Moona Saloranta

TALLINN UNIVERSITY OF TECHNOLOGY
School of Business and Governance

Department of Business Administration
Moona Saloranta
BRAND IMAGE. CASE FINLAYSON
Bachelor’s thesis
Supervisor: Iivi-Riivits Arkonsuo, Ph.D
Tallinn 2017
I declare I have written the bachelor’s thesis independently.
All works and major viewpoints of the other authors, data from other sources of literature and
elsewhere used for writing this paper have been referenced.
Moona Saloranta……………………….....
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Student’s code: 145940
Student’s e-mail address: moona.juulia.saloranta@gmail.com
Supervisor: Associate Professor Iivi Riivits-Arkonsuo, Ph.D.

The thesis conforms to the requirements set for the bachelor’s theses
……………………………………………
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Chairman of defense committee:

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TABLE OF CONTENT
ABSTRACT
INTRODUCTION ......................................................................................................................5
1. THEORETICAL FRAMEWORK ..........................................................................................7
1.1 Brand and brand equity .....................................................................................................7
1.1.1. Definitions of brand ..................................................................................................7
1.1.2. Brand equity ..............................................................................................................8
1.2 Brand identity and brand image ......................................................................................12
1.2.1. Brand identity .........................................................................................................12
1.2.2. Brand image ............................................................................................................14
1.2.2.1. The formation of brand image ..................................................................15
1.2.2.2. Positive and negative brand image ...........................................................16
1.2.2.3. Influencing to the brand image .................................................................20
2. CASE FINLAYSON.............................................................................................................22
2.1. Introducing Finlayson ....................................................................................................22
2.2. Introducing Finlayson’s Tom of Finland collection ......................................................24
3. RESEARCH METHODOLOGY AND RESULTS .............................................................25
3.1. Methods..........................................................................................................................25
3.2. Online survey results......................................................................................................26
4. FINDINGS AND RECOMMENDATIONS ........................................................................36
CONCLUSION .........................................................................................................................41
REFERENCES .........................................................................................................................44
APPENDICES ..........................................................................................................................46
Appendix 1. Online survey ..................................................................................................46
Appendix 2. Quantitative data .............................................................................................50
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ABSTRACT
The purpose of this bachelor’s thesis is to study brand image from a consumers’
perspective by using Finnish textile industry brand Finlayson as a case study. The purpose of
the research is to examine Finlayson’s new Tom of Finland collection, which is based on gay
erotic art created by Finnish artist Touko Laaksonen. The objective of the research is to
explore the collection and its effects to consumers’ attitudes about the company’s brand
image. The research question can be formulated: How the Tom of Finland collection has
influenced to consumers’ perceived brand image of Finlayson?
The research was implemented using an online survey method. The survey was formed
by combining two different research methods: qualitative and quantitative approach. The
questions of the survey were based on theories presented by Keller, Reichheld. The theory
part of the research focuses on defining the brand, brand equity, brand identity and brand
image. It also explains the formation of a brand image, the meaning of a brand image, and
how it can be influenced, and key concepts related to them.
The overall findings of the research indicate that the Tom of Finland collection had a
positive effect on the company’s brand image. Launching the new collection brought the old
traditional Finnish brand back to consumers’ minds. Furthermore, the findings indicated that
the younger generation’s images and associations about the brand’s new collection were more
positive compared to the older generations. Also, the Tom of Finland collection was attached
to a symbol, which drives equality and minorities rights.
Keywords: brand, brand image, brand associations, brand identity, brand equity, Finlayson
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INTRODUCTION
In today’s business world, it is critical for the companies to differentiate their products
from competitors to survive in the global competition. Companies have to create something
unique for the consumers in order to separate their goods or services from the mass. To stay
on the surface and in the consumers’ minds requires a constant development of the business
strategies. Getting into customers' favour can bring significant advantages for the company
and help it on the competitive battlefield.
This thesis focus on consumers’ perceived brand image. Finlayson was selected as a
case study for this image research, and the focus point of the research was Finlayson’s Tom of
Finland collection. Tom of Finland is a home textile collection, which is based on gay erotic
print created by Finnish artist Touko Laaksonen. Tom of Finland has been under lively
discussion in Finland recently as the movie related to Touko Laaksonen’s lifetime work
premier on 24th of February in 2017. The collection is also considered particularly bold, and
it touches the limits of chastity because the prints of the collection consist of highly
masculinized homoerotic pictures. The aim of this research is to provide new insight how
consumers received collection, which is based on a gay erotic theme and what associations
and feelings it raised in consumers’ mind.
The objective of this research is to find out how consumers’ perceived brand image
about Finlayson has changed after launching the new collection. The purpose is to examine
did the image of the company change positively, negatively or remained the same after
launching the Tom of Finland collection. The aim is also to find out what deeper feelings and
associations the new collection rises in consumer’s minds. The research question can be
formulated as How the Tom of Finland collection has influenced to consumers’ perceived
brand image of Finlayson? The aim is also to examine does age have an impact on the
consumers’ perceived brand image, and find out associations related to the collection.
The research study focuses on consumers’ point of view of perceived brand image. The
aim of this study is to provide new information about the state of Finlayson’s brand image
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and to examine what kind of attitudes this new, brave and limits braking collection raised in
consumers’ minds, and as well explore how well the consumers received the collection.
The hypothesis of the research is that the collection shares opinions among different
consumers, especially when comparing different age groups. The assumption is that the older
generation may have very strong negative feeling about the collection, which is based on a
gay erotic theme, and it may have affected negatively to consumers’ perceived brand image
about the Finlayson.
The study was carried out using a survey method that combines both quantitative and
qualitative research methods. The purpose of the quantitative approach is to collect data from
the respondents by using different kind of scale questions and multiple choice questions. The
qualitative approach instead concentrates on an open-ended question which aim was to find
out consumers’ deeper feeling about the perceived brand image and associations related to the
collection. The research includes two target groups. The age group one includes respondents
from age 16 to 35 and the age group two respondents from age 36 to upwards.
The literature review will work as a theoretical framework for the whole study. The
literature research is formed from related articles and relevant literature. The first chapter of
the literature review concentrates on brand and brand equity, and the purpose is to provide
overall understanding about branding. The factors related to brand equity are not the main
focus point of the research, but they contribute the understanding of the brand image. The
second chapter of the literature review starts with defining brand identity, which is an
essential part of understanding the formation of a brand image. After that, the chapter
concentrates on explaining the concept of brand image and its creation. The last part of the
literature review focuses on the meaning of the brand image and explaining what effects the
positive and negative brand image has on the company’s operations, and how a company can
influence to its brand image.
The third chapter concentrates on the research made in the thesis. At the beginning of
the third chapter, Finlayson and its Tom of Finland collection are introduced. The aim is to
provide history about Finlayson and explain the company’s responsibility principles, after that
the story behind the new collection is introduced. The first part of chapter three is an
important part to understand the objective of the research. In the second part the research
result, findings, and recommendations are presented and followed by the conclusion which
combines all the elements of the thesis together.
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1. THEORETICAL FRAMEWORK
Chapter one will work as a conceptual framework for the whole thesis research. First,
the concepts of brand and brand equity are introduced, these are not the main focus points of
the thesis, but they provide essential information related to the brand image. After that, the
concept of brand identity is introduced to understand the formation of the brand image, which
is followed by defining the brand image and it related factors.
1.1. Brand and Brand Equity
In the following sub-chapter, the definitions of a brand and the concept of brand equity
are introduced as a basis for explaining the overall image about branding and its related
factors. The primary focus of this subchapter is not to investigate brand equity, but its related
factors brand awareness, brand loyalty, perceived quality and brand associations, which are
important factors and contribute the understanding of the brand image.
1.1.1. Definitions of Brand
There are many different definitions about brands. In many of them, the essence is the
differentiation between the brands and the symbols that the brands represent. American
Marketing Association’s (AMA) (quoted by Keller, 2013, 30) simplified definition of brand is
determined as a “name, term, sign, symbol, or design, or a combination of them, intended to
identify the goods and services of one seller or group of sellers and to differentiate them from
those of competition.” Based on this definition every time a marketer creates a new logo,
name or symbol for its goods or services a new brand is created. (Keller, 2013, 31)
Based on Kapferer’s definition which is slightly wider brands are the essential
elements that differentiate the company from its competitors. A brand is much larger entity
than just a name of a good or service, it can be seen as a vision factor that drives the
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formation of a product or service under a specific name. The vision that constructs of the
fundamental beliefs and encapsulates the core values of the brand is called the identity.
Brands are seen as non-material assets that creates extra benefits for the companies.
(Kapferer, 2013, 171, 9) Bivainienė et al. define brands as a critical asset for a company as it
is the biggest and most valuable asset that the company can dispose. (Bivainienė & Šliburytė,
2008) Based on Baskin’s and Earls’ definition brands have an important task in pulling
businesses together. It is particularly important in the firms that have both internal teams and
external teams taking care of the delivery of the goods and services. In this kind of
companies’ brands are essential elements for unifying different operators such like suppliers
and partners. (Basking & Earls, 2000, 8)
1.1.2. Brand Equity
Based on Marketing Science Institute’s definition (MSI, 1989) (quoted by Faircloth, et

