BSc Business Studies (2005–2008) Cass Business School Marketing strategies for Champagne Author: William Tarvainen Supervisor: Prof. George Balabanis Submission: 27 March 2008 Grade: Distinction I certify that I have complied with the guidelines on plagiarism outlined in the Course Handbook in the production of this dissertation and that it is my own, unaided work. ! [email protected] | " +358 (0)40 721 1276, +44 (0)79 1497 0781
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BSc Business Studies (2005–2008)
Cass Business School
Marketing
strategies
for
Champagne
Author: William Tarvainen
Supervisor: Prof. George Balabanis
Submission: 27 March 2008
Grade: Distinction
I certify that I have complied with the guidelines on plagiarism outlined in the Course
Handbook in the production of this dissertation and that it is my own, unaided work.
PART I: LITERATURE REVIEW __________________________________8
1. Luxury _______________________________________________________________8 Luxury consumers___________________________________________________________________ 10 Veblenian consumers ________________________________________________________________ 11 Snob consumers ____________________________________________________________________ 12 Bandwagon consumers _______________________________________________________________ 13 Hedonist consumers _________________________________________________________________ 13 Perfectionist consumers ______________________________________________________________ 14 The role of culture___________________________________________________________________ 15 New luxury markets _________________________________________________________________ 15
2. Brands ______________________________________________________________16 Brand extensions ____________________________________________________________________ 16 Brand portfolios ____________________________________________________________________ 17 Brand knowledge and linking brands to other entities _______________________________________ 17
3. Wine ________________________________________________________________19 Wine as a hedonic product ____________________________________________________________ 19 Wine consumption and purchasing ______________________________________________________ 19 Wine marketing_____________________________________________________________________ 20
PART II: INDUSTRY OVERVIEW ________________________________22 Definition of Champagne _____________________________________________________________ 23 The history of Champagne (Appendix 1) _________________________________________________ 23 Champagne sales____________________________________________________________________ 24 Champagne markets _________________________________________________________________ 25 Environmental analysis (Appendix 2)____________________________________________________ 27 Industry analysis (Appendix 3) _________________________________________________________ 28 Brands in Champagne ________________________________________________________________ 29 Champagne styles (Appendix 4) ________________________________________________________ 30
PART III: RESEARCH PROCESS ________________________________31 Before the interview _________________________________________________________________ 31 The interview process (Appendix 5) _____________________________________________________ 31 The discussion guide (Appendix 6)______________________________________________________ 32 The interviewees ____________________________________________________________________ 34 Analysing the interviews______________________________________________________________ 35 Interpreting the interviews ____________________________________________________________ 36
PART IV: FINDINGS AND ANALYSIS _____________________________38 Marketing Champagne _______________________________________________________________ 38 Marketing mistakes __________________________________________________________________ 39 The Champagne market ______________________________________________________________ 39 The Champagne consumer ____________________________________________________________ 40 Purchasing Champagne_______________________________________________________________ 41 Indicators of quality and prestige _______________________________________________________ 42 Linking brands to other entities_________________________________________________________ 42 Product lines _______________________________________________________________________ 43 Perception differences________________________________________________________________ 45 Validity and reliability _______________________________________________________________ 46
Tarvainen (2008)
4
PART V: RECOMMENDATIONS_________________________________49 Brand the mid-sector _________________________________________________________________ 49 Tailor your offering to your customer’s values_____________________________________________ 50 Communicate your speciality __________________________________________________________ 51 Send a consistent message ____________________________________________________________ 52
CONCLUSION_______________________________________________53 Further research_____________________________________________________________________ 54
Appendix 1: History of Champagne ________________________________________70 History of Champagne _______________________________________________________________ 70 The process ________________________________________________________________________ 70 The trade __________________________________________________________________________ 70 History of Champagne brands__________________________________________________________ 71
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APPENDICES
Appendix 1: History of Champagne
History of Champagne
Archaeological findings indicate that wine was first made more than 7,000 years ago in
modern-day Iran, and the Romans are likely to have brought viticulture to the Champagne
region in the first century AD. The reputation of the region’s wines grew over the first
millennium, and Louis XIV’s declaration that “Champagne is the only conceivable beverage”
first brought Champagne into fashion in the 17th century. (Juhlin 2004; Robinson 2006;
Stevenson 2002.)
