Strengthening Winery Organizationsin Michigan:

A Branding Guide

Adapted from“Just Who Do Your Customers Think You Are?

A Guide to Branding Your Organization”by Tamara Real and Jennifer Deutsch,

published by the Michigan Museums Associationand funded by the Institute of Museum and Library Services.

Michigan Grape and Wine Industry Council

Strengthening Winery Organizations in Michigan A Branding Guide

TABLE OF CONTENTS

PAGEPreface & Acknowledgement…………………………………………………………………………………… 1 Introduction…………………………………………………………………………………………………………. 2 Part One: Understanding Branding…………………………………………………………………………….. 3

Branding Wineries and Wine Regions………………………………………………………………………. 3 Understanding the Basics of Branding……………………………………………………………………… 5

What is a Brand?………………………………………………………………………………………… 5 Brand vs. Product……………………………………………………………………………………….. 5 Customers and Decision-Making……………………………………………………………………… 6 Components of a Brand………………………………………………………………………………… 6

Brand Pyramid…………………………………………………………………………………………………. 7 Brand Promise…………………………………………………………………………………………… 7 Brand World……………………………………………………………………………………………… 7 Brand Corridor…………………………………………………………………………………………… 8 Brand Activators…………………………………………………………………………………………. 8 Visitor-centeredness vs. Product-centeredness………….………………………………………….. 9

Part Two: The Steps in the Branding Process……………………………………………………………… 10 Step One: Getting the Team on Board……………………………………………………………………… 11

Assemble the Branding Team………………………………………………………………………….. 11 Designate a Brand Champion………………………………………………………………………….. 11 Confirm Support of the Winery’s Owner………………………………………………………………. 11 Conduct Initial Team Meetings to Establish a Common Understanding…………………………... 13

Step Two: Identifying your Winery’s or Region’s Position………………………………………………… 14 Conduct Market Research of Your Current and/or Designated Target Audiences………………. 14 Identify the Winery’s Brand Position…………………………………………………………………... 15

Step Three: Creating the Brand……………………………………………………………………………… 17 Define the Strategic Components of Your Winery’s Brand…………………………………………. 17 Develop Your Winery’s Brand Positioning Statement……………………………………………….. 18 Obtain Buy-In from Internal Stakeholders…………………………………………………………….. 19

Step Four: Implementing the Brand…………………………………………………………………………. 20 Conduct an internal Product Assessment…………………………………………………………….. 20 Identify the Tactics (Brand Activators) that You Will Use to Bring your Brand to Life……………. 20

Step Five: Communicating Your Brand……………………………………………………………………... 22 Create a Style Guide and Language for Your Winery……………………………………………….. 22 Develop a Creative Brief for your Winery……………………………………………………………... 24

Step Six: Managing the Brand……………………………………………………………………………….. 25 Keep Your Brand Fresh………………………………………………………………………………… 25 Continue to Study Your Audience……………………………………………………………………... 25

Appendix……………………………………………………………………………………………………………... 26 A. Case Studies……………………………………………………………………………..……………………….. 27 B. Examples…………………………………………………..……………………………………………………… 34 C. Worksheets ……………………………...……………………………………………………………………….. 35 Bibliography………………………………………………………………………………………………………….. 37 Additional Sources…………………………………………………………………………………………………… 38

Strengthening Winery Organizations in Michigan

A Branding Guide

Preface A key tool in shaping public perception of organizations is "branding." Travel Michigan has partnered with the Michigan Museums Association (MMA) and the cultural leadership of the state to bring cultural organizations together in support of a common brand that will strengthen visitor perceptions and offer further opportunities for cultural organizations to strengthen their own image through developing a strong brand identity. The lessons on “branding” being shared with cultural organizations in the state hold relevant messages for Michigan’s wine industry as well. Thus the Michigan Grape and Wine Industry Council requested, and has been granted, permission to adapt the MMA training resource “Just Who Do Your Customers Think You Are? A Guide to Branding Your Organization,” developed by Tamara Real and Jennifer Deutsch and funded by the Institute of Museum and Library Services. We trust that members of Michigan’s wine industry, like members of the museum community, will find these resources helpful in establishing their own brand identity. LuAnn Kern, Director Michigan Museums Association The council believes that stronger public recognition and enjoyment of the riches of Michigan’s wine industry will be achieved by encouraging the wine industry to devote attention to developing branding strategies on an individual winery level as well as for groups of wineries within the state. Throughout the last decade, appreciation of the value that the wine industry brings to Michigan has grown steadily. Once perceived as serving small numbers of people with specialized interests, wineries are now understood by many to be strong contributors to state and local economies, adjuncts to traditional agricultural and tourism communities, and vital contributors to community quality of life. This change in perception is visible among state officials, corporate leaders and many local leaders. While more work needs to be done to solidify and expand this changed perception of the value of the wine industry, it is clear that the accomplishment was made possible by concerted efforts across the industry through various partner organizations – Michigan State University, the Michigan Grape and Wine Industry Council, regional wine trail associations and individual wineries. By exploring the role that “branding” plays in the success of an organization, individual wineries and groups of wineries can develop stronger messages to gain even more support for this emerging industry. Linda Jones, Program Manager Michigan Grape and Wine Industry Council517-284-5741 Acknowledgement The manual prepared for the Michigan Museums Association entitled “Just Who Do Your Customers Think You Are?” was revised for the wine industry by Sarah Blundy, a senior business administration major at Saint Mary’s College of Notre Dame, Indiana. Ms. Blundy worked as a student intern with the Michigan Grape and Wine Industry Council during 2002. Her assistance in researching and writing sections of this manual are greatly appreciated by the council.

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Introduction Branding is a buzzword in today’s business world. Financial institutions, fast food restaurants, hotels, and even destinations are implementing branding strategies. Is this a fad or a bona fide management practice? Does it have value for wineries and other organizations? Just what exactly is branding? Let’s start with what branding isn’t. It isn’t just a logo. It isn’t just a tag line, or a consistent use of your organization’s name, although these are part of a brand’s identity. It’s what these symbols mean and the feelings they engender among an organization’s stakeholders (Travis, p. 4). For wineries, branding is the process of identifying the intrinsic character of the business (what it stands for and how it wants to be perceived by its publics) and then implementing strategies to create and deliver the products (the wines and other products) and services (tours, experiences, dining) that bring that character to life. Put another way, branding is the process of defining very clearly and concisely the essence of a winery -- what it stands for and how it wants to be perceived – and then offering programs and services that communicate that essence. At its core, branding is about making choices: deciding how you want your winery to be perceived; deciding to offer products and services that contribute to building that perception; deciding to eliminate products and services that do not reinforce the desired perception; and deciding how to best communicate that brand identity consistently to a target market. Branding is about consciously measuring everything a winery says and does against the yardstick of the organization’s brand identity rather than allowing products and services to develop and function independently, without recognition that they all contribute to the consumer’s perception of the institution. For wineries, the goal of branding is to build a clear public image that will encourage increased sales, repeat visits, and strong relationships with its community. About this Guide This publication explores how wineries can build powerful brands for themselves. It has been adapted from a publication developed by the Michigan Museums Association entitled “Just Who Do Your Customers Think You Are? A Guide to Branding Your Organization” and used at two one-day workshops in June 2002. Part One, Understanding Branding, provides an overview of the basic concepts of branding. Part Two, Steps in the Branding Process, offers a guide to branding your winery. An Appendix features supporting materials, including worksheets, case studies, and exhibits. The examples used throughout this guide are mostly drawn from commercial entities because they will be immediately recognizable to most readers. In addition, museum examples have been included because museums and wineries seem to be kindred spirits when it comes to branding. They appeal to similar demographic segments and can suffer from similar misconceptions as places that are intimidating or too elitist for “ordinary” people to visit. While there are many examples of branding in Michigan’s wine industry, the authors have intentionally NOT selected local examples. Case Study One: Ella Sharp Museum In addition, this guide also includes an example of how a museum might utilize the branding tools recommended in this guide. The Ella Sharp Museum is a small regional history and art museum located in Jackson, Michigan. Established in 1964, the museum operates an 8-building physical plant that includes the Sharp farmhouse and gazebo as well the Granary Restaurant, an exhibition gallery, and historic structures moved to the museum site. The Ella Sharp Museum plays an essential community role as guardian of “the Jackson story.” Case Study Two: George Eastman House George Eastman House in Rochester, New York, is the historic house and gardens of the founder of Eastman Kodak Company as well as an international museum of photography and motion pictures. On the eve of its 50th anniversary, the institution began the branding process to guide it in the development of future programs and marketing initiatives. Its story illustrates challenges faced by many museums and shows solutions that are relevant to cultural institutions of all sizes and types.

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Part One: Understanding Branding Branding Wineries and Wine Regions Can wineries or wine regions be branded? Marketers say that anything can be branded, pointing to the success of branding certain commodities or undifferentiated products like bananas or salt. Just think: sodium chloride – salt – sells much better when “Morton’s” is on the label than when “sodium chloride” appears. A banana is just a banana, unless it’s a Chiquita. Water is perhaps the ultimate commodity. Almost every person has access to good clean water out of the tap; there is no reason to buy water. However, there are branded waters such as Evian that sell for 20% more than Budweiser Beer, 40% more than Borden Milk, and 80% more than Coca-Cola. If water, salt, and bananas can establish distinctive identities in the marketplace through branding, then certainly wineries and wine regions can as well. Today, more than ever, it is important to brand a winery and wine region. Prospective customers have less free time and more options for entertainment than ever before. Consumers of leisure-time activities need compelling reasons and points of differentiation to help them determine how they can best spend their precious non-working hours. They want to know “what’s in it for me” quickly and clearly. A winery with a clear brand identity offers its audience a virtual shorthand description of itself. Think of how much is conveyed through the use of brand names in this personal ad, “Lands End type seeking Martha Stewart” (cited in National Post, 2000). These brand names alone conjure up whole personality types. Other providers of leisure-time activities bombard potential customers with carefully honed identities and messages, and wineries and tourism regions need to compete effectively in this marketplace. Consumers make decisions based on how their needs for entertainment, time for family togetherness, time for social gathering, or other goals will be fulfilled. It doesn’t necessarily take a lot of money to brand an organization, but it does take imagination, focus, discipline, and follow through. The goal of branding is to build relationships with customers. This happens as an organization makes emotional connections with the consumer as well as satisfying basic needs. For example, why will an older couple drive 30 miles to the next highway exit to lunch at Wendy’s rather than stopping at the nearer exit where McDonald’s and Burger King are both available? All three establishments sell comparable products: burgers, soft drinks, and fries. Wendy’s, which formerly used the kindly older gentleman, Dave Thomas, as its spokesperson, established itself as a facility for the whole family where fast food with a healthier twist can be found. McDonald’s has branded itself as the venue for families with kids, and Burger King’s brand identity has never been clearly defined. The couple feels comfortable at Wendy’s – a relationship has been established – and they are willing to travel further to patronize this restaurant. Relationships with customers translate into repeat business as the organization consistently delivers the expected experiences and products and the consumer develops a loyalty to the brand. A strong identity can help wineries combat the lulls in business activity. Visitors come to rely on the winery or wine region as an ongoing source of interesting activity. The Finger Lakes Region in New York is a good example of an effective regional marketing plan. The Finger Lakes Wine Country Tourism Marketing Association (FLWCTMA) was formed in March of 2002 to reposition the region as a must-see destination for touring vacationers. Although individual wineries were already engaging in promotional activities, the FLWCTMA unified the effort under the umbrella theme of “Finger Lakes Wine Country.” The Association branded the region with the tag line “See the beauty, feel the history, taste the wine,” emphasizing the important fact that the Finger Lakes region was the nation’s first wine region (Bates, p. 4). The resulting integrated marketing campaign attracted over 131,000 new visitors to the area, who contributed $14.7 million in spending (2001 Benchmark Study). The FLWCTMA has enjoyed a $22 to $1 return on investment for its advertising efforts. Television spots, print advertisements, an aggressive e-marketing tactics have reached 1.6 million people, or 38% of the FLWCTMA target market, an impressive statistic considering the promotional program has been in place less than three years (2001 Benchmark Study). The Finger Lakes region exemplifies the great rewards that can result from successful regional branding.

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It is along this line that Southcorp Wines Ltd. of Australia recently revamped its image. The company did so by concentrating efforts on establishing wine cellar destinations for each of its brands. The cellar door operations relay the brand to the public through “all facets of design, tastings, events and sales. Each cellar door therefore aims to project the quality, culture and heritage of the wine and wine region” (Getz, p. 199). Thus, by creating a company wide focus on a new image, Southcorp is able to attract winery visitors as well as wine buyers. Likewise, the San Francisco Museum of Modern Art decided to develop a stronger institutional image for itself. For its audiences, the museum was the “Calder museum” or the “Picasso museum” during the big shows. Between major exhibitions, however, research showed that public perception of the museum and its value as a leisure-time destination were hazy. In response, the museum developed a tag line or slogan that positioned the museum as an inviting and accessible venue, no matter the potential visitor’s familiarity with modern art. This tag line, “Open for Interpretation,” was used in institutional as well as exhibition advertising to build an ongoing identity for the museum and became the basis for internal discussions on branding the museum. Wineries are primarily attractions, and as such have much in common with museums and other cultural attractions when it comes to the challenges of attracting visitors. Branding helps an organization sharpen its focus and utilize its resources, both financial and human, more effectively. As owners, full-time and part-time staff, and volunteers all recognize one clearly articulated vision of the business, energies are all focused in the same direction. Products, services, marketing messages, educational materials and elements of public contact all convey the same story, presenting a consistent image to the visitor. Internal decision-making becomes easier, as choices are determined according to their relevance to the brand promise and less by individual preference or unthinking allegiance to tradition and “the way things have always been done.” Outside the winery, the community benefits because it has a clearer understanding of the winery. All messages clearly relate to a single purpose and the role of the organization within the community is easy to understand. A winery or wine region that successfully brands itself can expect increased sales, greater consumer loyalty, and stronger community support.

