#but it's sure been a point of contention in the ferrari sphere

[leqclerc]

I really enjoyed your blog, until I realized that you were trying to force enmity between Charles and Carlos when it's clear that they clearly like and respect each other as teammates. You don't seem to support the team, but rather Charles or Sebastian (who, wow, has had less interaction with Charles than with Carlos, but swears they love each other), which you should make clear when entering your blog that you don't like the team but have a preferential fanaticism for Charles.

Anyway, I respect what you think, but the way you always put Carlos in the wrong and guilty of everything is totally ridiculous.

Byee ✨

It's been a while since I got one of these 🤔

You don't relate to my content and don't agree with my opinions, which is fine, to each their own. However, I have to point out that I never exactly concealed my preferences, and, with all due respect, if the url, icon, header, sidebar gif, sidebar description and pinned post on my blog aren't enough to give me away, then I really don't know how to make the message any clearer. Furthermore, I don't support Carlos and I never have, even long before Ferrari was on his radar. I have never hid that either, and the lack of solo posts about him, lack of fan edits, or other reblogged content from Carlos fans should indicate that.

As for supporting the team and how "valid" your fan experience is based on who you support, because apparently that's been a trending topic for a while now, certainly within the self-declared Tifosi circle... I've followed Ferrari in one way or another for 8 years; I've witnessed three different lineups in that time, and I've formed my opinions based on what I've seen and how I've felt in reaction to that. I am under no obligation—and this applies to everyone—to like or even support a driver just because he signed on to drive for the team for a certain period of time. Obviously the ideal situation is liking both drivers and being equally happy when either of them succeeds, but let's be honest, how often does that happen? And I'm not talking about people who follow a team regardless of the lineup, because that's a slightly different kettle of fish.

F1 as a sport places so much emphasis on the driver as a person—and this notion has only been amplified in recent years. The human aspect of F1 is equally as important and compelling as all the technical elements. Hell, the whole idea behind the Driver's Championship is to crown a champion out of the drivers on the grid. And I think for most people that championship brings more excitement and is more keenly followed than the Constructor's one. Even the whole idea of teammates functions differently here than it does in most team sports, with the inherent rivalry aspect. I'm sure many of Carlos's fans migrated from McLaren to Ferrari when their favourite driver did—if we're painting everyone with the same brush, then where is the scrutiny regarding the other side? I don't believe every Carlos fan is automatically also a devoted Charles fan, because frankly that's statistically impossible. Or is one only a "fake Tifoso/a" if they have a preference for Charles? Is there just one fixed "valid" way of being a fan?

On a lighter note, I'm glad it wasn't all bad all the time and that, at one point, you did find something you enjoyed on my blog. I hope you manage to find like-minded people who run blogs that reflect your opinions 👍🏻

[buildingtowersfrompizzaboxes]

Analysis Tools for brand identity

We will present some of these tools here. Our intention is in no way to cover all the existing tools to analyze brand identity. The tools have been successfully used by the authors at various points in his career and would like to share with our readers. Analysis of brand identity is quite a new approach, one whose history is linked to the identity of the concept of the same brand.

Naomi Klein refers precisely to the work of Bruce Barton, who was, among other things, creator of Betty Crocker and other advertising agency BBDO B. In 1920 the publishing house began to look for the ""core business"". Aware of the fact that the brand can make a difference beyond the products themselves, gradually developed advertising, and vocabulary is enriched with concepts such as being ^ is due to the fact of consciousness, the soul and the genetic code of the brand. But it was only in 1970 that the identity of the word appeared in the literature, usually associated with the notion of corporate identity.

The identity of the brand appeared in 1980 and quickly spread among advertising professionals agencies. Originally, the term meant, in a limited sense, anything that can identify the brand by connecting to the digital advertising content. He soon became the epitome of a true brand. The word personality, individuality and identity has become widespread. French publisher Jacques Seguela in the perception of the physical, character and style. In 1980, this new methodology was developed with the brand, which later became known as the strategy of the stars. The notion of identity began, without distinction, who joined this image.

the company's image and the reality, sacrifice in the brand identity. Gradually, she began to study the literature of the area. David Aaker attempts to classify still quite varied, the value of the brand. This includes the brand image brand loyalty, name awareness, perceived quality, and other activities. The word personality appears briefly in the book, which remains some confusion between the concept of brand image and brand identity.

This confusion is common today. It is important to note that in our opinion, these two concepts are not the same. Images (instead of the image) induced correspond to different consumer perceptions that make market segments. They are open in nature.

Identity is the essence of the brand, expressed by all the communication methods used by the character. And 'in fact prospectus in nature. For the avoidance of doubt, we avoid the use of the image of words. Inthe other hand, if you want to refer to the representation induced by the markets, no picture will be discussed, but the identity of brand perception. We return to our past. Jean-No l Kapferer € in 1992 introduced the first instrument of fairly sophisticated analysis in order to solve the difficult field of brand identity: the prism of identity.

prism identity

The diagram shown in Figure (here refers Chanel) cooperates with six dimensions provided around the prism.