The process
It is important to note that up until the 17th century, the coming from the Champagne region
was still. The effervescence emerged to Champagne through a lengthy and partly accidental
process, which the French monks perfected over time. Dom Pérignon and others developed
the viticulture and vinification processes in the 17th century into new heights. Although not
the sole producer of sparkling wines, the terroir of Champagne meant that the region could
produce sparkling wines of better quality than other regions. (Juhlin 2004; Stevenson 2002.)
The trade
A law prohibiting the transport of wine in bottles was finally revoked in 1728, the first
Champagne house was created the year after. Ruinart was the first in 1729, and by the end of
the 18th century, many of today’s leading houses had been established. The early success
stories of Champagne marketing tell of great customer relationship management; Moët &
Chandon’s rise to the global leader of the Champagne industry can be traced to the keen
friendship of Jean-Rémy Moët and Napoleon in the 1810s. Wars helped spread Champagne’s
reputation, and over the 19th century it would spread into Russia, Britain, and North America.
The champenois soon understood the importance of tailoring their product to the tastes of
different markets, and had by the 19th century developed the concepts of goût américain, goût
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anglais, and goût français to reflect the tastes of these key markets (Stevenson 2003). (Juhlin
2004; Stevenson 2002.)
History of Champagne brands
Two factors have been particularly influential in bringing brands into the special role they
have in Champagne today. Firstly, the improvements in production processes throughout the
19th century greatly favoured economies of scale, and this brought a natural oligopoly to the
Champagne industry. Secondly, the “Champagne revolt” of 1911 and the 1927 amendment
dictated that almost all Champagne would be sold under the generic AC Champagne
denomination. Before these amendments, Champagne had denominations for lesser-quality
wines as well. (Juhlin 2004; Stevenson 2002)
This is in stark contrast to the denomination system of other French wine-producing
regions – since the denomination did not mark the difference between an average and an
exceptional bottle of Champagne, the consumer learned to rely exclusively on the producer’s
brand as the indicator of quality.
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Appendix 2: Environmental analysis
Political
President Sarkozy’s era has seen France take a more central stage in global and EU politics,
being exceptionally active in promoting the French industries (The Economist 30 Aug 2007
a). Relationships have warmed with the United States after the icier Chirac-Bush era (The
Economist 30 Aug 2007 b), where political disputes between France and the United States
led to American boycotts of French wines (Friedman 2003; Ebenkamp 2003; Amine 2005).
The European Union’s plans to radically restructure the European wine industry have caused
great controversy among the member countries and producers (Atkin 2007; Forbes 2007; The
Economist 14 Jun 2007). EU countries have higher bargaining power as union members than
they would as stand-alone parties in bilateral trade agreements with external parties (Johnson
and Turner 2006), and the new bargaining power of the EU persuaded India to shed its import
duty of up to 550% on drinks imported from the EU (Walsh 2007). Further, alcohol is subject
to political supervision, which especially affects the advertising of alcohol products (EU PHP
2006; Finlex 1994).
Economic
The biggest economic woe for the Champenois seems to be the crise de prosperité – the
current surging growth rates will be impossible to sustain without dramatic changes in
production legislation, prices, or demand (Beckett 2005 a & 2006; Williams 2007 a). Whilst
speculation is rife about a “worldwide shortage” (Harpers 13 Aug 2007) or even a need for
“Champagne rationing” (Hickman 2007 b), the trade officials and producers are quick to
dismiss these as rumours (Gaffney 2007). The appreciation of the euro against the export
market currencies has made Champagne relatively more expensive abroad, and this issue is
compounded by the often dollar-based pricing of new world wines (O’Doherty 2008;
Eiteman et al. 2007). Despite the relative price inelasticity of demand for luxury products
(Liebenstein 1950), Champagne has become more affordable and democratised among the
middle classes (Juhlin 2004; Stevenson 2005 b), and may thus be more exposed to exchange
rate changes with more price-sensitive consumers. At the dawn of a possible recession, there
is much speculation about whether the Champenois could shrug off a downturn (Williams
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2008; Straker 2008; The Economist 11 Mar 2008), and whether the demand for Champagne
in the emerging economies will act as a buffer to western volatility (Hey 2008).