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Understanding the Basics of Branding Branding can be a difficult concept to understand because brands are ubiquitous. In many ways, brands are a fundamental part of our lives. We don’t just overnight a package, we FedEx it. We use a Kleenex to wipe the glass of the Xerox machine. In these cases, the brand name has gone beyond referring to an individual product and has come to represent or dominate an entire category (FedEx for overnight shipping, Kleenex for tissues, Xerox for photocopiers). We are surrounded by brands. What is a Brand? A brand is a promise, an expectation of performance, an unwritten warranty, a mark of integrity, a reputation (Travis, p. 20-21). It is built up over time in the minds of an organization’s users, based on experiences, memories, and word-of-mouth comments. Branding is more than just a marketing strategy, it is a business strategy that helps staff make decisions in every facet of the winery’s operation. As Daryl Travis notes in his book, Emotional Branding: How Successful Brands Gain the Irrational Edge, “A brand is not part of your business, it is your business.” It is the sum of everything you do (Travis, p. 4). Branding is not just the purview of one person within a winery – it represents the efforts of the entire winery team: managers, staff, and volunteers. Although one person, a “brand champion,” is the individual charged with overseeing branding strategies and their implementation, it is the responsibility of everyone in the winery to deliver the “brand promise.” Branding is an efficient way to sell products and services. As a brand becomes known to stand for something, such as great service in the case of Nordstrom department stores or good clean American fun in the case of Disney, the marketing task becomes easier. The marketer doesn’t have to explain what makes Nordstrom different from other department stores. It has already differentiated itself from its competition. Products and services are made more valuable when they are attached to a recognizable name and a promise of authenticity. Brand vs. Product Before getting started, it’s important to understand the difference between a brand and a product. A product is a physical/tangible item or service for sale. A brand, on the other hand, promises the delivery of a particular benefit and establishes an emotional relationship with the consumer. Lean Cuisine, for example, is a brand that promises flavorful low calorie meals. Some of its products are Santa Fe-Style Rice and Beans, and Chicken Fettuccini. Oreos started out as a brand with a single a product: Oreo cookies. Oreo is now a brand with several line extensions (new twists on an existing product): Double Stuffed Oreos, Mini Oreos, Chocolate Covered Oreos and Chocolate Cream Oreos (not to mention packaging variations!). In the case of the Ella Sharp Museum, the museum is the brand. Its “products” include exhibitions, such as “Stylish Hats: 200 Years of Sartorial Sculpture” and “Sound Your Sparton: The First Fifty Years of the Sparks-Withington Company,” and special events, such as “Sugaring and Shearing Festival 2000.” It also offers services that are products, such as The Granary Restaurant and the “Making Stories” educational program. Another example to illustrate brands and products is the Seneca Lake Wine Trail in New York. The Wine Trail is the brand. Numerous products exist under this brand, including wineries such as the Torry Ridge Winery or Wagner Vineyards, and special events like the Deck the Halls. The Seneca Lake Wine Trail brand can be communicated to consumers with a certain brand image that is linked to, but not exactly the same as, the image conveyed by each of the Seneca Lake Wine Trail wineries. Each winery then is its own brand with uniquely branded products (wine, wine-related products, winery tours, etc.)

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Customers and Decision-Making Before delving into branding, it’s also important to understand how consumers make decisions. When faced with many choices, as when purchasing a bottle of wine, customers make decisions in one of three ways: Rationally: I am buying this bottle of wine because it is relatively inexpensive. Emotionally: I am buying this bottle of wine because I want my friends to be impressed by my knowledge of wine.

A combination of rational and emotional thinking: I am buying this bottle of wine because the price is reasonable and my friends will appreciate my knowledge of wine.

Marketers have discovered that most people make decisions emotionally. The next most common method of decision-making is using rational thought, with the combination of rational and emotional thinking as the least common method. Understanding that effective marketers must appeal to target audiences on two levels – the emotional and the rational – will maximize an organization’s communications effectiveness. Components of a Brand So, what goes into making a brand? A brand is a complex entity composed of four distinct elements:

• the delivery of an expected product -- the brand promise • the relationship the customer has with the brand -- the brand world • the ways in which the brand differentiates itself from its competition -- the brand corridor • the tactics or actions the brand uses to bring to life the product delivery, the customer

relationship, and the points of differentiation – brand activators *

* footnote: ”Brand world,” “brand corridor,” and “brand activator” are terms that have been developed by Jennifer Deutsch, co-author of “Just Who Do You Think Your Customers Think You Are? A Guide to Branding Your Organization.” to define the specific components of a brand. Other writers have used such terms as “brand essence” and “brand DNA” to describe the brand promise or what the brand stands for. The terms in and of themselves are not important so long as everyone working on your winery’s brand understands and uses the same terms consistently.

One way to think about these concepts – the product delivery, the relationship with customers, the differentiating features, and the programs that actually touch the visitor – is through a “brand pyramid.” The pyramid shows how the winery’s fundamental essence can be focused and communicated to consumers through specific products and services. The brand pyramid moves from the general to the specific, from the conceptual to the concrete. Together, these four components make up the brand. The brand promise, brand world, and brand corridor constitute the strategic aspects of a brand. They reflect decisions made by the brand’s managers based on research and serious thought. The brand activators are the tactics or specific actions an organization will implement to make the brand meaningful to the consumer.

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Brand Pyramid

Consumer

Brand Activators (the tactics)

Brand Corridor (differentiation)

Brand World

(relationship with the consumer)

Brand Promise (product delivery)

Winery Let’s look at the elements of a brand in detail: Brand Promise We have just said that a brand is a promise. Specifically, a brand promise describes the product, service, or experience delivered to the consumer. It is the assurance that the specified product or experience will be delivered. For example, Maxwell House coffee promises that the last cup of coffee made with its product will taste as good as the first. Maytag promises household appliances that are reliable and repair-free. Volvo promises a safe driving experience. Château Élan, a winery and resort located in Atlanta, Georgia “invites guests to enjoy ‘The Subtle Difference of Excellence’ in every aspect. Whether travelers come to spend a day at the winery or the golf courses, a week at the spa, or to attend a conference at the inn, they harvest a rich field of possibilities in the wine country of northern Georgia. A brand promise such as this equals product delivery. Brand World The goal of a brand is to establish a relationship with the consumer. Every successful brand “owns” a place in the consumer’s mind and heart: it has established a rational and emotional connection. Capturing space in the mind means delivering on the rational aspect of decision-making. (The Starbucks coffee is fresh and flavorful.) Owning space in the heart means delivering on the emotional aspect of decision-making. (The Starbucks environment is hip and comfortable.) As brand strategist Scott Talgo says, “A brand that captures your mind gains behavior. A brand that captures your heart gains commitment” (Aaker, p. 137) As an example of a strong brand world (strong enduring relationships with customers), consider the Ritz Carlton Hotel Company. The company has established such powerful connections with the women who

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have had weddings at Ritz Carlton Hotels that these former brides look to the Ritz Carlton every time a major celebration occurs. “Ritz Brides” celebrate their first, fifth, and tenth wedding anniversaries at Ritz Carlton Hotels. In fact, Ritz Carlton Hotels are their venue of choice whenever a special family occasion occurs. The brand world that the hotel has created for the Ritz Bride is a life-long relationship with the brand so that whenever the family wants a flawless and memorable event, they turn to the Ritz. The emotional connection that McDonald’s wants to establish with its customers is summed up by the phrase, “food, folks, and fun.” Wendy’s, on the other hand, wants its consumers to think “fresh.” Fairfield Inns and Suites seeks to establish a relationship with its guests based on the feeling of providing a “worry-free, affordable” place to sleep. The Ritz Carlton’s customers relate to the hotel’s “personalized luxury service and product.” Sutter Home Winery is taking a more relaxed approach in an attempt to establish a relationship with its customers. Its television campaigns portray “small moments in everyday life in casual settings, free of wine jargon and pretense, and tagged ‘Here’s to each and every day” (Cuneo). Brand Corridor Brand corridor refers to an organization’s point of differentiation. What is it that makes one toothpaste different from another? They all clean teeth, but Crest has carved out its point of differentiation as fighting cavities. That is its brand corridor. Close-Up has selected teeth whitening as its point of differentiation. That is its brand corridor. In the world of fast food, McDonald’s has chosen the kid’s market and “value” as the reasons it differs from other hamburger sellers. Wendy’s is different because it caters to the whole family. Fairfield Inns and Suites differs from other hotel chains by simply offering a functional places to sleep. The Ritz Carlton is also a hotel chain, but it differs from other properties by appealing to the connoisseurs of consumption. In its 2001 business plan, ÆppelTreow Winery states that it “will distinguish itself from its competition by developing a series of hand crafted Great Lakes fruit and grape wines styled after tradition wine ‘archetypes’ - but with the twist of fruits that flourish in our climate and geology” (“Business Plans”). A strategic corridor creates differentiation among brands, establishes relevant opportunities for marketing and programming, and enhances the impact of promotional spending. A brand corridor can be a service, an attitude, or a specific characteristic or attribute of the winery. In a cluttered category, i.e., a category in which the consumer is faced with many options, it is imperative that a brand establish a corridor. Brand Activators Bringing a brand to life is dependent on its brand activators. These are the specific steps or actions that an organization uses to make real or activate the brand’s product delivery, customer relationship, and point of differentiation. Brand activators are tactics that are carefully considered and chosen because they fulfill the brand promise. Let’s look at our hospitality industry examples: Ritz Carlton hotels promise a luxury product and anticipatory service that create memorable experiences. To build an emotional relationship that brings to mind personalized luxury (the brand world), if offers the following amenities (brand activators): in-room guest bathrobes, 3-ply toilet paper, and a bathroom amenity kit that includes soap, conditioner, cotton balls, Q-tips, 3 bars of premium soap, and a sewing kit. The hotel staff’s spotless uniforms and the fresh flowers throughout the property are also brand activators chosen to fulfill the brand promise. These hotel services did not appear by chance – they were carefully selected from among the myriad services a hotel could offer its guests. Fairfield Inn and Suites, on the other hand, promises a worry-free, affordable place to sleep. It delivers upon this promise by utilizing these brand activators: free continental breakfast (guests don’t have to worry about breakfast), 1-ply toilet paper, plastic cups in the bathroom, and one bar of soap per guest bathroom. The Marriott endorsement is an activator that reinforces the worry-free aspect of the brand promise. The Hess Collection in Napa Valley, California, has utilized brand activators to create an elite and upper-crust image. The winery presents itself as a sophisticated entity, with a finely crafted product. To support

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this image, it uses activators such as an art gallery on site with museum-quality art on display, as well as an artistically-centered introductory video to the winery. These activators support the image of a high-class, sophisticated operation. Visitor-centeredness vs. product-centeredness As you prepare to embark on your organization’s branding process, you’ll want to consider where the focus of attention lies in your organization: on the product (the grapes, the wines, the facilities, the events) or on the visitor. Daryl Travis notes that “a powerful brand is more likely to be promise-centric rather than product-centric. Products obviously matter, but they can also be a dime a dozen in a single category. It’s their overriding promise of value that attracts and keeps customers loyal” (Travis, p. 190). For example, although there are many blue jeans to choose from, consumers keep The Gap on top despite its higher prices because they believe in the value of the promise that The Gap will deliver a more stylish pair of jeans. In wineries and wine regions, this means that those organizations that are consistently focused on communicating the benefits they will deliver to their audience (the brand promise) rather than simply focusing on the product (the grapes, the wine, the facilities, the events) will create strong brands for themselves and will be more successful in establishing and maintaining strong relationships with their customers.