al. 2001) “brand equity can be viewed by customers"...as both a financial asset and as a set of
favorable associations and behaviors" (Faircloth et al. 2001). While based on Farquhar
definition (1989) (quoted by Faircloth et al. 2001) “brand equity to a consumer follows from a
positive evaluation of, or attitude toward, the branded product”. (Faircloth, et al. 2001).
Feldwick (1996) (quoted by Wood, 2000) determined the brand equity as a measurement of
strength, which illustrates the level of consumers’ attachment that he or she has to the brand.
Also, Feldwick pointed out that brand equity demonstrates the brand’s total value, which is
seen as a separable asset when the brand is sold or added to the balance sheet. (Wood, 2000)
According to Aaker’s definition “Brand equity is a set of brand assets and liabilities
linked to a brand, its name and symbol, that add or subtracts from the value provided by a
product or service to a firm and/or to that firm’s customer”. (Aaker, 1996, 50) Brand equity
can be divided into four major categories: brand awareness, brand loyalty, perceived quality
of the brand and to brand associations. Brand equity is a factor that produces value for both
the company and the customer. (Aaker, 1996, 51)
Brand awareness describes consumers’ ability to recognize the particular brand from its
competitors. Brand awareness provides many competitive advantages for the company. A
customer that is able to identify the brand will more likely buy it because people are usually
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more comfortable with familiar products and services. Other assumptions that are related to
the awareness and familiarity of the brands are that the brand is probably more reliable than
the unknown brand, and the quality of the familiar brand is considered good as well. A brand
that is recognized over its competitors will often be selected instead of the unknown brands,
and this gives familiar brands edge over the competition. (Aaker, 1991, 57)
How to win the obstacles and reach customers’ awareness to become familiar? Brand
awareness consists of two components; brand recognition and recall. “Brand recognition is
consumers’ ability to confirm prior exposure to the brand when given the brand as a cue.”
(Keller,2013,73) In practice, this means that when the consumer goes to the shop, he or she is
able to recognize the brand and the ensemble around it, which he or she has already been
predisposed to. Brand recognition is extremely important in the situations where the customer
is in the shop, and the visual factors like brand logo, name and packing design are present,
and the decisions about the purchase are made on the spot of the acquisition. (Keller, 2013,
74) Based on Keller’s definition “Brand recall is consumers’ ability to retrieve the brand
from memory when given the product category, the needs fulfilled by the category, or
purchase or usage situation as a cue.” (Keller, 2013, 73) In practice, this means if a customer
recalls Kellogg's Corn Flakes the recall will depend on consumer’s capability to retrieve the
particular brand when he or she thinks about cereal category generally or what they would
want to have for a breakfast or a snack for example. It does not matter where the recall takes
place whether it happens in the store when performing the purchase or home when figuring
out what to eat for breakfast. That’s why the brand recall is critical in the situations when the
purchase decision happens out of the spot of the purchase. (Keller 2013, 74)
Aaker determined brand loyalty as “a measure of attachment that a customer has to a

brand.” (Aaker, 1991,95) Brand loyalty is a measurement of brand equity. Term Little brand
equity demonstrates a situation where the brand does not affect to the decision of purchase.
Customers make the buying decisions based on the features, price, and suitability of the
product or service with only a little concern about the brand’s name. In the case where the
customer continues to purchase the brand despite the competitors’ competing products or
services, there is a substantial value attached to the particular brand. (Aaker, 1991, 94)
Commitment to the brand is one indicator of brand loyalty, and it is reflected to
situations how possible is that the customer will switch to another brand. Particularly in the
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situations where the brand is facing some changes in the price or other features. Loyal
customers will continue purchasing the products despite the changes. For this reason, it is
important for the brands to have brand loyal customer base in order to be successful and cope
with the competition. Also, gaining new customers is significantly more expensive compared
to keeping the existing ones. Particularly in the situations where the current customers are
satisfied with the brand and even have positive feelings about the brand. Because it is likely
that brand loyal customers will continue purchasing the products or services of the specific
brand in the future, brand loyalty can be directly translated into future sales, and it
demonstrates the brand’s equity. (Aaker, 1991, 95-110)
Brand loyalty is also attached to customer’s willingness to invest their own personal
time, energy and other resources for the brand. When the customer has very close connection
with the brand it will more likely promote the brand. This makes a customer “brand
messenger” to his or her family and friends. It is more likely that family and friends of the
customer will purchase and try the product or service when some of their inner circle has
recommended it first. (Keller, 2013, 120-121)
Based on Keller’s definition; “Perceived quality is customers’ perception of the

overall quality or superiority of a product or service compared to alternatives and with respect
to its intended purpose”. (Keller, 2013, 187) The process of fulfilling customers’ needs has
become a more demanding task for the companies over the years due to customers increasing
expectations about the products’ and services’ features like for example quality. Keller also
defines that the quality of the product does not only consist of the features and quality of the
product itself. Also, other features are linked to the product like for example the speed and
accuracy of the delivery and the installation of the product, and they affect to the formation of
the overall picture of the quality. (Keller, 2013, 187) Aaker confirmed that perceived quality
is directly linked to buying decisions of the customers’ and also to the brand loyalty of them.
Especially in the situations when a potential customer is not feeling motivated or is not able to
draw up a detailed analysis. Perceived quality can also promote a premium price for the
product or service, and this instead has impacts on the gross-margin of the product, the gross
margin can be invested back to the brand equity. (Aaker, 1991, 56-58) According to Oude
Ophuis and Van Trijp marketing strategy authors determine quality as a central concept in the
process of building satisfaction and value for the customers. (Oude Ophuis et al. 1995) Kotler
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(1994) (quoted by Oude Ophuis et al. 1995) claims that it does not matter how good the
marketing department is at selling products if the quality of them is unsatisfactory, the
products are not able to meet customers’ need and remain unsold.
Aaker pointed out that “A brand association is anything “linked” in memory to a

brand.” (Aaker, 1991, 222) The association consist of different elements for example product
attributes a celebrity spokesperson or some specific symbols. (Aaker, 1996, 97) Associations
linked to McDonald's could be such as Ronald McDonald, children, service restaurant, a
symbol such as the golden arches of letter M. (Aaker,1991, 223) According to Aaker; “Brand
associations are driven by the brand identity -what the organization wants the brand to stand
for in the customer’s mind.” (Aaker 1996, 97) Based on Keller’s definition brand associations
are sort of comprehensive nodes that are connected to the brand’s node in memory, and they
include the importance of the brand for the consumer. Different customers and market
segments have an impact of the formation of the brand associations. Opinions about the same
brand can vary widely depending on the point of view the brand is looked at. (Keller, 2013,
72-73) According to Lassar et al. 1995 definition brand strength plays an important role and
as it constitutes the formation of the brand association, which are held by the consumers.
Keller’s definition of customer based brand equity determines that the most important factors
in associations are the strength, favourability, and uniqueness of them. The strength of the
association illustrates the connection between consumer and the brand. Usually, the direct
experiences between the consumer and the brand constructs the strongest attribute and benefit
associations, and have major impacts on consumer’s opinions about the products or services
of the brand. Marketers aim is to create favourable brand associations and through them
convince customers that their products or services will fulfil the needs and wants of them, so
the customers is able to form positive brand judgments about their brand. The uniqueness of
the brand associations illustrates the situation where a brand has to be able to offer its
customers something different and unique and give them good reasons why to purchase the
particular products or services of the brand. Unique associations are critical in the situations
where the brand faces a lot of competition, and they affect directly to the success of the
company. (Keller, 2013, 76-78)
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1.2 Brand image and brand identity
In the following sub-chapters, brand identity and brand image and its related factors are
introduced. Brand identity and brand image are concepts that are intimately linked together
and resemble each other but in practice means different things. At first brand identity is
introduced in order to understand its impacts on the formation of a brand image. After that,
the concept of brand image is introduced. The primary focus of this chapter is to provide
overall understanding about brand image, the meaning and formation of it, and how the brand
image can be influenced. This section will serve as the main theoretical framework for the
whole research and survey questions.
1.2.1 Brand Identity
Brand identity’s aim is to create direction, intention, and meaning for the brand. It is
one of the key element of brand’s strategic vision. Brand identity is a unique combination of
brand associations which tells of what the brand stands for and what it represents. The
associations also work as a promise to the customer from the organization’s members. (Aaker,
1996, 225-226) Brand identity illustrates the aspect how the company would like the brand to
be perceived. (Aaker 1996, 22) According to Roy and Banerjee (2008), the brand identity can
be composed of different characteristics, values, advantages, personalities and differentiation.
The overall picture of brand image illustrates the associations what the brand wants to be
related to. (Roy & Banerjee, 2008)
Based on Aaker's theory brand identity is a sum of brand identities that can be seen
from four perspectives; brand as a product, brand as an organization, brand as a person and
brand as a symbol. Brand as product illustrates product attributes, quality and value of the
product and it determines the users and the country of origin. (Aaker,1996, 226-227) Product-
related associations are an important part of the brand identity because they are directly
connected to decisions about the brand choices and the use experience, which is formed from
the brand. (Aaker,1996, 257) Product attributes can provide functional and emotional benefits
for the customers. (Aaker, 1996, 261) It is important to be able to provide a minimum level of
quality for the customers in order to survive in the competition. For example, Starbucks’
brand identity is based on a reputation by which it will provide the finest coffee in the world
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with honesty and consistency matters. Quality is an important factor because it is the core
identity element for many firms. (Aaker 1996, 263)
Brand as an organization illustrates the organizational attributes and the international
nature of the product: local versus global orientation. Organizational attributes as innovation
such as concern for the environment is created together with the people, organization culture,
values of the firm and the company’s program. Organizational attributes are more durable and
resistant to competitive actions than product attributes. It is much harder to copy the entire
organization culture compared to product or service features. (Aaker 1996, s.267-269)
Brand as a person illustrates the personality of the brand. It illustrates the relationship
that the customer has with the brand. Brand as a person can be represented by using various
types of adjectives; upscale, trustworthy, competent, impressive, active, humour, fun, formal,
casual, youthful or intellectual. A customer might use brands as a way to express their
personalities. For example, Apple user may interpret themselves as casual, creative and anti-
corporate persons. (Aaker, 1996, 270-271)
Brand as a symbol illustrates visual aspects; visual imaginary, metaphors and the
heritage of which the brand holds. A potent symbol can create many benefits for the firm. It
can create a feeling of togetherness between the consumer and the brand and provide structure
to identity. This instead makes it much easier for a customer to recognize and recall the brand
when possible. Powerful and memorable visual imagines related to the brand remains more
easily in consumers’ minds. For example, McDonald’s M letter’s golden arches. (Aaker 1996,
273)
Figure 2. Brand Identity Layers