Social
The social factors are a crucial force shaping the Champagne market, and this report
elaborates in the social factors more on the literature review part. Still largely an infrequently
consumed special occasion drink, a slight change in drinking habits might have a dramatic
impact on the Champagne market (Mintel 2006). The strongest growth potential in arguably
lying in the emerging markets (Ligeron 2007) – the Russian market for Champagne tripled
between 2005–07 (The Drinks Business 2007 a), and the Chinese and Indian markets grew by
30% and 19% in 2007 (Kevany 2008) and by 50% and 125% in 2006 (Harpers, 13 Aug
2007). High income inequalities mean that these markets are skewed toward the prestige
cuvées (Krueger and Perri 2006; The Drinks Business 2007. New social contexts and
religions, not least in the Islamic countries, present a particular challenge for the Champagne
industry (Hey 2008; Hofstede 1998).
Technological
Although the harvest still has to be done by hand, technological advantages in Champagne
production continue to have a profound effect in quality improvements and cost-cutting
(Redman 2002; Juhlin 2004). Technology can make a point of difference for producers: the
modern Pol Roger uses stainless steel tanks and accredits the finesse of its Champagnes to the
particularly meticulous temperature controls of its cellars (Avellan 2007 a), whereas the
conservative Krug uses oak barrels and resists mechanisation by insisting that all of its
Champagnes continue to be riddled by hand (Juhlin 2004). The innovations that technology
enables are generally seen as very important in the wine industry (Loftus 2007; Cawood 2007
a). However, the recent cracking of Pinot Noir’s genome has not only created hopes for better
vine health – it has also raised fears among some growers that technological advances will be
at the cost of lost tradition (The Economist 19 Dec 2007 a & b; Harpers 28 Aug 2007).
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Environmental
The climate change’s impact also extends to the Champagne industry, and the 2007 harvest
was rather dramatically the earliest on record (Harpers, 24 Aug 2007). Some see rising
temperatures as a future opportunity for a possible northward expansion of the appellation
(Woodard 2006), but a higher temperature would pose a threat to maintaining crucial acidity
levels in the current appellation area (Woodard 2007 a). Some even venture so far as to
propose Kent, England to become the “new Champagne” if temperatures rise excessively
high in Champagne itself (Adams 2007) – and Roederer, for one, is eyeing English vineyards
for purchase (Hickman 2007 a). The Champagne region has a somewhat dark environmental
past (Curtis 2005), but the CIVC is now campaigning for more environmentally friendly
viticulture (Redman 2002). The current growth in organic products extends to Champagne
(Mintel 2006), and both new businesses (Pigott 2008) and new designs (Harpers 2005 a) have
risen to capitalise on this trend. The area continues to be debated (The Economist 7 Dec
2006).
Legal
The major legal dispute in Champagne regards the intellectual copyrights of the term
Champagne itself. Although many major countries do not recognise the Treaty of Madrid
(1891), the EU has had recent success in throwing its whole weight behind the rights of the
Champenois. The European Commission (EC) struck a deal with Australia in 2007 to stop
Australian vintners from using European names such as Champagne (Kumar 2007), and
joined forces with American producers to launch the Center for Wine Origins in the US to
promote authenticity of wines from both sides of the Atlantic (Stevenson 2006). The US
agreed in 2006 that most of its sparkling wines should be called “sparkling wines” (McIntyre
2008), but the 2008 crackdown on illegally labelled “California Champagne” where Belgian
authorities destroying the illegal imports goes to show that there is still some way to go in
consolidating the US–EU intellectual property rights (Stadnyk 2008). The CIVC has also
played a role in the legal tussles; it blocked Indian ownership of Taittinger in 2005, citing
India’s failings to recognise the Champagne appellation (Stevenson 2006). Inside Europe, the
producers from the Swiss village of Champagne recently lost the right to use that name in
their wines (Harpers, 29 Aug 2007).
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Demographic
The luxury goods sector has doubled with the concomitant doubling of global millionaires
since 1996 (Demos 2007), amid signs of further consumption inequalities (Krueger and Perri
2006). Conspicuous consumption of prestige cuvées has surged, as Champagne has reached
unprecedented popularity among these so-called mega-rich (Schmitt 2007 a). ACORN ABs
appear the key to the whole branded market, while ABC1s are also important for lower-
equity brands such as own label Champagnes (Mintel 2006). Whilst some rely on the
increasing buying power of the upper classes of emerging economies, others see the current
growth rates as unsustainable in the long term (The Economist 6 Dec 2007).
