Sample Article Withchart Citation

The perceptions of the BMW Mini brand:the importance of historical associations and

the development of a modelC.D. Simms and P. Trott

Business School, University of Portsmouth, Portsmouth, UK

AbstractPurpose The paper aims to investigate the main aspects of perceptions of the Mini brand in the UK. Given that consumers perceptions of a brand arerepresented by brand awareness and brand image, this research undertakes an in-depth investigation of the image of the BMW Mini brand in its mostestablished market.Design/methodology/approach The study consisted of 55 in-depth interviews with a cross-section of important stakeholders with high brandawareness and knowledge.Findings The research identifies the importance of the symbolic elements of the brands image, in particular its fun, sporty, fashionable and stylishimage. The study reveals that the brands appeal is largely at an emotional level based on the brands symbolic image and key associations. A model isdeveloped to reflect these findings. The study concludes that associations are key to stakeholders perceptions of the brand. In particular associationsrelated to the brands heritage and product-related associations such as the cars aesthetics and handling.Practical implications The research identifies the importance of maintaining the brands heritage, including its British origins, and the productscore appeal. In light of the importance of the brands British origins, the research identifies possible challenges created through the brands newGerman BMW ownership, and the launch of the new Mini.Originality/value The study develops a unique insight of this historic and valuable brand, as perceived by key stakeholders with high brandawareness and knowledge. In the light of these findings a model is developed that offers an improved understanding of how brand perceptions aredeveloped.

Keywords Brands, Perception, Brand image, United Kingdom

Paper type Case study

An executive summary for managers and executive

readers can be found at the end of this article.

Introduction

The importance of branding is recognised as one of the key

weapons for firms in fiercely competitive markets. Brand

investment has been found to contribute to the attainment of

positional advantages and hence performance (Matear et al.,2004). A number of studies focus on creating frameworks to

understand the key components of brand perceptions,

including Keller (1993), Aaker (1991) and Plummer (1985).This study focuses on modelling the key components of the

Mini brand, based on a total of 55 in-depth interviews among

a cross section of important stakeholders. The Mini is among

the most established brands in the car industry, and certainly

the most successful British car in terms of volume sold, it also

has an almost unique position in terms of its iconic status.

Very few brands in this industry are comparable to the Mini,

the Volkswagen Beetle, Citroen 2CV and Fiat 500 are among

these few and could be compared in terms of their iconic

status, also the Beetle is in fact more successful in terms of the

total volume sold. The Mini brand was chosen for this study

due to its marked history (which spans over 40 years) and the

brands success has lead to over five million units being sold

(Birmingham Mini Owners Club, 2002). The implications of

this success should mean perceptions of the brand are well

developed.The Mini was originally designed by Sir Alec Issigonis and

launched in 1959. At the time there were few other

economical cars and with the Suez Crisis there was a clear

demand for a small economical car. The car was designed to

seat four people, but be as small, practical, easy to park and

economical as possible. The car was priced inexpensively at

496. In 1961 John Cooper (an ex Formula 1 constructor)

teamed up with Sir Alec to design and commercialise the Mini

Cooper, a faster and sporty version of the Mini that would

allow the car to compete successfully in rallying (a later faster

Cooper S version was also launched). The Cooper and

Cooper S were both extremely successful in Rallying and won

the Monte Carlo rally three times. Originally seen as another

small car, the versatility and charm of the Mini made it a

favourite with the jet setters of the 1960s and the Mini

became a fashion/style statement and an icon. During this

period the car was owned by famous celebrities such as; Enzo

Ferrari, The Beatles, Steve McQueen, Graham Hill, Peter

Sellers, King Hussain and Dudley Moore. In 1969 the film

The Italian Job came out which starred Michael Caine, and in

which the Mini Cooper had a starring role. The combination

of the Minis rallying success and celebrity style fame meant

The current issue and full text archive of this journal is available at

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Journal of Product & Brand Management

15/4 (2006) 228238

q Emerald Group Publishing Limited [ISSN 1061-0421]

[DOI 10.1108/10610420610679593]

228

the car went from being a housewives shopping car to a must

have fashion accessory. In the period of 1970-1979 the Minis

success began to suffer seriously, and this was not helped by

the ending of production of the Cooper model in 1971. In

1980 the British Leyland Motor Corporation changed the

Minis name to the Austin Mini and in 1988 the company was

renamed the Rover Group, thus the Mini became the Rover

Mini. Sales of the Mini continued to suffer throughout the

1980s, and the Rover group launched a number of special

edition models which had some positive effects on sales of the

car. The Mini Cooper was re-launched in 1990, which helped

to boost sales of the car, particularly in Japan. During the

1990s the car received a number of updates, such as airbags

and fuel injection, nevertheless the car remained relatively

unchanged, in relation to its competition, since its original

launch. In 1994 BMWacquired the Rover group, though they

later sold off much of the group, BMW kept the Mini. In

1999 the Mini celebrated its 40th birthday and Autocar

named it the car of the century (National Mini Owners Club,

n.d.). In 2000 the Mini was completely withdrawn from

production (after producing 5,400,000 cars) and the new

Mini Cooper (designed and manufactured by BMW) was

launched in 2001.

