Araştırma Makalesi
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THE USE OF BRAND MONOGRAMS IN STORE SPACE DESIGN

Yıl 2026, Cilt: 16 Sayı: 2 , 1169 - 1182 , 01.04.2026
https://doi.org/10.7456/tojdac.1858083
https://izlik.org/JA29LY36RN

Öz

Monograms are symbolic expressions composed of letters. Brand monograms are used to reflect visual identity in marketing. The use of monograms is particularly common among brands in the fashion industry. Various fashion products, such as clothing and accessories, are designed with symbolic connotations that reflect brand value. For this reason, monograms are important visual indicators in fashion marketing. Monograms are used in store spaces that reflect the fashion brand image and bring products together with consumers. Store spaces are strategic visual representations that reflect monograms. This research analyses how monograms belonging to fashion brands are reflected in store design. Within the scope of qualitative research, visual content analysis is carried out through case study. The model developed according to the research methodology defines the monogram design and the contents of the store space components. Design indicators are analysed based on visual data for monogram applications in stores. The analysed design indicators are expressed through qualitative coding. The sample set consists of the Fendi brand monogram and the brand's store spaces. The analysed findings are discussed through a network map. The relationship between the network map and the monogram and space design is shown.

Kaynakça

  • Abimbola, T., M Lim, A. E., & Kent, A. M. (2010). Architecture as brand: Store design and brand identity. Journal of Product & Brand Management, 19(6), 432-439. doi:https://doi.org/10.1108/10610421011085749
  • Ajayi, O. T., & Seyi-Gbangbayau, P. S. (2019). Monogramming: A visual means of empowering undergraduate through art. Journal of Management And Technology, The Federal Polytechnic, Ilaro (Jourmatech), 5(1), 40-50.
  • Ak, M. (2011). Marka yönetimi ve imaj. Hayy Kitap.
  • Andreas. (2021, May 26). Miami: Fendi caffe opening. Retrieved from Super Future: https://superfuture.com/2021/05/new-restaurants-bars/miami-fendi-caffe-opening/
  • Andreas. (2022, November 8). Tokyo: Fendi pop-up store. Retrieved from Super Future: https://superfuture.com/2022/11/new-shops/tokyo-fendi-pop-up-store/
  • Andreas. (2024, December 6). Miami: Fendi store renewal. Retrieved from Super Future: https://superfuture.com/2024/12/new-shops/miami-fendi-store-renewal/
  • Andreas. (2024, June 28). Osaka: Fendi store opening. Retrieved from Super Future: https://superfuture.com/2024/06/new-shops/osaka-fendi-store-opening/
  • Bai, H., McColl, J., & Moore, C. (2022). Luxury fashion retailers' localised marketing strategies in practice evidence from China. International Marketing Review, 39(2), 352–370. doi:https://doi.org/10.1108/IMR-02-2021-0079
  • Baker, M. J., Balmer, & T, J. M. (1997). Visual identity: Trappings or substance? European Journal of Marketing, 31(5-6), 366–382. doi:https://doi.org/10.1108/eb060637
  • Barthes, R. (1993). Göstergebilimsel serüven. Yapı Kredi Yayınları.
  • Bettels, J., & Wiedmann, K.-P. (2019). Brand logo symmetry and product design: The spillover effects on consumer inferences. Journal of Business Research, 97, 1-9. doi:https://doi.org/10.1016/j.jbusres.2018.12.039
  • Bian, Q., & Forsythe, S. (2012). Purchase intention for luxury brands: A cross cultural comparison. Journal of Business Research, 62(10), 1443-1451. doi:https://doi.org/10.1016/j.jbusres.2011.10.010
  • Bitner, J. M. (1992). Servicescapes: The impact of physical surroundings on customers and employees. Journal of Marketing, 56(2), 57-71.
  • Blank, P., Massey, C., Gardner, H., & Winner, E. (1984). Perceiving what paintings express. Advances in Psychology, 19, 127-43.
  • Bresciani, S., & Del Ponte, P. (2017). New brand logo design: Customers’ preference for brand name and icon. J Brand Manag, 24, 375–390. doi:https://doi.org/10.1057/s41262-017-0046-4
