2. Adjective “immoral”

was selected as an adjective that describes the collection the worst covering 52% of all

respondents, 57% from the age group 1 and 44% from the age group 2.

Figure 9. The respondents’ interpretation from the statements, n=169 Source: Appendix 2, Table 2.6.

32

In figure 9 the respondents were presented a different kind of statement about the Tom

of Finland collection, and the respondents had to evaluate the statements from scale number

(1) strongly disagree to (5) completely agree. The purpose of the questions was to measure the

strength, favourability, and uniqueness of the brand and associations related to the collection.

The aim was to find out how the Tom of Finland collection has affected to Finlayson’s brand

image. The majority of the respondents felt that Tom of Finland collection is very brave

covering 48% of all respondents (n=169). In the age category 1 (n=94) interpretations:

completely agreed and partly agree, received the same amount of responses covering both

48% of age group 1. In the age group, 2 instead majority fully agreed to the statement

covering 52% of age group 2. The majority of the respondents felt that the collection is very

open-minded covering 46% of all respondents, 48% from the age group 1 and 48% of the age

group 2. According to all respondents’ majority completely agreed that collection is very

unique covering 43% of all respondents. In the age group 1 majority partly agreed to the

statement covering 50% of the age group 1, and in the age group 2, the majority of

respondents completely agreed to the statement covering 61% of age category 2. The majority

of the respondents partly agreed to the statement “collection strengthens Finlayson’s

corporate image” covering 34% of all respondents, 33% from age group 1 and 36% from age

group 2. Statement “other companies should take inspiration from Finlayson” shared more

opinions. 30% of all respondents partly agreed to the statement, 30% were neutral, and 26%

fully agreed to the statement. In the age group 1 majority partly agreed to the statement

covering 37% of age group 1, and in the age group 2, a majority of the respondents’ opinions

were neutral covering 32% of the age group 2. A majority of all the respondents felt that the

collection does not undermine Finlayson’s corporate image as they strongly disagreed with

the statement covering 44% of all respondents, 45% from age group 1 and 38,7% from age

group 2. A majority of the respondents partly disagreed with the statement “there is many

other collections that I can compare to Finlayson’s Tom of Finland collection” covering 41%

of all respondents and 49% of the age group 1. Instead, a majority from the age group 2

strongly disagreed with the statement covering 43% from the age group 2.

33

Figure 10. Respondents likelihood to recommend scale, n=169 Source: Appendix 2, Table 2.7 Figure 10 illustrates the respondents’ likelihood to recommend scale introduced by

Reichheld. The purpose of this question is to measure customer’s willingness to recommend

the Tom of Finland collection to a friend or colleague. Likelihood to recommend according to

Reichheld is created through customers’ use experience, and it also illustrates the relationship

that the customer has with the brand; promoter, detractor or passively satisfied. The

Reichheld’s Net Promoter Score (quoted by Keller,2013) indicates that 47% of the respondent

were classified as a detractor. They evaluated their likelihood to recommend from scale

number 0 to 6. 31 % of all the respondents were classified as passively satisfied and they

evaluated their likelihood to recommend by scale numbers (7) or (8) and covered 31% of all

the respondents. The respondent who evaluated their likelihood to recommend by scale

numbers (9) of (10) were classified as promoters and covered 22% all of the respondents.

When comparing the two age groups in the age group one 42% of the respondents were

classified as detractors, 23% as promoters and 35% as passively satisfied. In the age group 2,

instead 55% were classified as detractors, 20% as promoters and 25% as passively satisfied.

The next question is related to customers’ likelihood to recommend scale. The

respondents were asked an open-ended question to explain their answers why they would

recommend the Tom on Finland collection or why they would not. The purpose of this

question was to find out more detailed information about the customers’ willingness to

recommend and reveal consumers’ deeper feelings about the collection and opinions

generally. From all the results 166 responded comprehensively to the question, and 3 left no

comments. The most common responses were that the collection needs a certain type of

people to buy and they would not recommend it to all, many of the respondents were happy to

recommend it because of its Finnish design, it’s interesting, it’s stylish and because it’s brave

and different. Quality was also considered important factor when recommending the products.

