Brand Management Models in Cultural and Creative Industries ...

Brand Management Models in Cultural and Creative Industries:
Taiwan Cases
Shun-Ching Horng, PhD
Distinguished Professor, Department of Business Administration,
National Chengchi University, Taipei, Taiwan
e-mail: schorng@nccu.edu.tw
An-Hsin Chang
Doctoral Candidate, Department of Business Administration,
National Chengchi University, Taipei, Taiwan
e-mail: ahchang@nccu.edu.tw
Kuan-Yang Chen
Doctoral Candidate, Department of Business Administration,
National Chengchi University, Taipei, Taiwan
e-mail: kuanyang@nccu.edu.tw
Abstract Recent studies have shown that firms in the cultural and creative industries
can build more enduring competitive advantages if they are able to create unique
brand values. Many firms in the cultural and creative industries have been through the
transformation of the Taiwan economy. Through OEM/ODM partnerships with major
foreign clients, they have being upgrading into own brand businesses and their value
chain activities have been changed accordingly. It is critical for these firms to
understand the value chain in the cultural and creative industries and specify where
they are positioned in the value chain. It is argued that Porter’s value chain model
(1985) typically does not fully describe the structure of the cultural and creative sector
as the elements of culture and creativity have been highly valued as the heart of value
creating process in the sector. This study aims to focus on the development of brand
management model in the cultural and creative industries and cultural and creative
value chain in Taiwan. Practical implications for firms running business in cultural
and creative industries are discussed.
Keywords: cultural and creative industries, cultural and creative value chain, craft
brand
1

Introduction
In recent years, cultural and creative industries (hereafter referred to as CCIs) play
an important part in the national development policies among developed and
developing countries (UNCTAD, 2008). Nations around the world have been putting
effort to promote their CCIs. To follow this global economic trend, Taiwan
government also has invested significant time and resources to define and develop
CCIs over last few years. In 2002, the government officially listed the CCIs into the
“Challenge 2008 National Development Plan” which would cost an estimated about
US$75 billion. With this comprehensive six-year national development plan, Taiwan
government expects to reach world class standard in products and technologies,
stimulate the economy, encourage foreign investment and boost employment in
Taiwan (Government Information Office, 2002a). According to the figures from
Taiwan Executive Yuan (the Cabinet), the sales revenues of CCIs increased
approximately US$56 billion from 2002 to 2007, and the value added of the industries
increased 1approximately US$29.8 billion, with an average of 7% growth per year
(Taiwan Executive Yuan, 2009a).
CCIs encompass various activities that includes the cultural industries with all
cultural or artistic mode of production, whether live or produced as an individual unit
(UNESCO Global Alliance for Cultural Diversity, 2006). CCIs are high in creativity
nature and with potentials in economic development; however, how do the
value-added activities actually work out still remain unclear (Eikhof and Haunschild,
2007). As the commercialization process in CCIs is distinct from manufacturing
business, past studies have emphasized the need for developing a business model
concept to better articulate how values are created or added and for whom in the CCIs
(Hartley, 2004; Taylor, 2006). Undoubtedly, Porter’s value chain model is the most
well-known model that has been used to analyze a firm’s value creation. The model
was build with a production-oriented notion and a focus on the dynamics of
inter-connections within the productive sector, and therefore it may not be completely
applicable for cultural and creative businesses. The aims of this study were to develop
the value chain model of CCIs in Taiwan and to explore how do firms in this industry
create value for their customers through a series of value creation activities.
2