Source: (Aaker 1996, 278)
Figure 2 illustrates the layers of brand identity which consist of core identity and
extended identity. The core identity describes the brand's timeless and unchanging core that
remains constant over time. The core identity is essential to the meaning and the success of
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the brand. The associations of the brand remain unchanged in the core identity, even if the
brand itself faces new changes like entering new marker areas or faces changes in the product
features. Brand identity should consist of elements that are unique, valuable and differentiates
the brand from the others. (Aaker 1996, 279-281) Based on Aaker’s definition; “The extended
brand identity includes elements that provide texture and completeness.” (Aaker,1996, 283) It
helps to create a more comprehensive picture about the brand and what it stands for. Extended
identity is more susceptible to changes compared to core identity. (Aaker, 1996, 283)
1.2.2. Brand Image
Brand image is the picture that is formed about the company in the consumer’s eyes. It
describes the feelings and emotions that the brand evokes in consumer’s mind when he or she
thinks about the brand. These are the basic features, which enables the company to develop a
competitive advantage for their business. Understanding these fundamental characteristics can
bring significant competitive advantage for the company, and is a primary concern for the
brand management in the long run. It is also critical for the companies to understand how
consumers shape and reshape the picture of the brand image, and what kind of relationship is
formed between the brand and the consumer. (Roy & Banerjee, 2008) According to Aaker
Brand image illustrates the overall image how the consumers and others perceive and see the
brand. (Aaker, 1996, 22)
Based on Dobni’s and Zinkhan’s (1990) compacted review about a brand image
(quoted by Baloglu S. et al. 1999) a brand image is a broadly observed phenomenon, which
has evolved through the emotional interpretation of the consumer. They also came to the
conclusion that the formation of an image is influenced by both the elements of product
stimuli and the perceiver’s characteristics. (S. Baloglu et al. 1999) Dobni and Zinkhan, (1990)
(quoted by Low et al. 2000) also determined that “Brand image is defined as reasoned
emotional perceptions consumer attach to specific brands”.
Based on Kapferer’s (1992) definition of brand image (quoted by Faircloth et al. 2001)
"the customer forms an image through a synthesis of all the signals emitted by the brand...".
Also, Kapferer (quoted by Faircloth et al. 2001) determined that brand image is a result of a
process where customer decodes, extracts and interprets the signals that are sent by the brand.
(Faircloth et al. 2001)
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1.2.2.1. The Formation of Brand Image
When defining the creation process of the brand image, it should be taken into an
observation that it is important for a strong brand to have rich and clearly defined brand
identity. And it is important that this clear brand identity is communicated sufficiently to the
target markets. A company’s brand image should expose the real concept of the brand, which
consumer experience while using the products or services of the brand. A recent customer is
looking for associations that reveal him or her new and unique experiences, that he or she can
combine with the brand. If the consumer’s expectation about the brand does not fit to the
brand image, which they have formed from the company the customer could not find what
they're looking for. This instead provides competitors great opportunities in the competition.
(Janonis & Virvialite, 2007)
Figure 2. Elements of Corporate Image

Source: (Vuokko, 2003, 111)
Figure 2 illustrates the formation of the brand image and its different factors introduced
by Vuokko (2003). The image that the brand forms is created by the sum of many aspects and
the company cannot decide how the image is created in consumers’ minds. Many different
factors affect the formation of the image: values, attitudes, prejudices, hearings, beliefs,
information, knowledge, experiences and observations. Values, attitudes, prejudices, hearing
and knowledge are factors, which the company is not able the affect directly. It is hard to
overcome prejudices and beliefs only by increasing communication because they are feeling
that are deeply drawn in the consumers. If a consumer has particular prejudices about the
company and its actions the image cannot be changed just by convincing the customer that
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beliefs do not reflect the reality of the company. Changing a brand’s image is possible but it
takes a lot of effort from the company and the getting there might take a long time.
Information, knowledge, experiences and observations instead are factors that the company
can directly influence. It is important for the company to inform customers about their
products and try to actively affect to the experiences that consumer forms from the brand, so
the image that is created is not formed randomly. If a company wants to create a good image
of itself, it must pay particular attention to two things, good action and good communication.
It is important that communication works both inside and outside of the company, and that
they are accordance with same line and give a unified image about the company. Good
communication is based on good planning and accurate definition of imagery goals, and it
should fulfill them in a proper manner. A company may have many brand images that vary
depending on which stakeholders’ view the brand is looked at. Different stakeholders form an
image of the company on the basis of the issues that are important to them and their
relationship with the company. For example, for a customer, it might be the quality of a
product and for the owner of the company, it might be the profitability. For this reason, it is
impossible for the company the create only “one brand image” that is shared with all the
stakeholders. That’s why it is important for the companies to understand that creating a
positive brand image in all stakeholders’ mind is impossible and it is important to accept the
presence of negative images. The primary image should remain the same; this means that
images of different stakeholders should contain same some of the same elements. (Vuokko,
2003, 111)
2.2.2.2. Positive and Negative Brand Image
The ways how the company acts as a business tells the same time what the company
wants to communicate with itself to others. The messages that the company communicates
can be concrete issues like the company logo, or abstract things like for example a donation to
charity. These messages affect to the brand image that is formed from the company. The
brand image of the company is also affected by the fact what consumers expect from the
brand’s products or services. Also, other customers’ opinions about the brand and its goods
and/or services affect to the creation of the brand image. Particularly in the situations where
the customer has no previous experiences about the brand, other customers’ opinions about
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the brand has a significant influence the brand image that the customer forms. A good
reputation has a positive impact on the formation of the brand image and bad reputation
instead has negative. If the customer has no experiences from the brand and has not yet
formed opinions based on other customers’ opinions the brand image of the company is
neutral. (Ylikoski, 2000) Berry (2000) (quoted by Cretu et al. 2007) studied the influence of
branding in customer service situation. In the study, Berry found out that “meaning” of the
brand was considered more significant compared to derives of the customer, which they
experienced in the customer service situation. In this kind of situations, the reputation of the
company might have significant implications on consumers purchasing process. (Cretu et al.
2007)
Also, one indicator to measure the company’s health and state of the brand is the
likelihood to recommend scale introduced by Reichheld (quoted by Keller, 2013). Reichheld
pointed out that there is just one question that is beyond others “How likely is it that you
would recommend this product or service to a friend or colleague?”. Reichheld suggested that
customer is willing to recommend the product or service if he or she is satisfied with it and
another way around. The results of recommendations arise from the customer’s overall
experiences from the use of the products or services. Reichheld uses a Net Promoter Score
(NPS) in the interpretation of the responses. Usually, in a survey consumers are asked to
evaluate their likelihood to recommend on a scale from zero to ten. Marketers divide
consumers based on their likelihood to recommend. Customers whose answer was between
zero and six are classified as detractors, customers whose answer was between 9 and ten are
classified as promoters and customers whose response was between seven and eight are
classified as passively satisfied, and will not be included. Market leaders usually have very
high NPS like for example Apple, which NPS is 77% and Amazon.com 74%. A regular NPS
is usually ranked between 10-30 percent range. (Keller, 2013, 345) According to Gremler
(1994), Price and Feich (1984) and Reingen (1987) (quoted by Yasin et al. 2013) Positive
word of mouth advertising also works as a recommendation. The result of positive WOM is
usually enough to convince someone to try specific products or services from a specific
provider. (Yasin & Shamin, 2013)
Brand image research makes it possible for the company to measure its position
compared to its competitors. Image research’s aim is to find out what imageries customers’
have about the brand and the company. The image research should be directed to wide range
17

of company’s stakeholders in order to find out different customers’ opinions. These customers
might be regular customers or even potential customers who do not have experiences with the
company yet. The purpose of the image research is to find out customers’ expectations and
imageries about the company, the questions in the image research may also be related to
product quality or for example, customers’ user experience. The sample size depends on the
fact what is wanted to be achieved with the image research. Sometimes it is good to examine
the entire consumer base and on the other hand, limit the research target to consider only
limited consumer groups to find out detailed information on the specific target group. (Lotti,
1998, 15-16, 174-175)
A positive brand image is a great asset for the company because the brand image
significantly affects the customers' perceptions of the company’s operations. (Ylikoski, 2000,
136) To create a positive brand image a company needs to organize different marketing
programs that connect unique, strength and favourable associations into the brand’s memory.
These associations may be brand attributes: that illustrates the properties which describe the
products or services, or a brand benefit: that represents the personal value of the brand, which
means that a consumer is attached to the attributes of the product or service. (Keller, 2013,
77) Based on Aaker’s theory (1991) (quoted by Faircloth, et al. 2001) positive associations of
the brand should result from a positive brand image.
Consumers create brand attributes and benefits in various manners. According to
Keller’s customer based brand equity (CBBE), does not make a difference between in what
sources the brand associations come from and the way in which they have been formed. In
CBBE only thing that is relevant is the uniqueness, strength, and favourability of the
associations. In practice, this means that consumer can create brand associations in many
different ways, not just as a result of marketing activities. These ways might be for example
direct experiences that the customer experience with the product or service; experiences from
online surfing; experiences from the word-of-mouth advertising, or experiences from other
mercantile or non-impartial sources like consumer reports or some media vehicle. It is
important for marketers to recognize and to take into account the impact of these variety
sources of information and create ways to manage them in so far as is possible. (Keller, 2013,
76)
According to Ylikoski brand image has strong effects on many issues. For example, it
affects the customer's perceived notions about the quality and the level of satisfaction that
18

arises from the use experience of the service, which instead affects the entire level of the
customer satisfaction. These customers’ experiences affect to the brand image. Good
experiences strength a positive brand image and bad experiences weaken it. A good brand
image is like a protective wall that protects the company from bumps. If the customer has a
positive brand image of the company, he or she is more likely to ignore minor mistakes and
forgives them. Instead, a customer who has a negative brand image of the company, small
errors may seem bigger in the consumer’s eyes that they actually are. The brand image is the
result the customer forms on the basis of the emotions, experiences, and perceptions. This
picture that the customer forms from a company may differ a lot compared to the picture how
the company would like the brand to be perceived. In this case, the company’s brand identity
differs from the brand image that customer has formed from the company. Also, a positive
image has a major role when managing company’s external relations with other customers.
(Ylikoski 2000, 137) According to Krishnan (1996) (quoted by J. B. Faircloth et al. 2001) if
the firm has a high level of brand equity the associations related to it are more likely to be
positive than the brands that have low brand equity. This instead also affects to the brand
image that is formed from the company. (Faircloth et al. 2001)
Brands have a significant role in consumers' everyday lives (Yasin & Shamim, 2013).
Based on Caroll and Ahuvia (2005) (quoted by Yasin et al. 2013) brand love is determined as
the state of obsessive feelings for the brand l. Yasin and Shamim pointed out that there are
many features that are associated with the brand love, which the consumer experience. These
features include things like attachment to the brand, the passion toward the brand, positive
assessments about the brand, confessions of love toward a brand and positive feelings for the
brand (Yasin &Shamim, 2013). Keller's brand love scale is a great tool for measuring
consumers ‘attitudinal attachment to the brand. There are many different versions of the brand
love scale, but in most of them, there are presented a different kind of statements about the
brand which consumer correspond by their preferences. For examples statements like “I Love
this brand”, “This brand makes me happy” or “This brand does not awake in me any
particular feelings”. (Keller, 2013, 347)
Reported by Gray and Balmer (1998) it is important for companies to create and
maintain positive brand image about the company. This positive or negative picture about the
company has an impact on consumers’ behaviour toward the company. It affects their
attitudes, opinions, and willingness to either support the company or to refuse grant support.
19

