The brands we’d reinvent. The magic we’d bring back. And the names we’d challenge to make us care again.
The logo is famous. The product is expensive. The campaign is immaculate.
So why does nobody at the table have anything to say about it?
That is the question behind this fashion brand reinvention wish list. Not who needs a new font. Not which creative director can generate the most dramatic appointment announcement. Something more uncomfortable: when recognition stops turning into desire, what should a brand actually do next?
We want Dolce & Gabbana to command A-list fashion energy. We want Abercrombie to remember that shopping can involve a little sexual tension. We want Jacquemus to answer a question bigger than its next spectacular reveal: you went viral. Now what?
Three different problems. Three very different briefs.
There are 18 names in this editorial, but they are not 18 failing businesses. Some are growing. Some are already making intelligent changes. The distinction matters: a business can be commercially successful and still offer an exciting creative opportunity.
What follows is independent analysis and speculative creative direction, not commissioned work, insider information or a prediction of financial distress. Our test is whether a proposed change gives the customer a clearer reason to choose the brand.
And yes, we are keeping the FCUK joke. Sometimes the headline writes the brief.
Before the makeover: diagnose the problem
A brand can have plenty of attention and too little desire. Plenty of desire and an awkward buying experience. Plenty of sales and a promotional habit that weakens profitability.
Calling all three “a branding problem” is how a perfectly innocent logo ends up in a redesign meeting.
Research published by the Institute of Practitioners in Advertising offers a useful warning against change for its own sake. Its report on System1 analysis covered more than 4,000 advertisements from 56 brands. The most creatively consistent brands recorded 28% more “Very Large Business Effects”, a measure covering reported outcomes such as sales, profit and market-share gains. That is an association in the study, not a promise of 28% extra sales from repeating an advert (IPA, 2024).
Our conclusion: keep the things people value. Change the things that no longer earn their place.
This is the difference between brand strategy and redecorating the problem.
Chapter 1: The brands we’d love to reinvent
DKNY: make New York the main character
DKNY is not ignoring its home city. Its spring 2026 campaign, launched on 10 February, placed Hailey Bieber in an artist’s loft and drew on downtown New York’s creative history (G-III Apparel Group, 2026).
We would take that idea out of the loft and give it a pulse.
Our brief: make DKNY the wardrobe of people doing interesting things in the city, not simply people standing in front of it. An emerging architect, a nightlife photographer, a musician with a day job. Different lives, connected by a small, recognisable collection.
Each chapter would make one product useful and desirable: the coat worn across a working week, the bag that goes from commute to dinner, the outfit that survives a spontaneous change of plans.
“New York doesn’t stand still. Neither should your wardrobe.” Working campaign territory, not an existing slogan.
The test would be whether audiences remember and explore those products, not simply identify the skyline. More city. More character. Fewer scenes that could be relocated to any fashionable apartment without changing the idea.
Tiffany & Co.: give the blue box a reason to arrive
Tiffany already understands emotional storytelling. Its Natalie Portman film, announced on 23 March 2026, connects jewellery with love and resilience (Tiffany & Co., 2026).
We would turn that emotion into a more useful way to shop.
The brief is not “make jewellery romantic”. It is make more significant moments feel like Tiffany moments. A first major achievement. A friendship that survived a difficult year. A piece someone buys after finally choosing themselves.
Build a campaign around the moment before the box opens, then support it with occasion-led appointments, considered product edits and helpful guidance. Keep proposals, but do not let them monopolise the emotional vocabulary.
The commercial question becomes whether more people can identify a relevant occasion, choose confidently and book or buy. Measure those journeys separately rather than treating all website visits as equal.
A famous box is a magnificent asset. Give customers more meaningful reasons to put something inside it.
Michael Kors: restore the jet-set fantasy without outsourcing desire to discounts
There is real commercial pressure here. Michael Kors revenue fell 8.6% to $663 million in the quarter ending 26 September 2026. However, gross margin improved and parent company Capri raised its full-year outlook, so “everything is collapsing” would be a poor reading of the results (Capri Holdings, 2026).
Our creative territory would be unabashedly aspirational: excellent sunglasses, late checkouts and the delicious possibility of being somewhere better by dinner.
But a glamorous holiday cannot do the handbag’s job for it.