Brand perceptions: a review of the literature

Over the past 20 years the literature has consistently

highlighted the importance of brand perceptions and the

components of these perceptions, including brand image and

associations (del Rio et al., 2001; Bhat and Reddy, 1998;

Keller, 1998; Aaker, 1991; Plummer, 1985).It is well documented that consumers perceptions of

brands consist of brand awareness and brand image (e.g.

Keller, 1998). Awareness of a brand is not likely to be enough

to ensure a brands success, as it is not in itself likely to be

sufficient reason to purchase a product. Successful brands

must offer superior value to consumers and differentiate an

offering from those of competitors (Fill, 2002). This is

achieved by building a brand image. Brand image is defined

by Keller (1993, p. 3) as perceptions about a brand as

reflected by the brand associations held in consumer

memory. This image may appeal to consumers at a

functional or symbolic level (Bhat and Reddy, 1998).

Products bought on a functional basis satisfy immediate and

practical needs and decisions are therefore based on objective

attributes and criteria, whereas symbolic (intangible) brand

components satisfy symbolic needs and emotional wants, such

as needs for self-expression and social identification, decisions

are therefore based on subjective criteria (feelings and

attitudes) (Bhat and Reddy, 1998). The functional and

symbolic elements of a brand allow it to serve a number of

functions to the consumer (del Rio et al., 2001). At a practicallevel the brand name can communicate a guarantee (e.g.

quality or VFM), while product benefits can communicate

benefits such as; comfort, safety, duration (del Rio et al.,

2001). At an emotional level a brand name may allow the

brand to serve functions in personal identification, social

identification and status (symbol of power or social status,

reflection of social approval, exclusivity, contribution of

emotional experiences or technical superiority), product

aesthetics may also contribute to this emotional appeal (del

Rio et al., 2001).

It is clear that the Mini brand may appeal to consumers

based on a rational level based on the products performanceand reassurance of quality, or at an emotional level based on

the value of the brands image or product aesthetics. Whenoriginally launched the Mini was designed to appeal toconsumers at a practical level, however since its launch the

brand has developed a unique heritage, and Laverick andJohnson (1997) highlight the importance of the Mini as abrand and its history, they suggest that the Mini Coopers

attraction is not primarily at the functionally tangible(product) level, but at an iconically intangible level, they

consider that since this appeal is historically based it is notpossible to re-engineer or duplicate, and thus its competitiveadvantage will remain while there is demand for that piece of

history and the associations that it embodies. It is also worthconsidering how the BMW corporate brand could add valuein terms of the guarantee or promise of quality it provides and

thus reassuring the consumer of the cars ability to meet theirexpectations.

Brand associations and the components of brand

perceptions

Associations are a key component of brand image; theydifferentiate, position and create positive attitudes and

feelings toward the brand (Low and Lamb, 2000). Theunderlying value of the brand name is often in the set ofassociations its meaning to people (Aaker, 1991). In order

to develop an understanding of the possible components ofstakeholders perceptions of the Mini brand, this paperconsiders a number of frameworks that are developed to

understand these associations and the components of brandperceptions.Aaker (1991) provides a comprehensive categorisation of

brand associations, consisting of 11 categories:1 product attributes;2 intangibles;3 customer benefits;4 relative price;5 use/application;6 user/customer;7 celebrity/person;8 life-style/personality;9 product class;

10 competitors; and11 country/geography.

A further model is presented by Keller (1998), this model

categorises associations into three main categories:1 attributes;2 benefits; and3 attitudes.

The model contains many similar elements to that of Aaker(1991), including personality, user, usage and price, butcategorises these as non-product related associations. This

model also adds the notion of attitudes to the brand, which isconsidered to be the most important association. Benefits may

be classified as functional, symbolic or experiential (Park et al.1986), which clearly relates these benefits to the appeal of thebrands image. Plummer (1985) presents a similar model of

brand perceptions to Kellers (1998), although this modelreplaces attitudes with the brands personality as a separateand important component. Brand personality is an important

part of brand image, as people often perceive brands in terms

The perceptions of the BMW Mini brand

C.D. Simms and P. Trott


Volume 15 Number 4 2006 228238

229

of human characteristics. Brands may therefore be described

in terms of their personality traits (Thakor and Kohli, 1996).

People relate to a brand based on its personality and how this

relates or appeals to their own personality and self-concept.

Demographics are an important component of a brands

personality (e.g. age, origin, gender and class) (Thakor and

Kohli, 1996; Batra et al., 1993). Brands can be defined anddescribed in terms of their origin; the place to which the

brand is perceived to belong by its target consumers (Thakor

and Kohli, 1996). In particular, brand origin can be

particularly salient for brands with heritage, or where the

nationality is considered to possess natural expertise (Thakor

and Kohli, 1996). Thus because of the Minis extensive

heritage, its origin may be of particular importance to

perceptions of the brand.A model of brand perceptions that is widely recognised in

the marketing textbooks and arguably dominates marketing

practitioners perceptions of brands is Kotlers (2000) highly

influential model. The model suggests six levels of meaning to

a brand:1 attributes;2 benefits functional and emotional;3 values;4 culture;5 personality; and6 user (Kotler, 2000).