The most common comments of respondents who would not recommend the collection were

34

related to facts that felt that they don’t like the style of it, they would not recommend it

because they don’t have any products themselves, and that makes it weird to recommend

them. They felt that their friends would not like the collection, they do not belong in the

target group or it is not their habit to recommend products or services at all. When comparing

the responses of the two age groups, it showed that the age group 1 was more willingness to

recommend the collection compared to age group 2, even though the responses from both age

groups were quite similar. A majority of the age group 2 would not recommend the collection,

instead of in the age group 1 majority of the comments were positive. Both age groups felt

that the collection only fits the particular kind of purpose for example as a souvenir from

Finland or for a present and not for the bigger consumption, which lowers the willingness to

recommend the product.

“Depends entirely on the person. I know many people who are interested in this collection and who can be recommended for the subject itself and for the good design.” (Female, age between 16-25)

“An innovative and interesting way to bring the dusty brand into one of the most talked Finnish companies today. Even though I would not buy these products myself, I would still recommend the products due to the grate concept.” (Male, age between 26-35)

“Tasteless, I do not think that my friends would like this collection and its products” (Male, age between 16-25)

“I could recommend it for example as a souvenir from Finland because Tom of Finland is a great part of history.” (Female, age between 26-35)

“I do not think that gay theme belongs in the sheets” (Male, age between 36-45)

“I find the theme and products difficult to combine. I would get tired to ToF pattern quite quickly.” (Male, age from 46à)

Figure 10. Respondents reasons to recommend or not, n=169 Source: Appendix 2, Table 2.8 In the last question of the survey the respondents were asked an open-ended question

did they feel that Tom of Finland was a successful launch from Finlayson or not. The purpose

of the question was to find out overall feeling about the collection and to examine did to

customers feel that launching the collection was a good or bad thing for the Finlayson. From

all the results 165 responded comprehensively to the question, and 4 left no comments.

Overall the respondents shared very positive feelings about the launching. They felt that the

collection was very timely, brave and open-minded and many of the respondents felt that the

35

collection strengths Finlayson’s corporate image and illustrates well Finlayson's set of values.

Some of the respondents felt that the collection brought Finlayson back to life. The

respondents also felt that the launching was very successful and raised a lot of attention in

media. The felt that Finlayson is the forerunner and the collection renewed the brand. Some of

the respondents pointed out that the collection might have shocked many of the consumers.

The negative comments of the launching were related to facts that respondent felt that the

launching was not successful and that the collection does not appeal to them in any way, and

they felt that the topic of the collection was a problem. In some of the respondents, the

question raised very strong negative feelings, and they felt that the collection was a complete

flop. Some of the responses were neutral, and the respondents could not decide whether the

collection was a good or bad thing for Finlayson. When comparing the two-age group, the

responses of the age group 1 were more positive compared to age group 2, and only few

comment out of 94 in the age group 1 were negative. Overall the responses in the age group 1

were very positive. In the age group 2, the question shared more opinions, and some of the

comments were very negative and some neutral, even though the majority of the responses in

age category 2 were positive.

“It was definitely. I believe that it could have shocked many of Finlayson’s standard customers, but Finlayson is obviously very ideological company, so the collection depicts well their ideas. Tom of Finland has become an important brand for the entire hundred-year-old Finland.” (Female, age between 16-25) "It brought lot of publicity and reputation. Although the sales of the collection have not been what assumed, it has certainly raised the brand to the pedestal in a new way. It was a trendsetter and a fresh breeze in quite boring field." (Male, age between 16-25)

“I think the collection is good, but it does not wake any bigger feelings in me: I believe that the collection has sought to awake social debate and bring a bold and new kind of male image to both Finland and to the world. In this way, Finlayson must have tried to gain visibility for its brand. Visibility has certainly come, but it has not changed my image about Finlayson in the direction or another.” (Female, age between 16-25) “Finlayson received lot of attention. I don’t know is it smart for a home textile company to take a stand on such “sensitive” issue. I really enjoyed the campaign but Finlayson certainly got lot of enemies.” (Male, age between 26-35) “A bold collection that strengthens the company's image as a pioneer” (Female, age from 46à) “The launch itself has been successful, but the topic is not.” (Male, age between 36-45)

“No. The whole Tom of Finland hyping is an appealing phenomenon. Tom of Finland was an illustrator limited by his own obsession, not an artist. He labels all the gays to crackpots that are only interested in skin and penises.” (Female, age from 46à) Figure 11. Respondents' opinions about the launch of the Tom of Finland collection Source: Appendix 2, Table 2.9

36

4. FINDINGS AND RECOMMENDATIONS This chapter focus on the findings that are made from the online survey results. The

chapter will serve as a theoretical framework for interpreting the results gained by the survey.

