In 2022, Doja Cat walked the red carpet for the sixty-fourth annual Grammy Awards in Las Vegas, Nevada, wearing a blinged-out JBL speaker as her only accessory. Chris Epple, vice president of marketing in the lifestyle division of JBL’s parent company, Harman International Industries Inc. (Harman), had realized a huge win with the Doja Cat collaboration. A year after the Grammy Awards, in March 2023, Epple contemplated what was next. He knew this had been the right partnership at the right time, but his greatest concern now was maintaining the social media buzz and continuing to build community around the brand. He wondered how JBL should manage future partnerships and collaborations to keep its target Generation Z consumers engaged and the brand story relevant.
MedfirstIndia Trading Private Limited was a privately owned e-commerce start-up in India. The firm’s goal was to establish a first-of-its-kind medical devices e-commerce platform catering to various underserved market segments, such as small hospitals and independent medical practices. The firm relied primarily on digital channels for branding and customer outreach. However, the founders did not have a structured data-driven decision-making strategy in place despite the wealth of data flowing in through web analytics. In 2018, after three years of operations, the firm closed its doors. The case highlights the challenges of strategizing and managing the digital marketing operations of an e-commerce start-up.
Hopeworks Camden (Hopeworks), a small non-profit organization based in Camden, New Jersey, with a $4.7 million annual budget in 2022, was looking ahead to 2024. It was mid-July 2023, and the board of directors tasked Don Rhoton, Hopeworks’ chief executive officer, and Onome Pela-Emore, their chief operating officer, to develop an expansion plan that is financially viable and increases their geographic reach, beginning as early as the second quarter 2024. Rhoton and Pela-Emore believed in their mission and knew that to grow they would need to increase in spatial geography, obtain new business opportunities, increase recruitment and training, and be competitive in the marketplace. They also knew that to make this all happen they would have to question how they market, determine who they would market to, and how the market will recognize them as a competitor.
Jason Kelce, an NFL player and athlete recognized around the world, had built a strong personal brand over the course of his career. He had reinvented himself and worked hard at honing his own personal branding, successively building a successful platform for each venture and staying forward-looking about his future after retiring from football. By 2023, Kelce was at a crossroads. He was not quite ready to hang up his Philadelphia Eagles jersey, and he knew that managing his own personal brand was a full-time endeavour as well. What was the best way to further develop his brand so that it would continue to flourish post-NFL career? What kinds of projects should Kelce take on next?
The concept of Jungle Bay Dominica (Jungle Bay) was created by Samuel Raphael on the island of Dominica in 1997 and first opened for business in 2005. Raphael’s philosophy was that he could profitably operate a luxury hotel with minimal disturbance to the surrounding natural environment that functioned as a tool to further the economic growth and social welfare of the local population. To its clientele, Jungle Bay offered a variety of experiences in a tropical setting, such as breathtaking views, spa treatments, lush gardens and orchards, adventure tours, and fresh organic food. For the Jungle Bay team, Raphael provided opportunities for learning new skills and a steady income, and he gave motivated individuals an opportunity to grow. However, a series of natural disasters and the COVID-19 pandemic had resulted in Jungle Bay struggling to achieve occupancy rates above 35 per cent. Raphael had to determine the best way to expand Jungle Bay’s marketing efforts, increase occupancy rates, and increase revenue.
Hillel International was founded in the United States in 1929 as a non-profit organization, with a mission to enrich the lives of Jewish students so that they may enrich the Jewish people and the world. By 2021, it had grown into the world’s largest Jewish college campus organization with over US$50 million in revenue and had achieved international recognition by connecting students at colleges and universities around the world. In August 2021, the newly appointed brand director was challenged with developing a new digital marketing strategy in the throes of rising antisemitism. Her campaign had to be educational and engaging, and should empower Jewish students on campus to act: involving other Jewish students and fostering a feeling of inclusivity for all. The brand director had much to prepare and needed to outline how Hillel International should embark on a marketing campaign during the fourth quarter of 2021.
In early May 2022, Collie Turner, founder of award-winning non-profit organization Heroic Gardens, was looking to obtain additional revenue streams in order to expand the organization’s programming. The mission of Heroic Gardens was clear: help veterans experience the healing power of nature. The pivot to a new campaign during the COVID-19 pandemic was successful, and the number of organizations and veterans reaching out for services was increasing.<br><br>Heroic Gardens was looking for funding and new ways to scale in order to grow its programs and hire employees to support that growth. As Turner was preparing for a financial and program review with her board—and knowing that the organization was 99 per cent volunteer run—the challenge was understanding and finding a way to increase funding in order to support Heroic Gardens and the veterans it serves.
Dietz and Watson (D&W), a family run business that had been operating in Philadelphia for over eighty years, was a key player in the deli meat product market. D&W was concerned about losing market share overall; it was dependent on the aging baby boomer segment and possibly not top of mind for a younger, more progressive demographic. In early 2019, the company’s vice-president of brand strategy had to consider various options for investing the brand’s resources and offer a credible plan to the chief financial officer. What tactics could the company employ? What were the risks of various marketing strategies, and how could the company mitigate those risks? Could a digital strategy help D&W make inroads with the targeted demographic? If so, what would such a strategy look like?
Nima Gohil, head of the new digital and creative consumer research department at L’Oréal USA (L’Oréal), was preparing for the upcoming January 2016 board meeting at L’Oréal’s research and innovation headquarters in Clark, New Jersey. L’Oréal’s competitors were using new digital media to highlight beauty products to current and new users, and L’Oréal was under pressure to develop a better way to connect with consumers to maintain—if not grow—market share. Top management had also urged Gohil’s department to reduce time and costs when collecting insights from consumers. Gohil focused on the hair care consumer segments, where she thought it was critical for L’Oréal to address and fully commit to the digital transformation that was being adopted by many other industries. She had only a few weeks to complete her assessments of L’Oréal’s digital strategy and assets and to prepare a functional recommendation to upper management.
Between 2010 and 2015, Opera Philadelphia experienced a steep decline in household subscribers and single-ticket buyers, coupled with severe revenue fluctuations. At that time, market behaviours had changed along with growth in more sophisticated use of digital media for entertainment and social interaction.<br><br>The general director’s critical objective for the Opera was to develop a fresh strategy that specifically targeted evolving tastes for opera performance in Philadelphia and the surrounding area. The Opera had to determine whether it needed to revise its segmentation and positioning strategy, as well as make adjustments to its product. This new strategy also had to provide protection for and prevent further loss of the Opera’s existing subscription audience, many of whom were loyal donors.