  • Business, V. (2025, March 26). Vogue Business Index Top 10: Preppy Is Back and So Is Ralph Lauren. Retrieved from Vogue Business: https://www.vogue.com/article/vogue-business-index-top-10-preppy-is-back-and-so-is-ralph-lauren
  • Chen, B. (2026). Beyond consistency: The role of logo variability in brand extensions. Journal of Retailing and Consumer Services, 88. doi:https://doi.org/10.1016/j.jretconser.2025.104547
  • Codignola, F. (2018). Luxury fashion brands and furniture design: ınvestigating strategic associations. European Scientific Journal, ESJ, 14(4), 44-60. doi:https://doi.org/10.19044/esj.2018.v14n4p44
  • Creswell, J. W. (2013). Nitel araştırma yöntemleri. Siyasal Kitabevi.
  • De Barnier, V., & Valette-Florence, P. (2013). Culture and luxury: An analysis of luxury perceptions across frontiers. In K.-P. Wiedmann, & N. Hennigs (Eds.), Luxury marketing a challenge for theory and practice (pp. 37-56). Springer Gabler. doi:https://doi.org/10.1007/978-3-8349-4399-6
  • Fajardo, T. M., Zhang, J., & Tsiros, M. (2016). The contingent nature of the symbolic associations of visual design elements: The case of brand logo frames. Journal of Consumer Research, 43(4), 549–566. doi:https://doi.org/10.1093/jcr/ucw048
  • Faurote, A. (2019, November 12). FENDI x SKIMS: The Collaboration Of The Year Opens A Special Pop-Up Boutique On Rodeo Drive. Retrieved from Haute Living: https://hauteliving.com/2021/11/fendi-x-skims-los-angeles/704737/
  • Fendi. (2025, December 13). Retrieved from Wikipedia: https://en.wikipedia.org/wiki/Fendi
  • Fionda, A., & Moore, C. (2009). The anatomy of the luxury fashion brand. Brand Management, 12(5-6), 347–363. doi:https://doi.org/10.1057/bm.2008.45
  • Guerro, F. (2015). A study of the development of monograms: from Ancient Greek coins to contemporary logos. University of Reading.
  • Guzmán, F., Iglesias, O., Machado, J. C., Vacas‐de‐Carvalho, L., Costa, P., & Lencastre, P. (2012). Brand mergers: examining consumers' responses to name and logo design. Journal of Product & Brand Management, 21(6), 418–427. doi:https://doi.org/10.1108/106
  • Hatch, J. M., & Schultz, M. (2011). Marka girişimi. (U. Mehter, Trans.) Brandage Yayınları.
  • Haug, A., & Münster, M. B. (2015). Design variables and constraints in fashion store design processes. International Journal of Retail & Distribution Management, 43(9), 831–848. doi:https://doi.org/10.1108/IJRDM-11-2013-0207
  • Heine, K., & Atwal, G. (2022). Growing luxury brands through culture-driven innovation. Luxury, Entrepreneurship, and Innovation, 31(5), 533-543. doi:https://doi.org/10.1002/jsc.2524
  • Henseler, J., Guerreiro, M., & De Matos, N. (2021). The interplay of marketing and design. Rev Manag Sci, 15, 1129–1137. doi:https://doi.org/10.1007/s11846-021-00470-z
  • Hornig, T., Fischer, M., & Schollmeyer, T. (2013). The role of culture for pricing luxury fashion brands. . Marketing ZFP, 35(2), 118-130. doi:https://doi.org/10.15358/0344-1369_2013_2_118
  • Horst, V. D., & Aharon, R. (2024). Icons of change: Exploring the evolution of ıconic assets in the luxury sector [Master dissertation, Lund University]. LUP Student Papers. doi:https://lup.lub.lu.se/student-papers/search/publication/9167568
  • Kapferer, J. N., & Valette-Florence, P. (2016). Beyond rarity: the paths of luxury desire. How luxury brands grow yet remain desirable. Journal of Product & Brand Management, 25(2), 120-133. doi:http://dx.doi.org/10.1108/JPBM-09-2015-0988
  • Keller, K. L. (2001). Building customer-based brand equity: creating brand resonance requires carefully sequenced brand-building efforts. Marketing Management, 10(2), 14–9.
  • Kılıç, Ö., & Arslan, P. (2023). Ünlü moda markalarında öne çıkan motiflerin incelenmesi. The Turkish Online Journal of Design Art and Communication, 14(1), 128-147. doi:https://doi.org/10.7456/tojdac.1369929
  • Koyama, T. (2013). Luxury brands from a psychoanalytic perspective. In K.-P. Wiedmann, & N. Hennigs (Eds.), Luxury marketing a challenge for theory and practice (pp. 103-118). Springer Gabler. doi:https://doi.org/10.1007/978-3-8349-4399-6
  • Monogram. (2024). Wikipedia: https://tr.wikipedia.org/wiki/Monogram adresinden alındı