A negative brand image might have major impacts on company’s financial performance. If
the customer has created negative brand image toward the company, it leads to a deterioration
in sales, which in turn affects to the entire company’s financial situation. Everything that the
company says does or makes works as a communication channel to the publicity and reflects
company’s ways to work. (Grey et al. 1998) Based on to Ylikoski’s theory (2000) some of the
messages that the company communicates might be unintended and cause unwanted negative
publicity. This negative publicity might cause extensive damage to company’s brand image.
(Ylikoski 2000, 138)
According to Zarantonello, Romani, Grappi, and Bagozzi, (2016) The most
consequential and strongest negative feelings that the customer may experience toward the
brand is a called the brand hate. McDougal (quoted by Zarantonello et al. 2016) defines the
word hate as a combination of primary emotions that includes emotions like anger, disgust,
and fear. Based on Zarantonello et al. these feelings may be due to the negative experiences
between the customer and the brand or the company. As a result, the consumer may speak in a
condescending manner about the company. For example, the clothing store Abercrombie &
Fitch has been criticized for their action only to hire attractive people who look like models as
their shop assistant, and want their brand to represent only by stylish and skinny people.
(Zarantonello et al. 2016) According to Hollenbeck and Zinkhan (2010) and Krishnamurthy
and Kucuk (2009) (quoted by Zarantonello et al. 2016) consumers may set up a Facebook
clubs where they share their negative emotions toward the brand with other consumers.
Sometimes these actions go so far that they even take action toward the targets that they hate.
(Zarantonello et al. 2016)
2.2.3. Influencing to The Brand Image
If a company wants to control, the formation of its brand image it first must be able to
understand how consumers constructed the view about the company’s brand image and how
the image has been born. Influencing to the brand image also requires repeated investigations
about the brand image at regular intervals. When exploring the brand image, it is important to
look at the target group and stakeholders group of the brand. If the company’s mission is to
change the brand image of the company that the customers’ have formed, it is important that
the company has a comprehensive understanding of their own organization's vision. This
20

image represents the objective picture of how the company wants to be perceived and seen in
the eyes of consumers and stakeholders. (Ylikoski 2000, 139)
In order to change the brand image of the company, the company must be able to
relocate the factors beyond the company's current image is based on. It is important that the
development of the new picture is based on a realistic view of the company. The first step in
the formation process of the brand image is to find out the differences between the current
image and the objective image. If the negative image of the company is based on a deficiency
of activities, way to correct the image is by improving the organization’s activities. Also,
marketing communications is a way to affect the brand image, but if the picture provided by
the marketing does not correspond to reality, it has negative impacts on the formation of the
brand image, and the brand image continues to deteriorate. (Ylikoski, 2000,139-140)
The aim of the first chapter was to provide overall understanding about brand image and
its related factors. The purpose was to provide understanding what brand image means and
how it is created in consumers’ minds. To understand the comprehensive picture about the
brand image, it is important to investigate the factors behind it. What factors the company can
influence by their own action and what they cannot. All activities the company does tell same
time what the company wants to communicate to it stakeholders. These activities have an
influence on consumers’ perceived brand image about the company. Also, brand identity has
an important part in the formation of a brand image. Is the picture transmitted by the company
self-realistic and corresponds to the customer's perceived image of the company? It is
important for the company to attach strength, unique and favourable brand association to their
brand to create strength and positive brand image about their company. The first chapter
works as a theoretical framework for the whole study and survey question. Theories
introduced in the first chapter helped to explore the case company of this research and to
reach the intended goals of this research study.
21

2. CASE FINLAYSON
The next chapter concentrates on Finlayson and its new Tom of Finland collection which
was selected as the case company for this research. First, the chapter will introduce Finlayson
and its history and responsibility principles, after that the new Tom on Finland collection and
story behind it is introduced. The reason why Finlayson was selected as a case company was
because of the Tom on Finland based collection. Tom of Finland has been under very
intensive discussion in Finland for avail as the movie based on Touko Laaksonen, creator of
Tom on Finland, and his life’s work premiere on 24th of February in 2017. Also, the
collection has attracted a lot of public debate and lively discussion as it based on gay erotic art
and touched the limits of chastity.
2.1. Introducing Finlayson
Finlayson is a Finnish textile company, which was founded by James Finlayson in

Tampere in 1820. A few decades later Finlayson becomes the biggest industrial enterprise in
the Nordic countries and behind the company’s growth was its courage and open-mindedness.
At the time Finlayson had its church, hospital, school and fire department and it also created
its own social security system, which was entirely new at the time. Also, a major part of
Finlayson’s history was that it was the first company in Finland which provided women the
ability for an independent life for providing housing and place to work. (Finlayson 2017)
In the year 2014 Finlayson’s was bought by new owners Jukka Kurttila, who is the
chief executive officer, Petri Pesonen, and Risto Voutilainen. The new owners with marketing
background wanted to reform the entire brand and bring it back to people’s attention.
(Kauppalehti 20.4.2016) The first step for that was to respect the traditions of Finlayson
history and try to act as responsibly, courageously and without prejudice like its founder
James Finlayson. The new owners started to think what responsibility means in today’s
society. Today Finlayson’s goal as a company is to become the most transparent textile
22

industry company in the world. They want to open their supply chain completely transparent.
One important mission for the company is to work for the traceability of cotton. And also, one
goal is to increase business operations and create economic welfare for the enterprise.
(Finlayson, 2017) The company pays a lot of attention to ethical premises, for example,
Finlayson stopped cooperation with Finnish department store Kärkkäinen for moral reasons
that fight against Finlayson’s values. Finlayson wants the entire company work according to
the same line which is in harmony with the company's ethical values. The owners of
department store Kärkkäinen had published papers that communicate Semitism. (Kauppalehti
24.4.2015) Currently, Finlayson is organizing Finnish lion project which aim is to create
hundred new Finnish lions and correct the misunderstanding that is attached to the bearing.
(Yle Uusiset, 9.1.2017)
Finlayson has defined corporate values and responsibility objectives very clearly. Based
on the company’s financial responsibility, Finlayson wants to provide reliable and stable jobs
for its employees and act as a responsible tax payer for the economy. According to social
responsibility, they want to express themselves as a company and participate in the social
debate. Finlayson wants to protect things that matter to them and stand behind them, and work
behalf of equality and tolerance. Finlayson intends to collaborate with partners who share the
same principles and values than they do. Based on the environmental responsibility, their
intention is to minimize the environmental costs that are caused by the business operations.
Also, their aim is to create better and more sustainable product solutions that take into account
the product life cycle and pay attention to the recyclability of the goods (Finlayson 2017)
Finnish economic research; “Finland’s most interesting brands,” which aim was to find
out what brands interest Finnish people the most, Finlayson was ranked in the fourth place out
of ten based on the experts' point of view. The experts pointed out that the most exciting
brands were united with courage and innovativeness. Instead based on the consumers' point of
view Finlayson was not selected among the ten most attractive brands of Finland.
(Markkinoini & Mainonta 14.03.2017) Finnish Association of Advertisers awarded Finlayson
as a Brand Builder of the year in 2015; the recognition is awarded annually to an exemplary
member of the marketing communications company. (Markkinointi & Mainonta, 15.9.2015)
23

2.2. Introducing Finlayson’s Tom of Finland Collection
Finlayson’s Tom of Finland collection is a textile collection that is based on gay erotic
art. The collection is a tribute to the art of Touko Laaksonen and his lifetime work. The
collection consists mainly of duvet covers, towels, napkins and shopping bags having a print
of substantially masculinized man figures on them. The collection is made up in co-operation
with the Tom of Finland Foundation. The Tom of Finland collections intends and aim to give
a strong message behalf of tolerance. (Finlayson 2017)
The history of Tom of Finland is based on Touko Laaksonen’s life. Touko Laaksonen
(1920-1991) was Finnish artist whose production included very masculinized, gay erotic
pictures. In his lifetime, the publication of his gay erotic images was perilous and dangerous
as Finland being a very anti-gay country at the time. Now as the world has changed these
pictures has come into their justice. Touko Laaksonen drew more than 3,500 pictures over his
lifetime, and now these same pictures adorn people's shopping bags, duvet covers, and home
textiles with full liberties. (This is Finland, Tom of Finland from fringe to mainstream, 2017)
The collection has raised many opinions and talk among Finnish people. In particular,
the collection has irritated nationalist and far right circuits when Finlayson first launched a
gay erotic collection and after that cut cooperation with the department store Kärkkäinen due
to the ethical reasons. Due to this actions Jukka Kurttila, the CEO of Finlayson has received
many hate messages and death threats. (Yle Uusiset, 9.1.2017)
The sales number of Tom of Finland collection was a disappointment when they first
launched the collection. But after a while, the company understood that the value of the
collection was attached to the branding and marketing. The goodwill of Tom of Finland
collection has been around one million euros around the past few years. (Yle Uutiset,
9.1.2017)
The total goodwill of Finlayson, increased by 53% in the year 2016 compared to the previous
year. (Markkinointi & Mainonta, 29.3.2017) Finlayson was rewarded by Retail Award in the
year 2015 for the launch of the Tom of Finland collection, which was considered as years
marketing act. The reason why Finlayson was selected was that the launch of the collection
was brave and opens new doors to international markets and the collection renewed the old
traditional Finnish brand and brought it back to life (Markkinointi & Mainonta, 26.2.2015)
24