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Appendix 3: Industry analysis
Suppliers
The Champagne houses depend on growers on grape supplies, and the prices for the grapes
are often negotiated separately each year (Juhlin 2004). This has led to some growers
speculate by holding back grapes when global demand is soaring, creating price hikes
through artificial shortages (Beckett 2006). Many are calling for a return to fixed grape
pricing as a solution to the increasing prices (Beckett 2005 b; Fallowfield 2005 a), but this
conflicts with the EU’s agenda to promote freer markets (Johnson and Turner 2006).
Buyers
Despite there being some 100 Champagne houses, the exports are heavily concentrated
among the largest of them – Moët & Chandon and Lanson together accounted for 47% of UK
on-trade sales in 2005 (Mintel 2006). Champagne is increasingly sold through supermarkets,
and their combination of size, range, and low supplier-switching costs gives them increasing
bargaining power (Datamonitor 2007 a & b). However, the strong trend toward further
consolidation among Champagne houses counters this power (Fallowfield 2007 a).
New entrants
With the current price of Champagne vineyards ranging from ! 100,000 to over ! 1 million
per hectare, it is the most expensive wine area in the world (Hickman 2007 a; Juhlin 2004;
Harpers 18 Sep 2007). Cost of land may thus deter entrants, but the fragmentation of the key
domestic market makes market access easier for small growers (Fallowfield 2007 a).
Although most of today’s largest houses were established in the 18th century, Nicolas
Feuillatte’s surge from a tiny cooperative in 1971 to 8 million bottles in 2006 shows that new
players can still enter the market (Juhlin 2004; Fallowfield 2007 a). The expansion of the AC
Champagne by 40 villages will shake the industry’s established structures with a surge in
entrants, but this expansion is likely to come at just the wrong point of the economic and
demand cycles (Hickman 2007 b; Stevenson 2007).
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Substitutes
There is no real substitute for Champagne as a luxury sparkling wine (Hey 2007) – only 10%
of Britons see sparkling wine as a cheap substitute for Champagne (Mintel 2006). “Its
celebratory appeal has rendered it a luxury commodity that is closer to caviar, diamonds, and
haute couture than wine per se”, comments Tom Stevenson (2005 b p. 44). This special
status of Champagne has distinctly isolated it from the competition from other wine areas
(Rose 2005). The launch of elite Champagne packaging seems to create far greater media
attention than that of elite-quality Champagnes – Veuve Clicquot’s non-vintage Yellowboam
with gold and exotic leathers created far more media buzz than Krug’s 1996 Clos du Mesnil,
despite their equal magnum price (Wine & Spirit 2007; Harpers, 17 Jul 2007). Despite
Champagne’s past differentiation successes, many future growth markets do not really
understand the difference between Champagne and sparkling wine (Hey 2007).
Industry rivalry
The European wine industry is experiencing a crisis after competition from new world
producers has resulted in a European “wine lake” – a huge oversupply of mainly low-quality
European wine (Rose 2005). The Champagne industry, however, has shown healthy profits in
the midst this European wine crisis (Rose 2005; Straker 2007 a), despite its heavy reliance on
special promotions in sales (The Drinks Business 2007 b; Mintel 2006). This prevalence of
heavy promotions, bar in the prestige cuvée sector, runs counter to the price-inflating
pressures of soaring demand with relatively stable supply (Stevenson 2005 a; Straker 2007 a).
There is a common understanding in the industry that the direction of growth must be toward
more value rather than higher quantities (Fallowfield 2006 a), and educating consumers about
the different, more premium styles is seen as a major task for the champenoise (Evans 2007;
The Drinks Business 2007 b). A focus on differentiation rather than cost advantage generally
allows for higher profitability within an industry (Porter 1985). The major organisational
trend in the industry has been consolidation among the big houses, and giants such as LVMH
are gulping up ever more Champagne houses into their portfolios (Fallowfield 2007 a). The
trend in corporate governance has been from the French family ownership model toward a
more Anglo-American model of market-based regimes, but the holding companies also
understand the family’s significance as winemakers and ambassadors of the brand (Brook
2004; Eiteman et al. 2007).
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Appendix 4: Champagne styles
Non-vintage
The non-vintage still accounts for over 80% of Champagne production (Fallowfield 2007 b).
This category represents the house style that the consumer relies on buying (Parkinson 2005),
and as such is invaluable for the mother brand’s image. Some Champagne houses have
detected a gap and launched a second non-vintage – Gosset positioned its non-vintage Grande
Réserve between the traditional non-vintage and vintage price points (Gosset 2008).