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Part Two: The Steps in the Branding Process Building a brand identity for your winery takes imagination, patience, collaboration, and discipline. We’ve broken the process down into six easy-to-manage steps, each of which serves as a foundation for the next. Simply follow this process and you’ll soon have a winery or wine region that offers a clear picture of itself to both its internal and external audiences. Step One: Getting the Team On Board The first step in the branding process is to make sure that key stakeholders within the organization have been identified and have committed to participating in the branding process. The size of your organization, the ability of the group to work together, and the goals that the team sets for itself will determine how long this stage may take. This brand team will oversee the entire branding process. Step Two: Identifying Your Winery’s or Region’s Position You need to know where you are before you can decide where you want to go. First, the branding team needs to learn how the winery or wine region is currently perceived by its target markets (the position it holds in their minds), and then you can create a positioning statement that will define how the organization wishes to be perceived. This stage, which includes audience research and analysis, can take several months. Step Three: Creating the Brand In this stage, the branding team determines the strategies the organization will use to achieve its desired position in the minds of its target audience. The brand includes obvious things such as bottle labels and a Web site, but it also incorporates things like cellar room cleanliness, the friendliness of tasting room staff, and the appearance of winery facilities (Danehower). Internal stakeholders must come to consensus as to what the winery can promise it will deliver to its visitors. Step Four: Implementing the Brand This is a period of self-examination and planning for the future. The winery looks at its current products and services to determine how they relate to the organization’s brand. The winery should ask itself: “What do you think of when you see the XYZ Winery name?” (Danehower). New products and services may be introduced and some existing ones may be eliminated. Step Five: Communicating Your Brand Just as the organization’s offerings must all reflect the brand, so too must the organization’s communications. This phase focuses on establishing the standards that will ensure that all winery and wine region communications are visually and verbally consistent. Step Six: Managing the Brand Once the brand is in place, it needs to be constantly monitored. This on-going process ensures that standards are being followed, that products and services continue to support the brand, and that the brand continues to be relevant to its target audience.

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Step One: Getting the Team on Board

Assemble the Branding Team Designate a Brand Champion Confirm Support of the Winery or Wine Region’s Owners and/or Managers Conduct Initial Team Meetings to Establish a Common Understanding of the Winery or

Wine Region’s Branding Initiative No branding initiative can be successful without the involvement of a broad range of the winery or wine region’s stakeholders. The first step then in the branding process is to get the team on board.

Assemble the Branding Team Since the brand represents everything that a winery does, assemble a team that includes representatives from the organization’s various areas, including but not limited to, owners, managers, field workers, tasting room representatives, etc. You may also want to include other stakeholders, among them, media contacts, community members (possibly someone from the local chamber of commerce), and even members of your target audience. Including many different stakeholders will ensure that discussions are rich and diverse. It will also facilitate future acceptance of the winery’s brand positioning. The branding team will be responsible for overseeing the branding process. This will include discovering how the winery is perceived by its current and target audiences; for articulating how it would like to be perceived by these audiences; and for recommending the strategies and tactics the winery or wine region will employ to deliver its brand promise. It will also be responsible for building staff understanding of the concept of branding and for keeping the organization updated as the branding process progresses.

Designate A Brand Champion A key member of the branding team will be the brand champion. The role of the brand champion is to ensure that the brand maintains and delivers its promise to consumers. The brand champion will serve as the steward of the brand, making sure that all collateral elements and communications are consistent with the positioning of the brand. The brand champion will also act as the “logo cop”, ensuring that the brand’s logo is used according to the style guide. Consistency in message delivery is possibly the most significant aspect of the brand champion’s role. The brand champion will also serve as the individual to organize key communication sessions with outside agencies as well as key stakeholders. Select for your brand champion a strong communicator who commands authority and has the respect of the branding team. This individual should understand the branding process and have the time and expertise to police logos, signage, and other communications vehicles. Your winery’s owner could take on this role if s/he is willing to be involved in the level of detail that is required of the brand champion.

Confirm Support of the Winery’s Ownership and/or Senior Management The support of the winery’s ownership and/or senior management is critical to the success of any branding initiative. It is the management team who must accept the recommendations of the branding team and then communicate and facilitate their acceptance throughout the winery. This institution-wide acceptance is essential to ensure that the winery is communicating one consistent message to its audience. One writer has compared the CEO of an institution to a symphony orchestra conductor when it comes to focusing attention on the brand: “Before the conductor (CEO) appears, all the different sections (departments) go through the dreadful warm up. The violins aren’t playing together, and they’re certainly not in synch with the awful noise coming from strident trumpets and shrill flutes. The musicians (the brand team) are intent on doing their own thing. They blow and saw and bang on their instruments with no concern for the audience (the customers and other stakeholders)….However, with the stroke of a CEO’s baton, the thirty people in a half-dozen departments turn chaos and cacophony into a single voice. The CEO and all the members of each department are reading the same message from the same script in perfect communication with each other. This integrated internal communication serves the mission of communicating with the customers in perfect harmony” (Travis, p. 188)

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The support of the winery’s top management is also important because the branding process may require winery staff to change their ways of thinking about their company and about their work. For many years, winery professionals have been primarily object-centered in their jobs: the care and nurturing of the grapes and creation of the wine have been their main concern. In a brand-centered company, however, the focus shifts from the product (the grapes, the wine) to the consumers and to the fulfillment of the brand promise - the promise of value. Writing in a business context in 1999, the Harvard Business Review noted, “The fundamental difference between a product-centric and a brand-centric company lies in the attitudes of the people throughout the organization—not just the marketing department—in their understanding of what it means to shift from selling products or services to selling a promise of value”. We are looking at a shift in thinking from focusing on short-term offerings (the bottle of wine, the winery tour, etc.) that speak primarily for themselves to building a long-term image of the winery that is expressed through these offerings. The winery’s products, then, are expressions of the inherent value that a winery or wine region brings to its community. The wine industry is in the midst of major changes today. The explosion in the number of wineries in the U.S. and Canada to close to 3,000 has created the need for three dimensions in marketing strategy for the industry:

1) Winery differentiation. Wineries now need to take more aggressive approaches to differentiate themselves from their competitors. This includes new marketing activities such as television advertising, public relations and educational programming.

2) Regional or product identification. Wineries that share a common geographical location can

benefit by co-operatively marketing the wines of their region, through tourism and education. A similar approach can be used by producers of a specific style or quality standard of wine (fruit wines, sparkling wines, ice wine, distilled products, hard cider, wine that meets a specific standard, etc.) to communicate collectively with target markets with a specific interest in these sub-groups of products.

3) Increase per-capita consumption of wine. Over time, the U.S. wine industry has become more

unified behind the push to promote wine as a regular asset to the enjoyment of food. While the cost of this effort has largely been born to-date by the larger wine producers in the U.S., smaller producers benefit by supporting the efforts of organizations such as the American Vintners Association (WineAmerica), Wine Market Council, the Coalition for Free Trade, etc.

Branding activities play an important role in determining the success of each of these marketing strategies. With this dramatic change in the industry, winery owners and staff may adjust to this multi-dimensional evolution of the industry with some difficulty. There are growing pains associated with working with other wineries to achieve some of a winery’s goals through co-operative marketing and branding efforts. Successful examples from around the world serve as models for success in the future. The Vintners Quality Assurance (VQA) program in Ontario, Canada is a prime example of the benefits a wine region can reap when winery owners and other wine stakeholders come together to create a regional brand. The VQA program allows wineries in the area to form a platform VQA brand while still maintaining individual brand identities. The platform VQA brand has its own quality standards and promotional activities to help it achieve global recognition (Smith). The success of the VQA branding project in Canada could not have been possible if all the team members were not on the same page. If a winery wanted to brand itself as an exclusive establishment, it might consider an email list restricted to certain customers, an ‘insider newsletter’ with articles written by the winemaker or winery owner, or the promotion of ‘member-only’ events (Benson). This transition is not always easy to make. Some staff may resent the loss of accustomed products and activities that are no longer deemed relevant in light of a newly articulated brand promise. Some staff may feel that products or services are being “dumbed down” in order to reach a new or different

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audience. It is possible that not all staff will be able to make the transition to an organization that has clearly articulated what it stands for, how it wants to be perceived by its target audience, and has committed itself to delivering the promised services and products.

Conduct Initial Team Meetings to Establish a Common Understanding of the Winery’s Branding Initiative Plan to meet regularly throughout the process of defining the winery’s brand and recommending the strategies and tactics that will bring the brand to life. Your first meetings, however, should focus on explaining how the branding process will work, what the deliverables of the branding process will be, the staff’s role in developing a strong brand, and how the staff can help to bring the brand positioning to life. In this way, everyone will be starting out with a common understanding of the road ahead.

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Step Two: Identifying Your Winery or Wine Region’s Position

Conduct Market Research of Your Current and/or Desired Target Audiences Identify the Winery’s Brand Position

The branding process begins and ends with the customer, and so the branding team’s first task is to learn how the winery or wine region is perceived by its current and/or desired target audiences. This information can then be used to build the winery or wine region’s positioning statement, the foundation of the brand. There are two key steps in this stage of the branding process: conducting market research and developing the winery’s brand position. Let’s start with market research.

Conduct Market Research of Your Current and/or Desired Target Audiences Understanding your target audience is key to developing a plan that will result in increased traffic and satisfied visitors for your winery. This means first knowing who is coming to your business. Is your audience primarily local residents, tourists, members, friends, neighbors? How frequently do they visit? Why do they come? What do they like and dislike about your winery? Where else do they go and what else do they do for leisure-time activity? The goal of this research is to learn enough about your target audience so that you can create programming that will strengthen the relationship and motivate them to return again and again. There are several ways to obtain the audience data you need. One is by conducting your own research by directly questioning your target market (primary research) and the other is by learning from existing research (secondary research). For our purposes, both are useful. Primary Research Collecting information about your target market can be accomplished in many ways, including live or mail-back surveys. To learn about your existing audience, you’ll want to conduct this research at your winery, but to learn about an audience that does not currently frequent your winery, you’ll have to go off-site to where that audience tends to congregate. For example, if your winery is seeking to attract a younger crowd (age 21 - 30), you may have to go to concert venues, local bars, or local sporting events to find subjects to interview. A substantial body of information exists that can help you develop your survey questions and conduct your research (several sources are included in the bibliography). In February 2002, Michigan State University and the Michigan Grape and Wine Industry Council published “A Marketing and Economic Analysis of Michigan’s Wine Industry and Winery Tourism.” This booklet offers examples of survey question. Copies may be obtained by contacting the Michigan Grape and Wine Industry Council office at (517) 284-5733. Secondary Research There are many useful sources of information that can help you better understand your audience. For example, demographic information about your county from the 2000 census can be obtained at www.census.gov. The magazine American Demographics (www.americandemographics.com) is a good source for reports on demographic trends that affect all aspects of American life. State travel bureaus and convention and visitors bureaus can be valuable resources for information about tourist markets. In Michigan, Travel Michigan has devoted considerable resources to researching the state’s tourists and can describe its top market segments using the Claritas PRIZM lifestyle segmentation system. This information offers a psychographic profile that provides insights into these consumers’ lifestyles, media choices, and product preferences. In addition, the Michigan Grape and Wine Industry Council has research characterizing the state’s winery tourists, these tourists’ preferred activities, and more. This information is available without charge to Michigan wineries. The Michigan State University’s “Marketing and Economic Analysis of Michigan’s Wine Industry and Winery Tourism” provides a wealth of information about wine markets in Michigan. According to this study, approximately 600,000 people visit Michigan

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wineries and tasting rooms each year. Wineries and wine regions can utilize the information in this study to characterize these visitors in order to market products more efficiently and effectively.

Identify the Winery’s Brand Position The branding team now needs to identify your winery’s brand position. But first, let’s explore what is meant by the term “position.” As a marketing term, position refers to how a person perceives an organization. A position is the consumer’s perception of what differentiates the product or service from every other product or service in its category. For example, what differentiates a name brand medication from a generic medication? In terms of ingredients, nothing really. But customers perceive that the name brand medication is superior to the generic medication. The name brand has a position of superior quality in consumers’ minds. Customers establish a brand’s position. The brand positioning worksheet (Worksheet A) is the tool you will use to record information about how your winery’s audiences and stakeholders currently perceive your company. This document is an inventory of your brand. It will act as a framework for your team to collect thoughts on where your brand is today and will help you plot out where you want your brand to be tomorrow. Distribute the brand positioning worksheet to a wide variety of winery stakeholders -- managers, staff, and volunteers -- to complete. Ask each respondent to fill out the document independently, providing his/her own perceptions of the winery. Let people know there are no right or wrong answers – you are simply interested in their thoughts. The brand champion will collect the completed surveys, collate the data, and present the results at a brand team meeting. Elements to be explored in developing the brand position include:

Background This section documents the heritage and history of the winery: how long it has existed, who founded it, its key products and services, etc. Core Values What does the winery mean to the leaders of the company as well as to consumers? What values does the winery bring to its audience?

Territory Where does the winery compete geographically? Is its competition local, regional, statewide, national, international? What type of agricultural tourism destinations does it compete with: bed & breakfasts, farm tours, etc.? What are its indirect competitors, that is to say, what types of other organizations is it in competition with: movie theaters, sporting events, the Internet? Target Audiences Whom does the winery want to reach? List the demographics and psychographics of the desired audience. What motivates this audience? What are their media preferences? Provide this information for the winery’s

• Primary target audience • Secondary target audience • Tertiary target audience

Personality If the winery were a person, what human characteristics would it have, i.e. warm, friendly, passionate, inviting, smart, organized? Describe the winery as though it were a person.

Properties Record the elements that help to identify the winery such as colors, logo, tagline, quote, illustrations, etc.

Differentiating Features What makes your winery different from its indirect competitors? Does it offer specific programs or services that distinguish it? Personal interaction? Technologically sophisticated displays? What is particularly special about your winery or wine region?