3. RESEARCH METHODOLOGY AND RESULTS
This chapter focus on the thesis research. First, the chapter concentrates on the research
methodology, which was used in the online survey. After the methods, the research results
gained by the survey are explained.
3.1. Methodology
The case study was conducted by using both qualitative and quantitative research
methods to supplement each other. The research concentrates on consumer’s point of view,
and the aim of the research is to find out how the Finlayson’s Tom of Finland collections has
affected to consumers’ perceived brand image. The survey was conducted using mainly
quantitative research approach because it is very suitable for brand image research when the
aim is to collect a large number of respondents. Also, a survey method was selected because it
is an easy and quick method for the respondents, which in turn makes the collection of the
replies easier and allows access to a large number of data. The whole question survey is based
on Keller's, Reichheld's and Lotti's theories, which are introduced in the first chapter and they
work as a theoretical framework for the whole study.
The quantitative approach of the survey mainly consists of different kind of scale
questions and closed multiple choice questions in order to collect numerical data, which the
researcher can use to drawn up numerical representations and to write summaries. These
quantitative measurements are used to measure the depth and extent of brand awareness and
uniqueness, strength and favourability of the brand associations. A quantitative research
approach is also an excellent tool for finding out consumers’ feelings, judgments and the state
of the brand relationship, which is attached to the brand. (Keller, 2013, 339) Also, Reichheld
Net Promoter Score (quoted by Keller, 2013) is used in the survey to find out customers’
likelihood to recommend the collection. According to Reichheld, it is the only question that
matters, and the willingness to recommend is connected to customers’ overall user experience
25

from the brand. (Keller, 2013) The sample has been divided into two age groups based on
Lotti’s theory, the age group 1 includes respondents from age 16 to 35 and the age group 2
from age 36 to upwards, to find out more detailed information from different age groups and
compare the responses with each other. (Lotti, 1998)
The qualitative research approach instead uses different kinds of open-ended question.
The open-ended questions are used to find out consumers’ deeper feelings, and associations
related the Finlayson’s Tom of Finland collection, and to find out how this collection affected
to their opinion about Finlayson’s brand image. The aim is to find out did the image that
consumer perceived changed positively, negatively or not at all after launching the Tom of
Finland collection. (Keller, 2013)
3.2. Online Survey Results
This chapter concentrates on the data that has been collected through the question
survey. The online survey was created with Google forms, and the survey was addressed to
Finnish people. The aim of the survey is to find out overall associations that are attached to
Finlayson’s Tom of Finland collection and to determine what impacts the Tom of Finland
collection had on Finlayson’s brand image. First, the overall results of the survey are
presented, and after that, they are presented by age groups. The age group one contains
respondents from age 16-35 and the age group two from age 36 to upwards. The research’s
aim is to examine is there an existence of difference about opinions and attitudes among
different age groups. The survey was sent with e-mail or Facebook message to 250 persons,
and the total number of respondents was 169. The response rate of the online survey was 67,6
%.
Figure 3. Age and Gender Distribution of Respondents, n=169

Source: Appendix 2, Table 2.1
26

The intention of the first set of questions is to gain background information about the
respondents. The bar chart of figure 3 illustrates the age and gender distribution of the
respondents. The major part of the respondents consists of the age group 46 and upwards
covering 38% of all the respondents. The second largest group includes respondent from age
16 to 25 covering 28% of all the respondents. The third largest group included respondent
from age 26 to 35 covering 27% of all respondents. The smallest group includes respondents
from age 36 to 45 covering 7% of all the respondents. A majority of all respondents were
female covering 64% of all respondents and 36% were male. The age group one includes 94
respondents, which contains 56% of all the respondents and the age group two includes 75
respondents, which contains 44% of all the respondents. In the age group one, n=94, 62% of
the respondents were female, and 38% were male. In age group two, 67% of respondents were
female and 33% were male.
Figure 4. Recognition of the Company, n=169

Figure 4 illustrates the recognition and familiarity of the company. The respondents
were presented with various statements from which they were able to choose all the
alternatives which they find appropriate. A majority of the respondents have purchased
Finlayson’s products receiving total 103 responses out of 169 and covering 61% of all
respondents, 43% knew the company well, and 20% would like to purchase the products in
the future. Only one respondent out of 169 did not recognize the company. When comparing
the responses between the two age groups, the result was very similar. In the age group 2,
n=75, the purchase percentage was a little bit higher covering 65% of the respondents and in
the age group 1, n=94, the percentage share was 57%. And also in the age group 1 the
willingness to purchase the products in the future was a little bit higher covering 23%
27

compared to age group 2, where the percentage rate was 16. In age group 1 only one
respondent did not recognize the company covering 1% of the age group 1, and in the age
group 2, the number of respondents was zero.
Figure 5. Recognition of Tom of Finland collection, n=169

Figure 5 illustrates the familiarity of the Finlayson’s Tom Finland collection.

According to all respondents, 85% were familiar with the Tom of Finland collection receiving
144 responses out of 169, and 15% of the respondents were not familiar with the collection
receiving 25 responses out of 169. When comparing the age categories majority of the
respondents in both age groups were familiar with the collection. In age group 1, 84% of the
respondents were familiar with the collection and 16% we’re not. In the age group 2, the
familiarity percentage was a little bit higher covering 87% of the respondents and only 13 %
of the respondents were not familiar with the collection.
In the next set of questions, the respondents were asked an open-ended question. The
respondents were shown different kinds of pictures of the products of the Tom of Finland
collection and they had to comment on their opinion about the products. The purpose of the
questions is to find out customers’ deeper feelings and associations related to the collection.
The question received 169 responses, and all the respondents answered comprehensively to
the question. The majority of all comments were positive, and respondents shared quite
similar opinions about the collection, which made it possible to make generalizations about
the responses. Only a few of the comments were negative. The most common responses were
such as the collection is very brave, it takes a stand, it drives equality, it’s provocative, it’s
different and drives minority’s rights. The collecting also raised negative feelings in some of
the respondents and they felt that the collection was not their style or thing, they felt that they
don’t belong in the target group and would not purchase the products. Only a few of the
28

respondents’ tone of the response was very negative, and they felt that the collection was
rubbish and repulsive. When comparing the results of the different age groups, the age group
2 shared more negative feeling about the collection compared to age group 1, but still, the
majority of the comments in both age groups were positive. Also, the tone of responses was
slightly more tolerant in the age group 1.
“Brave and experimental. Unconditional and violated the limits. Raises opinions.”
(Male, age between: 16-25)
“The collection is deviant, eye-catching and makes a stand. It raises positive imageries in me, and it is
evident the collection strives to take a stand on sexual issues. This is not done by highlighting “basic” rainbow
colours (which is stereotypically combined to homosexuality) but instead highlighting the colours of black
and white. This, in turn, limits the overall look of the campaign.”
(Female, age between: 26-35)
“Fine, artistic, valuable, provocative. The images have a great artistic value and are lifted as an important
symbol for minorities.”
(Female, age between 16-25)
“A tassel bag and a small bag are the only ones that are tolerable where the printing is appropriate. Linen,
padlock and everything else in the picture is a bit too much. Generally, the collection does not ignite me.”
“Masculine, fun in a good spirit, trendy and brave. As a company, Finlayson made a strong statement for
Finnish design and quality appreciation. 10 points.”
(Male, age from 46à)
“I was surprised positively when Finlayson took over this theme. They don’t fit in my home's interior or
style, but they are fun and it raise Finnish pioneering art.”
(Female, age from 46à)
“To my taste too homosexual. Internationally brave and affects to the brand image positively.”
“This theme does not interest me at all. I would not buy such prints to myself but I would not be bothered or
mind at all that they are offered to others. “
Figure 6. Respondent’s opinions about the products of the Tom of Finland collection, n=169
Figure 7. Respondents’ emotions about the collection, n=169

Source: Appendix, Table 2.5
29

Figure 7 illustrates a modified version of Keller’s brand love scale, and its aim is to
capture respondents’ emotions about the Tom of Finland collection. The respondents were
presented different kinds of statements about the Tom of Finland collection, and they were
able to select all the statements according to their preference. The purpose of this question is
to measure consumers’ attachment to the brand. According to all responses the statement “this
collection makes me happy” got the highest number of the replies receiving 67 responses out
of 169 and covering 41 % of all respondents. The statement “this collection is totally
awesome” got the second highest number of the replies receiving 66 responses and covering
39% of all respondents. The statement “this collection rages me got the lowest number of the
replies receiving 0 responses. In the age group 1, n=94, 50% of the respondents felt that the
Tom of Finland collection is totally awesome and 44% of the respondents felt that the
collection makes them happy. Statements “I hate this collection” and “This collection rages
me” got both zero responses out of 94. In the age group 2, n=75, the statement “this collection
makes me happy” got the highest amount of responses covering 35% of the respondents and
the statement “This collection does not awake any special feelings in me” received the second
highest number of responses covering 28% of the respondents. The statements “I love this
collection” and “This collection rages me” got both zero responses out of 75 covering 0%
from the responses.
Figure 8. The respondents’ interpretations from the adjectives, n=169

30

In figure 8 the respondents were presented a different kind of adjectives, and they had to
evaluate them by scale numbers from (1) the adjective describes really badly to (5) the
adjective describes really well. The purpose of this set of questions was to find out
respondents’ associations and opinions about the brand. The majority of all respondents
(n=169) felt that adjective “tolerant” describes the collection really well covering 53% of all
respondents, 56% from age group 1 (n=94), and 49% from age group 2 (n=75). Adjective
“striking in a good way” received the second largest number of respondents covering 47% of
all respondents, 51% from age group 1 and 43% of age group 2. Based on all respondent 46%
felt that adjective “forerunner” describes the company very well, in the age group 1 the
percentage share was 43% and in the age group 2 the percentage share was a little bit higher
covering 49%. According to all respondent majority felt that adjectives “funny and
humorous” describes the collection well and covered 34% of the responses and 40% of the
age group 1. Instead in the age group 2, a majority felt that the adjective describes the
collection very well covering 36% of age category 2. According to all respondents’ majority
felt that adjective “uncomfortable” describes the collection really badly covering 40% of all
respondents, 40% of the age group 1 and 39% of age group 2. The majority of the respondent
felt that adjective “striking in a bad way” describes the collection really badly and covered
47% of all respondents, 49% of age group 1 and 44% of age group 2. Adjective “immoral”
was selected as an adjective that describes the collection the worst covering 52% of all
respondents, 57% from the age group 1 and 44% from the age group 2.
Figure 9. The respondents’ interpretation from the statements, n=169

