Storytelling and retromarketing: strengthening brand communication

Abstract

Brands are becoming more aware of the importance of adding value to their products through storytelling. The aim of this article is to raise awareness of the power of storytelling and retromarketing to enhance the effectiveness of brand communication strategies and increase customer loyalty. The study consisted of an analysis of the chemicals produced in the brain during the telling of different types of stories and their influence on consumer behaviours, and of brand archetypes, based on the work of Carl Jung in this area. The study also conducted a review of experiments that demonstrate the economic value of storytelling and retromarketing narratives. The results show that storytelling and retromarketing enhance brand uniqueness and create a deeper, more genuine relationship between companies and customers. This emotional connection may be achieved when storytelling is targeted at a specific audience as part of a larger marketing strategy.

Full text

Redmarka. Rev Mark Apl, vol. 25, núm. 2 (2021), 44-62
44
RED
MARKA
Revista de Marketing Aplicado
Vol. 25, núm. 2 (2021), 44-62
ISSN: 1852-2300
DOI: https://doi.org/10.17979/redm.2021.25.2.8752
Storytelling and retromarketing: strengthening brand
communication
Storytelling y retromarketing: potenciando la comunicación de las
marcas
Sousa, Vânia 1
Universidade do Porto
Abstract
Brands are becoming more aware of the importance of adding value to their
products through storytelling. The aim of this article is to raise awareness of
the power of storytelling and retromarketing to enhance the effectiveness of
brand communication strategies and increase customer loyalty. The study
consisted of an analysis of the chemicals produced in the brain during the
telling of different types of stories and their influence on consumer
behaviours, and of brand archetypes, based on the work of Carl Jung in this
area. The study also conducted a review of experiments that demonstrate the
economic value of storytelling and retromarketing narratives. The results
show that storytelling and retromarketing enhance brand uniqueness and
create a deeper, more genuine relationship between companies and
Sousa, Vânia, https://orcid.org/0000-0002-9466-948X, Universidade do Porto,
vania.gsousa@gmail.com
How to cite this article: Sousa, V. (2021). Storytelling and retromarketing: strengthening brand
communication. Revista de Marketing Aplicado, vol 25, 2, 44-62.
https://doi.org/10.17979/redm.2021.25.2.8752
Recibido el 02 de noviembre de 2021
Aceptado el 30 de noviembre de 2021

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customers. This emotional connection may be achieved when storytelling is
targeted at a specific audience as part of a larger marketing strategy.
Keywords: storytelling, retromarketing, brands, archetypes, communication.
Resumen
La técnica o arte del storytelling está cada vez más presente entre los
profesionales de la comunicación y el marketing. Las marcas son hoy
conscientes de la importancia de agregar valor a través de las historias
diferenciadas, que pueden coadyuvar a la fidelización de sus clientes. El
presente artículo tiene como objetivo crear conciencia sobre la relevancia
dual del storytelling y el retromarketing, como herramientas poderosas a
efectos de mejorar la efectividad de la estrategia de comunicación de marca.
Para tal fin, se analizan las sustancias químicas generadas en el cerebro
durante la narración de diferentes tipos de historias que influyen en el
comportamiento del consumidor. Asimismo, se analizan arquetipos de marca
basados en la perspectiva de Carl Jung y se revisan experimentos que podrían
demostrar el valor económico del storytelling y las stories de retromarketing.
Como resultado, el storytelling y el retromarketing elevan la singularidad de
las marcas y pueden inducir relaciones más profundas y genuinas entre la
compañía y el cliente. Esta etapa de conexión emocional se puede alcanzar
cuando el storytelling se integra en la estrategia de marketing que se dirige a
la audiencia adecuada.
Palabras clave: storytelling, retromarketing, marcas, arquetipos, comunicación.
1. STORYTELLING IN COMMUNICATION AND MARKETING CONTEXTS
Mankind has been telling stories for millennia to help to establish a sense of
the world around us (Bernardo, 2014). Throughout the ages, different natural
events have generated stories that were later shared in the community. Many
of these stories were then later developed into mythological tales and passed
on from generation to generation through time.
Stories can support and improve communication in a valuable and
meaningful way. Regardless of the medium that is used to do the storytelling,
a story can enhance the communication process.
Henry Jenkins states that the increase in new media producers and advertisers
highlights an ‘emotional capital’. Storytellers now think about storytelling in
terms of creating openings for consumer participation and engagement
(Jenkins, 2006).