This model clearly combines many of the previously

mentioned elements of a brand (such as attributes, user and

benefits). The model also suggests that the consumer may

associate the Mini brand with a culture and values, which are

not highlighted in the preceding models. A more complex

model of brand components is presented by de Chernatony

and DalOlmo Riley (1997); their double vortex model

explores the constituent elements of a brand (the left vortex),

but also explains that these elements may not be as important

as the rational and emotional responses they evoke (the right

vortex) in the form of consumer confidence. Their approach

to modelling a brand is unique, they suggest that the

consumer is unlikely to break the brand down into its

elements, but would consider the brand as a whole, eliciting

rational and emotional responses. This approach is further

reinforced by Murphy (1990) who takes a Gestalt view: thatconsumers tend to perceive products from an overall

perspective associating with the brand name all the

attributes and satisfactions experienced by the purchase and

use of the product. Thus this study of the Mini brand will

explore the complex components of stakeholders perceptions

of the Mini brand, as well as the rational and emotional

responses the brand elicits.Of all the models reviewed only de Chernatony and

DalOlmo Rileys (1998) model highlights the importance of a

brands history in how stakeholders may have come to

associate things with a brand. The Minis distinct and unique

history may have meant stakeholders associate the brand with

celebrities, films such as The Italian Job or the brands successin motor sport, for example.

Research methodology

Given that it was the aim of this research to develop an

understanding of the key components of perceptions of the

Mini brand, a qualitative approach consisting of in-depth

interviews was considered most appropriate. The interviews

would allow stakeholders to express their perceptions and

feelings at length in their own words, therefore obtaining

insight and understanding. It was also possible to develop

insight further through individual probing. A similar approach

was adopted by Grace and OCass (2002) in their study of

brand associations.This first stage of research consisted of 12 exploratory

interviews with opinion leaders. The second stage of the

research was to collect information from a number of key

stakeholder groups to the Mini brand. Information was

collected through depth interviews with guides designed

individually for each stakeholder group. Many studies

examine consumers perceptions of different well-known

and familiar brands (e.g. Grace and OCass, 2002; OCass

and Frost, 2002; Chen, 2001). The following stakeholders

were sampled for the second stage of the research:. ten new Mini owners;. ten classic/old style Mini owners, who were also members

of the Mini owners club;. ten opinion leaders car enthusiasts working in the

Motor trade;. ten opinion formers racing drivers, car magazine

editors; and. three BMW Mini dealerships John Cooper garage and

BMW Mini dealers.

Owners of both new and old Minis (who were also members

of Mini owners clubs) were clearly considered to have high

brand awareness and their perceptions likely to be essential to

the brands continuing success. Senior salespeople at Mini

dealerships were interviewed because of their influence in

shaping the opinions and attitudes of other customers,

potential customers, and other stakeholders to the Mini

brand. In addition to the preceding stakeholder groups it was

also considered important to interview other stakeholders

with high brand awareness and knowledge, and whose

opinions were likely to shape others, a number of research

papers highlight the importance of opinion leaders and

formers in these functions (Katz and Lazarfeld, 1955; Flynn

et al., 1994). Qualified and experienced racing drivers and car

testers were considered important stakeholders due to their

high product and brand awareness, as well as their perceived

authority and expertise, allowing them to serve a role as

opinion formers in the car industry. The opinion leaders and

opinion formers groups provided an alternative view of the

Mini brand because unlike owners and dealers they had no

association with the brand. The size of the four main samples

were restricted to ten in the light of the findings of Hastings

and Perry (2000) who when following a similar line of

research identified that many more interviews resulted in a

convergence of themes, and hence basically result in a zero

sum game.Data were collected through in-depth interviews where the

interviewee was allowed to lead the dialogue. The interview

dialogue was analysed for key words and themes, a similar

approach for analysing the results of a qualitative study was

adopted by de Chernatony and DalOlmo Riley (1997) and

Grace and OCass (2002). Where scales were utilised, a

seven-point (23 to 3) differential scale with bipolar labelsthat had a semantic meaning were used to identify the

strength of stakeholders perceptions of particular elements of





230

the Mini brand. The results of the scales were analysed to

identify trends and central tendency.

Findings

Stakeholders began the interview by describing the Mini

brand in terms of an overall image, using a number of short

descriptive words. These were then elaborated on in terms of

many key associations that were important to their

perceptions of the brands image. Additional and probing

questions then revealed the importance of many of these key

associations to perceptions of the brand. The results are

summarised in the following sections.Table I identifies that the Minis brand image is described in

terms of six primary components (displayed in Figure 1),

which have been grouped into three categories in line with the

themes identified during the interviews.The brands image was primarily described as sporty and

fun, and the results of the interviews revealed that this can be

seen to be largely a result of the cars sporty handling, which

was frequently described as like a go kart, its connections

with Motorsport and John Cooper Racing, as well as the filmThe Italian Job. These key associations were clearly key toperceptions of the brands image and respondents alsodescribed how important these were in making the brand

unique. The Mini was seen to have a particularly fashionableand trendy image, which was also described as cool. The

brand was also described as having a particularly stylishimage, and this style was related to the brands fashionable

appeal. The results revealed that this element of the brandsimage was largely a result of the cars aesthetics, and historicalassociations relating to the 1960s, celebrity and chic owners of

that age, the brands connections with motor sport, and thefilm The Italian Job. The cars aesthetics were clearly key tothis stylish image, which had in turn aided in making thebrand fashionable and trendy. The cars aesthetics were

described as stylish, cheeky, small, cute, different, modernand classic, again these descriptions are clearly to the brands

overall image. The brands history was also key to this part ofthe brands image, in particular the brands connections with

the 1960s, or as three respondents described it thefashionable and trendy 1960s, as well as celebrity andchic owners of that age, including Twiggy and the Beatles.