First, the overall result, including all respondents, are presented, and after that, the results are

examined and compared between the two age groups.

The online survey was sent to 250 persons wherein both age groups, and genders were

equally divided. The survey gained 169 responses and a majority of all the respondents were

female covering 64% of all the respondents, and 36% were male. The results of the survey are

examined from two age categories’ perspective. The target group was divided into two age

groups based on Lotti’s (1998) theory, to receive more detailed information about the target

groups. The age group 1 includes respondents from age 16 to 35, and it covers 56% of all

respondents including 94 people, and the age group 2 includes respondents from age 36 to

upwards and covers 44% of all respondents including 75 people. Finlayson was very familiar

company among the respondent as 103 respondents out of 169 had purchased Finlayson’s

products and have been interacting with the company. The result showed that 20 % would like

to purchase the company’s products in the future, which indicates positive feelings and

expectations reflected in the brand. A majority of the respondents were familiar with the Tom

of Finland collection covering 85% of all respondent, in the age group 2, the familiarity

percentage was a little bit higher compared to age group 1. The respondents high level of

brand awareness affects to the creation and strength of the brand associations, which forms

the brand image and affect to the recall and recognition of the brand (Keller, 2013, 74). High

familiarity made it good target group for examine the brand image, and it changes as the

respondents knew the company well and had already formed some kind of image about the

company based on the previous experiences.

The respondent shared very positive overall feelings, and associations about the

collection and the people felt that the collection was something new and different and it light

37

up Finlayson as a company. Based on Aaker’s theory (quoted by Faircloth et al. 2001) these

positive associations reflected with the brand should result from a positive brand image.

Particularly in the age group 1, the collection was related to words brave; it makes a stand,

and it’s unscrupulous. Younger people shared more positive feeling about the collection

compared to older generations, even though the majority of the comments were still positive.

The results indicate that the collection raised more positive images in the younger generation,

where the collection received a better reception and the attitude was more tolerant compared

to the older generation.

Based on Keller’s brand love scale, which aims is measure consumers’ attitudinal

attachment to the brand, is measured through different emotions that that brand awakes in the

consumers (Keller, 2013). The findings of brand love scale indicate that the majority of the

respondents were attached to the brand and shared positive images toward to the brand. The

statements that received most responses in the brand love scale were “this collection makes

me happy” receiving 67 responses out of 169, “the collection is awesome” receiving 66

responses out of 169, and the statement “I like this collection very much” receiving 51

responses out of 169. The stronger feelings in the brand love scale -love, hate, and rage -

received all low number of respondents. Only 3 % of the people felt that they love the

collection including respondents only from the age category 1, which indicates the

respondents’ low obsessive feelings for the brand. (Carol et al. 2005 quoted by Yasin et al.

2013) Instead, the statement about the hate received 1,8% of the responses and all of the

respondents included in the age category 2. It indicates that only a few of the respondents

share strong negative feeling toward the brand (Zarantonello et al. 2016) The collection did

not rage any of the respondents receiving 0% of responses. The result indicated that younger

generation is more attached to the brand and share more positive image towards it compared

to the older generation, but still a majority of all the respondents share positive overall image

about the brand.