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Consumers are using media platforms and the Internet as a way of collective
problem solving, public deliberation, and to engage with content.
People tend to use stories in their daily lives, and, depending on the way that
they are told, they can reflect a new reality and influence customers
differently, revealing the hidden power within stories.
Everyone can identify with stories because they convey a more personal and
emotional communication based on each individual’s own experience.
Accordingly to a study from Stanford University, stories are 22 times more
memorable than facts or figures alone. This study highlights three important
aspects about stories (Aaker, 2019):
1. Stories shape how customers see brands, they can influence the
emotions and client attitudes, determining if they choose to buy from
the company;
2. Stories are powerful tools because they create a direct impact on their
audiences. They can also capture an individual’s attention;
3. Stories act as a call to action as they can influence consumer
behaviour.
Brands that use communication more emotionally, tend to create stronger
bonds with audiences. As people connect with people, brands that are skilled
to adopt a more humanized communication, tend to be seen through the
eyes of consumers as one of them, and so, therefore, they can more easily
establish a connection with the brand (Walter and Gioglio, 2018). On the other
hand, stories can attract consumers' attention and can help build
communities by adding emotional and engaging content, and memorable
experiences.
With these aspects in mind, companies are using storytelling to connect and
to communicate with digital consumers. Relying on the fact that the human
brain can better retain the information if it is presented in a story format, big
brands are already seeing the potential of stories to engage with different
segments of their customer base.
As an example, IKEA has been using branded stories to influence its
customers, allowing them to identify with the narratives represented. The 2015
catalogue also included an interactive online version with an augmented
reality feature, called the “Place in your room” app, that allowed clients to test
the furniture virtually in the comfort of their homes (IKEA, 2013).
Branded stories can be an interesting tool to use in a marketing strategy
because their content isn’t directly related to the product. Instead, they are
created in a sort of an emotional narrative that attracts the attention of the

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Figure 1. Product placement growth to outpace (source: pqmedia report 2020)
audience. Usually, in these kinds of stories, the brand only appears subtly by
the end.
Dove campaigns are a good example of branded stories. The branded
content helps women to accept their real beauty and relates directly to the
values of the company. In its campaign “Real beauty sketches” from 2014,
Dove develops a story relating its values to women's lack of confidence in
their appearance (Dove US, 2013).
In the video, a forensic artist sketches portraits of women based solely on
their descriptions of themselves. He then makes second portraits of the same
women, but based on descriptions given by other people.
The artist doesn't see the women, so he draws the portraits based uniquely
on their descriptions. He draws the same women’s portraits described by
another person, and the resulting drawings are very distinct. This campaign
turned viral on digital channels.
The creative producers of the “Dove Real Beauty Sketches” campaign, Hugo
Veiga and Diego Machado, revealed that they intended to portray the lack of
confidence in women and their physical appearance (Envy Chain, 2016).
Product placement is becoming a very interesting tool for brands, as it can
reach target audiences by using digital marketing strategies, different from
traditional publicity methods. The branded products can often be found in
films such as the James Bond series where some of the aspirational products
included Omega watches or Aston Martin cars, enhancing Bond’s association
with class and luxury (CNBC, 2011).
This type of marketing is increasing in prominence because it is a vehicle that
brands can use to reach target audiences in very subtle ways.

