The Bangladeshi brands
CONSUMER perception of the word "brand" is usually associated with quality. In the western world, with the variety and options available, it is the concept of brands that help consumers decipher and match their needs to that of the products available in the market.
Asian countries, particularly our own Bangladesh use other sensibilities rather than simply resorting to quality. The inclination of most Asian nations to their culture is inherent to their way of life and it is no different when it comes to our own version of "retail therapy."
While most western nations prove to be melting pot of cultures, in most Asian countries we see a majority of a particular race and religion, and, even if not, culture is a phenomena that is adapted by inhabitants even if race, religion, creed, language, and even beliefs differ.
Such forms the basis of our "cultural branding" in Bangladesh. The Bangladeshi brands are representative of our culture, our preferences and most importantly, our identities. In Bangladesh, whether it is "Comilla's rashmalai," "Hajee's biriany," or "Fakruddin's Kacchi," we can immediately relate to each product and relate it with our culture and our roots as memories from yesteryear to the present day all come flooding back.
However, due to the cultural aspect and the internal nature of our understanding of our Bangladeshi "brands," many living abroad fail to clearly understand what the hype is all about at first glance. Then again, their look out for the seal of quality also keeps them from seeing what we treasure in some age-old products.
Innovation is key to the global marketing world. The more you invent new ways of doing things and the more tech savvy the product is, the more its demand in the market. This is a clear distinction from most of our local brands. Every district of Bangladesh has its specialty, be it in sweetmeat, handicrafts, agricultural produce, or even fish, and this is what the common man finds himself relating to. These are interests and beliefs that have been passed on from generation to generation.
For instance, when it comes to handicrafts, Aarong has made its mark in the Bangladeshi market and even those visiting from abroad know that it is the landmark for getting traditional artwork and crafts. The "nakhshikatha" is a particular favourite for most tourists, as it is a rare display of intricate artwork done through very careful embroidery. Such handiwork is said to be rare, as the world has moved onto efficiency and most processes are automated, there are still brands that are labor-intensive and require a lot of creative attention.
One example of the use of technology would be the initiation of Grameenphone. In true Bangladeshi tradition, that too has a rich history unlike any other seen abroad -- the first mobile phone for rural women -- whereby women empowerment took on a whole new meaning. Grameenphones were first distributed to women entrepreneurs who partook in the micro-finance scheme developed by Grameen Bank. They would use the phones of getting in touch with markets and operate as sellers themselves or as middle-women. The popularity of the Grameenphone's cellular phone caught on and supply began growing till today where Grameenphone is the leading mobile telecom company in Bangladesh with millions of subscribers. It has come a long way from when the target group was only rural women.
I always feel the need to explain my Bangladeshi background in any conversation lasting longer than five syllables. This has shaped the course of my entire existence and this compulsion does not stem from insecurities, rather the inherent attitude to bask in the glory of the golden Bengal. Personally, I feel the need for people to understand our culture and the importance given to culture. However, it is not that I don't realise that it is an impossible task to reach out and make everyone understand the finer points of our cultural attributes, but like playing my part to make a little difference in shaping one's perception.
Brands were originally developed as labels of ownership. However, today it is what they do for people that matters much more, how they reflect and engage them, how they define their aspirations and enable them to do more. Powerful brands can drive success in competitive and financial markets, and indeed become an organisation's most valuable assets.
The social stigma associated with inferior brands sometimes may prove to be a disqualifying factor when it comes to making that final purchase. One must properly comprehend that the use and understanding of brands differ from country to country. Hence, it is essential that if comparisons must be made, then it should be done on a platform taking into account differences in perceptions.
In the final analysis, it is based on perception that people purchase and consume what they do and that is something that marketers must be in tune with in order to meet demand with supply. From the Bangladeshi perspective, it can be seen that the choice is based on not only what is of popular demand but items which are passed down traditionally from generation to generation.
The western consumption dynamics are more prone to the assurance of quality and it is the effectiveness with which producers market their goods that becomes the decisive factor. The consumer must be convinced and not for just one day or a single instance, but the belief must be long-lasting for the product to make a name for itself.
However, the process of sustaining the brand image is an ongoing process which marketers have to take into consideration. This may pose to be a similarity between nations all over the world when it comes to the brand that they refer to in the local and international context, whereby the continued popularity of a particular item in comparison to the many available in the market must be sustained. Thus, besides preferences, cultural practices, quality and preferences, the need for familiarity and unrelenting image building gives an acute understanding to the power of brands in our consumer societies.
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