Source: Appendix 2, Table 2.6.
31

In figure 9 the respondents were presented a different kind of statement about the Tom
of Finland collection, and the respondents had to evaluate the statements from scale number
(1) strongly disagree to (5) completely agree. The purpose of the questions was to measure the
strength, favourability, and uniqueness of the brand and associations related to the collection.
The aim was to find out how the Tom of Finland collection has affected to Finlayson’s brand
image. The majority of the respondents felt that Tom of Finland collection is very brave
covering 48% of all respondents (n=169). In the age category 1 (n=94) interpretations:
completely agreed and partly agree, received the same amount of responses covering both
48% of age group 1. In the age group, 2 instead majority fully agreed to the statement
covering 52% of age group 2. The majority of the respondents felt that the collection is very
open-minded covering 46% of all respondents, 48% from the age group 1 and 48% of the age
group 2. According to all respondents’ majority completely agreed that collection is very
unique covering 43% of all respondents. In the age group 1 majority partly agreed to the
statement covering 50% of the age group 1, and in the age group 2, the majority of
respondents completely agreed to the statement covering 61% of age category 2. The majority
of the respondents partly agreed to the statement “collection strengthens Finlayson’s
corporate image” covering 34% of all respondents, 33% from age group 1 and 36% from age
group 2. Statement “other companies should take inspiration from Finlayson” shared more
opinions. 30% of all respondents partly agreed to the statement, 30% were neutral, and 26%
fully agreed to the statement. In the age group 1 majority partly agreed to the statement
covering 37% of age group 1, and in the age group 2, a majority of the respondents’ opinions
were neutral covering 32% of the age group 2. A majority of all the respondents felt that the
collection does not undermine Finlayson’s corporate image as they strongly disagreed with
the statement covering 44% of all respondents, 45% from age group 1 and 38,7% from age
group 2. A majority of the respondents partly disagreed with the statement “there is many
other collections that I can compare to Finlayson’s Tom of Finland collection” covering 41%
of all respondents and 49% of the age group 1. Instead, a majority from the age group 2
strongly disagreed with the statement covering 43% from the age group 2.
32

Figure 10. Respondents likelihood to recommend scale, n=169
Figure 10 illustrates the respondents’ likelihood to recommend scale introduced by

Reichheld. The purpose of this question is to measure customer’s willingness to recommend
the Tom of Finland collection to a friend or colleague. Likelihood to recommend according to
Reichheld is created through customers’ use experience, and it also illustrates the relationship
that the customer has with the brand; promoter, detractor or passively satisfied. The
Reichheld’s Net Promoter Score (quoted by Keller,2013) indicates that 47% of the respondent
were classified as a detractor. They evaluated their likelihood to recommend from scale
number 0 to 6. 31 % of all the respondents were classified as passively satisfied and they
evaluated their likelihood to recommend by scale numbers (7) or (8) and covered 31% of all
the respondents. The respondent who evaluated their likelihood to recommend by scale
numbers (9) of (10) were classified as promoters and covered 22% all of the respondents.
When comparing the two age groups in the age group one 42% of the respondents were
classified as detractors, 23% as promoters and 35% as passively satisfied. In the age group 2,
instead 55% were classified as detractors, 20% as promoters and 25% as passively satisfied.
The next question is related to customers’ likelihood to recommend scale. The
respondents were asked an open-ended question to explain their answers why they would
recommend the Tom on Finland collection or why they would not. The purpose of this
question was to find out more detailed information about the customers’ willingness to
recommend and reveal consumers’ deeper feelings about the collection and opinions
generally. From all the results 166 responded comprehensively to the question, and 3 left no
comments. The most common responses were that the collection needs a certain type of
people to buy and they would not recommend it to all, many of the respondents were happy to
recommend it because of its Finnish design, it’s interesting, it’s stylish and because it’s brave
and different. Quality was also considered important factor when recommending the products.
The most common comments of respondents who would not recommend the collection were
33

related to facts that felt that they don’t like the style of it, they would not recommend it
because they don’t have any products themselves, and that makes it weird to recommend
them. They felt that their friends would not like the collection, they do not belong in the
target group or it is not their habit to recommend products or services at all. When comparing
the responses of the two age groups, it showed that the age group 1 was more willingness to
recommend the collection compared to age group 2, even though the responses from both age
groups were quite similar. A majority of the age group 2 would not recommend the collection,
instead of in the age group 1 majority of the comments were positive. Both age groups felt
that the collection only fits the particular kind of purpose for example as a souvenir from
Finland or for a present and not for the bigger consumption, which lowers the willingness to
recommend the product.
“Depends entirely on the person. I know many people who are interested in this collection and who can be
recommended for the subject itself and for the good design.”
“An innovative and interesting way to bring the dusty brand into one of the most talked Finnish companies today.
Even though I would not buy these products myself, I would still recommend the products due to the grate concept.”
(Male, age between 26-35)
“Tasteless, I do not think that my friends would like this collection and its products”
“I could recommend it for example as a souvenir from Finland because Tom of Finland is a great part of history.”
“I do not think that gay theme belongs in the sheets”
“I find the theme and products difficult to combine. I would get tired to ToF pattern quite quickly.”
Figure 10. Respondents reasons to recommend or not, n=169

In the last question of the survey the respondents were asked an open-ended question
did they feel that Tom of Finland was a successful launch from Finlayson or not. The purpose
of the question was to find out overall feeling about the collection and to examine did to
customers feel that launching the collection was a good or bad thing for the Finlayson. From
all the results 165 responded comprehensively to the question, and 4 left no comments.
Overall the respondents shared very positive feelings about the launching. They felt that the
collection was very timely, brave and open-minded and many of the respondents felt that the
34

collection strengths Finlayson’s corporate image and illustrates well Finlayson's set of values.
Some of the respondents felt that the collection brought Finlayson back to life. The
respondents also felt that the launching was very successful and raised a lot of attention in
media. The felt that Finlayson is the forerunner and the collection renewed the brand. Some of
the respondents pointed out that the collection might have shocked many of the consumers.
The negative comments of the launching were related to facts that respondent felt that the
launching was not successful and that the collection does not appeal to them in any way, and
they felt that the topic of the collection was a problem. In some of the respondents, the
question raised very strong negative feelings, and they felt that the collection was a complete
flop. Some of the responses were neutral, and the respondents could not decide whether the
collection was a good or bad thing for Finlayson. When comparing the two-age group, the
responses of the age group 1 were more positive compared to age group 2, and only few
comment out of 94 in the age group 1 were negative. Overall the responses in the age group 1
were very positive. In the age group 2, the question shared more opinions, and some of the
comments were very negative and some neutral, even though the majority of the responses in
age category 2 were positive.
“It was definitely. I believe that it could have shocked many of Finlayson’s standard customers, but Finlayson is
obviously very ideological company, so the collection depicts well their ideas. Tom of Finland has become an
important brand for the entire hundred-year-old Finland.”
"It brought lot of publicity and reputation. Although the sales of the collection have not been what assumed, it has
certainly raised the brand to the pedestal in a new way. It was a trendsetter and a fresh breeze in quite boring field."
“I think the collection is good, but it does not wake any bigger feelings in me: I believe that the collection has sought
to awake social debate and bring a bold and new kind of male image to both Finland and to the world. In this way,
Finlayson must have tried to gain visibility for its brand. Visibility has certainly come, but it has not changed my
image about Finlayson in the direction or another.”
“Finlayson received lot of attention. I don’t know is it smart for a home textile company to take a stand on such
“sensitive” issue. I really enjoyed the campaign but Finlayson certainly got lot of enemies.”
“A bold collection that strengthens the company's image as a pioneer”
“The launch itself has been successful, but the topic is not.”
“No. The whole Tom of Finland hyping is an appealing phenomenon. Tom of Finland was an illustrator limited by
his own obsession, not an artist. He labels all the gays to crackpots that are only interested in skin and penises.”
Figure 11. Respondents' opinions about the launch of the Tom of Finland collection Source:
Appendix 2, Table 2.9
35

4. FINDINGS AND RECOMMENDATIONS
This chapter focus on the findings that are made from the online survey results. The
chapter will serve as a theoretical framework for interpreting the results gained by the survey.
First, the overall result, including all respondents, are presented, and after that, the results are
examined and compared between the two age groups.
The online survey was sent to 250 persons wherein both age groups, and genders were
equally divided. The survey gained 169 responses and a majority of all the respondents were
female covering 64% of all the respondents, and 36% were male. The results of the survey are
examined from two age categories’ perspective. The target group was divided into two age
groups based on Lotti’s (1998) theory, to receive more detailed information about the target
groups. The age group 1 includes respondents from age 16 to 35, and it covers 56% of all
respondents including 94 people, and the age group 2 includes respondents from age 36 to
upwards and covers 44% of all respondents including 75 people. Finlayson was very familiar
company among the respondent as 103 respondents out of 169 had purchased Finlayson’s
products and have been interacting with the company. The result showed that 20 % would like
to purchase the company’s products in the future, which indicates positive feelings and
expectations reflected in the brand. A majority of the respondents were familiar with the Tom
of Finland collection covering 85% of all respondent, in the age group 2, the familiarity
percentage was a little bit higher compared to age group 1. The respondents high level of
brand awareness affects to the creation and strength of the brand associations, which forms
the brand image and affect to the recall and recognition of the brand (Keller, 2013, 74). High
familiarity made it good target group for examine the brand image, and it changes as the
respondents knew the company well and had already formed some kind of image about the
company based on the previous experiences.
The respondent shared very positive overall feelings, and associations about the
collection and the people felt that the collection was something new and different and it light
36