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The following is a good example of a winery’s positioning statement: “We are a vineyard and winery devoted to the production of excellent wines. Our business is focused on identifying and satisfying changing preferences for wines, while continuing to educate visitors and consumers on what we do best. Our facility will be an attraction in its own right and will offer friendly, knowledgeable service, a range of wine-related products, fine dining and special events, all in a unique, safe and clean atmosphere. Our philosophy is to be profitable, charitable, and environmentally responsible in all our business operations” (Getz, p. 207). Once the group has had time to digest the input, reconvene the branding team for a “sorting session.” In this meeting, team members will prioritize the collected responses and develop a brand position document that gives a picture of how the winery is currently perceived by its stakeholders. This is a working document that will enable the branding team to articulate the winery’s brand – what the winery or wine region stands for and how it wants to be perceived by its audiences. An example of the brand position document developed from information provided by the Ella Sharp Museum appears in the case study in the Appendix.

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Step Three: Creating the Brand

Define the Strategic Components of Your Winery’s Brand (Brand Promise, Brand World, and Brand Corridor)

Develop Your Winery’s Brand Positioning Statement Obtain Buy-In from Internal Stakeholders

You now know how your winery or wine region is currently perceived. The next step is to define how the winery wants to be perceived. In this step, the branding team will evaluate the input it has captured in the brand position document and compare it with the winery’s aspirations for the future and the company’s ability to deliver upon the promises it wants to make. From there, the branding team will be able to articulate the winery’s brand promise, brand world (the relationship it wants to have with its audience), and brand corridor (the points of differentiation it will use to distinguish itself from its competitors). In Step Four, the branding team will examine how well existing products and services are fulfilling these goals and may recommend the adoption of new products and services.

Define the Strategic Components of Your Winery’s Brand (Brand Promise, Brand World, and Brand Corridor) Armed with your brand position document, the branding team is ready to begin drafting the winery’s brand promise, brand world and brand corridor. Expect that this will take some time and will require serious thought and negotiation as representatives of different areas of the winery work to find consensus. Below are some tips to help you in crafting these statements. Each statement should be concise and telling. Brand Promise A brand promise is a brief statement that articulates the product to be delivered and its benefit. Be thoughtful as your team develops your institution’s brand promise. Consider what is feasible for your institution to consistently deliver to your target audience and make sure that those who are responsible for providing the services and/or products agree. This is the point where marketing and those creating and delivering the winery services and products must be of one mind. Just as children are taught that a promise is a promise and it’s meant to be kept, so it must be in institutions that want to build and maintain a strong brand identity. Don’t promise more than you can deliver --a broken brand promise is worse than no promise at all. An individual with no expectations will be far less disappointed, for example, by a poor winery experience than the visitor whose expectations were not met. Broken brand promises produce customer dissatisfaction which ultimately results in poor word-of-mouth and decreased visitation. Based on its brand position information, the Ella Sharp Museum’s brand promise could read: The Ella Sharp Museum delivers innovative art and history experiences. Lindemans, one of the most popular wines in Australia promises that its products “make life more enjoyable.” Brand World Consumers should associate positive, meaningful and enduring values with your brand when they see it, hear it, or experience it. They should establish a relationship with the winery. What does your team want that relationship to be? For example, a shopper at Nordstrom feels important, a mother preparing a hot Quaker Oats breakfast feels nurturing. What emotional connection do you want visitors to formulate after experiencing your winery? Just as with cars, blue jeans, or hotels, there are many types of relationships that wineries can have with their visitors. A winery can be a learning center, a place to relax, or a place to socialize. A winery can feel formal, warm, or relaxing. How does your institution relate to its visitors? The emotional connection or brand world that the Ella Sharp Museum seeks to engender in its visitors could be this: Enrichment of the mind and soul. A small family winery in Australia has developed a slogan which appropriately describes its brand world: “This is the passion; this is the family; this is the wine” (Leahy, p. 106). By connecting the product with the winery family’s passion for winemaking, the products extend that sense of family and pride to customers.

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Brand Corridor As the branding team sets out to define your brand corridor, think about what truly differentiates your brand -- your winery or wine region -- from other wineries or wine regions. Your corridor could be related to your product: your winery is known for a particular wine, a style of label, or a scenic vista. Your corridor could be related to a service: staff that goes out of its way to make visitors feel comfortable, a welcoming place for senior audiences, a spotless facility, educational programs. Your corridor could be linked to an attitude: your winery is hip, your winery is cutting edge, your winery celebrates the riches of its community. Your corridor could be linked to a style: innovative, purist, educational, traditional. The Ella Sharp Museum’s brand corridor could be this: Full-service cultural attraction. The Coonawarra region of Australia has worked hard to brand itself to attract visitors and consumers for its products. The branding team there has developed the slogan of “Coonawarra--the Other Red Center.” The authors of this slogan played off of the popularity of Ayers Rock, the famous red rock tourist attraction in Australia to correlate the importance of red wine production, especially cabernet sauvignon, in that region (Leahy, p. 106).

Develop Your Winery’s Brand Positioning Statement With your brand position, brand promise, brand world, and brand corridor all in hand, the branding team is now ready to generate a brand positioning statement. (Note: “position” refers to how your customers perceive you; “positioning” refers to how you would like your customers to perceive you.) The brand positioning statement is the synthesis of all the research information you have collected and all the thinking you have done about your winery’s brand. This statement will communicate how the winery or wine region would like to be perceived by its audience and will serve as the source for developing the winery’s tag line and communications platform. The most effective brand positioning statements are short, easy to understand, and easy to communicate. As Aristotle once said “The real genius is finding the simplicity on the other side of complexity.” Reassemble the branding team and using the materials you’ve developed, work to distill a concise sentence or phrase that expresses how you want your audience to perceive your winery. Expect that this step will take some time. Businesses such as Nestle and Proctor and Gamble have been known to take months to craft a brand positioning statement. As your team works on its positioning statement, use the following thought starter as a point of departure. This is to help you consider the elements you want your statement to address, but it is by no means a formula. Drafting a meaningful positioning statement is as much an art as a science, and no two positioning statement look exactly alike. The goal is meaningful brevity – make each word tell. Positioning Statement Thought Starter:

To whom (prime prospect/target audience) the brand is the (the product or service delivered) that offers what (key point of difference/unique selling proposition) so that… (what is the emotional benefit to the customer?).

As you develop your winery’s brand positioning statement, keep in mind that this statement should capture the enduring and unique qualities of your organization. Here’s a quick checklist to review your brand positioning statement. Is it: Boundryless: Does it tap into values that transcend boundaries like demography? Authentic: Does it honestly reflect what your winery is capable of delivering? Tireless: Will this positioning remain consistent over time? Changes in your brand’s positioning

should be evolutionally not revolutionary.

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Brandon Westling of Tincknell & Tincknell Wine Sales and Marketing Consultants, outlined several differentiators that a winery may use when crafting its positioning statement:

• A unique feature of the winery (oldest, smallest, etc); • A unique feature of the winery’s geography (grapes grown on hillsides, grown in another

country, etc.); • A unique benefit (won’t give you a hangover, impress your friends, etc.); • A unique application (best when consumed with spaghetti, best when used in sauces,

etc.); • A unique consumer (generation X, baby boomers, alternative lifestyles, etc.); • A category leader (zinfandel specialist, environmentalist, etc.); • A winery may also target the same market as a stronger winery but differentiate itself by

focusing on a weakness the stronger competitor may have that the market would identify as valuable. This is often done with generic products by offering an almost identical product but capitalizing on the high price of the brand name product” (Westling).

Examples of Positioning Statements Region of Queensland, Australia: “Central Queensland is a unique Queensland holiday destination where you’ll meet real, down to earth people and the attractions remain unspoilt.” This positioning statement “highlights elements such as the reef, culture, nature and country as well as the relaxing holiday environment that typifies the Central Queensland region. These elements distinguish the Central Queensland destination from other destinations both domestically and internationally” (“Regional Summary”). Red Arrow Community, MI: “A region of historic villages, timeless natural beauty and rural character…closer than you might think” (Anderson Economic Group, p. 12). Australia Tourist Commission: “Brand Australia - friendly welcoming people, spectacular natural attractions, free-spirited lifestyle, and great food and wine” (“A Strategy for Wine and Culinary Tourism in Ontario, p. 64). City of Jacksonville, FL: Florida’s vibrant destination for recreation, sports, culture, history and relaxation with Southern charm and grace. Jacksonville…Florida’s best kept secret. Nike: What the world’s greatest athletes wear. Domino’s Pizza: Speedy delivery of a fresh-cooked pizza product. The Ella Sharp Museum’s brand positioning statement might look like this: Visit The Ella Sharp Museum…a full service cultural attraction that will enrich the mind and soul!

Obtain Buy-In from Internal Stakeholders Once your branding team has reached consensus on the brand promise, brand world, brand corridor, and brand positioning statement, share this information with others in the organization. Obtain the endorsement of the winery’s owners and senior management and any other decision-makers who will be charged with implementing the action steps that flow from these strategic decisions. Be sure to update winery staff on the branding progress to date. It is hard to make a vision happen if the internal constituency doesn’t understand and buy into that vision, and buy-in is hard to obtain without ongoing communication. When agreement has been reached, the branding team can begin to identify the tactics – brand activators – that will bring your brand to life.

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Step Four: Implementing the Brand

Conduct an Internal Product Assessment Identify the Tactics (Brand Activators) That You Will Use to Bring Your Brand to Life

Now that the brand has been articulated, it’s time to take a careful look at your institution. How well is it delivering the brand promise? Do existing products and services work toward establishing the desired relationship with the visitor – are they helping to create the brand world? Do the winery’s activities and messages communicate the organization’s point of differentiation – do they follow the brand corridor? Are the winery’s brand activators – its products and services – bringing the brand promise to life?

Conduct an Internal Product Assessment It is now up to the branding team to lead a process of evaluating how well the winery’s existing products and services are fulfilling the brand promise. If the team has done a good job of keeping colleagues informed of the branding developments, this will come as no surprise. The team will need to identify a process to evaluate the winery’s products and services in an orderly and comprehensive way. You may opt to have individual winery departments conduct their own product assessments in order to encourage broad-based acceptance of the results. The branding team should plan to conduct informational sessions with staff prior to initiating the product assessments to ensure that everyone understands the brand promise, world, corridor, and positioning statement. Worksheet B is a tool that can help staff think about individual programs and services and how they relate (or do not relate) to the winery’s brand. Each product or service the winery offers should be evaluated. Once all the product assessments have been completed, the branding team will need to review the results. Some products and services may be serving the brand well as they currently exist. Some may require some modification to bring them into closer adherence to the brand. Some programs may have no relevance to the newly articulated brand and their continuation will need to be reevaluated. Changes of this latter type can be difficult, particularly if staff or volunteers have been involved for some time with activities that are deemed to be outside the brand.

Identify the Tactics (Brand Activators) That You Will Use to Bring Your Brand to Life

As a result of the product assessment, many new ideas may have emerged for products and services that will deliver your winery or wine region’s brand promise. Empower your winery colleagues to generate new ideas and encourage their creativity. The essential element is that all activators support the brand promise. The key is to integrate delivery of the brand promise into everything your winery does. For example, a youth museum might reinforce its promise of celebrating children’s creativity by incorporating children’s drawings into the design of its institutional letterhead. A museum might communicate its promise of making art accessible to all by preparing and making available exhibition guides targeted at audiences with different levels of reading ability and arts familiarity. A cultural organization might fulfill its promise of serving as a center for community life by hosting civic meetings and gatherings at its facility. A museum that wants to establish a formal relationship (brand world) with its visitors might select activators such as a no talking policy. It might have formal uniforms for staff and volunteers, or even impose a dress code for its visitors. This museum could script the salutation its staff uses to greet its visitors, addressing guests as “Sir” and “Madam.” Another museum, looking to build a nurturing relationship with its guests, might offer a first-time visitor program. Staff might wear nametags that only show their first names and might greet guests with a warm smile and a pat on the back. All these activities are brand activators – tactics that create the desired emotional connection with the museum’s guests. A winery that wants to reinforce its image as a key part of a good vacation might have a motto “Escape to wine country”. A winery that wanted to reinforce the notion of commitment to “the good life” might host numerous lunches and dinners with well-prepared foods matched with wine. A winery that wanted a

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classic “business partnership” relating with clientele might host upscale events where networking is an important part of the event. A winery wanting a “friendship” relationship with key clients might have a very accessible owner who always has time for a glass with his or her clients. Employees could try to learn key client’s first names and might say, “I know that Jason (the owner) will want to see you!” Finally, a “let’s get together for fun” relationship could ensue from numerous casual events at the winery. Clearly, there are many different ways to bring your winery to life. Here are some thought starters for potential winery brand activators:

• Membership services Special welcoming letter to new wine club members from the winery’s owner could reinforce a “friendly” brand world.

• Special events Hosting weddings, banquets, or meetings can increase the visibility of your winery to the general

public, thereby emphasizing the winery’s brand corridor.

• Food service ideas. Adventurous, traditional, wine-paired foods could support the winery’s brand corridor or point of differentiation.

• Merchandise in winery store/appearance of winery store Price and range of merchandise could support the winery’s brand corridor.

• Wine education programs Scheduling of tours and lectures to accommodate target market’s schedules could support the winery’s brand promise of providing accessible wine educational opportunities.