Theoretical backgrounds
CCIs in Taiwan
The original concept of the CCIs can be referred to “those activities which have
their origin in individual creativity, skill and talent, and which have the potential for
wealth and job creation through the generation and exploitation of intellectual
property” (DCMS, 1998). According to United Nations Educational, Scientific and
Cultural Organization (UNESCO, 2007), the concept of “cultural industries” centers
around the cultural heritage and traditional and artistic elements of creativity, and the
term “creative industries” tends to emphasize on individual creative talent and
innovation, and on the exploitation of intellectual property.
The Taiwan Council for Cultural Affairs proposed the concept of “Developing
Cultural Industries, and Bringing Culture into Industries” in 1995, and this “cultural
industry” concept later has been put into the national “Community Development”
plan. With the trend of globalization and technological advancement, the government
adapted a knowledge-based economy that focuses on “creativeness” and the
mainstream concept of “Think Globally, Act Locally” in the twenty-first century.
“Challenge 2008 National Development Plan” published in 2002 prescribed that
products with local cultural characteristics are expected to be developed through a
combination of art creativeness and commercial operations, which will not only
deepen people’s cultural identities toward their own cultures but also increase the
added value for these industries (CCA, 2010). Under this national policy, thirteen
sub-sectors are defined as Taiwan’s CCIs , including: visual arts industry, music and
performing arts industry, cultural exhibition facilities industry, handicrafts industry,
film industry, broadcasting industry, publishing industry, advertising industry, design
industry, designer brand and fashion industry, architectural design industry, innovative
lifestyle industry, digital leisure and entertainment industry (CEPD, 2002).
CCIs in Taiwan are defined as industries that are “originated from creative or
cultural accumulation and has the potential of creating wealth and jobs and improving
the living environment by developing and deploying the intellectual property” (Hsiao
et al., 2010). Under the concept of “industrialization of culture” and “culturalization
of industry” proposed by Taiwan’s government (Wu, 2003), many entrepreneurs and
enterprises have transformed their businesses into the creative and cultural fields. As
CCIs in Taiwan face strong competition from regional neighbor countries in recent
years (UNCTAD, 2004), the promotion of the concept of “culture industrialization,
industries culturalization” aims to identify and realize the economic value of local
cultural assets through the process of commercialization and enhance competitiveness
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of local cultural and creative firms through an appreciation and application of the
essence of Taiwan’s history and culture (Chung, 2012).
Economic development in Taiwan
Taiwan’s economic strength started with commodity and labor-intensive
industries in 1960s. Since the mid 1980s, the economy has been rapidly restructured
and shifted from production of labor-intensive goods to less labor-intensive service
(Government Information Office, 2002b). Many firms in the CCIs have been through
a series of transformation of the Taiwan economy. After decades of serving as
OEM/ODM suppliers, the value activities of these firms have been reconfigured and
core competences have been changed accordingly. Some of these firms have
committed to achieving transforming into brand-name companies by seeking
emerging opportunities in cultural and creative market and creating strong brands of
great creativity and design capabilities. Today, nearly 90% of all cultural and creative
businesses in Taiwan are operated as sole proprietorships or micro-enterprises and, as
such, are entirely different in nature from other types of businesses (Taiwan Executive
Yuan, 2009b).
In fact, most cultural and creative business owners or entrepreneurs may identify
themselves as artists and designers rather than business people. Their devotion to
work is often driven by cultural or creative factors rather than economic ones. Since it
is wildly believed that “Creative people tend to rebel at efforts to manage them overly
systematically”(Florida, 2002), commercialization of creativity and artistic motivation
management may run risk of damaging these resources (Eikhof and Haunschild,
2007). Although there is a basic conflict inherent in the nature of creativity/art and
business/management (Eikhof and Haunschild, 2007), cultural and creative
entrepreneurs need to develop and integrate both creative and business skills to be
competitive and sustainable in today’s marketplace.
Value chain in CCIs
Porter defined the value chain (hereafter referred to as VC) as a “framework for
identifying all these activities and analyzing how they affect both a company's costs
and the value delivered to buyers” (Porter, 2001). At one end the process of shifting
goods are origination and the producer; in the middle the commodity and its
distribution; at toward the other end is the consumer or end user (Hartley, 2004).
Porter’s value chain model (1985) consists of primary activities (inbound logistics,
4