Prestige cuvée
Tsar Alexander II ordered a luxury cuvée from Louis Roederer in crystal bottles in 1873, and
over the 20th century, prestige cuvées became a success (Juhlin 2004). Now practically every
house has a cuvée de prestige, which today is invaluable in communicating prestige to the
consumer (Avellan 2007 b). Serena Sutcliffe (2005 p. 62) describes prestige cuvées as “more
aspirational, more ‘look at me’”. Although prestige cuvées are typically the houses best
Champagne, some houses such as Krug and Salon only produce prestige Champagnes (Juhlin
2004). Bollinger sees its entry-level vintage La Grande Année as its prestige cuvée, since its
higher-end Champagnes are for such niche markets (Sutcliffe 2005). Prestige cuvées are
increasingly marketed as stand-alone brands, and many houses are targeting luxury cuvées
especially to the Asian markets (Spurrier 2006). Celebrity endorsement of prestige cuvées
helps boost sales, but can make some brand managers uncomfortable – in 2006, rapper Jay-Z
called for a boycott of Cristal after interpreting remarks of the producer as racist (Gumbel
2007).
Vintage
On those years when the wine’s balance is so good that no blending of vintages is needed, a
house may launch a vintage wine (Juhlin 2004). Many leading critics agree that vintage
Champagne offers the best value for money (Stevenson 2005 c; Juhlin 2004), but vintage
Champagne has been somewhat stuck in the middle with the consumer market polarising
between the non-vintage and prestige cuvées (Schmitt 2005). To counter this, the Champagne
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Information Bureau (CIB) has launched an official initiative to “demystify the vintage”
(Evans 2007 p. 6).
Rosé
Demand for rosé Champagne has soared to such an extent that Champagne houses now have
to extend their cellars to accommodate the growth (Sutcliffe 2007). In stark contrast to still
rosé wine, rosé Champagne comes at a hefty premium of the white version (Stevenson 2004)
– although production costs are a third higher, prices can be up to twice as high (Fallowfield
2006 c). Since most rosé is non-vintage and non-prestige, it offers a unique possibility to
produce very large quantities of premium-priced Champagne (Fallowfield 2006).
Blanc de blancs, blanc de noirs
The blancs de blancs are made solely of white grapes (Chardonnay), and blancs de noirs of
solely red grapes (Pinot Noir and/or Pinot Meunier). As most Champagne is a blend not only
of different vintages but also of different grape varieties, it can be challenging to
communicate the speciality different grape varieties to consumers (Juhlin 2004). Pommery
has tackled this issue by branding these cuvées as part of the Seasonal range (Schmitt 2007
b). It has named the lighter blanc de blancs Summertime, “for those lazy hours when the sun
shines” (Pommery 2008 a), and the fuller blanc de noirs Wintertime, “for those warm winter
moments spent by the fireside” (Pommery 2008 b).
Ultra brut
Although almost all Champagne is brut (dry), a recent trend has been growth in the ultra brut
(bone dry) sector. Laurent-Perrier’s Ultra Brut is the pioneer of this sector, and without the
masking effect of added sugar, the inherent quality of the wine comes more into the spotlight
(Fallowfield 2007 b).
Sec and demi-sec
Although very popular in France (Juhlin 2004), the sweeter versions of Champagne remain
something of an enigma to customers in the export markets (The Drinks Business 2007 c).
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The houses see this as a possibility to bring Champagne into new consumption occasions,
such as afternoon teas and desserts (Schmitt 2007 b).
Mono-crus
Mono-cru Champagnes come from a single village, and some Champagnes even come from a
single vineyard in a village. Mono-cru Champagnes have higher appeal among connoisseurs,
and single vineyard wines such as Krug Clos du Mesnil and Bollinger Vieilles Vignes
Françaises represent the absolute elite in terms of price and rarity (Juhlin 2004). Some
commercially-minded houses such as Moët & Chandon and Nicolas Feuillatte have recently
rolled out their sets of single vineyard Champagnes (Schmitt 2007 b), but some other
producers see these as a mere marketing gimmick to attract snob consumers to the brand
(Avellan 2006).
New combinations
As very few of the above styles are mutually exclusive, some houses have created new
market spaces by combining the different styles in an innovative and unexpected way. Duval-
Leroy’s Lady Rosé is an unusual half-dry rosé in only half bottles (Duval-Leroy 2008), while
Gosset’s Célébris Blanc de Blancs occupies an even smaller niche – it is a non-vintage ultra-
dry blanc de blanc prestige cuvée (Gosset 2008 b).