According to all responses, the results indicate that from the seven adjectives the

adjectives tolerant, striking in a good way and forerunner were selected as adjectives that

describe the Tom of Finland collection the best, as the majority of the respondents evaluated

them by scale number (5) adjective describes really well. Adjectives immoral, striking in a

bad way and uncomfortable were selected as adjectives which describe the collection at the

worst as majority respondents evaluated them by the scale number (1) adjective describes

38

really badly. The adjectives funny and humorous shared more opinions, and the distribution

of the responses was greater. The age did not have a lot of influence to the evaluation of the

adjectives as both age categories selected tolerant, striking in a good way and forerunner as

adjectives that describes the collection the best and adjectives immoral and striking in a bad

way as adjectives that describes the collection the worst. The result indicated that the overall

image about the adjectives related to Tom of Finland collection was positive, which indicates

positive brand image.

The aim of the statement question was to find out the strength, favorability, and

uniqueness of Finlayson’s Tom of Finland collection. The results indicate that the majority

respondents held the collection very brave, open-minded and very unique as respondents

evaluated the statements by scale number (5) completely agree. Also, a majority of the

respondents felt that Tom of Finland collection strengths Finlayson’s corporate image by

evaluating the statement by scale number (4) partly agree. Also, the respondent felt that there

are not many other collections that they can compare to Tom of Finland collection as the

majority evaluated the question related to comparability by scale number (2) partly disagree.

The majority of the respondents felt that collection does not undermine Finlayson's corporate

image as evaluating the statement related company’s image deterioration by scale number (1)

strongly disagree. The results indicate that Finlayson’s Tom of Finland collection is kept

strong, unique and favorable brand according to the majority of the respondents, which are

important factors in building up the brand equity. (Keller, 2013) Consumers’ strength

associations about Finlayson indicates that consumers have a close connection with the brand.

The uniqueness of brand affects the customers’ choice and purchase decisions, which creates

significant benefits for the Finlayson and it also indicates that Finlayson is able to offer

something different and unique for its consumers. The high-level strength, uniqueness, and

favourability also creates great value and benefits for Finlayson (Keller, 2013)

The results of NPS indicates that respondents’ willingness to recommend the

collection was very low. The majority of respondents were detractors covering 47% of all

respondents also a majority of both age groups were classified as detractors. Likelihood to

recommend scale can be ranked between -100 to +100. Finlayson’s Tom of Finland

collection’s likelihood to recommend percentage was -25,45%, which is considered as low

percentage rate as usually NPS score ranks between 10%-30% (Keller, 2013). In the age

group 1, the NPS was -18,09%, and in the age group 2, the NPS was -34,67%. The result

39

indicates that the overall state of recommending the collection is quite low and younger

generation will more likely recommend the collection compared to the older generation.

Based on the results of the open-ended question, where respondents explained their reason

why to recommend or not, indicate the reasons for low NPS. Some of the respondents felt that

the collection was not their style even though they have nothing against the subject, the

collection is not aesthetically beautiful, and many of them felt that the collection needs

particular target group to buy, which makes it hard to recommend. They felt that they or their

friends do not belong to the target group or is not their habit of recommending anything at all.

Both age groups shared similar opinions about the recommendations. The comments for the

recommendation of the younger generation were slightly more positive compared to the older

generation as a majority of the age group 2 would not recommend the collection. The result

indicates that the collection is not very commercial and it is only suitable for specific target

groups, which makes the recommendation more difficult. In the positive sight, the collection

was reflected as a symbol of tolerance and equality, and the collection reflects good values

according to many respondents.

The results of the last question were people were asked opinions about the launching

indicate that that majority of people had positive overall images about the collection and the

image has not changed into a negative direction after the launching. Many of the respondents

perceive that launching the Tom of Finland collection renewed the dusty Finnish brand and

brought it back to people's consciousness as it raised a lot of attention in media. Findings

indicate that people felt that the collection drives good values and creates a good image about

Finlayson and its actions as a company. They also felt that launching the collection was very

brave move and the company acted as a forerunner in Finland, even though the collection

might have irritated some of the consumers, who do not tolerate the gay erotic theme. In both

age groups, majority of the respondents perceived that the collection was a factor that raised

the company’s image. They also felt that timing of the launching was good as the minorities

rights have been under discussion lately. Tom of Finland collection was perceived as a

symbol for tolerance and equality. Brand as a symbol captures the visual imaginary,

metaphors and the heritage of the brand and respondents felt that Finlayson share good

values. (Keller, 1996) Comparing the age groups the younger generation had more positive

images about the launching of the collection compared to the older generation.