Start with a tightly edited hero collection whose design merits sustained attention. Build advertising, windows, merchandising and product pages around the same pieces. Give customers reasons to recognise the shape and details, not simply the monogram.
Then test full-price interest and contribution margin, not just campaign-period revenue. We would audit promotional dependence rather than assume its extent from the outside.
Sell the destination. Make the product worth taking. The campaign should create a preference that survives the disappearance of a discount code.
United Colors of Benetton: conviction needs a wardrobe
Benetton’s autumn/winter 2026 United We Stand campaign already explores connection and individuality through its rugby partnership (Benetton Group, 2026).
We would sharpen the relationship between what the brand says and what it sells.
Choose a specific cultural subject rather than another universally agreeable statement about togetherness. Commission paid creative perspectives on how different generations dress, how friendships cross borders or how colour communicates identity.
Then make the collection part of the argument. Distinctive knitwear, confident combinations and styling that customers can recreate should carry the same energy as the photography.
The important discipline is proof. A cultural position needs credible partners and actions, not simply an emotional caption. Test what audiences understand and remember, then examine whether interest reaches the actual clothes.
We do not need Benetton to manufacture outrage. We want it to have a point of view and a wardrobe capable of expressing it.
Calvin Klein: the waistband should be an introduction
Calvin Klein has a broader fashion proposition already. Its autumn 2026 Collection included tailoring, dresses and outerwear, exploring how clothes relate to the body (PVH, 2026).
Our challenge is to make that breadth feel connected to the customer.
Keep the sex appeal. Keep the intimacy. But stop our proposed campaign from ending at the underwear photograph.
Follow adult characters through a complete day and night: morning light, denim, an exceptionally good coat, a last-minute invitation. The same relationships and visual language would carry across categories, with shoppable styling that makes each transition easy to understand.
This is not a request for more content. It is a brief for a connected idea that can support several products without becoming a department-store catalogue.
We would test whether people who arrive through one category explore another, while preserving the distinctiveness of each. Make us want the whole life, not just the waistband.
Armani: make getting dressed feel like an event
For Armani, we would focus on the mainline fashion proposition rather than blur every Armani label into one brief.
The territory is the seduction of getting dressed. Beautiful tailoring. An intimate restaurant. Someone making an entrance that causes a conversation to pause.
“Some nights deserve Armani.” That is our working idea.
The useful difference is what happens after the film. Build an occasion-led service around the anticipation: personal styling, complete looks, alteration guidance and appointments that help a customer feel ready for an important evening.
Show how the clothes change posture and movement. Explain the details that justify the choice. Make the experience feel considered rather than intimidating.
Measure qualified appointments, conversion and satisfaction, not merely admiration for the cinematography.
Calvin Klein can own the intimacy of a moment. Armani can own the pleasure of arriving. They do not need to fight over the same generic version of “sexy luxury”.
Chapter 2: Bring back the magic
Nostalgia is not a strategy until you decide what deserves to survive. Recover the feeling, not every old rule. That distinction also runs through our examination of why trends keep coming back.
Abercrombie & Fitch: bring back the butterflies. And, yes, the shirtless men
We are not asking Abercrombie to become good at selling clothes. Its own brands grew sales by 8% in the second quarter of 2026, while Abercrombie & Fitch Co. grew group sales by 5% (Abercrombie & Fitch Co., 2026).
This is a creative opportunity, not a rescue mission.
Our brief is to put attraction back at the centre of a defined adult campaign. Great denim. Open shirts. Chemistry. The hopeful possibility that an outfit might improve your weekend considerably.
Abercrombie After Hours is our proposed territory: an eveningwear edit, flirtatious short films and selected retail events that feel like the beginning of a night out.
And yes, scheduled appearances by professionally cast shirtless adult models could be part of it. Not an appearance requirement for ordinary shop staff. Not a return to judging whether customers deserve to belong.
Make the invitation wider, not the atmosphere duller. Different adult bodies, queer and straight chemistry, confidence and genuine warmth can inhabit the same desirable world.
The store must still work as a shop. People need to see the clothes, speak to staff and use accessible routes. Music, scent and lighting should support the experience rather than overwhelm it.
We would pilot the concept in selected locations, comparing relevant footfall, fitting-room activity, conversion and customer feedback with comparable periods or stores. No nationwide nostalgia exercise before the evidence.
Keep the better business. Bring back some butterflies.