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Appendix 5: Discussion guide
• (Ethical disclosure) • What is your background and professional
experience with Champagne?
1. Champagne marketing
• What is the most important in marketing Champagne?
• What makes for a marketing strategy good in this sector?
o What are the most common mistakes? o How can these be improved on?
• Reflecting on the past with hindsight, what would you change?
2. Champagne markets
• How would you describe the Champagne market? o What makes it different from other
markets? • What makes a good market? What should one look
for in a market? • What are the key challenges? • Which elements of the market most affect the
producers? o How?
• Are there substitutes? ! Is that sustainable? • What trends shape the market?
o What are the key underliers? 3. Consumer motives
• What will be the role of Champagne for consumers? o What will be the occasions?
• How do consumers buy Champagne? o What aspects are more important to them? o Is there a trend in how consumers buy
Champagne? o Should companies adjust to changing
consumer wants? • Are there differences between consumers? • Do consumers buy Champagne for more internal or
external motives? o How can you reach these? o Can you do this with the same brand?
• What consumers judge the quality of Champagne on?
• What indicates prestige to consumers? • What does price indicate?
o Can it indicate prestige? o How would they buy with higher prices?
• If the product is popular with one consumer group, will others imitate them?
o Which ones? o Are there any dangers?
4. Linking brands to other entities
• Do you think brand partnerships are a good way to market Champagne?
o What makes for a good partnership? What aspects must be compatible?
o What are the benefits? o Are there downsides/risks?
• How do you see sponsoring events? o What are the benefits? o What is the potential? o Are there downsides/risks?
• How do you see branded bars? o What are the benefits? o What is the potential? o Are there downsides/risks?
5. Product lines and brand extensions
• Do you see any trends toward diversification or consolidation?
• What do you see happening in the product lines? o How do you see any extensions into new
styles? o What are the implications for brand
identity? o How will it affect the consumer?
• What is the role of prestige cuvées for brands? o What are the implications of growth in
this sector? o How do they affect the mother brand?
How are the links? o What are the implications of stand-alone
branding? • How do you see the expansion of Champagne
brands to the new world? o What are the implications to the mother
brand? o How will it affect the consumer?
Closing
• What advice would you give to a new marketing manager in this sector?
• What is your vision for Champagne? Prompts
• Why? / Why not the other one? / How? • What is driving this? Are there other underliers? • How sustainable is it? • How does this affect/translate into profitability?
• How does this affect the brand?
• How does this affect the consumer?
• Is this specific to you or more general?
Tarvainen (2008)
83
Appendix 6: Approach letter
Dear Sir/Madam,
I am writing to you regarding an academic research project on Champagne marketing I am
working on at the moment. The research has a commercial focus, and seeks to link the
modern theory of strategic marketing into today's Champagne markets. The aim of my
research is to help brand managers and other luxury product decision-makers make more
informed decisions.
Considering (–––), I would be keen to interview a (brand) manager from you. The interviews
typically last for some 45 minutes, are done in London, and I hope to do the remaining
interviews in (–––). I would be happy to interview you as soon as convenient.
I currently study at Cass Business School, London, and have also completed the WSET
Advanced Certificate in Wines & Spirits with distinction in all units. The undergraduate
business programme at Cass is ranked 1st in London by The Guardian.
I hope we can arrange an interview soon. You would, naturally, also receive a copy of the
final dissertation upon its completion this spring.
Best regards,
William Tarvainen
Tarvainen (2008)
84
Appendix 7: Interview codebook
The following gives a simplified example of how the data was worked with. It is important to note that the interview transcripts were gone through several times to find additional insight in the light of the previous findings. Variables in the codebook (example excerpt from the actual codebook in italic)
1) Interview section and subsection
o 5.3.1 (What are the implications of growth in this sector?)
2) Interviewee initials
o JL (Jeremy Lithgow)
3) Retailer/supplier side
o RS
4) How many years in the industry
o 12y
5) Aspect mentioned first
o 1! (1 = quality; ! = might suffer)
6) Secondary aspect(s) mentioned
o –
7) Other implications
o –
Steps in comparing the answers
1) Get the answers of all respondents for the topic area
2) See general trend: What is the most important?
3) See biases: Do the retailer/supplier answers differ?
4) See biases: Do the senior/junior answers differ?
5) Are the secondary aspects significant?
6) Is this consistent with the rest of the answers?