40

The results of the survey indicate that decision for Finlayson to launch the Tom of

Finland collection was very successful and affected positively to consumers’ perceived brand

image about the company. Even though the collection was based on a very sensitive issue that

shares opinions among different people, and was not held very commercial for all consumers.

The state of consumers’ negative brand image was much lower than expected and even

though the older generation had more negative images about the brand, the distribution of the

responses was still lower than expected. It is likely that the state of the negative brand image

increases as the number of respondents and social classes increases. Finlayson took a

significant risk when launching the collection because it is hard to predict how people will

react to a topic, which is related to personal issues like sexual orientation. Issues related to

minorities and sexual orientation usually shares and raises a lot of opinions. For this reason is

impossible for a collection that is related to the gay erotic theme to please all parties, and the

presence of the negative brand image is inevitable. Finlayson did a great job for increasing

and reforming their brand’s image with the Tom of Finland collection even though it annoyed

some of the consumers, and for this reason, no recommendations are not needed.

41

CONCLUSION This bachelor thesis examined brand image from the consumers’ point of view.

Finlayson and its new Tom of Finland collection were selected as a case study for this

research. Tom of Finland collection is a home textile collection, which is based on gay erotic

art created by Finnish artist Touko Laaksonen. The aim of the research study was to find out

whether the consumers’ brand image of Finlayson has changed since they launched the new

collection and see what kind of images and feelings the collection raises in consumers’ minds.

The research question can be formulated: How the Tom of Finland collection has influenced

to consumers’ perceived brand image of Finlayson?

The theoretical framework of this research was build up by combining related articles,

and relevant literature and they were review and studied in the literature review. First, the

concepts brand and brand equity were introduced and explained through different definitions

to create a comprehensive picture about brands and its related factors. After that, the terms

brand identity and brand image were introduced in order to understand the formation of a

brand image. This is followed by introducing the meaning of the brand image, and what kinds

of effects positive and negative brand image have in a company, and how the brand image can

be influenced.

For the research part, a survey method was used, which included both quantitative and

qualitative research methods. The quantitative research approach included different kinds of

scale question and multiple choice question to collect quantitative data from the target. The

qualitative research approach included different kinds of open-ended question in order to find

out consumers’ deeper feelings and emotions about the collection. The theoretical framework

for the survey questions was formulated based on the theories introduced in the literature

review, and the questions were formulated in a way which gives a good view of how

consumers perceived the Finlayson’s brand image and what factors influenced to the

perceived view.

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The main findings of the research provided an overall view of how the respondents

perceived the Finlayson’s brand image and were the launching of the new collection

enhancing or degrading factor for the company’s brand image. At first, the overall results

were examined, and after that, the brand image was observed from two age groups’

perspective. The age group 1 included respondents from age 16 to 35 and the age group 2

from age 36 to upwards. The research indicated that majority of the respondent perceived that

the Tom of Finland collection had effected positively to Finlayson’s brand image. Only a

small part of the respondents felt that the collection weakens Finlayson’s brand image, and

some of the respondents had a neutral feelings about the impact of the collection.

Respondents perceived the collection as very brave, trendy and open-minded, they felt that

the collection refreshed the brand and made it more interesting. They also felt that the

collection underlines and communicates the company’s value principles, which was seen as a

very valuable factor. Respondent perceived the collection as a habit to raise social debate and

support the rights of minorities. When comparing the two age groups, younger generation

perceived the Finlayson's brand image more positive and tolerant compared to older

generation’s. Also, the results indicate the younger generation were more excited about the

collection, and that the collection reflected more accurately their set of values compared to the

older generation. The older generation perceived the brand’ image also as brave and open-

minded, but their attitudes were not as receptive as the younger generation. The collection

raised more suspicions in the older generation, and they felt that the collection might irritate

some of the consumers, even though a majority of the responses were positive. The results

also indicate that the collection was not kept very commercial and respondents felt that it is

hard to recommend the collection due to the small target group of potential buyers. Based on

the research result the decision for Finlayson to launch the new collection was very good idea,

because it attracted a lot of attention, made a debate and raised feelings in consumers’ minds.