Victoria’s Secret: inclusive does not mean unsexy
The creative brief is not complicated: let lingerie feel glamorous again and make that glamour something customers can participate in.
Big hair. Beautiful lingerie. Adult models with presence. Music, movement and a little glorious excess. A fantasy that says “you can feel like this”, not “you can only watch people like this”.
This is not a claim that the business is standing still. Victoria’s Secret & Co. reported second-quarter 2026 sales of $1.611 billion, up 10% year on year (Victoria’s Secret & Co., 2026).
Our proposed next move is to connect spectacle to product confidence. Every hero look needs an easy route to the relevant garment, clear fit information and styling that shows how it works beyond the campaign.
A customer should not fall in love with the image and then abandon the purchase because the size guidance is confusing.
The show gets attention. The fit earns trust. The product has to deliver the feeling.
A necessary pause: does sex actually sell?
“Sex sells” is a terrific line and an incomplete measurement plan.
A peer-reviewed meta-analysis found that sexual appeals improved advertisement recognition and recall, but did not produce a significant overall improvement in brand recall or purchase intention. That is not proof that every sensual campaign fails. It is a warning that remembering the model is not the same as wanting the product (Wirtz, Sparks and Zimbres, 2018).
Our position is still pro-sexy. Make the attraction do a commercial job. Test correct brand recognition, product interest and buying behaviour alongside attention. Keep the casting adult, the context appropriate and the product unmistakable.
Topshop: make it a meeting place, not just a stockist
Topshop returned to 32 John Lewis stores on 17 February 2026. The launch already included music and experiential touches, so nobody should pretend its physical comeback has not started (ASOS, 2026).
Our challenge is to turn the return into a recurring reason to visit.
“Meet you at Topshop.” Friends trying on outfits before going somewhere together. Emerging-designer takeovers, customisation and Friday-evening styling sessions. A programme people can anticipate, rather than one launch party followed by ordinary retail.
It does not require an enormous new flagship before the idea can be tested. A limited number of spaces could establish which activities bring people back and which merely attract a queue for the free drink.
Measure repeat visits and shopping behaviour as well as attendance. Make discovery the attraction, with a collection that rewards it.
The ambition is not just to put Topshop back on the high street. It is to put it back in people’s plans.
French Connection / FCUK: recover the nerve, not just the lettering
French Connection dates its fcuk fashion campaign to spring 1997 (French Connection, n.d.). Nearly three decades later, those four letters can still carry this headline.
That is not an argument for printing the same joke indefinitely. It is an argument for recovering a recognisable voice.
We would start with excellent copywriting: sharp observations about dressing, dating, work and the gap between the evening you planned and the evening you actually had.
“French Connection. Less well behaved.” Our proposed direction would pair that wit with strong fashion photography and a collection that earns the confidence.
Use audience and placement judgement. The aim is distinctive humour, not a competition to offend people who were never interested in the clothes.
Test whether the advertising is recognised as French Connection and whether the joke improves interest in the outfit. A famous acronym should be a creative asset, not a substitute for a creative idea.
Dolce & Gabbana: make the fashion feel A-list again
The sharpest version of our criticism is this: an A-list luxury name should not feel like a C-list booking.
That is our subjective response to the impression a brand can create, not a measured public consensus or a ranking of its customers. When we compare D&G with the fashion authority associated with names such as Prada and Gucci, we are asking about cultural desirability, not claiming a neat financial league table exists.
Nor is this simply a plea for more lace and Sicily. Dolce & Gabbana’s autumn/winter 2026 campaign already explores tailoring, identity and sensuality (Dolce & Gabbana, 2026).
The harder question is how to turn those ingredients into renewed fashion authority.
First, make a product the event. Pick a small number of exceptional designs and back them consistently. A bag recognisable by its shape, not only its hardware. A silhouette with a genuine point of view. A garment editors want to discuss because of what it is, not who wore it to dinner.
Second, cast for authority, not attendance. Choose fewer, deeper creative relationships that make sense for the house. A packed guest list is not the same as a compelling cultural association. Talent should bring interpretation, not merely follower counts.
Third, edit the surrounding noise. Audit collaborations, stockists, presentation and promotions against the same intended identity. We are not claiming access to D&G’s distribution economics; we are recommending the questions a desirability review should ask. More exposure is only useful when the exposure supports the position you want.