Stamp concrete physical element that immediately comes to mind when we talk about the mark. It is a set of sensory characteristics and objective, illustrated by the following:

Aubade: underwear.

Herme`s: crocodile Kelly bag and silk carre.

Levi pair of jeans with a distinctive label.

Toblerone chocolate triangular cross-section, the packaging yellow and red.

Bally: a pair of shoes.

TOD'S loafers.

Ferrari red car.

Ducati: a red motorcycle with a tubular lattice frame.

Missoni fabric or color material in a specific way of weaving.

Opinel: a knife with a wooden handle, equipped with a safety device.

Brand personality stopped by questions such as: If you were a man, what character will be? Professional, esthete, performance-oriented? Original Audi? Colorless, odorless, like the Opel?

Culture brand is associated with the original values ​​of their creators often the culture of the country, region or city where the brand has developed: Loewe Madrid, Sicily Dolce & Gabbana for Majorica Mallorca, Shiseido Japan, and so on. But the geographic dimension is not the only one who expressed. Hewlett Packard, for example, puts into the garage of his two talented and pioneering spirit of the American spirit.

Brand relationship has to do with social communication of the brand. Brand identity affects the relationships between individuals, the first signs of belonging to a group, and then further. What people think when they see me wear my Maserati or the last Christian Dior outfit? Gucci strongly suggests seduction; Diesel, provocation; banks, trust in general.

Brand reflection elements typical client market are described with the (client imagines for him). This should not be confused with the target customer: Kapferer here refers to the perception of the market. character image coincides with the image of the consumer themselves during use. When a man lights a Marlboro, getting into a Porsche or sets Armani suit, how they see themselves?

Prism Kapferer introduced an important innovation. It is a tool that for the first time allowed the systematic study, showing the complexity of each approach to brand identity. However, it has its limitations. Self-image and reflection of the two sides of the mirror, so-called Kapferer are open in nature; They have more to do with the perception of identity that the same brand identity. As for the relational dimension, belongs more to the cultural sphere. Personality and culture overlap.

After repeatedly using our opinion is that the prism is useful but difficult to use, especially because of the lack of homogeneity in terms. The most illuminating part of the prism is still physically and personality. Both of these concepts has been studied in detail, using the approach of semiotic Jean-Marie FLOCH, it developed a number of derivatives directly semantic structural methods used to analyze the conditions under which meaning may be produced and collected.

Zipper Brand: ethics and aesthetics

In the following paragraphs, we will explain the important contribution of semiotics to understand, and thus the management of brand identity. Of all the tools available today, semiotics is, in our opinion, and based on our experience, the most appropriate discipline to help administrators define, development and defense identity of the luxury brand. From our point of view, as specialists are convinced, but users, we would like to take a moment to talk about this discipline.

Its purpose (according to Greimas) is to describe, as objectively as possible, the sense of the production process, and in general the whole point of practices that create culture.

If we accept the legitimacy of application of semiotics to study brand identity, we make the following basic premise: brands are systems that produce meaning.The tools presented requires a certain degree of formalization, so you should make sure the reader at the beginning of life. Haveused not in this area, and although they could not, of course, solve all the problems, they feel that their usefulness is undeniable.

The first of these tools is a simple hinge semiotics framework created by Jean-Marie FLOCH to distinguish different levels of analysis and definition of the universe of the brand. Semeiologists, after Ferdinand de Saussure, we have introduced the distinction between the significant and the signified. Significant material is part of a signal; It is a representation of the meaning, which is associated with the workpiece. For example, T_R_E_E succession of letters written on the blackboard mental image corresponds player produces these letters: the trees, plant a tree, which has a trunk, and so on. However, these two dimensions are two sides of one coin or put Saussure, a single sheet of paper: on the one hand can not be separated from each other.

All signals are then articulated to the hinge between the major (or level of expression), and in this way (or the level of the content). The same is true, consequently, groups of characters, thus creating physical manifestations and brands. This also extends to common criteria immutability and variability. The advantage of this methodological approach is twofold. First, it draws attention to two basic levels of expression of the brand, which clearly separates the contents and the container. Here the emphasis is on the brand elements invariants. These invariants are exactly what the brand can be recognized at one time. They form the basis of their identity.

Using the hinge is relatively simple. Characterize the brand identity through its words and its content, which is to give a formal definition of aesthetics and ethics objectives. The living room is fairly easy to implement, especially if the brand is well-written, which are used in colors, shapes and materials or any kind of stylistic elements in a reproducible manner. In this context, the contribution of Jean-Marie FLOCH that updates in the works of Heinrich € olfflin in classical and baroque, was necessary.