• Facilities Seating or lack thereof in tasting rooms could support a “welcoming” or “formal” relationship with the visitor. In addition, the buildings and grounds can lend a hand toward creating the winery’s brand world.

• Member communications Communicating with frequent visitors and/or wine club members by electronic means could communicate a winery’s “cutting edge” point of differentiation or brand corridor.

• Employee relations with visitors The friendliness, or lack thereof, with tasting room visitors can directly impact the winery’s brand world. Also, high accessibility of the winery owner and/or management may create a sense of camaraderie for visitors - a visitor might feel like s/he has an “in” with the owner or winemaker after talking to him or her.

• Wine and wine-related products

A winery can create a prestigious brand image through use of upscale labeling and bottling, while others might choose a more down-to-earth brand approach to create a brand corridor and brand world.

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Step Five: Communicating the Brand

Step Five Actions

Create a Style Guide and Language Guide for Your Winery Develop a Creative Brief for Your Winery

Brands express their personality with visual tools…advertising, signage, architecture, brochures, promotional materials, letterhead, business cards, websites, and much more. This universe of visual statements helps consumers make decisions about the brand. The subliminal conclusion can live in an individual’s memory for years, influencing comments and decisions. A careful program of brand stewardship makes certain that all visual elements are compatible and consistent in their use and look, supporting the desired image of the brand. Seeing the same image used in the same manner over and over produces a cumulative effect. The viewer/consumer gains recognition and a sense of trust in the value invested in the brand image. In short, consistent use of the visual identity properties -- i.e. the logo, name, and colors -- helps to build identity, trust, and awareness among consumers. It maximizes your communications impact.

Create a Style Guide and Language Guide for Your Winery A style guide is a set of parameters for using a brand’s marks such as the logo, tag line, and corporate colors. This document provides the framework for the use of the brand’s marks so that anyone who needs to reproduce the brand’s logo and name can do so properly. A style guide will also help you to create a strong and dynamic visual identity that will ultimately build recognition for your winery or wine region brand. Elements of a style guide should include the following:

Components of the logo A brand should have only one logo that it uses consistently. More than one logo per brand diminishes the clarity of the message being communicated to the target market. In your style guide, provide an example of the logo and describe its elements. The elements include letters of the alphabet, lines, marks, graphics, etc. The elements in a logo and their relative position cannot be changed. In the case of the Ella Sharp Museum, the logo elements include the following: the tower graphic, the words “Ella Sharp” in script, and the spacing of the letters in the word “museum.” The physical construction of the Ella Sharp Museum logo forms a powerful and unique unit. The elements create a singular geometry that over time, consumers will recognize as the brand signature.

Logo usage parameters Eligibility: explain who can use the logo, where the logo can be used, and in which environments. A process for approving usage of your logo by external entities should also be established. In this instance, the brand champion should sign off on the final artwork of any material including your winery’s logo. Approval of the use of your logo should be given in writing, stating the specific usage and length of time for which it can be used.

Graphic interpretation What message is the logo conveying? Relaxation, spirit, history, sophistication, etc.? The Ella Sharp logo featuring the tower and a combination of type style conveys community and stability with a contemporary flair.

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Clearance zone Specify the amount of room to be allocated around the logo so that it is never cluttered or crowded. Do not clutter your logo with other design elements. Color usage Every brand should try to own a color. Coke owns red and white in the beverage section of the grocery store. Healthy Choice owns green in the frozen food aisle. What color does your brand own? Select a color palette that you will use consistently and make this color dominant in all of your communication pieces. In your style guide, specify the colors to be used in your logo. Pantone colors should be identified as well as guidelines for use of the logo on different colored backgrounds i.e. white, black etc. It is always helpful to have options in black, white and grey.

The Ella Sharp Museum has selected burgundy as its brand palette. The museum should use this dominant color as much as possible. Signage, name tags, restaurant server aprons should all feature burgundy. Fuse your color with your institution in the minds of your audience.

Typography Usage Make sure to include a set of typographic standards in your style guide. These standards specify the typeface to be used in your logo, along with type for headlines, subheads, and body copy in your communications vehicles. When thinking about typefaces, remember that your font should reflect your brand’s personality: formal, fun, casual, etc. Keep in mind that it is always helpful to use type that is easy to read. The combination of script and print is more challenging for the reader.

Copy use Use your brand name properly. In your communications materials, your name should always be used consistently. Others may wish to give your brand a nickname, such as “The Ella” for the Ella Sharp Museum, but in the materials you produce, the agreed-upon brand name should always be used. If your winery has a tag line or slogan, include it in your style guide and indicate how and when it should be used.

Additionally, you will save time and increase your communications effectiveness if you capture specific phrases that are often used to describe your winery or wine region and formalize their use. Documenting these phrases in your style guide will enable new staff or other stakeholders to write or speak about your brand in a consistent manner. Phrases that can be captured and included in your guide can include:

• Tagline • Headlines • Directions to your winery • The winery description • Telephone greeting • Boilerplate copy for press releases • Contact information

Once you have created your style guide, it will be the brand champion’s job to enforce its usage. Make sure that all winery stakeholders understand the importance of maintaining consistency in your visual and verbal communications. Share this guide with all stakeholders responsible for communicating with the public.

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Develop a Creative Brief for Your Winery

A creative brief is a document that defines how you will communicate in your promotional materials with your desired audience. It is a tool to guide creative staff in developing specific communications materials, such as newsletters, brochures, or flyers, as opposed to the Style Guide, which governs the use of timeless materials, such as your winery or wine region’s logo. Like the Style Guide, a creative brief grows directly out of the brand positioning statement and other materials you have developed. The value of a creative brief is that it concisely tells creative personnel how to develop an ad or brochure that will support your brand. This can be extremely useful when working with a creative agency, whether on a fee-paid or pro-bono basis. In fact, agencies and creative staff will be thrilled by your preparation and will appreciate the timesaving this advance work allows. . Elements to include in the creative brief:

Assignment: What is the item to be created? Specify the media type, size, length, color, etc. Background: Provide ample relevant information about the client and project. Target: Who are you talking to? There may be multiple target audiences. Key Insight: What is the one problem or opportunity this item must address? Main Idea: What is the single-minded proposition? Remember to focus on one message. Materials that try to communicate too many messages communicate none well. Support: What will cause the consumer to believe the main idea? Desired Response: What thought do we want the customer to walk away with?

Tone: Communication style: formal, casual, terse, etc.

Mandatories: What must be included in the execution? Specify all the elements, such as logo, typestyle, colors, disclaimers, hours of operation, address, phone numbers, restrictions etc., that must appear in the item.

A creative brief for the Ella Sharp Museum might look like Example II in Appendix A, Case Study One.

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Step 6: Managing the Brand Keep Your Brand Fresh Continue to Study Your Audience Brands have life cycles. Typically a brand goes through three stages: growth, stabilization, and decline. A strong brand that is continuously nurtured does not have to go through the decline. As Charles Darwin once said, “It is not the strongest of the species that survive, nor the most intelligent, but the ones who are most responsive to change.” It is not the strongest brand that will survive; it is the brand that is responsive to change…changes in society, changes in the competitive landscape, and changes in consumer needs and wants. The brand that is managed to accommodate for change and stays relevant will survive.

Keep Your Brand Fresh Keeping the brand fresh will be an on-going challenge. The key to keep your brand in a growth mode is staying in touch with your consumers. Great examples of brands that have been made “new” include The VW Bug and Cracker Jacks. The VW Bug made a “comeback” and was re-launched to consumers based on research showing a demand for nostalgia products. The makers of Cracker Jacks capitalized on this nostalgia interest as well by contemporizing the image of Jack, i.e. the graphics. (He’s now in an updated sailor suit.) In addition, packaging and graphic changes were made. Years ago, Cracker Jacks was only available in a cardboard box. Once opened, the product could not be re-sealed and the waste level was very high. Today, Cracker Jacks is packaged in a stand-up re-sealable plastic pouch. In the case of a winery, keeping the brand fresh includes innovation in product offerings and event planning, along with adding technology as it becomes available and applicable to your brand. Keeping abreast of changing demographics in your market area is also crucial. John Gillespie of the Wine Market Council recently presented an interesting demographic fact at the “Wine Marketing, Branding and Tourism” Seminar in the New York Finger Lakes region; that is that two-thirds of the wine-drinking market is female (Leahy). Robert Mondavi’s Woodbridge label targets this large target market in recent ads by portraying wine in a more realistic manner. Woodbridge is aiming its marketing message at “women less interested in a vintage’s pedigree than its ability to elevate a simple dinner or a relaxing evening with friends” (Coppola). Thus, Mondavi is adapting to the changing market demographics by catering to the large female customer base.

Continue to Study Your Audience Make sure your branding team or brand champion keeps a vigilant idea on your winery’s products and services and how they relate to your brand promise. Continue to study your existing and potential markets to ascertain shifts in demographics or psychographics. Listen to your customers! Pay attention to trends in the leisure-time recreational market, including the for-profit as well as not-for-profit activities in which your visitors like to take part. There are however some aspects of managing a brand that never go out of style…hospitality and guest care! Travel Michigan is presently working to brand Michigan’s cultural product, and the relationship it wants to establish with visitors is based on superior hospitality. The brand promises “great experiences” in discovering the state’s Great Lakes heritage at its visual and performing arts facilities and other cultural attractions. The brand looks to distinguish itself from other cultural offerings by giving visitors the “best in the Great Lakes region.” Travel Michigan will be working with the state’s wineries and other cultural attractions to ensure that each attraction delivers the superior service that will support the state’s cultural brand promise. Conclusion Brands are an inescapable part of our daily lives. The question facing wineries is whether they want to be in control of creating their brand identity or whether they are willing to allow a brand image to grow up heedlessly for their institutions.

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Appendix

PAGEAppendix A: Case Studies

Case Study One: Ella Sharp Museum, Jackson, MI Example I: Brand Positioning Document……………………………………………………………….. 26 Example II: Creative Brief………………………………………………………………………………… 29

Case Study Two: George Eastman House, Rochester, NY………………………………………………... 31

Appendix B: Examples I. White Dove Supreme Ice Cream Cone Creative Brief………………………………………………….… 33

Appendix C: Worksheets

I. Brand Positioning Worksheet…………………….…………………………………………………………. 34 II. Brand Product Assessment………….……………………………………………………………………… 35

Bibliography…………………………………………….…………………………………………………………... 36 Additional Sources ………………………………………………………………………………………………... 37

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Appendix A, Case Study One, Example I

The Ella Sharp Museum Brand Positioning Document

Background: The Ella Sharp Museum… • Demonstrates a strong sense of the Jackson community • Provides high-quality programming and exhibitions in art and Jackson history • Seeks to inform, entertain and enrich the lives of all members of the community • Operates 8 buildings on 5 acres inside the 562-acre Sharp Park • Has served the community since 1965 • Has received AAM accreditation in 1977, 1988 and 1999 (continuously accredited) • Is a steward of the community’s history • Was named “Best Small Museum” in Michigan in 2000 by Michigan Living magazine • Has Modern storage and gallery facilities • Was voted “Best Place for Lunch” by readers of Jackson Magazine (Ella’s Granary Restaurant) Core Values: The Ella Sharp Museum means… • Art exhibits to feed the eye and the soul • Continuity • A place to create • Excellent customer service • Family friendly • Entertaining • Preserving and interpreting local history • Dedicated staff • Community outreach • Maintenance of a beautiful setting Territory: The Ella Sharp Museum competes with… • Other Jackson area cultural activities:

o Jackson Symphony Orchestra o New Art Colony o Regional museums and galleries o Michigan Space Center

• Entertainment venues: o Sports o Shopping malls o Parks o Area historical societies o College art classes

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Target Audience • Primary:

o Membership o Jackson County school-aged youth o Art and history enthusiasts o Families o Educators

• Secondary: o Local artists, scholars and researchers o Restaurant patrons o Tourists o Donors

Personality: The Ella Sharp Museum brand is… • Friendly • Inviting • Beautiful • Secure, stable • Family oriented • Elegant • Approachable • Fun • Diverse Properties: The Ella Sharp Museum represents… • “The Ella” • 3 logos: Line art of cupola Line art of site

“Ella Sharp Museum” calligraphy • Color: Burgundy and cream • Tag line: “ A Center for the Exploration of Community History and Visual Arts” • Headline: “Meet Me at The Ella” • A Center for Art and History • Ella Sharp • We tell Jackson stories • Special free events • Ella’s Granary Restaurant • Website Differentiating Core Values: • A commitment to preserving, documenting, and interpreting Jackson history • Education in the arts and history for our children • Providing a variety of exhibits to touch and expand people’s knowledge and appreciation of the fine

arts and decorative arts • Unique to the community • Service standards • Dedication of the staff • Stability of the institution • Family orientation coupled with hands-on activities • Carrying on the legacy of Ella Sharp

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Differentiating Features: • The Ella Sharp Home, family-owned objects and archival material make this a “real” place, where

“real” people lived • The museum provides a safe haven where we can connect with our past, discover the beauty of art,

or sit quietly to contemplate the future • Community created and supported • Only institution that collects, preserves and exhibits county history • State of the art facility: humidity controlled, security • Quality restaurant on premises • Friendly atmosphere • High level of service • Multi-purpose facility: educational, peaceful, restaurant, gift shop etc: full service cultural attraction • Activities and exhibits for all ages and interests: family friendly Brand Promise: Product Delivery Innovative art and history experiences. Brand World: The Relationship with the Consumer Enrichment of the mind and soul. Brand Corridor: Differentiation Full service cultural attraction. Brand Positioning Statement: Visit The Ella Sharp Museum…a full service cultural attraction that will enrich the mind and soul! Brand Activators: • Make-and-take kids programming • Annual themed events • Free events open the public • Ella’s Granary Restaurant • Unique gift shop • Diversity of exhibits • Themed promotional programming • Membership benefits: voting rights, discounts etc. • Maintenance program: landscaping, security, humidity control

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Appendix A, Case Study One, Example II

The Ella Sharp Museum Creative Brief

Brand Positioning Visit the Ella Sharp Museum…a full service cultural attraction that will enrich the mind and soul! Brand Personality Friendly, inviting, family oriented, fun and diverse. Purpose - To increase annual visitor traffic - To generate brand trial - To introduce the concept of the Ella Sharp Museum as a “full-service cultural attraction” - To increase membership Target Audience Demographic

• Families with children • Household income $30,000+ • Target residents of Jackson County

Psychographic

• Curious • Family oriented • Love being parents • Adventurous

Key Benefits The Ella Sharp Museum informs, entertains and enriches life! Reason Why

• Diversity of exhibits and programming • Focus on educating youth • Family orientation, i.e. “hands-on activities” • The Ella Sharp Museum is a safe haven for the exploration of the arts and history of Jackson

County • Unique collection of museum services including a superb restaurant and gift shop as well as

beautifully maintained park-like grounds • Dedicated, service-oriented staff

Intended Reaction

• I haven’t been to the Ella Sharp Museum ever/in a long time, I should take the family and check it out!