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Pqmedia’s report2 on product placement revenues registers an increase
during the year 2020, which means that there is growing consumer interest in
stories created for these branded products.
For example, the profits from product placement for BMW – Mini Cooper
sales were registered at 22% after the film, “Italian Job”, was released in 2003
a. In addition, the film “Top Gun” in 1986 is another successful example of
product placement, as it was able to enhance the sales of aviator glasses by
40%, and also helped increase the recruitment of young men to become
pilots (CNBC, 2011).
1.1 Methodology
In this article, we propose to unveil the essential elements that lie behind
good stories in marketing and retromarketing. These stories influence
consumers' decision-making unconsciously.
As a methodology, we analysed examples of advertising projects and
explored different concepts, such as branded archetypes; the chemical
processes performed by the brain during storytelling; and the marketing
funnel. We make suggestions for how companies and brands can use
branded storytelling to develop efficient and engaging corporate
communication strategies.
1.2 The value of stories
Stories can have a high impact on people, especially if they are aligned with
company values, are emotional, emphatic and make the audience identify
with them.
In 2009, two journalists, Rob Walker and Joshua Glenn, wanted to prove that
storytelling could add more value to products, so they created an online
experiment to prove their theory. They bought 200 objects on eBay for $1,
and asked 200 writers, to create a story for each item, one per writer
(Linkedin, 2019).
The goal was to sell the one-dollar objects with a story on eBay. The result
was that the objects were sold at substantially higher prices than the original
price they were bought for, confirming that stories can add value to the
objects.
2. PQ media custom media research market study on product placement, retrieved from
www.pqmedia.com/product/global-product-placement-forecast-2020

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Figure 2. Website “Significant Objects”
The 200 objects were sold online on eBay for nearly $8,000. The proceeds
were then distributed to the contributors and nonprofit creative writing
organizations. All stories and prices (initial and final) are available on the
website “Significant Objects”.
Figure 3. “Pink horse” from the website “Significant Objects”
For example, the original price of this pink plastic horse was $1. It was then
sold with its own story, for the final price of $104.50. Here follows an extract
from the story3:
A long time ago, I was very poor and often traded my body for cigarettes,
Chelada, or food (in order of preference). I had two children — both daughters
— and together we lived in a motel on the coast. It was a knotty-pine
kitchenette cabin and came furnished with a teapot, a few chipped flowered
plates, some utensils, and bedding.
3. The Pink plastic horse full story is available on “Significant Objects” available at
https://significantobjects.com/2009/11/05/pink-horse/.

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Visual storytelling can also be found in the stories of the objects. A simple
plastic banana (Figure 4) was bought for 25 cents.
Figure 4. “Fake banana” from the website “Significant Objects”
The artist, Josh Kramer, created visual storytelling for the fake plastic banana
which was then sold in the auction for $76. This fake banana story was
presented in the form of an amusing cartoon.
Figure 5. Visual storytelling for “Fake Banana” from the website “Significant Objects”

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This represents an interesting approach to influence a different kind of
audience and can be explored on the website “Significant Objects”4. Another
example is the second-hand rooster oven mitt. Its original price was $1, but by
the end of the auction, it was sold for $51.99.
An extract of the story5:
Who the hell goes to Portugal? In my family? The question arose as my sister
and I were going through my grandmother's things-her effects. She'd died of
old age at Queens General Hospital and she'd been longing for it. Some people
never want to go, but not her. She'd lived long (96 years), see her grandkids
and great-grandkids. Let's be blunt: the mitt's not pretty. Okay, it's ugly as an
unwashed butt. I didn't find it in my grandmother's kitchen.
The 200 examples of storytelling for products can be found on the website
“Significant Objects” and provide evidence that branded storytelling improves
and increases revenue as it helps develop stronger relationships with clients
(Linkedin, 2019).
1.3 Neurological process that occurs in the brain when listening to stories
Stories can evoke different types of emotions in individuals, depending on the
style of narrative that is being told (Rodriguez, 2017).
While listening to stories, the human brain goes through a neurological
process that can influence emotions, feelings and actions. Lani Peterson
alleges that storytelling needs to be used by organizations as a way to build
story culture. Also, there is a need to understand the science behind
storytelling (Peterson, 2017).
As an example, the data and the information displayed in Powerpoint
presentations lack meaning without storytelling. In these presentations, the
audience does not pay full attention and will make up his own story about the
data, which can be different from the presenter’s intented meaning.
Alternatively, if the speaker uses stories to communicate data and facts, the
brain’s sensory cortex is activated and the message is better understood
(Peterson, 2017).
Stories that are abundant in descriptions and metaphors, that make people
laugh, have drama, or mystery, help the audience to identify with the events
and with the characters.
4. The visual story of Fake Banana is available on the website “Significant Objects”:
https://significantobjects.com/2009/10/19/fake-banana/.
5. The rooster oven mitt story can be read on the website “Significant Objects”, available at
https://significantobjects.com/2009/11/06/rooster-oven-mitt/.