Fourth, make craftsmanship desirable to watch. Connect the making of an exceptional garment with the moment it transforms its wearer. Do not turn the atelier into a worthy documentary that nobody finishes. Show the beauty, precision and impact together.
The first practical assignment would be one hero collection, one unmistakable creative idea and a disciplined season of presentation. Evaluate product-led editorial interest, target-customer consideration, full-price sell-through and repeat demand, not just celebrity coverage.
Keep the drama. Keep the sensuality. Keep the unapologetic glamour.
But make us want the fashion, not merely an invitation to the party. A-list energy is something the product, people and experience must earn together.
Ralph Lauren: the one we would not send for a personality transplant
Ralph Lauren is our positive comparison. On 5 November 2026, the company reported second-quarter revenue growth of 9% to $2.2 billion and 10% growth in global direct-to-consumer comparable sales (Ralph Lauren Corporation, 2026).
Those results reflect more than an aesthetic. Product, geography, pricing, distribution and operations all matter. Still, they are a useful antidote to the idea that a familiar identity must automatically be an exhausted identity.
Our brief would be evolution within a recognisable world: new interpretations, credible partnerships and stronger experiences without chasing an unrelated personality every season.
Before deciding a brand needs a new self, check whether it needs better ways to express the self it already has.
Chapter 3: Brands that need to step up before it’s too late
“Too late” here means before familiarity replaces excitement, not a prediction of bankruptcy. These six briefs address what comes after recognition, growth, a legacy or a viral moment.
Jacquemus: you went viral. Now what?
Jacquemus does not need a tutorial in getting noticed. L’Oréal’s February 2025 announcement of its long-term beauty partnership explicitly recognised its storytelling and digital approach. That partnership is also evidence that a next chapter is already being developed (L’Oréal Groupe, 2025).
Our challenge is what that next chapter should make people desire.
Someone can share a campaign, admire the ingenuity and tag three friends without once considering buying the clothes. Attention is an opportunity. It is not a customer relationship by itself.
The creative trap is escalation. When every reveal becomes an event, the next one must be bigger, stranger or more improbable. Eventually the audience risks caring more about the trick than the thing being sold.
We would protect the playfulness but change the assignment: make the product as compelling as the publicity.
Select a handful of pieces and develop their stories across a season. Show how a dress moves, why a jacket is cut that way, how a bag works in someone’s life. Use recurring characters and styling so the same products acquire familiarity rather than disappear after launch day.
Build the next steps before the reveal: a collection page that continues the idea, useful product detail and reasons to return. Compare new visitors’ product engagement, full-price buying and repeat behaviour with an appropriate baseline. We cannot infer those results from public view counts.
Our virality playbook explores earning attention. This is the next assignment: making it matter.
You made the internet want to share you. Now make people want to wear you. And then choose you again.
Under Armour: choose a competitive reason to exist
Under Armour’s results published on 6 November 2026 show why its next chapter matters. Revenue fell 7%, footwear 11% and ecommerce 12% year on year in the quarter ending 30 September. The company is undertaking a transformation; those movements cannot be attributed to advertising alone (Under Armour, 2026).
Our brief would begin with focus, not a bigger motivational montage.
Choose a priority sporting audience and a product proposition the business can genuinely defend. Then make improvement tangible through credible coaching, product trials and people pursuing specific goals.
A first competition. An amateur team trying to advance. An athlete returning with a clear training objective. Let the audience see the work and understand the equipment’s role, with substantiated performance claims.
Test the proposition in a defined market before spreading the budget across every type of athlete. Watch product trial, consideration and repeat use as well as sales.
“Work harder” is an instruction. It is not, by itself, a reason to choose one logo over another.
AMI Paris: make the heart an introduction, not the entire relationship
AMI’s Ami d’Hiver campaign launched on 4 November 2026 with Catherine Deneuve, friendship and humour at its centre. It already has a story beyond its emblem (McMorris, 2026).
Our challenge is to make more customers discover it.
Build a deliberate route from the recognisable entry product to the wider wardrobe. Styling should show why the trousers, coat or knit is desirable in its own right, rather than merely another place to display the heart.
We would connect campaign characters with complete looks, useful styling appointments and cultural experiences that bring the brand’s friendship theme into real life.