These associations were also key to the brands image beingdescribed as chic and classy. Again the brands connections

with motor sport and the film The Italian Job were key to thiselement of the brands image. The Mini is also seen as quite

different for a car of its type, due to its heritage, which hasgiven it such a unique image. The Minis image also has some

appeal at a practical level, with the brand having an image ofproviding value for money and quality.As has already been described in some of the preceding

findings, stakeholders associate the Mini brand with many

things (see Table II), and most of these associations can infact be divided into two main categories (displayed inFigure 2).As has been described in the preceding text key associations

relating to the product (aesthetics and handling), as well as

the brands history and heritage are key to perceptions of thebrand. These perceptions have shaped both the brands image

and personality. The Minis heritage is of particularimportance to the brand and was directly stated as an

association by 27 respondents. In addition many otherrespondents considered particular elements of the brands

history and heritage as associations with the brand. Thebrands connections with the 1960s, as well as celebrity/chicowners of that age, are clearly key associations. The brands

British origins and Motorsport heritage are also keyassociations from the brands history, as well as its role in

the film The Italian Job.Key product attributes and benefits are important

associations with the brand, in particular the cars looks andhandling, as well as its ability to be customised. The cars

handling and looks have already been highlighted as key toperceptions of the brands image, as well as its personality.

The cars ability to be customised was also seen by some to bekey to its uniqueness. In addition to these two main categories

of associations the Mini is also associated with numerousowners clubs, and the brands recent takeover by BMW.The interviews identified that the Minis personality formed

an important part of stakeholders perceptions of the brand.The results presented in Table III identify that the Minis

personality was seen as quite unique and is made up of three

Table I Key elements of the Mini brands image

Leaders Formers New Mini

Classic

Mini Dealers Total

SymbolicFun 3 2 6 3 2 16

Sporty 4 5 5 4 1 19

Exciting 1 3 4

Stylish 3 3 1 1 1 9

Fashionable/

trendy 1 3 1 3 2 10

Classy/chic 1 2 1 2 1 7

Cheeky 2 1 3

Classic 2 2 2 6

Modern 1 2 1 4

Different 2 1 2 1 2 8

Aspirational 2 2

Iconic 1 2 3

Cult car/

following 1 1 2 1 5

FunctionalValue for money 1 2 3 6

Quality 1 1 2

Figure 1 Summary of the key elements of the Minis brand image





231

key human characteristics and two personality traits by which

the brand was described, as well as three demographic

characteristics (displayed in Figure 3).Stakeholders primarily described the Minis personality in

terms of human characteristics and personality traits. The

brand was described in human terms as being trendy, sporting

and attractive. Probing revealed that the sporting element of

the brands personality was related to the cars drive and its

connections with motor sport. The brands attractive

personality largely resulted from product attractive

aesthetics, but also the brands aspirational appeal related to

its heritage, which made it attractive to own. The brands

trendy personality was related to its connections with the

1960s and celebrity owners of that time.The Minis personality traits were described as cheeky and

fun or fun loving, as well as outrageous. Probing again

revealed that the cars handling had contributed to the brands

Table II Key brand associations for the Mini

Leaders Formers New Mini Classic Mini Dealers Total

HeritageHistory/heritage 5 8 6 7 1 27

Motorsport 2 2 3 3 1 11

1960s 2 5 5 12

The Italian Job 2 1 2 4 9British 3 3 5 1 12

Michael Caine 1 1 3 4 9

Chic/celebrity owners 3 2 2 2 9

ProductLooks/style 3 6 4 4 2 19

Handling 7 3 3 9 3 19

GoKart 2 1 1 2 6

Customise 2 2 4

OtherBMW 4 2 1 2 9

Owners clubs 3 3 6

Table III Key elements of the Minis brand personality


Human characteristicsTrendy/cool 6 7 2 2 3 20

Attractive 3 6 2 5 1 17

Sporty 1 3 2 1 4 11

Personality traitsFun/fun loving 6 7 5 5 1 24

Cheeky 5 2 5 3 1 16

Outrageous 2 2 2 1 7

DemographicYoung/youthful 5 7 2 4 2 20

Bridges age gap 2 3 2 2 2 11

British 2 5 2 5 1 15

Classless 3 1 4

OtherUnique 4 3 2 4 13

Figure 2 A summary of the brand associations of the Mini





232

fun personality. The brands cheeky personality resulted fromthe cars aesthetics, its connections with the film The ItalianJob and the celebrity Michael Caine.A key element of the Minis personality is its demographics,

in particular the brand is seen as young, British, and a brandwith an appeal to all ages and people of all types. Some

owners described how owning a Mini kept them young,because of its youthful and always fashionable image. This

fashionable image was also seen to make the brand appeal to

people of all ages and all walks of life, also leading some todescribe it as classless. The brands British origins were also a

key element of this personality, with stakeholders describingthe brand as typically British. The results of the interviews

identified that the brands personality is a key element of thebrands overall image, the two are clearly closely related and