  • Morgan, T. (2008). Visual merchandising: Windows and in-store displays for retail. Laurence King.
  • Neuman, W. L. (2013). Toplumsal araştırma yöntemleri, nitel ve nicel yaklaşımlar CII. (S. Özge, Çev.) Yayınodası.
  • Nueno, J. L., & Quelch, J. A. (1998). The mass marketing of luxury. Buniness Horizons, November-December.
  • Öztekin, M. (2025). Analysis of identity approaches belongs to fashion brands in furniture design products. Sanat ve Tasarım Dergisi, 15(2), 904-926. doi:https://doi.org/10.20488/sanattasarim.1827807
  • Park, H.-J., Rabolt, H. J., & Jeon, K. S. (2008). Purchasing global luxury brands among young Korean consumers. Journal of Fashion Marketing and Management, 12(2), 244–259. doi:https://doi.org/10.1108/13612020810874917
  • Parsons, A. G. (2011). Atmosphere in fashion stores: do you need to change? Journal of Fashion Marketing and Management: An International Journal, 15(4), 428–445. doi:https://doi.org/10.1108/13612021111169933
  • Peirson-Smith, A. (2013). Wishing on a star: Promoting and personifying designer collections and fashion brands. Fashion Practice, 5(2), 171-201. doi:https://doi.org/10.2752/175693813X13705243201450
  • Pilici, E. (2025). Monogramların tarihsel ve güncel kullanımı. Motif Akademi Halkbilimi Dergisi, 18(50), 1188-1207. doi:https://doi.org/10.12981/mahder.1574591
  • Retailboss. (2025, December 14). Top 10 Most Desirable Luxury Brands in 2025 Ranking. Retrieved from Retail Boss: https://retailboss.substack.com/p/top-10-most-desirable-luxury-brands
  • Saldana, J. (2024). Nitel araştırmacılar için Kodlama el kitabı. Pegen akademi.
  • Samli, A. C. (2013). International consumer behavior in the 21st century. Springer.
  • Strong, J. S. (2024). The distribution of retail gross margin: analysis and implications. The International Review of Retail, Distribution and Consumer Research, 34(5), 531-550. doi:https://doi.org/10.1080/09593969.2024.2309363
  • Trehan, S., & Kalro, A. D. (2024). A comprehensive framework of visual elements in brand logos: content analysis of top 500 global brands. Journal of Product & Brand Management, 33(8), 1055–1072. doi:https://doi.org/10.1108/JPBM-09-2023-4720
  • Turley, L. W., & Chebat, J. C. (2002). Linking retail strategy, atmospheric design and shopping behaviour. Journal of Marketing Management, 18(1-2), 125–144. doi:https://doi.org/10.1362/0267257022775891
  • Turunen, L. L. (2018). Interpretations of luxury. (P. Shukla, & J. Singh, Eds.) Palgrave Macmillan.
  • Ulağlı, S. (2006). İmgebilim “Öteki”in bilimine giriş. Sinemis Yayınları.
  • Wagemans, J. (1997). Characteristics and models of human symmetry detection. Trends in Cognitive Sciences, 1(9), 346-352. doi:https://doi.org/10.1016/S1364-6613(97)01105-4
  • Welté, J.-B., Cayla, J., & Fischer, E. (2022). Navigating contradictory logics in the field of luxury retailing. Journal of Retailing, 98(3), 510-526. doi:https://doi.org/10.1016/j.jretai.2021.11.002
  • Wertz, R. A. (2023). Brand new: how visual context shapes initial response to logos and corporate visual identity systems. Journal of Product & Brand Management, 32(8), 1388–1398. doi:https://doi.org/10.1108/JPBM-08-2022-4124
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  • Wightman-Stone. (2019, August 7). In Pictures: Fendi opens footwear pop-up in Harrods. Retrieved from Fashion United: https://fashionunited.uk/news/retail/in-pictures-fendi-opens-footwear-pop-up-in-harrods/2019080744644
  • Wirtz, J., Holmqvist, J., & Fritze, M. P. (2020). Luxury services. Journal of Service Management, 31(4), 665–691. doi:https://doi.org/10.1108/JOSM-11-2019-0342
  • Wisch, B. (2019, July 16). Fendi’s pop-up café is the most Instagrammable thing in London right now. Retrieved from Vogue: https://www.vogue.com.au/vogue-living/entertaining/fendis-popup-caf-is-the-most-instagrammable-thing-in-london-right-now/image-gallery/2523fe057716d6dc15cf97e72978bc71?page=1
  • Yavuz Öden, H. (2024). Yeniden işlevlendirme kapsamında İsmail Dalgıç Konağı. Sanat & Tasarım Dergisi, 14(2), 648-669. doi:https://doi.org/10.20488/sanattasarim.1603206