The new collection also irritated some of the consumers and the presence of a negative brand

image is inevitable especially in the case of a gay erotic collection, that somehow violates the

limits of chastity. Finlayson was kept as old traditional Finnish brand, that had been forgotten

before launching the new different and bold collection, which completely changed the

direction of the company toward a tolerant and courageous pioneer.

The limitations in this research are mostly related to the low number of respondents.

To find out a comprehensive picture of Finlayson’s brand image the sample size should be

43

much greater and include members from many different social classes. The survey was sent

via two different Facebook users and by e-mail, which is why the distribution of the social

classes might be too low. For this reasons the results of the study may change as the sample

size grows and this is why the research only gives an indicative picture about Finlayson’s

brand image.

In its entirety, the brand image study was successful, and it managed to form a

comprehensive picture of the respondents perceived brand image. However, there is always

room for improvements. The author could have read more previous studies of the brand

images to improve the survey’s effectiveness and to reveal customer’s subconscious feeling

about the brand image. Also, the author could have used other research techniques to support

the survey method and collect more detailed information about the respondents. Also, the

study would have been more interested if the author would have also examined Finlayson’s

brand identity, that is formed by the company, and then compare it to Finlayson’s brand

image that is created by customers and search for differences.

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APPENDICES

Appendix 1. Online Survey

Survey on Brand Image This is a survey about brand image that is focusing on Finlayson’s Tom of Finland collection. The survey takes less than 5 minutes to answer and it is a part of my bachelor’s thesis at Tallinn University of Technology. Thank you for your time and help J Obligatory*

1. Age: (select one appropriate option) *

o 16-25 o 26-35 o 36-45 o 46à

2. Gender: (select one appropriate option) *

o Male o Female

3. How well do you know Finlayson as a company? (select one or more appropriate

option) *

o I’m not familiar with the company o I know the company by name o I know the company very well o I have bought company’s products o I would like to buy company’s product in the future

4. Are you familiar with Finlayson’s Tom of Finland collection? (select one option) *

o Yes o No

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Here are pictures about the products of Tom of Finland collection

5. Describe your opinion about the Tom of Finland collection in a few sentences: * 6. Above you can see statements about Finlayson’s Tom of Finland collection (Choose all suitable options in your opinion)

o This is a wonderful collection o This collection makes me happy o This collection is totally awesome o This collection rages me o I have no particular feelings about this collection o I really like this collection o I love this collection o I don’t like this collection o I hate this collection

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7. In your opinion, how do the following adjectives describe Finlayson's Tom of Finland collection

(1) Adjective describes very badly (5) Adjective describes very well

o Immoral *

1 2 3 4 5

o Forerunner *

1 2 3 4 5

o Tolerant *

1 2 3 4 5

o Striking in a good was *

1 2 3 4 5

o Striking in a bad way *

1 2 3 4 5

o Funny and Humorous *

1 2 3 4 5

o Uncomfortable *

1 2 3 4 5

8. In your opinion, How the following statements describe Finlayson’s Tom of Finland collection

(1) Fully disagree (5) Fully agree o Finlayson’s Tom of Finland collection is very unique *

1 2 3 4 5

o There are many collections that I can compare to Finlayson’s Tom of Finland

collection *

1 2 3 4 5

o Finlayson’s Tom of Finland collection is very brave *

1 2 3 4 5

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o Finlayson’s Tom of Finland collection is very open-minded *

1 2 3 4 5

o Tom of Finland collection strength Finlayson as a company *

1 2 3 4 5

o Tom on Finland collection weakens Finlayson as a company *

1 2 3 4 5

o Other companies should take inspiration from Finlayson*

1 2 3 4 5

9. How likely is that you would recommend Finlayson’s Tom of Finland collection to a friend or colleague from 0 (I would never recommend) to 10 (I would definitely recommend) *

0 1 2 3 4 5 6 7 8 9 10

10. In your opinion, why would you recommend the collection? or Why would you not recommend the collection? *

11. Do you think that Tom of Finland collection was a successful launch from Finlayson or not? (Please describe your answer with a few sentences) *

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Appendix 2. Quantitative data

