eng Rovedar Journal of Contemporary Language Research 2980-8065 2025-09-30 4 3 33 46 10.58803/jclr.v4i3.139 141 Echezonachi G. Nwonu 0 https://orcid.org/0009-0002-8184-4979 Chikelu Ihunanya Ezenwafor-Afuecheta 0 https://orcid.org/0009-0002-2440-6139 Department of Linguistics, Nnamdi Azikiwe University, Nigeria Introduction: This study investigates blending as a creative morphological strategy in brand name formation and examines the factors that motivate its use. Methodology: Drawing on Dressler’s (1987) Natural Morphology Theory, it highlights both the natural and innovative dimensions of blending in brand naming. Following Mathew’s 1974 model and Mattiello’s (2013) model, the analysis applies two main classification systems: word class and morphological structure. The word class classification includes brand names formed from Igbo nouns and verbs, combinations of loanwords and Igbo terms, English nouns and verbs, pseudo-morphemes, adjectives, and translated forms. The morphological classification distinguishes among morphotactical blends (total and partial), morphophonological blends (overlapping and non-overlapping), and morphosemantic blends (attributive and coordinate). Data were collected from the Onitsha Relief Market, Anambra State, Nigeria. Results: The analysis reveals that morphophonological blends are the most iconic among the identified types. Blending in the data demonstrates both creative and adaptive linguistic tendencies, reflecting natural morphological processes. The findings indicate that blending in brand naming functions primarily as a creative linguistic process rather than a productive one. Conclusion: In conclusion, the use of blending is motivated by phonological/graphological, morphological, and semantic considerations, showcasing the dynamic interplay between linguistic innovation and communicative intent in brand creation. https://jclr.rovedar.com/index.php/JCLR/article/view/139 blending iconicity productivity morphological patterns creativity Igbo