• Joining the Ella Sharp Museum is a smart family decision. Tone Approachable, inviting, friendly, intriguing, experiential

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Mandatories

• Calligraphy logo • Colors: burgundy and cream • Feature upcoming exhibit and kid’s programming • Hours of operation • Web address • Phone number • Address • Mention restaurant and gift shop • Logo of awards (“Best Small Museum in Michigan” and Ella’s granary Restaurant, best lunch)

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Appendix A, Case Study Two

George Eastman House Understanding Our Brand

George Eastman House is the historic house and gardens of the founder of Eastman Kodak Company as well as an international museum of photography and motion pictures. Located on a historic avenue in the cultural section of Rochester, New York, the main façade of the museum is the mansion, which has been restored to its early 20th century appearance. The museum’s collections of photography, motion pictures, and related technology and literature are housed and exhibited in a contemporary archive building that is located behind the house and is not visible from East Avenue, the museum’s main thoroughfare. The grounds also include four formal gardens and George Eastman’s original fence that obscures any views of the archive building from University Avenue, the museum’s secondary thoroughfare. Therefore, the main visual identity of the museum is George Eastman’s Colonial Revival mansion. Five years ago, on the eve of our 50th anniversary, George Eastman House set out to gain a better understanding of the museum’s brand in order to have a clear sense of who our audiences are and what image the museum had in the community. We were many things to multiple audiences and did not have a clear brand vision to guide us in our marketing efforts and in the development of our exhibitions and programs. Our first step in this effort was to apply for a MAP III grant administered through the American Association of Museums and the Institute of Museum and Library Services. The program includes a series of self-study exercises designed to measure the public’s perception, experience, and involvement with the museum and to gain a clearer understanding of the museum’s image in the community. Through the program we learned that we are thought of less as a museum and more as George Eastman’s home. We are a “must see” for out-of-town visitors. Conversely, local residents feel that if they’ve visited the house before, there is only a need to return with visiting friends and relatives. However, those individuals whom we asked to visit as part of the public experience portion of the exercise were impressed with how much there was to do beyond visiting the house. The visits consistently surpassed their expectations. As a result of these findings, we adopted the tag line “More Than You Imagine,” which was incorporated into all marketing and promotional materials. The tag line was used on banners on light poles along the historic avenue to prompt passersby to imagine what George Eastman House might be beyond the iconic image of the façade of the mansion. The next year we introduced a visitor survey to capture demographic information about our visitors. This baseline study indicated that approximately 75% of our visitors are from outside of the Rochester area—40% from outside New York State—and more than 60% are first-time visitors. Once again we learned that the house is the main attraction for first-time visitors. Now with a better understanding of our visitors and of the museum’s image in the community, we felt equipped to begin to define the museum’s current brand. With the assistance of a consultant who was a former vice president of marketing for Eastman Kodak Company and former executive with the Leo Burnett Agency, we participated in an exercise to determine the museum’s brand identity. Building a brand pyramid we identified the museum’s attributes, the benefits to our audiences based on those attributes, the emotional benefits to our audiences, the values we bring to our audiences, and, finally, a personification of the museum’s identity. What we discovered was that the museum’s personality mirrored that of George Eastman’s—educated, middle- to upper-class, over 50, conservative, and static. This was not the desired brand identity and we set out to change the museum’s brand.

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Our goal was to portray a more dynamic, hip, younger brand and to represent all aspects of the museum rather than just the house. We began with the desire for a new graphic identity. The museum’s logo had been simple typography and we wanted to introduce a strong mark that would reinforce our desired brand. On the eve of the 50th anniversary we introduced a new graphic identity that was bold, bright, and contemporary and we began to incorporate it into all of our printed materials, advertisements, and signage.

Throughout our anniversary we produced television vignettes and two prime-time specials that focused on the various areas of the museum to reinforce the “More Than You Imagine” positioning to a local audience. Our local Gannett newspaper ran a 12-month series of articles that featured the varied collections and museum programming, The exhibitions and programs we presented during the anniversary year were designed to educate our audiences about the museum’s collections. Lastly, we presented a free two-day festival to invite the local community to come back to the museum. More than 25,000 people attended the festival. Recognizing that the brand must be reinforced through all areas of the museum, we continue discussions about our desired brand as we plan future exhibitions, develop new programs, and examine our frontline presence. We have redesigned our shop and café space to be inviting to a broader audience (our previous food service had been a Tea Room that reinforced the George Eastman image) and to link it to our theater where we screen films nightly for what is primarily a local audience. We have changed the focus of our summer garden concert series to include bands that will appeal to a younger audience. This summer we are presenting the film Fast Times at Ridgemont High (1982) followed by an 80s party on the grounds complete with costume contest, dance contest, and karaoke. This has been an extremely rewarding process for the entire staff of the museum and has been supported throughout by the senior staff and Board of Trustees. When we began these efforts five years ago, we hadn’t foreseen the logical progression of MAP III, market research, and the branding exercise but each has strengthened the knowledge we gained from the previous effort. We are now poised to conduct further research as an ongoing measure of our success in creating a desired identity. Eliza B. Kozlowski Director of Communications and Visitor Services George Eastman House, Rochester, NY

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Appendix B: Example I

White Dove Supreme Ice Cream Cone Creative Brief

Brand Positioning: White Dove is the trusted gold standard in pre-packaged ice cream cones. Product Line Positioning Statement: For adults looking for a more sophisticated eating experience from a pre-packaged ice cream cone, White Dove Supreme’s distinct combination of premium ingredients creates an uncommon discovery in every bite. Brand Personality: Wholesome, fun, all-American, family-oriented, timeless, ageless (yet contemporary), more than meets the eye. Purpose: Introduce the new creation from White Dove, White Dove Supreme, and generate consumer interest by distinguishing its uncommon appeal. Target Audience

Demographic: • Women 25-54 • Household income $40M+ • Married

• Presence of children in the household

• Attended college +

Psychographic: • Upscale relative to Klondike users • Occasionally purchases Haagen Daz • Enjoys the finer things in life, but may not always be able to afford premium priced/quality

goods (own a Honda and aspire to own a Lexus) Key Benefits: New White Dove Supreme creates an uncommon discovery in every bite. Reason Why: White Dove Supreme’s rich intense flavors and different textures combine to create a unique frozen novelty in both appearance and taste experience: • Complex layers of premium ingredients throughout the cone: creamy, delicious ice cream, some with rich intensely flavored sauces: crispy cone: and a delicious, chocolaty nugget. • Special appearance: a decorative topping with swirls of premium ice cream and rich, intensely flavored sauces. Intended Reaction: White Dove Supreme sounds like a new, different and delicious kind of treat! I want to try some. Tone: Intriguing, seductive, contemporary, emotional, experiential Mandatories: • Product is hero (feature vanilla flavor • Depict variety: show all 4

• White Dove corporate logo

• Highlight the chocolate nugget at the bottom of the cone

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Appendix C, Worksheet I

Brand Positioning Worksheet

Background: The brand brings :

Core Values: The brand means:

Territory: The brand competes with (indirect competitors)

Target Audiences: Who do we want to talk to? Demographics and psychographics of the desired audience, age, sex, household size, education level. Motivational factors. Media habits. • Primary target audience. • Secondary target audience. • Tertiary target audience.

Personality: The brand is (identify human characteristics to the brand i.e. warm, friendly, passionate, inviting, smart, organized)

Properties: The brand represents (elements that help to identify the brand such as colors, logo, tagline, quote, illustration etc.)

Differentiating Features: What makes your brand different from its competitors?

Brand Positioning Statement: To (prime prospect/target audience) the brand is the (competitive frame) that (leverageable point of difference/unique selling proposition) so you (customer aspiration).

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Appendix C, Worksheet II

Brand Product Assessment This tool is to help evaluate how closely existing programs come to fulfilling your winery’s brand. Use one form per program or service. 1) Enter name of product/service (the brand activator) being evaluated. 2) Write in your winery’s brand promise, brand world, and brand corridor. 3) Consider the product (its goals and offerings) in relation to the brand promise, brand world, and brand corridor. For each brand component, circle the number in the column that you feel most closely describes how the product/service relates to that component. 4) Total the value of the circled numbers and enter this number on the product brand adherence score. The higher the number, the closer the program/service adheres to the brand. Name of Brand Activator:______________________________________

The Brand Promise is:______________________________________________________ The Brand World is:________________________________________________________ The Brand Corridor is:______________________________________________________

Brand Component Does Off-Message, Close, On Not But Worth But Needs Target

Re-evaluating Adjustment Winery’s Brand Promise 1 2 3 4 Brand World 1 2 3 4 Brand Corridor 1 2 3 4

Product or Service’s Brand Adherence Score: ____________

(Optimal Score: 12)

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Bibliography “2001 Benchmark Study Results Announced (Mar. 13, 2002).” Finger Lakes Wine Country. <www.fingerlakeswinecountry.com>. Accessed 1/2/02. Aaker, David A. Building Strong Brands. New York: The Free Press, 1996. Anderson Economic Group. “Strategies for Economic Enhancement in the Red Arrow Corridor: Frameworks for Community Collaboration and Regional Brand Development,” [www.andersoneconomicgroup.com]. Accessed 12/30/02. “A Marketing and Economic Analysis of Michigan’s Wine Industry and Winery Tourism.” Michigan State University. February 2002. “A Strategy for Wine and Culinary Tourism in Ontario: Background Report,” [www.wineroute.com]. Accessed 12/27/02. Bates, Lincoln. “Tourism Marketing Works.” Focus on TRACS Newsletter. <www.ceds.gatech.edu>. Accessed 1/2/02. Beckwith, Harry. Selling the Invisible: A Field Guide to Modern Marketing. New York: Warner Books, 1997. Benson, Jeremy. "Internet Tools to Tune-Up Your Wine Club," [www.winemarketing.biz]. Accessed 10/25/02. "Business Plans," [www.aeppeltreoa.com/business_plans.htm]. Accessed 10/25/02. Coppola, Vincent. "Woodbridge Wine to Woo Women…," Adweek Southeast, May 20, 2002. Cuneo, Alice Z. “Gallo, Sutter Join Rush of New Wine Ads,” Advertising Age, September 18, 1995. Danehower, Cole. "Making Wine can be Magical; Marketing Wine can be Mysterious; Let's Demystify Marketing!" Oregon Wine Newsletter [www.oregon-wine.com]. Accessed 10/22/02. Dixon, Beverly R., Gary D. Bouma, and G.B.J. Atkinson. A Handbook of Social Science Research Methods. Oxford: Oxford University Press, 1987. Getz, Donald. Explore Wine Tourism: Management, Development & Destinations. New York: Cognizant Communications Corp., 2000. Leahy, Richard. “Finger Lakes Wine Alliance Sponsors ‘Wine Marketing, Branding and Tourism’ Seminar,” Vineyard and Winery Management,” Nov/Dec 2002. “Regional Summary: The Gladstone Region,” Tourism Queensland, [www.qttc.com]. Accessed 12/30/02. Seneca Lake Wine Trail. [www.senecalakewine.com]. Accessed 10/24/02. Smith, Mark E. "Briefing Papers: Platform Marketing: 'The Ultimate Brand Marketing Weapon." Mark E. Smith, Positioning Consultant. <www.hourglass1998.com>. Accessed 10/25/02. Stern, Gary J. Marketing Workbook for Nonprofit Organizations. St. Paul, MN: Amherst H. Wilder Foundation, 1994. Trout, Jack with Steve Rivkin. Differentiate or Die: Survival in Our Era of Killer Competition. New York: John Wiley & Sons, Inc., 2000. Travis, Daryl. Emotional Branding: How Successful Brands Gain the Irrational Edge. Roseville, CA: Prima Venture, 2000. Westling, Brandon. "Building Brand Equity in the Wine Industry," [www.marketingwine.com]. Accessed 10/25/02.

