of traditional consumer research data. A different kind of consumer knowledge is
required: ‘Rather than static, microscopic research that delivers a snapshot of indi-
vidual consumers, genealogy is macroscopic and dialectical’ (Holt 2004, p. 214).
The building of great myths requires an empathetic and deep (macro-level)
understanding of the collective identity projects of the relevant consumer segment.
The manager needs to deeply understand the cultural contradictions of the time and
how they feed the hopes and anxieties of, for example, a generation of American
urban middle-class people: ‘Resonant myths spring from an understanding of
people’s ambitions at work, their dreams for their children, their fears of tech-
nology, their difficulties in building friendships, and so on’ (Holt 2004, p. 212).
The brand manager also has to understand the reputation of the brand. In the
cultural approach, the brand’s reputation is considered to be the reputation for
telling certain kind of stories – for competing in a certain myth market. This repu-
tation endows the brand with a cultural and political authority, meaning that the
brand has a reputation for telling stories/performing myths about a certain notion
(e.g. freedom, cultural authority) aimed at certain cultural segments (political
authority). In order for the brand manager to document the brand’s cultural and
political authority, he should look back in time to comprehend what historic activ-
ities constrain or enhance the future mythmaking ability of the brand.
Where one looks for the empathic understanding is also important. It cannot be
found on the periphery of brand loyalists, it is the nucleus of brand
insiders/followers that can reveal the most significant ‘outlets’ of the cultural
contradictions. Full immersion – or preferably a ‘cultural membership’ – in the
relevant populist worlds is therefore required.
After having identified the most relevant cultural contradiction to target, the myth
has to be composed and executed in the right way. A traditional positioning
statement should be substituted by a ‘myth treatment’ (like in the film industry) in
which the brand’s proposed cultural role is clarified. The execution of the brand
communication should elevate itself from being a parasite on popular cultural
trends; it should rather develop a ‘populist authencity’ on its own terms.
Furthermore, the brand should communicate by means of its own charismatic
aesthetics. In sum, the brand communication should adopt its own independent
voice and play a proactive role in the culture of its time (eventually, re-refer to the
Snapple case in box 10.2). The successful brand is the most skilful commentator and
provider of relevant cultural ‘text’ addressing the socio-cultural tensions of the time.
230 Seven brand approaches
Box 10. 6 The versatile brand manager of the cultural approach
Being a brand manager/cultural activist requires a distinct talent for multi-
tasking. Holt proposes that the abilities of the brand manager should
encompass:- The mindset and work methods of a genealogist. A genealogist goes
back in time in order to piece together a family tree. In much the same