interlinked in the minds of stakeholders.In addition to the preceding main areas of perception,

additional questions were used to identify other possiblerelevant areas of perception. Of the other areas of perceptions

investigated, the interviewees perceptions of the typicalowner/user of the brand were particularly marked. Based on

the results of the research this would seem to be a middle-aged female manager, who is good looking and out going,

however, opinions were particularly split (Table IV).However, the most marked perception of the typical owner

was that they are likely to be anyone, and in fact owners

described that the brands appeal and accessibility to alltypes of people, from rich celebrities to poor students as

one person described, was key to its success.Interviewees were also questioned about their perceptions

of the brands culture and values. The Mini brand and theproducer of the Mini are seen to have a fun, modern and cool

culture (Table V). In this section of the interview it alsobecame clear that the brand itself was associated with the fun

loving and fashionable 1960s culture, during which it wasparticularly popular. However, a significant number of

respondents did not consider the brand or producer to havea culture, or that this was particularly relevant to their

perceptions. In addition it was clear that the majority ofrespondents did not perceive the brand or producer to any

specific values (Table VI).The results in Table VII identify that stakeholders saw the

Mini as a particularly unique brand, and the factors used to

describe the brands uniqueness clearly highlight the

importance of the brands image, personality andassociations. In particular this section highlighted theimportance of the brands history in making it unique, aswell as the brands overall symbolic image.The results presented in Table VIII clearly highlight the

importance of the Minis image, respondents consistentlyrating the Minis image as equally or frequently moreimportant than product quality (with an overall mean of2.59 for image, compared to 2.04 for quality).

The development of a model of stakeholdersperceptions of the Mini brand

Based on the results of this research the following model ofthe Mini brand is proposed. Perceptions of the Mini brand

comprise three main components or levels (Figure 4). Theprimary component of stakeholders perceptions is thebrands image, detailed in the middle of the diagram, whichcomprises of functional and symbolic elements. Theseelements of the brands image relate to the brands rational

and emotional appeal, which is detailed to the right of thediagram. In the case of the Mini it is clear that the brandsimage appeals particularly at an emotional level. The brandsimage has developed from a number of specific associations,which are detailed to the right of the diagram, in the case ofthe Mini the key association can be grouped into three key

categories; the brands personality, product relatedassociations, and the brands history/heritage.Based on these key findings a model of the brand is

presented in Figure 4. The model is specific to the Mini brandand identifies the key interrelated elements of stakeholdersperceptions of the brand.The model presented in Figure 4 supports much of the

existing branding literature. As is shown in Figure 4, theMinis image may be broken down into functional andsymbolic elements, which supports the existing brand imageliterature (e.g. Bhat and Reddy, 1998; del Rio et al., 2001).The functional and symbolic elements of the brand provide

the brand with its rational and emotional benefits and appeal.As del Rio et al. (2001) suggest that the symbolic andfunctional elements of a brand allow it to serve a number ofkey functions. In the case of the Mini it is clear that at afunctional level the brand serves as a guarantee of product

quality and value for money. However, the symbolic elementsof the Minis image are clearly of great importance tostakeholders overall perceptions to the brand. Stakeholdersidentify with the brands image at a personal level due to theappeal of the brands sporty image and drive. As del Rio et al.(2001) model suggests the aesthetics form an important part

of the brands symbolic image/appeal. However, in the case ofthe Mini the cars handling also forms an important part ofthis image and appeal, providing experimental benefitsmaking the car fun and sporty to drive (which Park et al.(1986) identify as an important type of benefit). The brand

also serves a function in social identification with customerswanting to associate themselves with the aspirational 1960sand celebrity lifestyles and the brand acts as a communicationinstrument of a cool, stylish and fashionable image. It istherefore clear that the symbolic lifestyle elements of

stakeholders perceptions of the brand must be effectivelymanaged, in particular the brands heritage is clearly key tostakeholders perceptions of the brand, and marketing

Figure 3 Summary of the elements of the Mini brands personality





233

communications could be utilised in order to maintain and

enhance these perceptions.Based on this research it is clear that in the case of the Mini

brand, its symbolic image is of greatest importance to

perceptions of the brand, which can be seen from the diagram

(Figure 4). From this research and the model that has resulted

it is clear that the key elements of the brand that influence its

image and appeal relate to the product itself and the brands

heritage. Based on this it is important that activities are

targeted at maintaining or enhancing the brands existing

image, targeting marketing activities on product attributes,

the brands heritage, and developing the brands unique

personality. The importance of the product itself to the

success of this brand can therefore not be underestimated; it is

from the product that most of the brands success has

resulted, in particular its sporting handling, connections to

celebrities, and motor sport success. Marketing activities

could also be focused on enhancing perceptions of the brandat a functional level, targeting perceptions of the brands value

for money or quality appeal.