MAĞAZA MEKÂN TASARIMINDA MARKA MONOGRAMLARININ KULLANIMI

Yıl 2026, Cilt: 16 Sayı: 2 , 1169 - 1182 , 01.04.2026
https://doi.org/10.7456/tojdac.1858083
https://izlik.org/JA29LY36RN

Öz

Monogramlar harflerden oluşan sembolik ifadelerdir. Pazarlama açısından görsel kimliği yansıtmak için marka monogramları kullanılmaktadır. Özellikle moda endüstrisine ait markalarda monogram kullanımı yaygındır. Giyim ve aksesuar gibi çeşitli moda ürünleri marka değerini yansıtan sembolik çağrışımlarda tasarlanmaktadır. Bunun için monogramlar moda pazarlamasında önemli görsel göstergelerdir. Moda marka imajını yansıtan ve ürünleri tüketicilerle bir araya getiren mağaza mekânlarında monogramlar kullanılmaktadır. Mağaza mekânları monogramları yansıtan stratejik görsel temsildir. Bu araştırma moda markalarına ait monogramların mağaza tasarımına nasıl yansıdığını analiz etmektedir. Nitel araştırma sınırında örnek olay incelemesi üzerinden görsel içerik analiz gerçekleştirilmektedir. Araştırma metodolojisine göre geliştirilen model ile monogram tasarımı ve mağaza mekân bileşenlerinin içerikleri tanımlanmaktadır. Mağazalardaki monogram uygulamalar için görsel veriler üzerinden tasarım göstergeleri analiz edilmektedir. Analiz edilen tasarım göstergeleri nitel kodlamalar ile ifade edilmektedir. Örneklem setini Fendi marka monogramı ve markaya ait mağaza mekânları oluşturmaktadır. Analiz edilen bulgular bir ağ haritası üzerinden tartışılmaktadır. Ağ haritası ile monogram ve mekân tasarımı arasındaki ilişki gösterilmektedir.