The test is category expansion with genuine satisfaction: are people who first bought the emblem choosing and returning for other pieces? That is a question for customer data, not an assumption we can make from the outside.
We recognise the heart. Now make us fall for everything around it.
Off-White: write a new chapter, not a footnote
Ib Kamara’s departure was announced on 31 August 2026, making Off-White’s creative continuity a concrete question (Cowen, 2026).
Our first assignment would be a clear creative thesis. What is the house exploring now? Which product decisions prove it? Why does each collaborator belong?
Not an imitation of Virgil Abloh. Not a sequence of unrelated names hired to generate announcements.
Commission emerging creatives around a coherent theme, share meaningful parts of the process and release a tightly edited collection that gives the audience something to judge. The collaboration should improve the work, not merely decorate the launch schedule.
Then ask whether people can describe the current idea without resorting exclusively to the past. Track demand for the new products rather than treating archive recognition as proof of renewed relevance.
Respect a legacy by giving the next generation something of its own to discover.
Alexander Wang: the archive can open the door. What makes us stay?
The Rocco reissue gives Alexander Wang a tangible archive connection (Alexander Wang, n.d.).
Our brief would pair that recognition with a genuinely new proposition: a bag, shoe or silhouette worthy of becoming the next object people associate with the brand.
Support it with sustained product-led creative. Construction, movement, styling and a clear reason for the design choices. Do not declare it “iconic” on launch day and expect customers to do the rest.
The archive and the new piece could appear together, making the development visible without pretending the past never happened.
Commercially, distinguish existing customers buying a reissue from new customers choosing the contemporary proposition. Both can be valuable; they answer different questions.
A good night out may make an entertaining campaign. The next morning, we should still remember which product we wanted.
Essentials by Fear of God: earn the word
This brief concerns Essentials, not the whole Fear of God business. Its autumn 2026 presentation already combines Essentials, Essentials Signature and NFL and NBA collections, so “nothing but beige hoodies” would be a lazy critique (Fear of God, 2026).
The more useful question is why someone should choose these everyday clothes again once the novelty of the name has worn off.
Make fit, proportion and versatility easier to evaluate. Show different adult body types, compare silhouettes clearly and demonstrate combinations beyond the matching-set photograph.
Give the product pages the same care as the campaign. Claims about superior durability need evidence; attractive close-ups are not a testing programme.
We would examine fit-related returns, customer feedback and repeat purchase by product, using the findings to improve both the clothes and their presentation.
Being called Essentials is easy. Becoming someone’s essentials is the real brief.
A 90-day brand revitalisation plan you can actually use
Most businesses do not need 18 new campaigns. They need one accurately diagnosed problem and the discipline to work on it. Here is a suggested sequence, not a promise of results within 90 days.
Days 1–30: find the gap between recognition and choice
Speak with recent buyers, lapsed customers and people who considered buying but did not. Ask what they remember, what they wanted, what they compared you with and what stopped them. Avoid leading questions that simply invite praise for your favourite brand asset.
Put those answers beside product performance, returns, full-price sales and the buying journey. Separate an awareness problem from a product, value or conversion problem.
The deliverable is a one-page brief: the customer, the obstacle, the assets worth keeping, the change you want to create and the evidence that would count as progress.
Days 31–60: make one connected idea, then test it
Develop a limited number of genuinely different creative routes against that brief. Build enough of the real journey to test the proposition: advert, landing page, product information and next action.
Check correct brand recognition as well as appeal. Ask what people think is being offered and why they would choose it. A beautiful advert that generates the wrong answer needs work.
Where possible, compare against an existing approach or a suitable control. Choose a primary outcome in advance and a margin or customer-experience measure that prevents a flattering but commercially poor “win”.
Days 61–90: scale the useful evidence, not the loudest reaction
Roll out the stronger route with consistent creative and operational support. Give staff the information, make the featured stock available and ensure the digital journey matches the promise.
Keep measuring beyond launch week. For a product campaign, examine relevant product interest, conversion and contribution margin. For retail theatre, examine visits, conversion and feedback. For a loyalty brief, examine repeat behaviour over a period appropriate to the category.
Brand-building effects may take longer than this plan. Do not declare a lasting repositioning complete because a post had an excellent Tuesday.
Three questions before you approve the makeover
Does the brand need a rebrand or better marketing?