Conclusions and implications

The results of this study have identified that the Minis

distinct brand image is clearly key to its differentiation; this issupported by the literature on brand image (e.g. Keller, 1998;

Bhat and Reddy, 1998). The Minis brand image has

developed from a number of key associations, which as

Aaker (1991) suggests have given the brand its meaning. Thisresearch highlights a number of important associations to the

Mini brand, including product attributes, benefits,

personality, users and celebrities, and these associations are

identified in many elements of the literature (e.g. Aaker, 1991;Keller, 1998; Plummer, 1985). In particular, the research

highlights the importance of product-based associations and

the brands personality to perceptions of the brand (see

Figure 4). The Minis brand demographics are a key aspect ofthe brands personality, as Thakor and Kohli (1996) and

Batra et al. (1993) suggest, and the brands British origin is ofparticular importance to stakeholders perceptions of the

brand, this is particularly salient because of the brands longheritage. However, the preceding literature review on brand

image does not highlight the importance of historical

associations to a brands image. This research has identified

the importance of a number of historically based associationsto the Minis symbolic image (see Figure 4), and as Laverick

and Johnson (1997) suggest the brands appeal is primarily at

an iconically intangible/emotional level, based on the

brands history and heritage, although the cars aestheticsand handling are also important to perceptions of the brand.

Previous studies of brand perceptions and associations

identified in this paper do not fully account for the

importance of a brands history to perceptions of a brand,in fact only de Chernatony and DalOlmo Rileys (1998)

model makes any direct reference to a brands history. There

is therefore a need for further research in order to identify the

Table VI Perceptions of the brands values

Brands values Total

Quality 2

Style 2

VFM 1

No 38

Table IV Perceptions of characteristics of typical Mini owner

Typical Mini owner/user Leaders Formers New Mini Classic Mini Dealers Total

SexMale 3 2 1 6

Female 4 4 1 9

AgeYoung 4 5 9

Middle-aged 4 2 1 1 8

Older 1 1

Job positionManagement 6 3 1 1 11

Skilled 1 1

Housewife 2 2 1 5

PersonalityImage conscious 4 1 3 8

Outgoing 2 2 1 2 7

OtherAffluent 2 2 1 1 6

Anyone 2 3 5 10 2 22

Table V Perceptions of the brands culture

Brands culture Leaders Formers

New

Mini

Classic

Mini Dealers Total

Fun 4 2 3 1 10

Modern 1 3 2 1 7

Cool 1 2 1 1 5

Dynamic 1 1 1 1 4

Professional 2 1 1 4

1960s 1 4 3 8

Exhibitionist 3 3

No 4 5 4 6 2 12





234

importance of historically-based associations to perceptions of

a wider variety of established brands.The research carried out for this study did not support the

importance of a brands culture and values to stakeholders

perceptions of this brand, as suggested in Kotlers (2000)

model. However, interpreting the data (Table I) in terms of

this model the brands values may be seen in terms of the key

elements of the brands image; style, fun and sportyness.

Based on these results it may be suggested that the brand

values concept does not have as much meaning to

stakeholders as brand image (for example), thus the use of

words such as values and culture may not be appropriate for

interviews, whilst image and personality are of more relevance

to their perceptions.As de Chernatony and DalOlmo Rileys (1998) double

vortex model illustrates, the Mini brand is made up of a

number of important elements, which we have already

highlighted. Although the brand is associated with a name,

capabilities, personality and risk reducing elements, as their

model suggests it is not these constituent elements that are

key to stakeholders perceptions, but rather the rational and

emotional responses they elicit. Thus, as Murphy (1990)

suggests, consumers react to their perceptions of the brand as

a whole, in the case of the Mini largely eliciting emotional

responses to the symbolic elements of the brands image.The model presented in Figure 4 is specific to the Mini

brand; however, the model could be adapted to be applied to

the analysis of other brands. The model presents differentperspective on a product brand by linking specific brandassociations to the image that is developed in the mind of theconsumer or stakeholder, and finally linking this to how theimage appeals to key stakeholders. Through this perspective itlinks the brand associations proposed by Aaker (1991), thesymbolic and functional image of the brand (e.g. Keller,1998), and finally the appeal or functions of the brand (delRio et al., 2001), The model also develops an understandingof how the key associations, which in this case are categorisedas being part of the brands history or relating to the product,link to perceptions of the brands personality which is a keyelement of brand perceptions. By linking together differentelements of academic literature relating to brand perceptionsthis model provides a more comprehensive insight into thebrand image concept. The basic elements of this model can beadapted to be general to other brands and should testedthrough further studies, in order to relate the different areas ofthe literature on brand perceptions and to develop and refinea comprehensive model of brand perceptions.This study highlights the importance of the Minis British

origins to perceptions of the brand; based on the importanceof this heritage the brands now German ownership willpresent a future challenge to the management of perceptionsof the brand. Based on this research, the decreased number ofperceptions of the brands value for money by new Miniowners (compared to old Mini owners), and an increasednumber of perceptions of the brands quality, suggests that thebrands appeal is changing from value for money and towardsquality, as a result of BMWs ownership and the launch of thenew Mini. Based on this research it is clearly important thatthe Minis history and heritage are protected to ensure thebrands continuing success, it is also important that thebrands sporty, fun and stylish appeal is retained. Based onthese results marketing activities should be targeted atmonitoring the changing perceptions of the Mini brand

Table VII Factors identified as making the Mini unique


ImageImage 3 5 1 2 11

Fun 2 2 4

Sporty 3 4 4 1 12

Style/stylish 3 3 1 1 1 9

Classless 2 1 3

Famous/iconic 1 1 1 3 6

Cool/trendy 3 3 6

Young/youthful 1 1 1 3

Traditional 3 3 6

Cheap 1 1 1 3

Product-relatedSporty/fun handling 3 1 2 5 1 12

Small 2 2 1 1 6

Stylish looks 2 4 2 2 1 11

AssociationsName 3 1 4

History/heritage 6 8 5 5 1 25

British 2 4 1 7

Chic users 1 1 2

Customise 2 2

Table VIII Importance of brand image versus product quality

Importance of image

against quality 23 22 21 0 1 2 3

Image 1 3 9 31

Quality 1 1 1 4 14 23





235

caused by these changes in ownership and product offering,

and maintaining perceptions of the key elements of the brand

image identified in Figure 4.