Kaynakça

  • Abimbola, T., M Lim, A. E., & Kent, A. M. (2010). Architecture as brand: Store design and brand identity. Journal of Product & Brand Management, 19(6), 432-439. doi:https://doi.org/10.1108/10610421011085749
  • Ajayi, O. T., & Seyi-Gbangbayau, P. S. (2019). Monogramming: A visual means of empowering undergraduate through art. Journal of Management And Technology, The Federal Polytechnic, Ilaro (Jourmatech), 5(1), 40-50.
  • Ak, M. (2011). Marka yönetimi ve imaj. Hayy Kitap.
  • Andreas. (2021, May 26). Miami: Fendi caffe opening. Retrieved from Super Future: https://superfuture.com/2021/05/new-restaurants-bars/miami-fendi-caffe-opening/
  • Andreas. (2022, November 8). Tokyo: Fendi pop-up store. Retrieved from Super Future: https://superfuture.com/2022/11/new-shops/tokyo-fendi-pop-up-store/
  • Andreas. (2024, December 6). Miami: Fendi store renewal. Retrieved from Super Future: https://superfuture.com/2024/12/new-shops/miami-fendi-store-renewal/
  • Andreas. (2024, June 28). Osaka: Fendi store opening. Retrieved from Super Future: https://superfuture.com/2024/06/new-shops/osaka-fendi-store-opening/
  • Bai, H., McColl, J., & Moore, C. (2022). Luxury fashion retailers' localised marketing strategies in practice evidence from China. International Marketing Review, 39(2), 352–370. doi:https://doi.org/10.1108/IMR-02-2021-0079
  • Baker, M. J., Balmer, & T, J. M. (1997). Visual identity: Trappings or substance? European Journal of Marketing, 31(5-6), 366–382. doi:https://doi.org/10.1108/eb060637
  • Barthes, R. (1993). Göstergebilimsel serüven. Yapı Kredi Yayınları.
  • Bettels, J., & Wiedmann, K.-P. (2019). Brand logo symmetry and product design: The spillover effects on consumer inferences. Journal of Business Research, 97, 1-9. doi:https://doi.org/10.1016/j.jbusres.2018.12.039
  • Bian, Q., & Forsythe, S. (2012). Purchase intention for luxury brands: A cross cultural comparison. Journal of Business Research, 62(10), 1443-1451. doi:https://doi.org/10.1016/j.jbusres.2011.10.010
  • Bitner, J. M. (1992). Servicescapes: The impact of physical surroundings on customers and employees. Journal of Marketing, 56(2), 57-71.
  • Blank, P., Massey, C., Gardner, H., & Winner, E. (1984). Perceiving what paintings express. Advances in Psychology, 19, 127-43.
  • Bresciani, S., & Del Ponte, P. (2017). New brand logo design: Customers’ preference for brand name and icon. J Brand Manag, 24, 375–390. doi:https://doi.org/10.1057/s41262-017-0046-4
  • Business, V. (2025, March 26). Vogue Business Index Top 10: Preppy Is Back and So Is Ralph Lauren. Retrieved from Vogue Business: https://www.vogue.com/article/vogue-business-index-top-10-preppy-is-back-and-so-is-ralph-lauren
  • Chen, B. (2026). Beyond consistency: The role of logo variability in brand extensions. Journal of Retailing and Consumer Services, 88. doi:https://doi.org/10.1016/j.jretconser.2025.104547
  • Codignola, F. (2018). Luxury fashion brands and furniture design: ınvestigating strategic associations. European Scientific Journal, ESJ, 14(4), 44-60. doi:https://doi.org/10.19044/esj.2018.v14n4p44
  • Creswell, J. W. (2013). Nitel araştırma yöntemleri. Siyasal Kitabevi.
  • De Barnier, V., & Valette-Florence, P. (2013). Culture and luxury: An analysis of luxury perceptions across frontiers. In K.-P. Wiedmann, & N. Hennigs (Eds.), Luxury marketing a challenge for theory and practice (pp. 37-56). Springer Gabler. doi:https://doi.org/10.1007/978-3-8349-4399-6
  • Fajardo, T. M., Zhang, J., & Tsiros, M. (2016). The contingent nature of the symbolic associations of visual design elements: The case of brand logo frames. Journal of Consumer Research, 43(4), 549–566. doi:https://doi.org/10.1093/jcr/ucw048
  • Faurote, A. (2019, November 12). FENDI x SKIMS: The Collaboration Of The Year Opens A Special Pop-Up Boutique On Rodeo Drive. Retrieved from Haute Living: https://hauteliving.com/2021/11/fendi-x-skims-los-angeles/704737/