up Finlayson as a company. Based on Aaker’s theory (quoted by Faircloth et al. 2001) these
positive associations reflected with the brand should result from a positive brand image.
Particularly in the age group 1, the collection was related to words brave; it makes a stand,
and it’s unscrupulous. Younger people shared more positive feeling about the collection
compared to older generations, even though the majority of the comments were still positive.
The results indicate that the collection raised more positive images in the younger generation,
where the collection received a better reception and the attitude was more tolerant compared
to the older generation.
Based on Keller’s brand love scale, which aims is measure consumers’ attitudinal
attachment to the brand, is measured through different emotions that that brand awakes in the
consumers (Keller, 2013). The findings of brand love scale indicate that the majority of the
respondents were attached to the brand and shared positive images toward to the brand. The
statements that received most responses in the brand love scale were “this collection makes
me happy” receiving 67 responses out of 169, “the collection is awesome” receiving 66
responses out of 169, and the statement “I like this collection very much” receiving 51
responses out of 169. The stronger feelings in the brand love scale -love, hate, and rage -
received all low number of respondents. Only 3 % of the people felt that they love the
collection including respondents only from the age category 1, which indicates the
respondents’ low obsessive feelings for the brand. (Carol et al. 2005 quoted by Yasin et al.
2013) Instead, the statement about the hate received 1,8% of the responses and all of the
respondents included in the age category 2. It indicates that only a few of the respondents
share strong negative feeling toward the brand (Zarantonello et al. 2016) The collection did
not rage any of the respondents receiving 0% of responses. The result indicated that younger
generation is more attached to the brand and share more positive image towards it compared
to the older generation, but still a majority of all the respondents share positive overall image
about the brand.
According to all responses, the results indicate that from the seven adjectives the
adjectives tolerant, striking in a good way and forerunner were selected as adjectives that
describe the Tom of Finland collection the best, as the majority of the respondents evaluated
them by scale number (5) adjective describes really well. Adjectives immoral, striking in a
bad way and uncomfortable were selected as adjectives which describe the collection at the
worst as majority respondents evaluated them by the scale number (1) adjective describes
37

really badly. The adjectives funny and humorous shared more opinions, and the distribution
of the responses was greater. The age did not have a lot of influence to the evaluation of the
adjectives as both age categories selected tolerant, striking in a good way and forerunner as
adjectives that describes the collection the best and adjectives immoral and striking in a bad
way as adjectives that describes the collection the worst. The result indicated that the overall
image about the adjectives related to Tom of Finland collection was positive, which indicates
positive brand image.
The aim of the statement question was to find out the strength, favorability, and
uniqueness of Finlayson’s Tom of Finland collection. The results indicate that the majority
respondents held the collection very brave, open-minded and very unique as respondents
evaluated the statements by scale number (5) completely agree. Also, a majority of the
respondents felt that Tom of Finland collection strengths Finlayson’s corporate image by
evaluating the statement by scale number (4) partly agree. Also, the respondent felt that there
are not many other collections that they can compare to Tom of Finland collection as the
majority evaluated the question related to comparability by scale number (2) partly disagree.
The majority of the respondents felt that collection does not undermine Finlayson's corporate
image as evaluating the statement related company’s image deterioration by scale number (1)
strongly disagree. The results indicate that Finlayson’s Tom of Finland collection is kept
strong, unique and favorable brand according to the majority of the respondents, which are
important factors in building up the brand equity. (Keller, 2013) Consumers’ strength
associations about Finlayson indicates that consumers have a close connection with the brand.
The uniqueness of brand affects the customers’ choice and purchase decisions, which creates
significant benefits for the Finlayson and it also indicates that Finlayson is able to offer
something different and unique for its consumers. The high-level strength, uniqueness, and
favourability also creates great value and benefits for Finlayson (Keller, 2013)
The results of NPS indicates that respondents’ willingness to recommend the
collection was very low. The majority of respondents were detractors covering 47% of all
respondents also a majority of both age groups were classified as detractors. Likelihood to
recommend scale can be ranked between -100 to +100. Finlayson’s Tom of Finland
collection’s likelihood to recommend percentage was -25,45%, which is considered as low
percentage rate as usually NPS score ranks between 10%-30% (Keller, 2013). In the age
group 1, the NPS was -18,09%, and in the age group 2, the NPS was -34,67%. The result
38

indicates that the overall state of recommending the collection is quite low and younger
generation will more likely recommend the collection compared to the older generation.
Based on the results of the open-ended question, where respondents explained their reason
why to recommend or not, indicate the reasons for low NPS. Some of the respondents felt that
the collection was not their style even though they have nothing against the subject, the
collection is not aesthetically beautiful, and many of them felt that the collection needs
particular target group to buy, which makes it hard to recommend. They felt that they or their
friends do not belong to the target group or is not their habit of recommending anything at all.
Both age groups shared similar opinions about the recommendations. The comments for the
recommendation of the younger generation were slightly more positive compared to the older
generation as a majority of the age group 2 would not recommend the collection. The result
indicates that the collection is not very commercial and it is only suitable for specific target
groups, which makes the recommendation more difficult. In the positive sight, the collection
was reflected as a symbol of tolerance and equality, and the collection reflects good values
according to many respondents.
The results of the last question were people were asked opinions about the launching
indicate that that majority of people had positive overall images about the collection and the
image has not changed into a negative direction after the launching. Many of the respondents
perceive that launching the Tom of Finland collection renewed the dusty Finnish brand and
brought it back to people's consciousness as it raised a lot of attention in media. Findings
indicate that people felt that the collection drives good values and creates a good image about
Finlayson and its actions as a company. They also felt that launching the collection was very
brave move and the company acted as a forerunner in Finland, even though the collection
might have irritated some of the consumers, who do not tolerate the gay erotic theme. In both
age groups, majority of the respondents perceived that the collection was a factor that raised
the company’s image. They also felt that timing of the launching was good as the minorities
rights have been under discussion lately. Tom of Finland collection was perceived as a
symbol for tolerance and equality. Brand as a symbol captures the visual imaginary,
metaphors and the heritage of the brand and respondents felt that Finlayson share good
values. (Keller, 1996) Comparing the age groups the younger generation had more positive
images about the launching of the collection compared to the older generation.
39

The results of the survey indicate that decision for Finlayson to launch the Tom of
Finland collection was very successful and affected positively to consumers’ perceived brand
image about the company. Even though the collection was based on a very sensitive issue that
shares opinions among different people, and was not held very commercial for all consumers.
The state of consumers’ negative brand image was much lower than expected and even
though the older generation had more negative images about the brand, the distribution of the
responses was still lower than expected. It is likely that the state of the negative brand image
increases as the number of respondents and social classes increases. Finlayson took a
significant risk when launching the collection because it is hard to predict how people will
react to a topic, which is related to personal issues like sexual orientation. Issues related to
minorities and sexual orientation usually shares and raises a lot of opinions. For this reason is
impossible for a collection that is related to the gay erotic theme to please all parties, and the
presence of the negative brand image is inevitable. Finlayson did a great job for increasing
and reforming their brand’s image with the Tom of Finland collection even though it annoyed
some of the consumers, and for this reason, no recommendations are not needed.
40

CONCLUSION
This bachelor thesis examined brand image from the consumers’ point of view.
Finlayson and its new Tom of Finland collection were selected as a case study for this
research. Tom of Finland collection is a home textile collection, which is based on gay erotic
art created by Finnish artist Touko Laaksonen. The aim of the research study was to find out
whether the consumers’ brand image of Finlayson has changed since they launched the new
collection and see what kind of images and feelings the collection raises in consumers’ minds.
The research question can be formulated: How the Tom of Finland collection has influenced
to consumers’ perceived brand image of Finlayson?
The theoretical framework of this research was build up by combining related articles,
and relevant literature and they were review and studied in the literature review. First, the
concepts brand and brand equity were introduced and explained through different definitions
to create a comprehensive picture about brands and its related factors. After that, the terms
brand identity and brand image were introduced in order to understand the formation of a
brand image. This is followed by introducing the meaning of the brand image, and what kinds
of effects positive and negative brand image have in a company, and how the brand image can
be influenced.
For the research part, a survey method was used, which included both quantitative and
qualitative research methods. The quantitative research approach included different kinds of
scale question and multiple choice question to collect quantitative data from the target. The
qualitative research approach included different kinds of open-ended question in order to find
out consumers’ deeper feelings and emotions about the collection. The theoretical framework
for the survey questions was formulated based on the theories introduced in the literature
review, and the questions were formulated in a way which gives a good view of how
consumers perceived the Finlayson’s brand image and what factors influenced to the
perceived view.
41

The main findings of the research provided an overall view of how the respondents
perceived the Finlayson’s brand image and were the launching of the new collection
enhancing or degrading factor for the company’s brand image. At first, the overall results
were examined, and after that, the brand image was observed from two age groups’
perspective. The age group 1 included respondents from age 16 to 35 and the age group 2
from age 36 to upwards. The research indicated that majority of the respondent perceived that
the Tom of Finland collection had effected positively to Finlayson’s brand image. Only a
small part of the respondents felt that the collection weakens Finlayson’s brand image, and
some of the respondents had a neutral feelings about the impact of the collection.
Respondents perceived the collection as very brave, trendy and open-minded, they felt that
the collection refreshed the brand and made it more interesting. They also felt that the
collection underlines and communicates the company’s value principles, which was seen as a
very valuable factor. Respondent perceived the collection as a habit to raise social debate and
support the rights of minorities. When comparing the two age groups, younger generation
perceived the Finlayson's brand image more positive and tolerant compared to older
generation’s. Also, the results indicate the younger generation were more excited about the
collection, and that the collection reflected more accurately their set of values compared to the
older generation. The older generation perceived the brand’ image also as brave and open-
minded, but their attitudes were not as receptive as the younger generation. The collection
raised more suspicions in the older generation, and they felt that the collection might irritate
some of the consumers, even though a majority of the responses were positive. The results
also indicate that the collection was not kept very commercial and respondents felt that it is
hard to recommend the collection due to the small target group of potential buyers. Based on
the research result the decision for Finlayson to launch the new collection was very good idea,
because it attracted a lot of attention, made a debate and raised feelings in consumers’ minds.
The new collection also irritated some of the consumers and the presence of a negative brand
image is inevitable especially in the case of a gay erotic collection, that somehow violates the
limits of chastity. Finlayson was kept as old traditional Finnish brand, that had been forgotten
before launching the new different and bold collection, which completely changed the
direction of the company toward a tolerant and courageous pioneer.
The limitations in this research are mostly related to the low number of respondents.
To find out a comprehensive picture of Finlayson’s brand image the sample size should be
42

much greater and include members from many different social classes. The survey was sent
via two different Facebook users and by e-mail, which is why the distribution of the social
classes might be too low. For this reasons the results of the study may change as the sample
size grows and this is why the research only gives an indicative picture about Finlayson’s
brand image.
In its entirety, the brand image study was successful, and it managed to form a
comprehensive picture of the respondents perceived brand image. However, there is always
room for improvements. The author could have read more previous studies of the brand
images to improve the survey’s effectiveness and to reveal customer’s subconscious feeling
about the brand image. Also, the author could have used other research techniques to support
the survey method and collect more detailed information about the respondents. Also, the
study would have been more interested if the author would have also examined Finlayson’s
brand identity, that is formed by the company, and then compare it to Finlayson’s brand
image that is created by customers and search for differences.
43

