Emotional philosophies

David Ogilvy's (1963) "brand image" has become commensurate to the USP in fame. Ogilvy's philosophy of brand image suggests that, rather than telling about the product's singular benefits, moods and images should be evoked, such as stylish and sophisticated (see http://ogilvy.com).

Music, colors, scenery and so on became more significant in such advertising than the words heard or read.

More recent philosophies have built on Ogilvy's feeling-oriented assumptions of motivation, of which brand identity, or associating the brand with pleasurable social norms, is the best example.

Brand identity often draws on a shared cultural experience and is particularly common among brand leaders

Lindsey, Stone & Briggs Advertising, Inc. of Madison, Wisc., has determined the competitive point of difference for its clients and attempted to integrate that experiential and emotional differentiator with the client, the brand and the product or service

The strong use of emotion, or using advertising to modify feeling about brands without focusing on brand benefits or images, has evolved during the 1970s and 1980s (Frazer 1983). Schwartz (1973) called this the "resonance strategy" of presenting circumstances, situations, or emotions that find counterparts in the realm of imagined experiences.

Similarly, Frazer (1983) identified "anomalous strategies" in which advertisers use messages and images that have no rational basis simply to make emotional contact with buyers. Anomalous strategies include the use of such themes as fantasy, drama and humor without any cognitive link to the product. A good example would be the wellknown "Welcome to Miller Time" advertisements. The 1990s showed this strategy to have few followers, as most brand-focused agencies aim to develop clear cognitive brand linkages with specific target segments (Duncan and Moriarty 1999).