Art and propaganda in the Sevillian Baroque: The construction of the Catholic Church’s brand

El arte barroco es un arte indudablemente propagandístico. Su eterno cultivo por parte de la Iglesia católica durante la Contrarreforma, nos ha dejado un patrimonio artístico inmenso que hoy podemos recuperar con mucha facilidad, sobre todo en la ciudad más importante del territorio español a comienzos del siglo XVII: Sevilla. El resultado de la confluencia entre pautas artísticas y fines propagandísticos dio lugar a una extensa campaña persuasiva y a una poderosa imagen de marca que aquí se pretenden analizar en términos comunicativos.Baroque art is an undoubtedly propagandistic art. Its eternal cultivation by the Catholic Church during the Counter-reformation has left us with an immense artistic heritage that nowadays can be recovered with ease, above all, in the most important city of the territory of Spain at the beginning of the 17th century –Seville. The result of the convergence among artistic rules and propagandistic aims led to a wide persuasive campaign and to a powerful brand image that in this article are expected to be analysed in communicative terms

Retail, design and communication in point of sale

La competitividad de los establecimientos comerciales está conformada por una serie de factores estratégicos y tácticos donde los productos y/o servicios no son las únicas variables que se deben tener en cuenta, pues forman parte de un todo más complejo: el marketing mix. Ante la actual saturación competitiva existente, así como la necesidad de diferenciación y posicionamiento de marca (y producto), los puntos de venta hacen uso de las diversas técnicas de merchandising: distribución y adyacencia de productos, uso de materiales o animación en el propio POS. En este sentido podemos afirmar que el diseño final de un punto de venta es claramente determinante a la hora de incrementar la rentabilidad de la empresa. En este orden de ideas, el diseño de experiencias para el consumidor juega un papel muy importante, como afirman Cant & Hefer (2013), para quienes: “Visual merchandising can in simple terms be seen as the way in which retailers display their products in store in order to attract consumers”. Es aquí es donde entra en juego el diseño de experiencias aplicado al punto de venta.The competitiveness of commercial establishments is made up of strategic and tactical factors where products and services are not the only variables that must be considered, as they are part of a more complex whole: the marketing mix. With the current competitive saturation, as well as the need for differentiation and brand positioning (and product), the points of sale make use of the various merchandising techniques: distribution and adjacency of products, use of materials or animation in the POS itself. In this sense we can say that the final design of a point of sale is clearly determining when it comes to increasing the profitability of the company, providing added value for a good differentiation as well as for a good brand building. In this order of ideas, the design of experiences for the consumer plays a very important role, as stated by Cant & Hefer (2013), for whom: "Visual merchandising can be seen as the way in which retailers display their products in store in order to attract consumers”. This is where the experience design applied to the point of sale starts to do

Indaloymedia as a case study of advertising and audiovisual production

El mercado de las producciones publicitarias y audiovisuales empieza a comportarse como el resto de sectores económicos: Se produce localmente y puede llegar a consumirse globalmente. Ello implica que en ocasiones la venta de formatos y exportación de programas audiovisuales es una fase más del proceso de desarrollo del producto que incluso puede llegar a contemplarse desde la fase de inicio en el ciclo de vida. Nos centramos en un caso concreto, el andaluz, donde la Radiotelevisión Andaluza (RTVA), a través de producción externa (outsourcing), ha comenzado a sacar programaciones y producciones fuera de sus fronteras (Andalucía y España) vendiendo sus derechos a televisiones como la Televisión de Castilla la Mancha o la ARD alemana. Estudiamos aquí un caso concreto: La Tarde, aquí y ahora.Advertising and audiovisual productions market begins to behave like the rest of the economic sectors: It is produced locally and can be consumed globally. This means that sometimes the sale of formats and export of audiovisual programs is another phase of the product development process that is contemplated from the start phase in the life cycle. We focus on a specific case, the Andalusian, where the “Radiotelevisión Andaluza” (RTVA), through outsourcing), has begun to take out programming and productions outside (Andalusia and Spain) by selling its rights to televisions such as “Televisión de Castilla la Mancha” or the German ARD. We study here a specific case: The Afternoon, here and now

The Role of Social Media in the Fashion Industry: The Case of Eco Luxury in Today’s Consumption

In the fashion and luxury sector, we are witnessing a period of change in which social networks play a leading role given their capacity to connect brands and consumers. The new trend of brands encourages sustainable marketing, in line with a more ethical and selective consumer. Eco-fashion processes are associated with fair working conditions, sustainable business models, organic and ecological materials, certifications and traceability (Henninger et al., 2016). In parallel, the fast fashion system coexists, as a different but not opposite model (Fletcher, 2010) that reaches maximum levels of consumption, in which the consumer’s interest in price, quality and appearance prevails over ethics (Kim, 2014). The paradox then arises in a scenario where consumers are in a constant state of psychological imbalance between their sustainability concerns and their own consumption of fashion products (Athwal & Carrigan in Int J Manag Rev 21, 2019; Han et al. in J Bus Res 74, 2017). The dilemma reinforces a plan of action focused on corporate social responsibility (Pookulangara & Shephard in J Retail Consum Serv 20, 2013) of fashion companies, supported by ecology as a sign of brand identity, the design of new digital content and the use of social networks as interactive platforms that implement a direct link with consumers