Table 2.1. Age and Gender Distribution of the Respondents’, n=169

Table 2.2. Recognition of the Company, n=160

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Table 2.3. Recognition of Tom of Finland collection, n=169 “Brave and experimental. Unconditional and violated the limits. Raises opinions.” (Male, age between: 16-25) “The collection is deviant, eye-catching and makes a stand. It raises positive imageries in me and it is clear the collection strives to take a stand on sexual issues. This is not done by highlighting “basic” rainbow colours (which is stereotypically combined to homosexuality) but instead highlighting the colours of black and white. This in turn limits the overall look of the campaign.” (Female, age between: 26-35) “Fine, artistic, valuable, provocative. The images have a great artistic value and are lifted as an important symbol for minorities.” (Female, age between 16-25) “A tassel bag and a small bag are the only ones that are tolerable where the printing is appropriate. Linen, padlock and everything else in the picture are a bit too much. Generally, the collection does not ignite me.” (Female, age between 26-35) “Masculine, fun in a good spirit, trendy and brave. As a company, Finlayson made a strong statement for Finnish design and quality appreciation. 10 points.” (Male, age from 46à) “I was surprised positively when Finlayson took over this theme. They don’t fit in my home's interior or style, but they are fun and it raise Finnish pioneering art.” (Female, age from 46à) “To my taste too homosexual. Internationally brave and affects to the brand image positively.” (Male, age from 46à) “This theme does not interest me at all. I would not buy such prints to myself but I would not be bothered or mind at all that they are offered to others. “ (Female, age from 46à) Table 2.4. Respondent’s opinions about the products of the Tom of Finland collection, n=169

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Table 2.5. Respondents’ Emotions about the collection, n=169

Table 2.7. The respondents’ interpretations from the adjectives, n=169

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Table 2.8. The respondents’ interpretation from the statements, n=169

Table 2.9. Respondents likelihood to recommend scale, n=169

“Depends entirely on the person. I know many people who are interested in this collection and who can be recommended for the subject itself and for the good design.” (Female, age between 16-25) “An innovative and interesting way to bring the dusty brand into one of the most talked Finnish companies today. Even though I would not buy these products myself, I would still recommend the products due to the grate concept.” (Male, age between 26-35) “Tasteless, I do not think that my friends would like this collection and its products” (Male, age between 16-25)

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“I could recommend it for example as a souvenir from Finland because Tom of Finland is a great part of history.” (Female, age between 26-35) “Good quality, stylish, different” (Female, age from 46à) “I do not think that gay theme belongs in the sheets” (Male, age between 36-45) “I find the theme and products difficult to combine. I would get tired to ToF pattern quite quickly.” (Male, age from 46à) Table 2.10. Respondents reasons to recommend or not, n=169 “It was definitely. I believe that it could have shocked many of Finlayson’s standard customers, but Finlayson is obviously very ideological company, so the collection depicts well their ideas. Tom of Finland has become an important brand for the entire hundred-year-old Finland.” (Female, age between 16-25) "It brought lot of publicity and reputation. Although the sales of the collection have not been what assumed, it has certainly raised the brand to the pedestal in a new way. It was a trendsetter and a fresh breeze in quite boring field." (Male, age between 16-25) “I think the collection is good, but it does not wake any bigger feelings in me: I believe that the collection has sought to awake social debate and bring a bold and new kind of male image to both Finland and to the world. In this way, Finlayson must have tried to gain visibility for its brand. Visibility has certainly come, but it has not changed my image about Finlayson in the direction or another.” (Female, age between 16-25) “Finlayson received lot of attention. I don’t know is it smart for a home textile company to take a stand on such “sensitive” issue. I really enjoyed the campaign but Finlayson certainly got lot of enemies.” (Male, age between 26-35) “A bold collection that strengthens the company's image as a pioneer” (Female, age from 46à) “The launch itself has been successful, but the topic is not.” (Male, age between 36-45) “No. The whole Tom of Finland hyping is an appealing phenomenon. Tom of Finland was an illustrator limited by his own obsession, not an artist. He labels all the gays to crackpots that are only interested in skin and penises.” (Female, age from 46à) Table 2.11. Respondents' opinions about the launch of the Tom of Finland collection