A rebrand changes the identity or positioning. Better marketing may express an already useful identity more clearly. Start by establishing what customers recognise and value, then identify the actual obstacle. Weak awareness, an unclear offer and a disappointing product are not interchangeable briefs.
How do you turn viral attention into sales?
Build a relevant destination and a product story before the attention arrives. Make the next action easy, answer purchase questions and measure what visitors do beyond viewing. Do not assume a viral audience is automatically a buying audience, or that every immediate sale proves long-term brand growth.
Can nostalgia make a brand relevant again?
It can be a useful creative starting point when the underlying appeal still matters. Our recommendation is to revive the attraction, discovery, wit or confidence rather than copy the old execution indiscriminately. Test it with current customers, including people with no memory of the original.
So, have brands stopped giving a FCUK?
We suspect the more interesting problem is knowing what to preserve, what to change and what to do after the thing that made everybody look.
DKNY needs a city worth entering. Tiffany needs moments worth marking. D&G needs fashion that makes the room pay attention before anyone checks the guest list.
Abercrombie and Victoria’s Secret should be allowed to make us feel something less wholesome than satisfaction with a functional purchase.
Jacquemus needs a compelling answer to “now what?”
And every brand team needs the courage to admit when the problem cannot be fixed by another campaign.
Some brands need a new identity. Some need their personality back. Some need a better product or a less frustrating way to buy it.
But all of them need a reason to be chosen. Being famous is not the same as being wanted.
What should your brand do next?
The Digital Dollhouse is a Knutsford-based digital marketing and creative technology agency. We connect strategy, creative direction, campaigns and digital experiences around a commercial purpose.
Explore our services, see our portfolio or tell us about your next chapter. Start with one question: what do customers recognise about your business, and what would make them choose it more often?
References
Online sources accessed 11 November 2026. Financial figures are company-reported and relate to the periods stated, not forecasts of campaign effectiveness. Creative recommendations throughout are The Digital Dollhouse’s independent proposals.
Abercrombie & Fitch Co. (2026) ‘Abercrombie & Fitch Co. reports second quarter fiscal 2026 results’, 26 August.
Alexander Wang (n.d.) ‘The Rocco Reissue’.
ASOS (2026) ‘The wait is over: Topshop hits 32 John Lewis stores’, 17 February.
Benetton Group (2026) ‘United We Stand: United Colors of Benetton and Benetton Rugby together for FW26’, 28 September.
Capri Holdings (2026) ‘Capri Holdings Limited reports second quarter fiscal 2027 results’, 30 October.
Cowen, T.W. (2026) ‘Ib Kamara says he’s leaving Off-White with “enormous pride”’, Complex, 31 August.
Dolce & Gabbana (2026) ‘Dolce&Gabbana Fall/Winter 2026 ADV campaign’, September.
Fear of God (2026) ‘Fear of God Fall 2026’.
French Connection (n.d.) ‘About us’.
G-III Apparel Group (2026) ‘DKNY reveals its spring 2026 campaign featuring Hailey Bieber’, 10 February.
Institute of Practitioners in Advertising (IPA) (2024) ‘How creative consistency strengthens brands and business effects’, 9 October. Updated 6 March 2025.
L’Oréal Groupe (2025) ‘L’Oréal Groupe signs an exclusive agreement with Jacquemus’, 7 February.
McMorris, A. (2026) ‘Ami Paris launches campaign starring Catherine Deneuve’, V Magazine, 6 November.
PVH (2026) ‘Calvin Klein Collection Fall 2026 runway show’, 13 February.
Ralph Lauren Corporation (2026) ‘Ralph Lauren reports second quarter fiscal 2027 results and raises fiscal 2027 outlook’, 5 November.
Tiffany & Co. (2026) ‘Tiffany & Co. unveils new campaign film featuring global House ambassador Natalie Portman’, 23 March.
Under Armour (2026) ‘Second quarter fiscal 2027 results’, 6 November.
Victoria’s Secret & Co. (2026) ‘Victoria’s Secret & Co. reports second quarter 2026 results’, 3 September.
Wirtz, J.G., Sparks, J.V. and Zimbres, T.M. (2018) ‘The effect of exposure to sexual appeals in advertisements on memory, attitude, and purchase intention: a meta-analytic review’, International Journal of Advertising, 37(2), pp. 168–198.