  • Fendi. (2025, December 13). Retrieved from Wikipedia: https://en.wikipedia.org/wiki/Fendi
  • Fionda, A., & Moore, C. (2009). The anatomy of the luxury fashion brand. Brand Management, 12(5-6), 347–363. doi:https://doi.org/10.1057/bm.2008.45
  • Guerro, F. (2015). A study of the development of monograms: from Ancient Greek coins to contemporary logos. University of Reading.
  • Guzmán, F., Iglesias, O., Machado, J. C., Vacas‐de‐Carvalho, L., Costa, P., & Lencastre, P. (2012). Brand mergers: examining consumers' responses to name and logo design. Journal of Product & Brand Management, 21(6), 418–427. doi:https://doi.org/10.1108/106
  • Hatch, J. M., & Schultz, M. (2011). Marka girişimi. (U. Mehter, Trans.) Brandage Yayınları.
  • Haug, A., & Münster, M. B. (2015). Design variables and constraints in fashion store design processes. International Journal of Retail & Distribution Management, 43(9), 831–848. doi:https://doi.org/10.1108/IJRDM-11-2013-0207
  • Heine, K., & Atwal, G. (2022). Growing luxury brands through culture-driven innovation. Luxury, Entrepreneurship, and Innovation, 31(5), 533-543. doi:https://doi.org/10.1002/jsc.2524
  • Henseler, J., Guerreiro, M., & De Matos, N. (2021). The interplay of marketing and design. Rev Manag Sci, 15, 1129–1137. doi:https://doi.org/10.1007/s11846-021-00470-z
  • Hornig, T., Fischer, M., & Schollmeyer, T. (2013). The role of culture for pricing luxury fashion brands. . Marketing ZFP, 35(2), 118-130. doi:https://doi.org/10.15358/0344-1369_2013_2_118
  • Horst, V. D., & Aharon, R. (2024). Icons of change: Exploring the evolution of ıconic assets in the luxury sector [Master dissertation, Lund University]. LUP Student Papers. doi:https://lup.lub.lu.se/student-papers/search/publication/9167568
  • Kapferer, J. N., & Valette-Florence, P. (2016). Beyond rarity: the paths of luxury desire. How luxury brands grow yet remain desirable. Journal of Product & Brand Management, 25(2), 120-133. doi:http://dx.doi.org/10.1108/JPBM-09-2015-0988
  • Keller, K. L. (2001). Building customer-based brand equity: creating brand resonance requires carefully sequenced brand-building efforts. Marketing Management, 10(2), 14–9.
  • Kılıç, Ö., & Arslan, P. (2023). Ünlü moda markalarında öne çıkan motiflerin incelenmesi. The Turkish Online Journal of Design Art and Communication, 14(1), 128-147. doi:https://doi.org/10.7456/tojdac.1369929
  • Koyama, T. (2013). Luxury brands from a psychoanalytic perspective. In K.-P. Wiedmann, & N. Hennigs (Eds.), Luxury marketing a challenge for theory and practice (pp. 103-118). Springer Gabler. doi:https://doi.org/10.1007/978-3-8349-4399-6
  • Monogram. (2024). Wikipedia: https://tr.wikipedia.org/wiki/Monogram adresinden alındı
  • Morgan, T. (2008). Visual merchandising: Windows and in-store displays for retail. Laurence King.
  • Neuman, W. L. (2013). Toplumsal araştırma yöntemleri, nitel ve nicel yaklaşımlar CII. (S. Özge, Çev.) Yayınodası.
  • Nueno, J. L., & Quelch, J. A. (1998). The mass marketing of luxury. Buniness Horizons, November-December.
  • Öztekin, M. (2025). Analysis of identity approaches belongs to fashion brands in furniture design products. Sanat ve Tasarım Dergisi, 15(2), 904-926. doi:https://doi.org/10.20488/sanattasarim.1827807
  • Park, H.-J., Rabolt, H. J., & Jeon, K. S. (2008). Purchasing global luxury brands among young Korean consumers. Journal of Fashion Marketing and Management, 12(2), 244–259. doi:https://doi.org/10.1108/13612020810874917
  • Parsons, A. G. (2011). Atmosphere in fashion stores: do you need to change? Journal of Fashion Marketing and Management: An International Journal, 15(4), 428–445. doi:https://doi.org/10.1108/13612021111169933