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The science behind storytelling is still being studied by scientists. However,
they have discovered that hormones (brain chemicals) such as cortisol,
oxytocin and dopamine are released in the brain of individuals in the course
of storytelling.
Listening to a good story can light up different parts of the brain. It stimulates
neurons that increase the creation of dopamine or oxytocin which enhances
the feelings of trust, empathy and generosity. These aspects are relevant
during sales presentations, keynote speeches and company presentations.
David J. P. Philips, a storyteller and a communication trainer, uses advanced
storytelling techniques for making an impact on different audiences.
Throughout a story, different neurotransmitters can be released in the brain
(TEDx Talks, 2017):
• Dopamine;
• Oxytocin;
• Cortisol;
• Endorphins;
• Adrenalin.
When dopamine is released, it can help regulate emotional responses and to
keep people engaged. It also increases attention and focus and is useful for
increasingmemory. High levels of dopamine are released when listening to
stories full of suspense and expectation.
Generally, all stories can release dopamine because, in a story, people want to
know what is going to happen next. .
Oxytocin helps to create deeper connections, to build more bonds with those
who are telling the story and to maintain good relationships. This hormone
generates empathy, generosity and trust.
Endorphin hormones are released by making people laugh, and as a
consequence, they become more relaxed and increase their focus on the
message. On the other hand, cortisol and adrenaline are hormones that when
released produce the contrary of what is intended for an efficient connection
between the audience and the presenter. These hormones are related to
feelings of irritability, intolerance, bad decision-making, lack of creativity and
memory, and need to be avoided in communication. High concentrations of
cortisol and adrenaline create a negative impact on the transmission of the
message.
David J. P. Philips explains that each person creates an individual index of
stories by a different chemical process so that whenever the occasion
demands a certain kind of story, it can be used (Philips, 2019).

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1.4 Importance of the marketing funnel for brand storytelling
The marketing funnel is the representation of the buyer's personal journey. At
each stage of the funnel, the prospect/client is offered specific content
(branded storytelling). The three main stages of the marketing funnel include:
• Awareness stage (builds awareness of the product and the solution for
the problem);
• Consideration stage (educates about how to choose a solution);
• Decision stage (explains why the product is the best solution for the
problem).
These stages play a significant role in the marketing strategy because they
can help influence the relationship between the developed content and the
prospect (Colicev et al., 2017).
In the awareness stage, the prospect is aware that he has a problem and
starts to look for a solution. The brand needs to build awareness about its
products as a worthy solution.
Strategy: develop an educational website, social media content, newsletters,
etc.
The consideration stage is where the lead starts to trust and to consider the
brand as a solution to his problem.
Strategy: Present content as an antidote for their problems.
In the decision stage, the client already knows the product's value and
decides to purchase it.
Strategy: continuing to offer content explaining how to solve the potential
client’s problem by using the product in the form of testimonials, demos and
free trials, case studies, etc.
If the client is satisfied with the product, he can be offered tutorials, customer
service content through different platforms. In this loyalty phase, pleased
customers remain faithful to the brand and are willing to recommend it to
their peers in the advocacy phase. The art of telling stories through the
different stages of the marketing funnel improves the flow and the continuity
of the cycle of the funnel. It helps influence customers, teams and audiences
and better results can be achieved.
2. THE RELEVANCE OF CHARACTER ARCHETYPES IN STORIES AND BRANDS
Carl Jung, a psychoanalyst and friend of Freud, carried out research on the
human mind and his work remains a reference to this day.
In his research, Jung emphasized the importance of the self (person), the
meaning and purpose of one's life, on a conscious and unconscious level. The

