Tuesday, November 24, 2009
Sunday, November 22, 2009
"Get Charged" - Hindware's new brand communication does it
With the tagline "Get Charged" Hindware, the unprecedented market leader in sanitaryware has rolled out its new commercial aiming to build an emotional cord between the brand and the customers.People spend millions of rupees on interiors, exteriors or paints but when it comes to designing a bathroom people seem to compromise, despite the fact that a bathroom is the most essential part of your home. "Get Charged", the all new brand communication of Hindware talks about that exclusive space, a person needs for himself in today's busy world. The Campaign has been conceptualized keeping in mind the hectic schedule people have in today's working scenario. The new commercial aims to make people feel that a bathroom is an exclusive place in the house which is away from all worries and stress of life and where one can relax, think, unwind and rejuvenate his senses to get charged for what life brings ahead. The communication effectively motivates people to rejuvenate themselves at their own home in their own space and time. Team Hindware is confident that this powerful theme will garner consumer focus and establish brand resonance in customer minds as this new theme is universal in its brand appeal and transcends different target audiences. In today's fast-paced and ecologically tough environment, take the time to relax your mind, body, and soul with high quality whirlpools and bathtubs offered by Hindware. In the words of V Krishnamurthy, Head Marketing, Hindustan Sanitaryware & Industries Ltd. (HSIL), "today, a bathroom is not a just small cubical part of any home; it's an attitude of the people who live in that place as well as a relaxation place people are looking for rejuvenation. At the other end of the scale you've got people using the bathroom as a wellness centre, but wellness in terms of renewal ? they want to work upon the body. So you've got hydrotherapy happening in the bath using jets, you have massage showers - you have quite full-on bodywork happening in the bathroom." "The new brand communication of Hindware simply redefines the spaces by making them the most exclusive place for distressing and rejuvenating life," concluded V Krishnamurthy.
By NDTV Profit Copyright 2008.
Saturday, November 21, 2009
MUMBAI: Limca, a beverage under the varied range of goods provided by Coco-Cola India, in association with the Truck Owners Welfare Society has come up with an advertising campaign. The campaign will use Out-of-Home (OOH) media to reach out to consumers around travel channels.
As a part of the agreement around 1000 trucks traveling across highways will sport variety of truck art like "Limca - fresh ho jao", "taaza ok please", "taazgi disha is taraf" and "13 mera 7 taazgi ki baat". Furthermore hoardings reading "freshness ka akhri stop- Limca", "taazgi disha is taraf- Limca" etc. are going to be placed on highways and dhabas as a promotional strategy deployed especially for the north Indian regions.
Coca-Cola India VP-marketing Venkatesh Kini said, "The Limca- fresh ho jao communication for the summer is all about the need to stay refreshed while traveling. The challenge was to break through the clutter and innovatively communicate this unique proposition. That is when the whole idea of leveraging Out-Of-Home media was conceptualized. The plan includes using 1000 trucks traversing the nooks and corners of India as mobile messaging media. Additionally, specially adapted communication messaging has also been developed to be put along highways and road side eateries. I am confident that the consumers would find both the Limca messaging and the medium of communication extremely appealing and exciting."
Truck Owners Welfare Society president Kultaran Singh Atwal said, "We are delighted to be a part of such a unique initiative involving 1000 trucks of our members. It is good to see due importance and recognition being given to the truck art form. Traditionally truck art has been used by truck drivers as a means to personalize their trucks and also to avoid accidents on highways. With changing times, I am glad that truck art has got its due with brands like Limca promoting its freshness message through this innovative and untapped medium."
The campaign's creative has been designed by Ogilvy & Mather.
Thursday, November 12, 2009
An Introduction To Longines
Witha long and prestigious history Longines is one of the world’s premier watch manufacturered in 1832, by Auguste Agassiz, when he moved to the Swiss town Saint-Imier; Longines has come a long way from the 18th century.