References

Aaker, D.A. (1991), Managing Brand Equity, The Free Press,

New York, NY.Batra, R., Lehmann, D.R. and Singh, D. (1993), Brand

personality component of goodwill: some antecedents and

consequences, in Aaker, D.A. and Biel, A.L. (Eds), Brand

Equity and Advertising, Lawrence Erlbaum Associates,

Hillsdale, NJ.Bhat, S. and Reddy, S.K. (1998), Symbolic and functional

positioning of brands, Journal of Consumer Marketing,

Vol. 15 No. 1, pp. 32-43.Birmingham Mini Owners Club (2002), Mini design and

evolution, available at: www.bmoc.carlovers.co.uk/

mini_media.htm (accessed 8 September 2004).Chen, A.C.H. (2001), Using free association to examine the

relationship between the characteristics of brand

associations and brand equity, Journal of Product &

Brand Management, Vol. 10 No. 7, pp. 439-51.de Chernatony, L. and DalOlmo Riley, F. (1997),

Modelling the components of the brand, European

Journal of Marketing, Vol. 32 Nos 11/12, pp. 1074-90.del Rio, A.B., Vazquez, R. and Iglesias, V. (2001), The

effects of brand associations on consumer response,

Journal of Consumer Marketing, Vol. 18 No. 5, pp. 410-25.

Fill, C. (2002), Marketing Communications: Contexts, Strategies

and Applications, 3rd ed., Financial Times, Prentice-Hall,

London.Flynn, L.R., Goldsmith, R.E. and Eastman, J.K. (1994),

The King and Summers leadership scale: revision and

refinement, Journal of Business Research, Vol. 31, p. 55.Grace, D. and OCass, A. (2002), Brand associations:

looking through the eye of the beholder, Qualitative Market

Research: An International Journal, Vol. 2 No. 2, pp. 96-111.Hastings, K. and Perry, C. (2000), Do services exporters

build relationships? Some qualitative perspectives,

Qualitative Market Research: An International Journal, Vol. 3

No. 4, pp. 207-14.Katz, E. and Lazarfeld, P.F. (1955), Personal Influence: The

Part Played by People in the Flow of Mass Communications,

The Free Press, New York, NY.Keller, K. (1993), Conceptualising, measuring and

managing customer based brand equity, Journal of

Marketing, Vol. 57, January, pp. 1-22.Keller, K.L. (1998), Strategic Brand Management, Prentice-Hall,

Englewood Cliffs, NJ.Kotler, P. (2000), Marketing Management: The Millennium

Edition, international ed., Prentice-Hall, Englewood Cliffs,

NJ.Laverick, S. and Johnson, K. (1997), The marketing of a

consumer icon: Mini Cooper into Japan coals to

Newcastle?, Marketing Intelligence & Planning, Vol. 15

No. 4, pp. 179-84.Low, G.S. and Lamb, C.W. (2000), The measurement and

dimensionality of brand associations, Journal of Product &

Brand Management, Vol. 9 No. 2, pp. 350-68.

Figure 4 A model of the stakeholders perceptions of the Mini brand





236

Matear, S., Gray, B. and Garrett, T. (2004), Market

orientation, brand investment, new service development,

market position and performance for service organisations,International Journal of Service Industry Management, Vol. 15No. 3, pp. 284-301.

Murphy, J. (1990), Brand Strategy, Director Books, Cambridge.National Mini Owners Club (n.d.), Mini old and new!,available at: www.miniownersclub.co.uk/aboutmini/

(accessed 8 September 2004).OCass, A. and Frost, H. (2002), Status brands: examining

the effects of non-product-related associations on statusand conspicuous consumption, Journal of Product & BrandManagement, Vol. 11 No. 2, pp. 67-88.

Park, C.W., Milberg, S. and Lawson, R. (1986), Strategic

brand concept image management, Journal of Marketing,Vol. 50, October, pp. 135-45.

Plummer, J.T. (1985), Brand personality: a strategic concept

for multinational advertising, paper presented at the AMAWinter Marketing Educators Conference, Phoenix, AZ.

Thakor, M.V. and Kohli, C.S. (1996), Brand origin:conceptualization and review, Journal of ConsumerMarketing, Vol. 13 No. 3, pp. 27-42.

Further reading

Biel, A.L. (1992), How brand image drives brand equity,Journal of Advertising Research, November/December, p. 9.

Cooper, P. (1999), Consumer understanding, change andqualitative research, Market Research Society, Vol. 41 No. 1,pp. 1-9.

Malhotra, N.K. and Birks, D.F. (2000), Marketing Research:An Applied Approach, European ed., Financial Times,Prentice-Hall, London.