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conscious level is related to memories and emotions, while the unconscious
level is associated with elements in the psyche, such as complexes (Jung,
1968).
The collective unconscious resides deep in the psyche, and it consists of
archetypes or symbolic stories, persons, places, images accumulated from
human experience (Leigh, 2011).
Carl Jung believed that for every person there is a universal character, an
inherent pattern and a psychological structure with values, meaning and
personality characteristics. These, derive from the collective unconscious and
is reflected in symbols and images (Ganassali and Matysiewicz, 2020).
Each archetype represents a specific way in which people see the world, give
life meaning, and influence how human beings behave.
In Jung’s theory, each person has his library of archetypes, which is stored in
the unconscious, a kind of universal language that defines both aspirations
and experiences (Leigh, 2011).
From the indefinite archetypes, Jung collected the most common ones and
divided them into three groups, which are related to ego, soul, and self. For
each group, he defined a collection of four archetypes, in total, 12 forms of
characters, explained below in a framework proposed by Ganassali and
Matysiewicz, and developed by Mark and Pearson (Ganassali and
Matysiewicz, 2020; Mark and Pearson, 2001).
The archetype framework can be organized into universal human desires,
core desires, goals, and strategy. They can also be divided by:
• Intention to leave a mark on the world (risk and mastery);
• Longing for paradise (independence and fulfilment);
• Providing structure to the world (stability and control);
• Connecting with others (belonging and enjoyment).
In Table 1, the archetypal characters are organised according to their desires
and intentions (Mark and Pearson, 2010). Each category is related to the
search for meaning and fulfilment in life.
Table 1. Archetypes Framework based on Brands Archetypes (source:
https://iconicfox.com.au/brand-archetypes/)
UNIVERSAL HUMAN DESIRES
ARCHETYPES
Intention to leave a mark in the
world
(Risk and mastery)
Hero
Magician
Outlaw
Longing for paradise
(Independence and fulfilment)
Explorer
Sage
Innocent
Providing structure to the world
Creator
Ruler
Caregiver

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(Stability and control)
Connecting with others
(Belonging and enjoyment)
Everyman
Jester
Lover
Stephen Houraghan, a brand creator, proposes a complete archetypal
representation in branding (Houraghan, 2018). He establishes a relationship
between human desires, archetypes characteristics, brand personality,
emotions, and appeal, and gives valuable examples of brand archetypes,
brand voices and messages.
This adaptation of the Jung’s 12 archetypes is useful as an exercise for a brand
strategy implementation that is outlined further below.
The Brand Archetypes attributes (Houraghan, 2018) have a meaningful
application in the process of a branded storytelling strategy:
The Hero archetype provides merit through actions of courage. His goal is to
improve the world in some manner. To achieve his objectives, he draws on his
strength, competencies, and powers. Sometimes the Hero experiences a lack
of confidence along the journey, but he then overcomes this to save the
world and to complete his journey.
Examples: Wonder Woman; Captain America; Batman.
Brands: Adidas; Nike; FedEx
Brand message: Where there is a will there is a way.
The Magician needs to understand the laws of how the world works so that
he can achieve his goal: make his dreams come true. He develops his vision of
things and lives through it. The Magician can sometimes impose his wishes on
others.
Examples: Jay Gatsby - The Great Gatsby; Saruman - The Lord of the Rings.
Brands: Disney; Coca-Cola
Brand message: It can happen.
The Outlaw archetype searches for revenge, and to do this, he doesn't mind
causing revolutions and destroying things that aren't working. He has a
strong sense of justice and does not settle for the social status quo.
Examples: Indiana Jones; Han Solo-Star Wars.
Brands: Virgin; Harley Davidson; Diesel
Brand message: Rules are made to be broken.
The Explorer has a constant desire to find meaning in the world and the “self”.
He enjoys freedom, authenticity, and a life of fulfilment. He is a nonconformist
and enjoys helping others express their individuality. His strategy is to
improve life’s journey, relish every experience, and to avoid boredom.
Brands: Red Bull; Jeep; The North Face