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SUMMARY OF BRANDING SOURCES FOR THE WINE INDUSTRY

No Author Cited “2001 Benchmark Study Results Announced (Mar. 13, 2002).” Finger Lakes Wine Country. <www.fingerlakeswinecountry.com>. Accessed 1/2/02.

• Visitors to the Finger Lakes region accounted for $14.7 million in spending in 2001 • 1.6 million are aware of the advertising campaign (38% of advertising market) • Return on investment for the FLWC association is $22 in visitor money for every $1 spent on

campaign • “Finger Lakes Wine Country showed the most growth in its travel industry” • Tax revenues from visitors totaled $19.4 million in 2001 • Tactics: TV campaign, extensive print advertising, e-marketing, updating collateral materials • Draws visitors due to region’s scenic beauty, history and award-winning wines/wineries

“A Strategy for Wine and Culinary Tourism in Ontario: Background Report.” The Wines of Ontario. <www.wineroute.com>. Accessed 12/27/02.

• Market analysis of wine tourism market • Case studies include Napa Valley, Oregon, Washington, Australia, British Columbia, etc.

“Analyzing and Developing Marketing Strategies for Tennessee’s Value-Added Agriculture: Results of Marketing Surveys for Case Study Businesses.” Extension Service. <www.utextension.utk.edu>. Accessed 12/27/02.

• Surveyed all 19 wineries in Tennessee • Found billboards were most effective means of advertising • Consumers do not respond to print ads very well • Highest selling point was October - December • Most wineries have other businesses with tasting room, including gift shop, restaurant, antique

store • There are almost no cross-industry promotional activities in the state • Winery promotional activities include: discounts, wine of the month, sales, dinners, festivals,

direct mailing, flyers, daily specials on cases, wine pouring, charity events • Document includes example of marketing survey sent to TN wineries

“Benchmark Research: Executive Summary (Sep. 19, 2000).” Finger Lakes Wine Country. <www.fingerlakeswinecountry.com>. Accessed 1/2/02.

• Finger Lakes marketing campaign marketing budget was $400,000 • Resulted in 28% recall rate for ads • 131,000 new travelers and 358,000 intended trips resulted from the campaign • 3 most important factors in driving interest: excitement, adult destination and family atmosphere • Presence of wineries in region is “major distinguishing feature in people’s minds”

"Business Plans." AeppelTreow Winey. <www.aeppeltreow.com>. Accessed 10/25/02.

• AeppelTreow will distinguish itself by developing series of handcrafted Great Lakes fruit and grape wines

• Plans to use competitions, local tourism efforts, & articles in local papers/journals "Case Study: Robert Mondavi Wineries." 415, Inc. <www.415.com>. Accessed 10/23/02.

• Mondavi has grown to include four core brands and nine partner wineries • 415 (an ad firm) recreated Mondavi web site with goal of creating a “clear, comfortable and

consisten use experience that communicated the overall message” of Mondavi • Mondavi wanted “to encourage people to make wine part of the daily life and to focus content and

functionality on serving to de-mystify and increasae the appreciation of wine” • new site has received many awards, including “One of the Top 10 Best California Winery Sites”

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“Consumer Research Summary.” Wine Market Council. <www.winemarketcouncil.com>. Accessed 12/23/02.

• Market overview – wine drinking is on the rise, driven by news on the health benefits of drinking wine, changing consumer attitudes about when to drink wine, etc.

• Core consumers (19 mill) consume 86% of wine vs. marginal consumers (28.9 mill) consumer 14%

• Industry must strive to attract more marginal consumers and turn them into core customers • Four most influential factors between core and marginal: type/varietal of wine, planned price

range, brand, and county/place of origin "Do You Have the 'Proprietor's Unfiltered Special Barrel Select Grand Private Reserve?" The Wine Guy. <www.grapevinecottage.com>. Accessed 10/25/02.

• “the package is more important that the product” • BATF rules:

o Appellation of origin (where it was grown) o Wine variety (Chardonnay, Cabernet Sauvignon, etc) o Vintage date (the year it was grown) o Estate bottled or Proprietor/Vintner Grown o Alcohol content

"History. . . Wine's Social Impact Through Time." Wine Pros. <www.winepros.org>. Accessed 10/23/02.

• Ancient Persian fable says a lady of the court discovered wine when she tried to kill herself by drinking spoiled grapes in a jar (she got giddy and then fell asleep instead of dying)

• Grape cultivation/wine drinking started by 4000 BC near present-day Iran • Greeks increased usage of wine; Romans were first to use glass bottles • Prohibition hurt the wine industry – still some Prohibition rules today (no alcohol sales on

Sundays in IN) • Table wine consumption is growing, but US per-capita consumption is behind most countries in

Western Hemisphere “Nillumbik Tourism Association Business Plan 2002-2005.” Nillumbik Shire Council. <www.nillumbik.vic.gov.au>. Accessed 1/2/03.

• Nillumbik (Australia) positions itself as “the recognized overnight destination on the scenic route to/from the Yarra Valley offering a quality ‘arts’ experience”

• Developed a new signage program to unify the region • Sample marketing budget

"Poised for Greatness: A Strategic Framework for the Ontario Wine Industry." The Wines of Ontario. <www.wineroute.com>. Accessed 10/25/02.

• Ontario wine industry will be a $1.5 billion business in 2020, one that employs 13,500 and contributes close to $1 billion toward the province’s economy

• 1989 – creation of Vintners Quality Alliance; icewine is the most renowned Ontario-produced wine • Canada must compete with Australia (where a new winery is born every 3 to 5 days) • 6 objectives to bring success to industry: 1)pursue premium quality, 2)target varietals in which

Ontario excels, 3)invest in the VQA brand, 4)nurture wine tourism, 5)make Ontario wines broadly available, & 6) forge partnerships within the industry

“Regional Summary: The Gladstone Region.” Tourism Queensland. <www.qttc.com.au/home.htm>. Accessed 12/30/02.

• Gladstone region in Australia is marketed as a part of Central Queensland as well as an individual region in the area

• The area hosts Aboriginal culture, rainforests, beaches, and tropical islands – provides relaxation, adventure, discovery & heritage

• Positioning statement: “Central Queensland is a unique Queensland holiday destination where you’ll meet real, down to earth people and the attractions remain unspoilt”

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• The statement highlights reef, culture, nature, country, relaxing holiday environment and distinguishes the region from all others

“The Wines of Ontario Sales and Marketing Plan: Executive Summary.” The Wines of Ontario. <www.wineroute.com>. Accessed 12/27/02.

• Long-term goal: “To be recognized as one of the best wine producing regions in the world and achieve 1.5 billion dollars in sales by 2020.”

• Brand vision: “to establish the wines of Ontario as a source of passion and pride for all Ontarians “Uncorking PR: What’s Your Angle on the Round-Up Story.” Brown Miller Communications. <www.brownmillerpr.com>. Accessed 12/30/02.

• Winery should make a “quick study of who you are” • Look at what sets the winery apart from every other winery • Emphasis and repetition of positioning statement/slogan/message should be on every piece sent

out (flyers, labels, posters, brochures, etc.) "Understanding Wine Labels (Part 4): Proprietary Labels." Wine Pros. <www.winepros.org>. Accessed 10/23/02.

• “Wines with names that are created and owned as a trademark of the brand evolve when the winery proprietor wants to create something unique in the marketplace

• Meritage – a class designation of American wine that evolved from a trademark ____________________________________________________________________________________ Author Cited Abrahams, Paul & John Thornhill. “A Fine Wine with a Hint of Marketing: Geographical Labeling is Giving Way to ‘Consumer Friendly’ Branding as the Drinks Industry Consolidates.” The Financial Times, Sept. 2, 2000.

• Foster’s (Australia) acquired Beringer of California • Wants to ‘demystify’ the industry & give consumers consistent quality and style • Premium market segment is growing • Consolidation trend b/c of heavy spending on production, distribution & marketing • “Brands are all about providing image and reassurance”

Anderson Economic Group. “Strategies for Economic Enhancement in the Red Arrow Corridor: Frameworks for Community Collaboration and Regional Brand Development.” <www.andersoneconomicgroup.com>. Accessed 12/30/02.

• Michigan’s Red Arrow community = Mattawan, Paw Paw, Lawrence, Hartford, Watervliet, & Coloma

• Strategies for each community and Red Arrow as a whole • Positioning = how the target market perceives its performance on key attributes • Perceptual maps can be used to determine holes in the market to be filled by your winery • Example of Red Arrow positioning statement: “A region of historic villages, timeless natural

beauty and rural character…closer than you might think” Baker, Tony. “Eyes on Regions Not Brands (Finance).” The Advertiser (Adelaide, Australia), Oct. 10, 2001.

• It is the region, not the brand which counts most with consumers, esp. high end consumers • Established region is preferred attribute, followed by price • Well known brand still important toll to achieve product differentiation in marketplace

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Bates, Lincoln. “Tourism Marketing Works.” Focus on TRACS Newsletter. <www.ceds.gatech.edu>. Accessed 1/2/02.

• “Huge synergy between tourism image and other area of economic development” • Longwoods, a travel consulting firm, found too much emphasis on outdoor activities for “pork-and-

beaners” in Finger Lakes region • “Hot button” for the region = that it was that nation’s 1st wine region back in the 19th century • Better to target higher end consumer b/c they spend more on vacation

Benson, Jeremy. "Internet Tools to Tune-Up Your Wine Club." Benson Marketing Group. <www.winemarketing.biz>. Accessed 10/25/02.

• Internet opportunities: PC in tasting room, winery site on search engine, buy web banner, sponsor e-newsletter

• Market by exclusivity - send “members-only” benefits through internet marketing Beverland, Michael & Adam Lindgreen. “Relationships or Transactions? Marketing Practice in the Wine Trade.” Faculty of Business and Economics, Monash University. <www.buseco.monash.edu.au>. Accessed 1/2/02.

• Product quality is not enough to sustain competitive advantage • Study found products w/ little/no marketing support would not retain shelf space or listings, even if

good quality • There is a need for greater in-store support • Wineries need to develop strategies to align selves with distributors that share their image of the

brand Charles, Ellen. "Wine Market News." Wine Business Monthly, January 2001.

• Result of branding: consumers buy one brand and stick to it • There is a growing awareness of wine quality – newer generations are used to high quality wines

Coppola, Vincent. "Woodbridge Wine to Woo Women…" Adweek Southeast, May 20, 2002.

• Mondavi’s Woodbridge label is targeting “wine casuals” – women interested in wine to elevate a dinner or casual evening with friends

• Consumers want to see wine ads reflect reality instead of fantasy • “It will be very much about brand building”

Cuneo, Alice Z. "After Drought, Wineries Back Premium Brands." Advertising Age, October 14, 1996.

• Sutter Home – $5 million campaign “Here’s to each and every day” humorous campaign • Gallo - $190 million TV effort for Gossamer Bay w/ Louis Armstrong singing “Just One of Those

Things” • There is an upswing in brand advertising, especially in the premium wine market • Most wine is purchased w/out help – consumer appeals focused on package innovations

Cuneo, Alice Z. "Gallo, Sutter Join Gush of New Wine Ads." Advertising Age, September 18, 1995.

• Gallo - $8 million campaign on targeting 25 to 35 year olds with Turning Leaf brand • Gallo accounts for 60% to 65% of the dollars spent on wine advertising • “Family branding” - Gallo is not putting the “Gallo” name on lower-end products • Aggressive promotion: Mondavi Woodbridge partners with National Pork Producers Council for

cross promo – “Taste what’s next. Pork. The other white meat.” – offers consumers coupons on bottle neck tags for pork

Danehower, Cole. "Making Wine can be Magical; Marketing Wine can be Mysterious; Let's Demystify Marketing!" Oregon Wine Newsletter <www.oregon-wine.com>. Accessed 10/22/02.

• Wine marketing; there is a difference between sales and marketing • “Brand” (“something created over time in the minds of your market through the persistent

communication of a consistent identity”) • Ask the following question: “What do you think of when you see the XYZ Winery name?”

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Getz, Donald. Explore Wine Tourism: Management, Development & Destinations. New York: Cognizant Communication Corporation, 2000.

• Chapter 9: “Marketing Wine Tourism” • Consumer decision making process: stimulate interest, facilitate info search, combat competition,

make the sale, reduce post purchase anxiety • Examples: Southcorp, Australia and Hunter Valley, Australia

Goldberg, Howard G. “Under the Duck Label.” The New York Times, August 4, 2002.

• Winery with a serious image b/c of the buildings on its land • Amusing labels with ducks “cater to the party-time spirit” • Winery’s name = pays homage to the Long Island Duck (region’s #1 contribution to American

tables) Grimm, Matthew. “Wine Ads: A New Sobriety?” American Demographics, February 2002.