About the authors

C.D. Simms is Director of Market Innovations Ltd, amarketing consultancy firm. He is also an Associate Lecturer

at the University of Portsmouth. He holds a Masters inMarketing with Distinction from University of Portsmouth.P. Trott is a Principal Lecturer at the Business School,

University of Portsmouth. He holds a PhD from Cranfield

University. He is author of many publications in the area of

innovation management. His book Managing Innovation andNew Product Development published by Prentice-Hall is now inits third edition. P. Trott is the corresponding author and canbe contacted at: [email protected]

Executive summary and implications formanagers and executives

This executive summary has been provided to allow managers andexecutives a rapid appreciation of the content of this article. Thosewith a particular interest in the topic covered may then read thearticle in toto to take advantage of the more comprehensivedescription of the research undertaken and its results to get the fullbenefits of the material present.

BMW Minis brand image: after nearly 50 years it is all

about emotion

In the automotive industrys history and present the Mini is

an icon. Admittedly the VW Beetle has sold more units, and

achieved its own iconic status, but there is something very

special about the Mini. It is a brand that people feel they

know all about. It may even be considered to be one of thefamily. The Mini has come to be associated with fun, being

sporty, being fashionable and stylish. Since its launch wayback in 1959 over five million units have been sold, making it

the best selling British made car of all time. From humbleorigins, a behemoth was born.The world in which the Mini was created was a very

different one from now. However, the original rationale stillresonates. Following the Suez Crisis, when Britain and France

unsuccessfully invaded the Canal Zone, fuel economy becamemore valued, and the need for a family car that was cheap to

run drove designer Sir Alec Issigonis original vision. At thetime of writing new political uncertainties are driving the oil

price ever higher, refocusing the consumer towards fueleconomy. Although the Mini has changed, and changed

significantly, it remains the small car that raises the spirits.Like many entering their late 40s, the Mini has something

of a chequered history, combining glory years with lean times.

Yet it continues to be made, and continues to be held in highesteem by the British public and across the world. It is a brand

that is forgiven its shortcomings, and its absence from themarket in the early 2000s seems only to have made the heart

grow fonder.The Mini has been known as the Austin Mini, the Rover

Mini and now the BMW Mini. From early days as an

economy model, the Mini Cooper and Cooper S were sportsversions made in collaboration with John Cooper, a Formula

1 constructor. There were years of mismanagement by BritishLeyland Motor Corporation and its later incarnation as Rover

Group in which sales declined. BMW bought Rover in 1994,

and ceased production of the Mini in 2000, relaunching withthe new Mini Cooper, a very different model, in 2001.In a survey of a variety of stakeholders, Simms and Trott of

Marketing Innovations Ltd and the University of Portsmouth

have uncovered the secrets behind an enduring love affair witha brand survivor.

The Minis brand image, associations and personality

Brand heritage is becoming increasingly well understood, and

is vital to the success of the new Mini. The BMW model is a

very different car from Issigonis design classic, yet is cloakedin what has come to be considered a common history. As a

style statement in the 1960s, the Mini had a number ofhigh profile owners, including Enzo Ferrari, The Beatles,

Formula 1 champion Graham Hill, the actor Peter Sellers,King Hussein of Jordan and many more. An iconic movie, TheItalian Job, contains iconic footage of the Mini Cooper in oneof the movie worlds best-known car chases. Important tocurrent owner BMW, the association was one which did not

emphasise the cheap so much as the cheerful.In conducting the research a holistic view was taken. Initial

interviews were with opinion formers, leading up to a series ofin-depth interviews with owners of the new Mini, owners of

the old one (or classic), opinion leaders and enthusiasts

from the motor trade, opinion formers (racing drivers and carmagazine editors), and those in BMWMini dealerships. Their

results emphasise the emotional attachment to the brand, andpotentially a lasting brand legacy.The key findings are:

. Its brand image is associated with being sporty, fun,

fashionable or trendy, stylish, classy or chic, and different.





237

. Brand associations can be divided into those associatedwith its history and heritage, and those that are productrelated. Those associated with history and heritage are:the 1960s, including the celebrity owners; being British;motor sport; and The Italian Job or Michael Caine its star.

. Its brand personality can be broken down into:characteristics trendy or cool, sporting or fit, andattractive; traits cheeky and fun or fun loving;demographics young, British, and bridges the age gap;and that it is unique.

. The Minis image was cited as more important thanproduct quality.

Implications for BMW, custodians of the Mini brand

Custodian ship seems to be a better word than ownership forthe Mini brand it seems to transcend mere ownership and issomething more lasting. Which is not to say that the brandcannot be destroyed, albeit it has a certain robustness.

The Minis brand image is the key to its differentiation from

other small cars and a number of key associations have been

developed in the minds of its stakeholders, established on an

emotional level. Its British-ness is of prime importance.

Under German-based BMWs ownership, perceptions of the

brand have shifted from value for money towards quality.For BMW the challenge is to protect Minis history and

heritage as it is the basis for so much of its appeal. In going

forward it is essential to keep and develop the stylish, fun and

sporty brand image. Given the change of ownership, more

obvious since the launch of the wholly new version,

maintaining the appeal, functions and associations of the

brand is the key challenge that lies ahead.

(A precis of the article The perceptions of the BMW Mini brand:

the importance of historical associations and the development of a

model. Supplied by Marketing Consultants for Emerald.)





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