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Brand message: You only get one life. Get out and make it count.
The Sage searches for the truth and uses his intelligence to analyse and make
sense of the world. This form of archetype searches strategically for
information, valid knowledge, and reflection and he aims to nurture the next
generations. He is a mentor and guides the protagonist by giving advice and
preparing him for challenges.
Examples: Gandalf - The Lord of the Rings; Albus Dumbledore - Harry Potter
Brands: Google; BBC; University of Oxford
Brand message: The truth will set you free.
The Innocent has a desire to experience paradise and wants to be happy. He
sees the world as a good place until his perspective changes because of a
negative experience. He learns his lesson and chooses to do what is right.
Examples: Harry Potter; The Wizard of Oz
Brands: Dove; Aveeno
Brand message: The most wholesome things in life are unadulterated and pure.
The Creator longs to add value to the world with his creations and intends to
give form to his vision by developing his artistic control and innovative skills.
He can be a businessperson, often a loner who is willing to sacrifice anything,
including his family and friends, to leave his mark in the world.
Example: Elon Musk; Steve Jobs; Willy Wonka - Charlie, and the Chocolate
Factory.
Brands: Lego; Apple; Adobe
Brand message: If it can be imagined, it can be created. Think different.
The Ruler archetype has a desire to control the world. His goal is to stay on
top and to have a prosperous family and business. His strategy is to practise
leadership and be charismatic. He can sometimes be kind or can act in a
more dictatorial way.
Examples: Miranda Priestly - The Devil Wears Prada; Mr Burns - The Simpsons
Brands: Louis Vuitton; Mercedes Benz; Rolex
Brand message: You are successful in work and life. Power isn´t everything, it's
the only thing.
The Caregiver has an intrinsic desire to protect others from harm, and he
seeks to help them by doing things for them. He is someone that people can
rely on to protect others.
Examples: Mary Poppins; Samwise Gamgee - The Lord of the Rings.
Brands: UNICEF; Red Cross
Brand message: Love your neighbour as yourself.

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The Everyman archetype is the personification of a normal person that for
some reason, experiences exceptional situations and has a desire to
overcome his difficulties. He wishes to connect with others and wants to fit
into society’s parameters. His strategy is to blend in with others.
Examples: Dr John Watson - Sherlock Holmes.
Brands: IKEA; Target; Gap
Brand message: When we treat each other with honesty and friendliness, we
can live together in harmony.
The Jester has a desire to live and to enjoy every moment. He does not take
life too seriously. His goal is to light up the world and to do this, he makes
jokes and has fun.
Examples: Timon and Pumba - The Lion King; Donkey-Shrek
Brands: M&M’s; Old Spice
Brand message: We are here for a short time, not for a long time. Let your hair
down and start living life.
The Lover archetype desires to achieve intimacy and pleasure. His life goal is
to create relationships. He values life experiences and develops his skills of
attractiveness.
Examples: Jack and Rose -Titanic; Samwise - The Lord of the Rings.
Brands: Channel; Victoria’s Secret; Alfa Romeo
Brand message: I only have eyes for you.
Archetypes are the heartbeat of a brand because they convey a meaning that
makes customers relate to a product as if it were alive in some way, they have
a relationship with it and care about it (Mark and Pearson, 2001).
Brand archetypes can be effective in communicating universal characteristics,
behaviours, and patterns that audiences can understand instinctively, as if
they were programmed into the subconscious. Consumers will recognise the
individual personalities in the story because they seem familiar to them.
This “brain programming” is a useful tool for marketers to define the values
and the positioning of the brand that will resonate with the audience (Miller,
2017).
“95% of consumer purchases are based on subconscious decisions.”
(Zaltman,
2003).
Professor Gerald Zaltman, from Harvard Business School (2003), outlines
strong competitive advantages for brands that use archetypes to connect with
the human perspective of an audience.

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Individuals’ everyday decisions and actions generally operate below their
conscious awareness. It explains why people have trouble explaining their
behaviour and knowing why it is or is not successful (Zaltman et al., 2019).
The archetypes are representative of all kinds of personalities and can work
equally for brands and customers. Also, marketers can strategically align a
brand with a specific audience archetype. For example: if the brand uses the
“Everyman” archetype and also wants to evoke the “Hero” archetype, it ought
to implement the desire to become more powerful in its communication
strategy. It is vital to understand who the audience of interest is for the brand,
so the archetype can be as effective as possible.
Brands communicate a vision, a mission and a purpose. Before a brand
develops its storytelling strategy, it first needs to define what it represents,,
regardless of the industry or core business. A good start is the brand's
mission, values, and personality because they are the foundation for building
a brand storytelling strategy and as a consequence, bring the company’s
stories to life (Walter and Gioglio, 2018).
A brand's purpose should be the DNA of the business, so that every action of
the company expresses this DNA According to (Walter and Gioglio 2018).
Simon Sinek recommends that companies first ask themselves why people
buy the brands they buy, rather than focusing on solely selling the brand
(Sinek, 2018).
Creating compelling stories about the brand can have a more positive effect
on audiences than simply speaking about the brand, because it helps
establish an affective bond with customers.
3. RETROMARKETING IN STORYTELLING
Retromarketing products can be of two kinds: a genuine replica of the
original or a recent product adapted from a retro style. Nostalgia marketing is
increasing and can be seen in various forms. The Fiat 500 has recently been
rebranded as a new model; the Mont Blanc Fountain Pen, from 1980 is also a
retro product that continues to be a status symbol. Also, the Ray-Ban Aviator
sunglasses are a retro product from 1937 and their design is similar to the
original model.
This rise of retromarketing products can be influenced by demographic,
socio-economic, cultural and organisational factors. Retromarketing involves
the search for authenticity in an inauthentic world (Brown et al., 2003).
The Levi Strauss brand is an example of how retromarketing products can add
an economic value to brands and consumers. Levi Strauss & Co. reacquired a