• Advertising = images of perfection; this was changed by September 11 • E&J Gallo - Turning Leaf ad: gourmet kitchen, model couple, elegant meal, “handcrafted for

perfect moments” • Brown-Forman - Bolla ad: crowded tables of families and friends, “open up” • Wine business = dependent on core consumers, get consumers to switch brands instead of

attracting new ones • Core drinkers = 86% of wine drinkers, Baby Boomers are most of these core drinkers • B/c of Boomers, the industry is relatively resistant to economic downturn

Hall, C. Michael, Liz Sharples, Brock Cambourne and Niki Macionis, eds. Wine Tourism Around the World. Butterworth-Heinemann, 2000.

• Comprehensive introduction to wine tourism from business, social science & policy perspective • Case studies of regions/countries such as Texas, Napa Valley, Australia, France & South Africa • Covers consumer behavior, network development, policy issues and product development • 348 pages

Hawkins, John. "The Role of Research: 'How I Learned to Stop Worrying and Love the Brand." Wine Business Monthly, May 2002.

• “An established brand could be the only thing between a winery being here today and gone tomorrow”

• Branding involves establishing an emotional connection • Wine quality is not enough for a brand identity • Lists questions for wineries to ask to create a brand relationship with wine consumers • Consumer research is a valuable aid to strategic decision making

Hein, Kenneth. "Chambord, Canandaguia Eye Efforts for Untapped Market - Women." Brandweek, June 17, 2002.

• Chambord has always had a hard time getting women to drink their raspberry liqueur • Spending $1.5 million in print effort to target women ages 25-39 • Ads feature attractive woman in cocktail dress sitting on man’s lap, holding Chambord

Hein, Kenneth. "Korbel Pops the Question." Brandweek, May 20, 2002.

• Korbel promotional effort is called “Perfect Proposal Contest” • Print ads in GQ, different b/c Korbel usually only advertises in trade magazines • Ad features woman showing off her engagement ring w/ line “Which did you pop first…The

question or the Korbel?” • Grooms-to-be can write about their perfect proposal and send it in – grand prize winner gets

$10,000 for his wedding or honeymoon

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Himelstein, Linda. “This Merlot’s For You: As Sales Languish, U.S. Winemakers Go Mass-Market -- Like Beer.” Business Week Online, Sep. 30, 2002.

• Wine industry growth has slowed b/c of bad economy, slump in tourism, grape oversupply & foreign competition

• Americans drink 1/10 as much wine as beer; American society is more devoted to beer and Coca-Cola

• Wine must be branded from special-occasion to all-occasion • Barely more than 10% of adults in US consume 86% of wine • Wineries should segment the market/have products at all price points so consumers can increase

quality/price while sticking with the same brand • Product placement and single brand promotions are on the rise by wineries • Olive Garden is working with wineries to increase wine consumption - has doubled its wine sales • Largest distributor, Southern Wine & Spirits of America, Inc. distributes 1 out of every 10 bottles

of wine in the US • Market for handcrafted wines is growing, but small wineries must become more of a business

entity than before Houchins, R. Corbin. “Image and Origin: Geographic Terms in Brand Names: Trademark and Regulatory Considerations.” Graham and Dunn, PC. <http://www.grahamdunn.com>. Accessed 12/26/02.

• Brand names - supposed to I.D. the source (whoever stands behind product) • All trademarks are source identifiers • Tradeoff between descriptiveness and non-descriptiveness in brand name; example: CA

controversy Kiley, David. "Wined Up." Brandweek, April 14, 1997.

• Fetzer Vineyards - trying to brand itself as a more everyday quality wine thru print, tv, and in-store promotion w/ theme: “These are the days. Enjoy the wine.”

• “The most successful advertising in the wine and beer categories in memory was the ‘Miller Time’ campaign. We’d like to position Fetzer as the brand for socialization in a similar way”

• Branding is more important as the price of wine increases Larson, Cassandra. “The Value of the Brand: Building Investment in a Highly Competitive Marketplace (October 1999).” Wine Business Online. <www.winebusiness.com>. Accessed 12/27/02.

• To build brand successfully, must spend 7 - 10% of sales for 3 - 5 years • “There are so many more brands competing that it is crucial to maintain and be aware of the

brand and how it lives and differentiates itself among the growing population of wines” • Brand must be clear, consistent & impactful; cohesiveness (web site, label, letterhead) is

important • Example: Beaulieu Vineyards recent strategic redesign - differentiates its products • Westport Rivers Winery = example of regional marketing efforts b/c of co-operative project • Small wineries can benefit from being on Virtual Vineyards b/c of good mailing lists • Beringer (winery and product) vs. Mondavi (all about his persona as a brand)

Leahy, Richard. “Finger Lakes Wine Alliance Sponsors ‘Wine Marketing, Branding and Tourism’ Seminar,” Vineyard and Winery Management.” Nov/Dec 2002.

• Wine appeals to “hidden needs” (impressing someone) • What differentiates wine brands = perceived value; “Give your brand a personality” • Wineries should segment their target market (ex. Wicked Wines targets young females with bright

colors) • Wine Market Council is sponsoring free wine advice on wineanswers.com and ivillage.com • Finger Lakes branding - incorporate long heritage, natural beauty, striking views • Regional brand building example: Coonawarra, Australia: “Coonawarra - the Other Red Center” • Market/brand the passion that goes into a family winemaking business (ex. Penfolds brand) • Regional wine visitors center is a good idea

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• Important brand elements for Finger Lakes = beautiful scenery, good quality wines, friendly staff, great riesling

• 60% of winery visitors cite learning about wine as strongest motivation to visit winery • “Essence of winery tourism is to focus, differentiate and position, with the region and winery

product lines” • Tasting room staff = the face of the winery • Harder to get visitors to tasting room after 9-11 • Female wine consumption is higher than males in all markets

Madonna, Laura. "Marketing Strategies with Modest Budgets (Sep. 1999)." Wine Business Online. <www.winebusiness.com>. Accessed 10/25/02.

• “A creative marketing strategy focuses on a select market segment” • Wineries must differentiate themselves before anything else • Use websites, direct mail and special events to promote creative marketing activities • Friendship/word of mouth is vital to the branding process; example: Pacific Star Winery of

California puts visitors to work labeling bottles, etc. – then they go home and tell friends about it – “Enhancing friendship is the purpose and…75 percent of her business comes from these relationships”

Madonna, Laura. “Marketing ‘Brand’ Virginia: Government Funds and Dedicated Vintners Help Virginia Wineries Association Support Industry Growth (May 2002).” Wine Business Monthly, May 2002.

• Regional marketing efforts include wine maps and touring events • On state level: “Vintage Virginia” event & publication Winery & Festival Tour Guide booklet • 3 factors that distinguish Virginia wines: 1) water, 2) weather, & 3) market availability • State winegrape growers advisory board - advises on marketing, profitability & control of industry • Virginia will try to market itself nationally/globally thru vinifera

Madonna, Laura. “Making the Consumer Connection: The Importance of Tourism to the Wine Business (May 1999).” Wine Business Online. <www.winebusiness.com>. Accessed 1/2/03.

• Tourism is the “ultimate brand differentiator”; visitors have a connection with the brand • Texas Wine & Grapegrowers Assoc. - markets Grapevine, TX as center of TX wine industry w/

festivals • Many wineries are upgrading tasting room décor & architecture b/c “image of a winery becomes a

marketing choice to a consumer”; example: Domaine Chandon refurbishment tells consumers they are at a world class sparkling wine house

• Niebaum-Coppola Estate Winery has evolved into a “strolling marketplace” with bread, books, etc.

• Don’t think of tourists as just revenue when they visit, but also after they return home - follow up with them!

Moulton, Kirby & James Lapsley. Successful Wine Marketing. 2001.

• Explains principles, logistics & strategies of wine marketing/sales • 5 sections: a) Setting Sights on the Market; b) Considering the Marketplace; c) Developing

Strategies; d) Profiting through Positioning; and e) Using Distribution • 307 pages

Pisoni, Mark E. & Gerald B. White. “Writing A Business Plan: An Example for a Small Premium Winery (June 2002).” Cornell University Horticulture Business Management and Marketing Program. <www.hortmgt.aem.cornell.edu/pubs>. Accessed 12/30/02.

• Example target market: wealth, college-educated, baby boomers, highly wine educated, enjoy dining out, regularly entertain friends

• Produces grapes in the Finger Lakes, NY region • Promotional activities: wine tastings, winery tours, wine tasting class, harvest parties, live bands,

BBQ’s

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Radin, Jennifer. “Case Study: Mondavi Winery: Their Banners are Full Bodied.” Channel Seven. <www.channelseven.com/adinsight>. Accessed 12/27/02.

• Mondavi uses banner ads with mural painting image to attract ‘artistic’ wine drinkers • When click on banner, an online registration form pops up - allows winery to “build brand loyalty” • “Focus is on creating a lifetime value model” - use registration info to track consumer preferences • 30% of Mondavi marketing budget goes to online advertising

Roberts, Robert J. “New Direction for Tourism Stresses Wine Over ‘Pork-and-Beaners.” Longwoods International. <www.longwoods-intl.com>. Accessed 1/2/03.

• Finger Lakes region, NY targets upscale “touring vacationer” • Emphasize region instead of individual attractions, and highlights wine industry instead of glass

industry • Main logo of campaign = signpost w/ “Finger Lakes Wine Country: just down the road” • Going after traditional tourist market: those who live up to 500 miles away • Campaign draws on recognizable name, quality products and retains outdoor country image • Not easy to redirect promotional/marketing efforts toward the common region (“We had to get rid

of some serious parochialism” • Other area attractions, like Corning Museum of Glass, have contributed $ to the campaign • Another tag line: “See the beauty, feel the history, taste the wine”

Smith, Mark E. "Briefing Papers: Platform Marketing: 'The Ultimate Brand Marketing Weapon." Mark E. Smith, Positioning Consultant. <www.hourglass1998.com>. Accessed 10/25/02.

• Platform marketing - many companies “plug-in” their existing marketing mixes to achieve group goals as well as individual goals

• Example: VQA program – each winery in the program co-branded the VAQ w/ existing marketing programs

• Result of program = world wide recognition of the VQA Teas, R. Kenneth & Terry A. Grapentine. “Is Your Message Getting Across.” in Marketing Research Grapentine Company, Inc. <www.grapentine.com>. Accessed 12/30/02.

• Positioning themes are an important part of advertising communications • congruence-differentiation analysis (CDA) • 6 CDA situations: concept, source, theme, ideal, competitive source, competitive theme • Source-concept congruence = Gallo (source) created new wine cooler (concept), but wine cooler

image did not mesh with the target market, so Gallo disassociated its name and called it Bartles & Jaymes

• 80% of consumers believe family owned companies make products they can trust (43% for public companies)

Tincknell, Paul. "The Roads Ahead: Wine Business in the 21st Century." Tincknell & Tincknell Wine Sales and Marketing Consultants. <www.marketingwine.com>. Accessed 10/22/02.

• Lack of unification in wine industry • Consolidation is a trend continuing into the future • Niche market for the artisan winemakers - must create strong branding to be successful

Tinney, Mary-Colleen. "Wine Advertising: Aims to Teach Consumers that Wine Can Be Enjoyed All the Time." Wine Business Monthly, July 2002.

• Lifestyle-oriented ads, pr, and education can “demystify” wine culture • It is hard to get wineries to do generic advertising to talk about wine instead of promoting

themselves • Mondavi - good example of personifying a wine • Study of consumer recall of wine commercials: “Can you name three wineries that advertise?” • Familiarity with a brand compels consumers to choose familiar brand over new one (ex. Sutter

Home & Mondavi)

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Travel Industry Association of America. “Profiles of Travelers Who Participate in Historic and Cultural Activities.” 1997.

• Important statistics on cultural travelers • Categories of stats include: purpose of trip, mode of transportation, lodging, trip activities,

demographics of head of household and memberships Westling, Brandon. "Building Brand Equity in the Wine Industry." Tincknell & Tincknell Wine Sales and Marketing Consultants. <www.marketingwine.com>. Accessed 10/25/02.

• “A brand is what the consumer perceives it to be” • Lists competitive advantages that come from high brand equity • Three steps of developing a brand: creating, strengthening, and evaluating the brand

Westling, Brandon. “Wine Marketing 101.” Tincknell & Tincknell Wine Sales and Marketing Consultants. <www.marketingwine.com>. Accessed 12/30/02.

• Research of potential markets = 1st step to successful marketing • Market - “a group of people/organizations w/ wants to satisfy, money to spend, & a willingness to

spend” • Wineries should target segments that no other winery can cater to better than yours • Articles lists examples of many promotional activities a winery can do • Don’t forget importance of implementation and control when creating a marketing plan

Wheatley, Kim. “Wine Label Genie Out of the Bottle.” The Advertiser (Adelaide, Australia), Sept. 21, 2002.

• EU wants to band common labeling terms like “vintage” & “reserve” • A way for create a ‘non-tariff’ barrier for non-EU countries • Europe also wants compulsory geographical register limiting the use of product names

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Michigan Museums AssociationP.O. Box 5246

Cheboygan, MI 49721(313) 334-7643

www.michiganmuseums.org

Michigan Grape and Wine Industry CouncilP.O. Box 30017

Lansing, MI 48909(517) 284-5733

www.michiganwines.com