  • Peirson-Smith, A. (2013). Wishing on a star: Promoting and personifying designer collections and fashion brands. Fashion Practice, 5(2), 171-201. doi:https://doi.org/10.2752/175693813X13705243201450
  • Pilici, E. (2025). Monogramların tarihsel ve güncel kullanımı. Motif Akademi Halkbilimi Dergisi, 18(50), 1188-1207. doi:https://doi.org/10.12981/mahder.1574591
  • Retailboss. (2025, December 14). Top 10 Most Desirable Luxury Brands in 2025 Ranking. Retrieved from Retail Boss: https://retailboss.substack.com/p/top-10-most-desirable-luxury-brands
  • Saldana, J. (2024). Nitel araştırmacılar için Kodlama el kitabı. Pegen akademi.
  • Samli, A. C. (2013). International consumer behavior in the 21st century. Springer.
  • Strong, J. S. (2024). The distribution of retail gross margin: analysis and implications. The International Review of Retail, Distribution and Consumer Research, 34(5), 531-550. doi:https://doi.org/10.1080/09593969.2024.2309363
  • Trehan, S., & Kalro, A. D. (2024). A comprehensive framework of visual elements in brand logos: content analysis of top 500 global brands. Journal of Product & Brand Management, 33(8), 1055–1072. doi:https://doi.org/10.1108/JPBM-09-2023-4720
  • Turley, L. W., & Chebat, J. C. (2002). Linking retail strategy, atmospheric design and shopping behaviour. Journal of Marketing Management, 18(1-2), 125–144. doi:https://doi.org/10.1362/0267257022775891
  • Turunen, L. L. (2018). Interpretations of luxury. (P. Shukla, & J. Singh, Eds.) Palgrave Macmillan.
  • Ulağlı, S. (2006). İmgebilim “Öteki”in bilimine giriş. Sinemis Yayınları.
  • Wagemans, J. (1997). Characteristics and models of human symmetry detection. Trends in Cognitive Sciences, 1(9), 346-352. doi:https://doi.org/10.1016/S1364-6613(97)01105-4
  • Welté, J.-B., Cayla, J., & Fischer, E. (2022). Navigating contradictory logics in the field of luxury retailing. Journal of Retailing, 98(3), 510-526. doi:https://doi.org/10.1016/j.jretai.2021.11.002
  • Wertz, R. A. (2023). Brand new: how visual context shapes initial response to logos and corporate visual identity systems. Journal of Product & Brand Management, 32(8), 1388–1398. doi:https://doi.org/10.1108/JPBM-08-2022-4124
  • Whan Park, C., Eisingerich, A. B., Pol, G., & Whan Park, J. (2013). The role of brand logos in firm performance. Journal of Business Research, 66(2), 180-187. doi:https://doi.org/10.1016/j.jbusres.2012.07.011
  • Wightman-Stone. (2019, August 7). In Pictures: Fendi opens footwear pop-up in Harrods. Retrieved from Fashion United: https://fashionunited.uk/news/retail/in-pictures-fendi-opens-footwear-pop-up-in-harrods/2019080744644
  • Wirtz, J., Holmqvist, J., & Fritze, M. P. (2020). Luxury services. Journal of Service Management, 31(4), 665–691. doi:https://doi.org/10.1108/JOSM-11-2019-0342
  • Wisch, B. (2019, July 16). Fendi’s pop-up café is the most Instagrammable thing in London right now. Retrieved from Vogue: https://www.vogue.com.au/vogue-living/entertaining/fendis-popup-caf-is-the-most-instagrammable-thing-in-london-right-now/image-gallery/2523fe057716d6dc15cf97e72978bc71?page=1
  • Yavuz Öden, H. (2024). Yeniden işlevlendirme kapsamında İsmail Dalgıç Konağı. Sanat & Tasarım Dergisi, 14(2), 648-669. doi:https://doi.org/10.20488/sanattasarim.1603206
Toplam 61 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular İç Mimarlık
Bölüm Araştırma Makalesi
Yazarlar

Mertcan Öztekin 0000-0002-6490-4557

Gönderilme Tarihi 6 Ocak 2026
Kabul Tarihi 28 Mart 2026
Yayımlanma Tarihi 1 Nisan 2026
DOI https://doi.org/10.7456/tojdac.1858083
IZ https://izlik.org/JA29LY36RN
Yayımlandığı Sayı Yıl 2026 Cilt: 16 Sayı: 2

Kaynak Göster

APA Öztekin, M. (2026). THE USE OF BRAND MONOGRAMS IN STORE SPACE DESIGN. The Turkish Online Journal of Design Art and Communication, 16(2), 1169-1182. https://doi.org/10.7456/tojdac.1858083


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