operations, outbound logistics, marketing and sales, and service) and support
activities the firm marshals to create values (infrastructure, human resource
management, technology development, and procurement).
However, there are several limitations when applying Porter’s model to the CCIs.
First, the CCIs may not fit easily into the conventional value chain model as they
share many characteristics of the service economy (Potts, Cunningham, Hartley and
Ormerod, 2008). Value chain model is logical for firms that produce tangible products,
such as cars or consumer electronics that require physical inputs and large investment
for production capacity and raw materials, but service oriented firms rely more on
human assets as the primary ways for value creation (Cartwright and Oliver, 2000).
Furthermore, the conventional VC cannot capture the complexity of roles and
relationships in the CCIs. Cultural goods are practical examples of the hybrid and
complex relationships between production and consumption, the symbolic meanings
and materials (Pratt, 2008). O’Connor (2010) argued that “technological reproduction
is necessary but not sufficient to explain the expansion of cultural commodity
production”. Pratt (2008) further elaborated that “front line” artists or cultural workers
are often seen as only ones who create value; however the inter-relationships of the
whole production chain, and its ways that it is variously embedded in space also need
to be appreciated. One of the most important points is that the CCIs involve higher
value-added inputs (i.e., digital contents, knowledge and skills) in the upstream
activities of the VC, and this is where they take their part in the knowledge-based
economy (Cunningham, 2002).
Methodology
This study attempts to explore the characteristics of VC in Taiwan’s CCIs and
understand how the two distinct elements, creativity and business, actually influence
creative production. Rather than probability sampling, the aim of the study was to
explore the variation of issues across the samples (Weiss, 1994). A discovery-oriented
approach was adopted to conduct secondary data analysis and in-depth interviews.
The sampled enterprises are representative cases of the observed phenomenon; these
enterprises are successful innovators and have successfully pursued own-brand
strategies in their respective sectors in CCIs. Due to the range and diversity of
different sectors within CCIs, these sectors have very diverse industrial traits.
Therefore, this study focuses on craft sector only, as craft sector is also one of those
industries which has high economic value and possesses strong cultural connotations
(UNESCO, 2000).
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Craft industry is defined as one of the CCIs in Taiwan and is essential to the
economy. Crafts in Taiwan are dynamic and diverse. Local crafts in Taiwan were
made according to daily needs of people, climate, natural environment, culture,
history and religion (NCTA, 2012). Though many traditional crafts in Taiwan are
originated from the Ming or Ching Dynasty of China, from Kenton and Fujen areas in
China, because of the influence of the local aborigine crafts, Japanese arts,
industrialized thoughts, and western ideas, they have evolved from history and
developed their own features (NTCRI, 2001).
Today, several award-winning craft businesses emerged, such as “FRANZ” and
“tittot”, they have become successful international brands. This study adopted an
exploratory-oriented approach and multiple-case method. Company cases were
chosen based on their pursuit of own-brand strategies, sales and profitability.
Considerable documentary information was gathered from cultural and creative
enterprises to enable the triangulation of emerging themes.
Findings and Discussion
This study characterizes three business models in which they are posited in five
key components of the value creation process: culture, ideation, design, production,
and marketing (including branding and channel). Due to unique characteristics of
CCIs, first two components (design and production) are considered as fundamental
elements and serve as the accelerator of core value for craft products. The VC in this
study is called the “culture creative-based value chain (hereafter referred to as CCVC)
(Figure 1).
Values
Figure 1: Culture Creative-Based Value Chain
6

The value chain in craft industry begins from “digging” culture which provides
symbolic meanings to our daily lives. Cultural products carry a symbolic value which
is determined by the social and cultural meanings associated with it and this allows
consumers to express individual and social identity via the purchase and use of the
products (Ravasi and Rindova, 2008). Cultural context serves input for the process of
ideas generation, which is the initial moment and forum of creativity and can be
carried out either in non-formal and informal settings (Mercer, 2002). There is a large
usage of oriental cultural elements, especially Chinese culture in the creation of
cultural and creative products in Taiwan, as well as the process of incorporating local
Taiwanese culture, Western influences and modern technologies. Crafts are not only
made by hand with traditional craft methods, but are also made with specialized
equipments.
Next, cultural product design is a process of rethinking or reviewing cultural
features, and a new product is designed through redefining cultural features of current
products. During the design stage, culture serves as a source of innovation and
creativity and both practical use and the aesthetic qualities of products are highly
considered. Production is about the transformation of ideas into cultural goods and
services and it deals people, resources, productive capacities and training available to
aid the transformation of ideas into marketable products (Landry, 2000). Due to the
limitation of supply and customer’s requirements of mass customization, overseas
production has become a common practice in Taiwan. Although these observed craft
brands moved their production bases into China and other countries, the production of
unique and premium products as well as their R&D and design center is mainly
located in Taiwan.
These chosen craft businesses have long been noticed of the power of brand
value, brand-building had been an ambition since the firm was established. Business
owners, who possess artist or craftsman background, are lack of management and
business skills to run the business. A firm may choose to specialize in one or more
value chain activities and outsource the rest. The extent to which a firm performs
upstream and downstream activities is decided by its level of vertical integration.
“Tittot” is a fine craft brand in Taiwan, engaged in the crystal glass design,
processing, producing and sale of glass craft products and accessories. In 1994, the
two brothers, Yuan-Shan Wang and Heinrich Wang together established tittot.
Heinrich Wang stated that artists usually focus on creating artworks and do not have
much of an idea about or energy left for production, management and marketing and
therefore brand management needs to rely on business professionals (GIO, 2009).
Artists normally shun entrepreneurship have stereotypic ideas of artists (Kamara,
7

