« It's magic, not logic, that ignites our passion as consumers » (Martyn Neumeier, The Brand Gap)

« The emotions aroused in consumers are decisive for the future of the brand » (Peter Cooper, John Pawle, 2005, Measuring emotion in brand communication)

« Far from emotions interfering with rationality, the absence of emotion and feelings can break down rationality and make wise decision-making almost impossible.» (Antonio Damasio, L’erreur de Descartes)

We now know that a brand exists and evolves well beyond its functional value. Not only does it offer consumers concrete benefits, but it constructs a whole emotional background with them which is reflected in and acts on several dimensions:

Emotional processes

Repercussions on the brand

• The imaginary dimension: What world does it transport me to ? What are its values ? • The relational and affective dimension: What relationship do I have with the brand ? Am I attached to this brand ? How far am I prepared to go for it ? • The identification dimension: What image of myself does it reflect back to me ? Do I recognise myself ? Does it enhance me ? Impression in the product experience What perception do I have of the product? How does it fit into my consumption habits?

Forges the brand’s territory and distinctive identity Ensures the brand’s continuity Stimulates the brand’s appeal and competitiveness Anchors the product in a specific consumption mode

«I obtain the same scores as my competitor, yet I know I am different»

«This indicator has changed since last year, but I don’t see the link with my strategic action and I don’t know what to think about it»

«Techniques are complex and costly»

«Too many figures and not enough ideas»

«The normal reaction of any voluntaristic person using the right half of their brain (creative side) is to politely take the study, put it in a corner and continue with their creative work» (Martyn Neumeier- The Brand Gap)

Emotions are decisive for the future of a brand, but because they act in an unconscious, complex and progressive fashion, they are difficult to harness and measure. What is more, in very mature markets, consumers tend to reproduce the marketing message before coming out with their own discourse.

Hence, the various existing techniques only partially reveal a brand’s state of health:

Traditional quantitative indicators (like overall opinion and image profile) only reflect the rationalised dimension of the brand:

• Responses to questioning using items (even if derived from an emotional expression – i.e; prior projective qualitative work), are unavoidably expressed in a rational and reflected manner that cuts consumers off from their real emotions

• The responses obtained are too isolated to guide action (movement of just one item for example),

• They lack the finesse necessary to discriminate between brands (the same score for one item can mask very different results: on the item 'luxury', Chanel and Dior are equal, but are we talking about the same sort of luxury ?)

Qualitative approaches reach into emotionality but nevertheless remain general and therefore static and non measurable (only a small number of consumers can be included):

• Even if a hierarchy or breakdown exists between the core and peripheral values, the different perceptions are often merged to form a single brand reality (in a homogenous target)

• Within this unified vision, it is hard to know which value or strength to attribute to the different constituent elements of the brand, what dynamic and which links exist between them or what the impact will be on the structure if one of the aspects is modified

• And, although it is possible to understand the brand’s identity, it still cannot be measured (other than reverting to the traditional quantification of image profile that isolates specific elements and rationalises them): We don’t know up to what point this brand image is accepted by consumers, to what extent and how this image is beneficial for the brand and we don’t know how to compare the trends over time

Whether qualitative or quantitative, research project results are therefore difficult to take on board andinsufficiently actionable.

This new approach provides direct access to emotions and enables them to be measured and monitored over time, whilst at the same time guaranteeing exhaustiveness of perceptions and thorough comprehension. How ?

Through the synergy of Qualitative and Quantitative research:

- Questioning using projective games only (no rationalisation, no items proposed)
Questioning of a large number of consumers (recommended sample: 120 interviews per brand studied amongst a given target) :
• To reflect the differences or nuances in perceptions (brand perception and experience are very personal even within a homogenous target, it is therefore important to understand the diversity of these relations)
• And to establish quantitative indicators (all from the projective discourse)

Through a monadic approach:

- Enabling each brand to be known in terms of its specific way of operating with all the wealth and finesse of content that builds it. It is through the analysis process that the comparison of several brand entities will uncover the specifics of each one, their positioning, beyond the similarities inherent in the segment they belong to.

Through online interviews:

- Online fieldwork is particularly well-suited to the expression of emotions
- A reduction in costs makes it possible to question a large base qualitatively

In addition, Emotional Monitoring ® follows a simple protocol, that is adaptable in all countries, for a vision and monitoring of the brand on an international scale. The method works on a licence basis with partner agencies in the relevant countries and has already been successfully used in Europe as well as the United States and Asia.

The new quali-quanti synergy enables us to:

- Identify all types of perceptions of and relations to the brand that might co-exist, by reproducing their specific logic and emotional tonality (no dispersed reproduction in the form of a list of items or, conversely, integration of the different perceptions into one overall image)

- Compare this abundance of perceptions with one another, perceptions which are the strengths at stake for the brand in reality and which may be allied or opposed, or may dominate or be overpowered depending on their respective weights