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pair of old style Levi jeans, made in the 1980s, for $46,532 on eBay, the
highest price ever paid for denim (Associated Press, 2001).
The pair of jeans were found in an old warehouse but were still in good
condition. The vintage style Levi’s Nevada jeans were later re-released as a
limited edition. An exact reproduction of the old style that became popular
with the brand's devotees with a $500 pricetag. The pockets which were
originally designed to hold plyers, were adapted as new pockets for
smartphones and other high-tech tools (Brown et al., 2003), marking a post-
industrial era. Retromarketing has examples in various countries (Brown et al.,
2003):
• The theatrical revivals of the West End in Britain;
• A Titanic retroscape in Ireland;
• The Lord of the Rings set in New Zealand was transformed by the
tourism industry into a mythical medieval landscape.
Retromarketing and the use of nostalgic stories represent an opportunity to
touch the feelings and happy memories of people as if they could travel back
in time back to positive experiences and feelings. Netflix Brazil has a recent
example of the use of retromarketing storytelling on the “Stranger Things”6
marketing campaigns.
One of their successful retromarketing campaigns is the “Stranger Things”
app so-called “Stranger Antenna” in which the idea is that those who
download the app will be able to see exclusive content related to the plot. But
to do so, a piece of metal scourer needs to be placed behind the mobile
phone - or any other metal or object that has a magnetic field, such as a coin.
This campaign was developed in a collaboration with the Bombril7 company
(Bombril Oficial, 2019), the metal scourer brand intended to reflect the 1980’s
decade when Brazilian communities used to use metal scourer in TV antennas
to capture a better signal (Meio & Mensagem, 2019).
Retromarketing customers are attracted by a sense of certainty which they
remember from their childhood, and contrasts with the uncertainty of the
present day (Brown et al., 2003). Consumers continuously demonstrate a
search for authenticity, as the world is becoming more unauthentic.
6. “Stranger Things” is a series based on an American science fiction horror drama television,
created by the Duffer Brothers streamed on Netflix, available at
www.youtube.com/watch?v=b7_aCq_gI4o
7. The Netflix & Bombril app’s presentation, available at
www.youtube.com/watch?v=b7_aCq_gI4o

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4. DISCUSSION AND CONCLUSIONS
This article has reflected on the importance and the value of stories in
companies and brands. Instead of selling the products or services by talking
about them, brands should tell stories about their culture, values and mission.
It has explored the science behind the art of storytelling and the power
communicated to the audience through stories. With regards to this, the
hormones that are released in the human brain are considered to be the
brain’s “calls to action”. For example, the oxytocin hormone generates
unconsciously positive emotions and feelings in reaction to branded stories.
Consumers are more likely to buy from someone they trust and with whom
they want to develop an empathetic relationship.
Retromarketing and the importance of the use of nostalgic stories was also
analysed, due to their considerable relevance as a way to bring the audience
closer to the brand, and to reinforce communication.
Marketers need to be aware of these reasons for using retromarketing and
need to explore them in branded storytelling. It is very important to be
genuine with target audiences and avoid copying other brands. The purpose
should be to create bonds with audiences, and storytelling is considered a
powerful tool to achieve this objective.
Creating meaningful and compelling retromarketing stories goes far beyond
advertising, they add economic value to brands, build loyalty and a feeling of
fulfilment and belonging in consumers.
In further studies, we would like to explore brand archetypes (segmented
personalities) in more detail, and to propose an archetypal framework to
implement in corporate communication. These archetypes are being
investigated when retromarketing strategies are carried out.
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