2004), it is important to match artistic expertise with knowledge of business, though
not necessarily within same person (Pratt, 2008). Tittot has its own R&D and brand
management teams. Heinrich Wang is the company's creative director, specializes in
an ancient glassmaking technique called “lost wax casting” and also has been
designing and producing glass artwork while exploring new glassmaking techniques
over the years (GIO, 2004). His work has been collected by museums around the
world since the early 1990s. On the other hand, professional management and
marketing activities are directed by his brother Yung-Shan Wang, who has years of
experience in business management (GIO, 2009).
“Artilize Worldwide” is a good example of collaborative work among artists,
designers and entrepreneurs. Artilize Worldwide, a marketing firm which focuses on
promoting cultural and creative products. The main business activities included
international marketing of art items, design and copyright for art items, and art
advertising (MEA, 2011). “Tales by Pave” is the company’s craft product line of
decorative art tiles. These tiles are created in square and rectangle ornamental stone
decopaves that are illustrated with ancient myths and stories (Artilize Worldwide,
2008). Successfully collaborating of its design and production outsourcing partners
enables the company to build up brand new business models with art and creative
products.
“FRANZ” designs, creates and markets a variety of functional and home decor
accessories. The collection includes porcelain tableware, vases and decorative accents,
as well as a line of exquisite jewelry (Franz, 2012). Franz Porcelain is well-known for
its harmonic balance of Chinese fine porcelain crafts with styling inspired by classic
Art Nouveau designs. FRANZ’s parent company, Seagull Décor, has more than two
decades experience as premiums and gifts manufacturer. The achievement of the
brand is largely contributed to the company’s management of market knowledge,
recruitment of talented porcelain makers and designers, advanced technology and the
capability of establishing sales channels. FRANZ’s distinctiveness is built on a high
level of vertical integration and attempts to create value at different VC activities. It is
notable that a young brand like FRANZ (founded in 2002), actively attending
international exhibitions and trade shows and accumulating awards is a crucial way to
maximize brand exposure and attracts attention from potential customers overseas.
8

VC Unit
Model
Model 1:
Craftsman/
Designer
brands
Company and
brand name:
“Tittot”
Model 2:
Company
with
marketing
competence
Company:
“Artilize
worldwide”
(Brand name:
Tales by Pave).
Model 3:
vertically
diversified
company
Company and
brand name:
“FRANZ”
Table 1: Business models drawn from CCVC
Culture Ideation Design Production
Products
convey the
Chinese way
of thinking
and living.
Brand stories
are derived
from
traditional
oriental
culture, such
as Chinese
culture and
Indian culture.
Blending the
essence of
oriental
culture with
the styling
inspired by
Western
artistry.
Using
Chinese
philosophies
to deepen the
creations
profundity.
Stone carving
of legendary
stories and
historic
objects on
square and
rectangle
ornamental
stone deco
paves.
Combining
traditional
Chinese
character
with classic
art nouveau
designs to
create more
various
styles.
�In-house
craftsman and
designers.
�Integrating
Chinese
culture to
perform unique
lost-wax
casting.
�Collaborating
with local
designers and
artists in Asian
countries.
�Design
elements are
dawn from
symbolic
patterns and
architectural
elements.
�In-house
Porcelain
craftsman and
designers
�Design
themes are
inspired by
nature, and
through the
designer's
interpretation
of the oriental
philosophy.
Mass-produced
commodity
made in China,
and high-end
pieces
produced in
Taiwan.
�Using of local
raw materials.
�Outsourcing
manufacturing
to collaborating
production
sites.
�Design and
research center
is based in
Taiwan.
�Mass
production
carefully
managed and
closely
supervised in
China.
Marketing
Branding Channel
Founder,
Heinrich Wang a
well-known film
director and is
devoted to the
development of
Chinese crystal
glass
craftsmanship.
The brand is
owned and
managed by
“Artilize
Worldwide”.
This brand
defines itself as
a smart and
modern player
of transforming
art to life.
�Integrating
Eastern
aesthetics and
Western art
nouveau style
� A brand
captures
international
fame for its
decorative,
functional arts
and crafts.
�Items are
sold in
high-end
department
stores.
�Products
distributed to
more than 80
specialized
counters.
The collection
now are
distributed in
30 countries
with over 450
shops.
�Items are
sold
worldwide to
prestigious
department
stores.
�Over 6,000
point of sales
over the
world.
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Conclusions
Taiwan has successfully executed export-oriented development strategy to drive
up economic growth; however the economic performance of Taiwan’s craft goods in
the global market still lag behind other countries in the same region (CCIPT, 2008).
Firms in CCIs can develop more enduring competitive advantages if they are able to
create unique brand values. It is critical for these firms to understand the value chain
in CCIs and assess their positions in the value chain. We attempt to depict the value
chain of CCIs in Taiwan using craft sector as an example. Many firms in CCIs have
been through the transforming OEM/ODM business model into OBM, the value
activities of these firms have been reconfigured and core competences have been
changed accordingly. Therefore, in the following phase, this research will adopt field
investigations and interviews with more representative CCIs cases from different
sectors to increase the generalizability of the study. This research will continue to
identify the key success factors to brand management in CCIs and also investigate the
dynamic process of value repositioning and reconfiguration of value activity among
cultural and creative firms. Another attempt is to identify strategic groups of these
firms that adopted similar value configurations and growth path.
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