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45

APPENDICES
Appendix 1. Online Survey
Survey on Brand Image

This is a survey about brand image that is focusing on Finlayson’s Tom of Finland collection.
The survey takes less than 5 minutes to answer and it is a part of my bachelor’s thesis at
Tallinn University of Technology.
Thank you for your time and help J
Obligatory*
1. Age: (select one appropriate option) *
o 16-25
o 26-35
o 36-45
o 46à
2. Gender: (select one appropriate option) *
o Male
o Female
3. How well do you know Finlayson as a company? (select one or more appropriate
option) *
o I’m not familiar with the company

o I know the company by name
o I know the company very well
o I have bought company’s products
o I would like to buy company’s product in the future
4. Are you familiar with Finlayson’s Tom of Finland collection? (select one option) *
o Yes
o No
46

Here are pictures about the products of Tom of Finland collection
5. Describe your opinion about the Tom of Finland collection in a few sentences: *
6. Above you can see statements about Finlayson’s Tom of Finland collection (Choose all
suitable options in your opinion)
o This is a wonderful collection

o This collection makes me happy
o This collection is totally awesome
o This collection rages me
o I have no particular feelings about this collection
o I really like this collection
o I love this collection
o I don’t like this collection
o I hate this collection
47

7. In your opinion, how do the following adjectives describe Finlayson's Tom of Finland
collection
(1) Adjective describes very badly

(5) Adjective describes very well
o Immoral *
1 2 3 4 5
o Forerunner *
1 2 3 4 5
o Tolerant *
1 2 3 4 5
o Striking in a good was *
1 2 3 4 5
o Striking in a bad way *
1 2 3 4 5
o Funny and Humorous *
1 2 3 4 5
o Uncomfortable *
1 2 3 4 5
8. In your opinion, How the following statements describe Finlayson’s Tom of Finland
collection
(1) Fully disagree

(5) Fully agree
o Finlayson’s Tom of Finland collection is very unique *

1 2 3 4 5
o There are many collections that I can compare to Finlayson’s Tom of Finland
collection *
1 2 3 4 5
o Finlayson’s Tom of Finland collection is very brave *
1 2 3 4 5
48

o Finlayson’s Tom of Finland collection is very open-minded *
1 2 3 4 5
o Tom of Finland collection strength Finlayson as a company *
1 2 3 4 5
o Tom on Finland collection weakens Finlayson as a company *
1 2 3 4 5
o Other companies should take inspiration from Finlayson*
1 2 3 4 5
9. How likely is that you would recommend Finlayson’s Tom of Finland collection to a
friend or colleague from 0 (I would never recommend) to 10 (I would definitely
recommend) *
0 1 2 3 4 5 6 7 8 9 10
10. In your opinion, why would you recommend the collection? or Why would you not
recommend the collection? *
11. Do you think that Tom of Finland collection was a successful launch from Finlayson
or not? (Please describe your answer with a few sentences) *
49

Appendix 2. Quantitative data

Table 2.1. Age and Gender Distribution of the Respondents’, n=169
Table 2.2. Recognition of the Company, n=160
50

Table 2.3. Recognition of Tom of Finland collection, n=169
“Brave and experimental. Unconditional and violated the limits. Raises opinions.”
(Male, age between: 16-25)
“The collection is deviant, eye-catching and makes a stand. It raises positive imageries in
me and it is clear the collection strives to take a stand on sexual issues. This is not done by
highlighting “basic” rainbow colours (which is stereotypically combined to homosexuality)
but instead highlighting the colours of black and white. This in turn limits the overall look
of the campaign.”
(Female, age between: 26-35)
“Fine, artistic, valuable, provocative. The images have a great artistic value and are lifted as
an important symbol for minorities.”
“A tassel bag and a small bag are the only ones that are tolerable where the printing is
appropriate. Linen, padlock and everything else in the picture are a bit too much. Generally,
the collection does not ignite me.”
“Masculine, fun in a good spirit, trendy and brave. As a company, Finlayson made a strong
statement for Finnish design and quality appreciation. 10 points.”
“I was surprised positively when Finlayson took over this theme. They don’t fit in my
home's interior or style, but they are fun and it raise Finnish pioneering art.”
“To my taste too homosexual. Internationally brave and affects to the brand image
positively.”
“This theme does not interest me at all. I would not buy such prints to myself but I would
not be bothered or mind at all that they are offered to others. “
Table 2.4. Respondent’s opinions about the products of the Tom of Finland collection, n=169
51

Table 2.5. Respondents’ Emotions about the collection, n=169
Table 2.7. The respondents’ interpretations from the adjectives, n=169
52

Table 2.8. The respondents’ interpretation from the statements, n=169

Table 2.9. Respondents likelihood to recommend scale, n=169
“Depends entirely on the person. I know many people who are interested in this collection and
who can be recommended for the subject itself and for the good design.”
“An innovative and interesting way to bring the dusty brand into one of the most talked Finnish
companies today. Even though I would not buy these products myself, I would still recommend
the products due to the grate concept.”
“Tasteless, I do not think that my friends would like this collection and its products”
53

“I could recommend it for example as a souvenir from Finland because Tom of Finland is a great
part of history.”
“Good quality, stylish, different”
“I do not think that gay theme belongs in the sheets”
“I find the theme and products difficult to combine. I would get tired to ToF pattern quite
quickly.”
Table 2.10. Respondents reasons to recommend or not, n=169
“It was definitely. I believe that it could have shocked many of Finlayson’s standard customers,
but Finlayson is obviously very ideological company, so the collection depicts well their ideas.
Tom of Finland has become an important brand for the entire hundred-year-old Finland.”
"It brought lot of publicity and reputation. Although the sales of the collection have not been
what assumed, it has certainly raised the brand to the pedestal in a new way. It was a trendsetter
and a fresh breeze in quite boring field."
“I think the collection is good, but it does not wake any bigger feelings in me: I believe that the
collection has sought to awake social debate and bring a bold and new kind of male image to both
Finland and to the world. In this way, Finlayson must have tried to gain visibility for its brand.
Visibility has certainly come, but it has not changed my image about Finlayson in the direction or
another.”
“Finlayson received lot of attention. I don’t know is it smart for a home textile company to take a
stand on such “sensitive” issue. I really enjoyed the campaign but Finlayson certainly got lot of
enemies.”
“A bold collection that strengthens the company's image as a pioneer”
“The launch itself has been successful, but the topic is not.”
“No. The whole Tom of Finland hyping is an appealing phenomenon. Tom of Finland was an
illustrator limited by his own obsession, not an artist. He labels all the gays to crackpots that are
only interested in skin and penises.”
Table 2.11. Respondents' opinions about the launch of the Tom of Finland collection
54

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TALLINN UNIVERSITY OF TECHNOLOGY

School of Business and Governance

Supervisor: Iivi-Riivits Arkonsuo, Ph.D

Supervisor: Associate Professor Iivi Riivits-Arkonsuo, Ph.D.

Chairman of defense committee:

1.1. Brand and Brand Equity

1.1.1. Definitions of Brand

1.1.2. Brand Equity

Based on Marketing Science Institute’s definition (MSI, 1989) (quoted by Faircloth, et

Aaker determined brand loyalty as “a measure of attachment that a customer has to a

Based on Keller’s definition; “Perceived quality is customers’ perception of the

Aaker pointed out that “A brand association is anything “linked” in memory to a

1.2.1 Brand Identity

Figure 2. Brand Identity Layers

1.2.2. Brand Image

Figure 2. Elements of Corporate Image

2.2.2.2. Positive and Negative Brand Image

2.2.3. Influencing to The Brand Image

2.1. Introducing Finlayson

Finlayson is a Finnish textile company, which was founded by James Finlayson in

3.2. Online Survey Results

Figure 3. Age and Gender Distribution of Respondents, n=169

Figure 4. Recognition of the Company, n=169

Figure 5. Recognition of Tom of Finland collection, n=169

Figure 5 illustrates the familiarity of the Finlayson’s Tom Finland collection.

Figure 7. Respondents’ emotions about the collection, n=169

Figure 8. The respondents’ interpretations from the adjectives, n=169

Figure 9. The respondents’ interpretation from the statements, n=169

Figure 10 illustrates the respondents’ likelihood to recommend scale introduced by

Figure 10. Respondents reasons to recommend or not, n=169

Baloglu, S., Mccleary K. W. (1999) A Model of Destination Image formation, Annas of

Finlayson Website- www.finlayson.fi (04.04.2017)

Kauppalehti (24.04.2015) Finlayson lopettaa yhteistyön Kärkkäisen kanssa- eettiset syyt

Kauppalehti (20.04.2016) “Räjäytettiin koko yritys” –Uudet omistajat nostivat Finlaysonin

Lotti, L. (1998) Markkinointitutkimuksen käsikirja. Porvoo: WSOY

Markkinointi & Mainonta (15.09.2015) Finlayson on Vuoden Brändirakentaja

Markkinointi & Mainonta (29.03.2017) Finlaysonilta kovat luvut pöytään

Markkinointi & Mainonta (26.02.2015) Tom of Finland –lanseeraus on vuoden

Markkinointi & Mainonta (14.03.2017), Uusi tutkimus selvitti Suomen kiinnostavimmat

This is Finland, Tom of Finland from fringe to mainstream, (04.04.2017)

Vuokko, P. 2003 Markkinointiviestintä: merkitys, vaikutus ja keinot. Helsinki: WSOY.

Ylikoski, T. (2000) 2. Uudistettu painos. Unohtuiko asiakas? KY-Palvely Oy, Otavan

Appendix 1. Online Survey

Survey on Brand Image

Thank you for your time and help J

1. Age: (select one appropriate option) *

2. Gender: (select one appropriate option) *

o I’m not familiar with the company

o This is a wonderful collection

(1) Adjective describes very badly

(1) Fully disagree

o Finlayson’s Tom of Finland collection is very unique *

Table 2.2. Recognition of the Company, n=160

Table 2.7. The respondents’ interpretations from the adjectives, n=169

Table 2.10. Respondents reasons to recommend or not, n=169

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