Longines has a rich history as a watch manufacturer and have made anumber of defining watches over the years which are popular amongstcollectors today. The company's tagline in its advertising is very suitable: “Elegance is an attitude.” Anyone wearing a Longines watch is justified in having an attitude, movado watches which campaign with Audrey Hepburn,Humphrey Bogart and its new ambassadors, the excellent actressesAishwarya Rai and Tatiana Patitz and the car-racing driver Pedro Diniz. Longines recognised their natural elegance and they joined Longine's’ ambassadors of elegance.
Wednesday, November 11, 2009
Advertising Strategy of Minute Maid in Sri Lanka
Minute Maid's strategy was to use a global platform but have a local appeal to our communication. For Minute Maid Orange, they tied up with one of the youth icons - Malith, who was one of the reality shows winners. We used the platform of ‘feel the real pulp (renu) as the communication and positioning strategy. There was no other product in the market, which had this uniqueness that gives the feel of fresh orange in the mouth, and hence they used this as their unique proposition. The communication helped to convey the intrinsic features of the brand. They did extensive sampling across the country so consumers could experience the product. From the response they got during the first few months it was apparent that the strategy was successful.
October 2009 Business Today Issue
Tuesday, November 10, 2009
ADVERTISING STRATEGY OF KITPLY
Kitply was the first branded plywood to introduce brand communication strategies in its product segment. Before Kitply entered the market, plywood was marketed and sold almost entirely as a commodity.
Kitply changed the dull marketing practices and established new rules through its breakthrough advertising. The communication focussed on Kitply’s unique qualities of being 'boiling waterproof' and this positioning was used in its advertising in films, print, outdoor as well as point of sale promotion. The campaign achieved very high recall and firmly established Kitply as a branded household consumer item.
Just like many other leading brands, Kitply has also successfully used cricket in its communication to grab the attention of customers. This strategy was almost inconceivable for wood product manufacturers before Kitply. The brand's connection with cricket through the Kitply Super Sixes campaign for successive international tournaments has created top-of-mind recall among viewers. The association with cricket heroes, like Sachin Tendulkar, who received Kitply cheques at the end of cricket matches created tremendous franchise for the Kitply brand.
Friday, November 6, 2009
GM India rolls out Chevrolet Spark marketing campaign
MumbaiGeneral Motors India has rolled out an integrated marketing campaign revolving around its mini car Chevrolet Spark, which follows the company's recent announcement of a limited period offer for Spark.The strategy takes a 360 degree approach and encompasses print, electronic, radio, digital, outdoor, cinema, CRM, showroom support, direct marketing, mall display activity and rural activation. "Our initial arsenal includes 25,000 cc of print, over 5,000 TV spots, 60,000 seconds of radio, 45,000 spots in cinemas and multiplexes, SMS blasts, etc. Further activities are planned that will leverage cross-promotions with brands that have similar quality and value propositions for the customer," said Ankush Arora, vice-president, sales, marketing and after-sales, GM India. GM India's network expansion drive for service centres is in full swing and 117 locations across India have now been covered with the state-of-the-art, customer-friendly, quick-response service points. By the end of this year, GM India intends reach out even better to its valued customers with a total of 125 sales points and 135 service outlets in place across the country. GM India is a wholly owned subsidiary of General Motors Corporation, with a state-of-the-art manufacturing facility in Halol, Gujarat. The company makes Chevrolet Tavera, Chevrolet Optra, Chevrolet Aveo, Chevrolet Aveo U-VA, Chevrolet SRV, Chevrolet Spark and Chevrolet Captiva for the Indian market.
by Televisionpoint.com Correspondent
Thursday, November 5, 2009
Advertising Strategies of Kotak Mahindra Bank
Purvita Chatterjee
AFTER its AOR account shifted from Mediacom to Madison Media, the Kotak Mahindra Group's advertising account is up for grabs.
The next couple of weeks will decide the agency that will gain the coveted account which has been with Grey Worldwide since the inception of the group in 1989.
Speaking to Business Line, Mr. C. Jayaram, Executive Director, Kotak Mahindra Finance Ltd, said, "The creative account is under evaluation and the group will take a decision in the next few weeks." The move to shift both its AOR and creative account comes in the wake of the group converting itself from a non-banking financial corporation into a bank and the need thus for a new identity.
Adds Mr Jayaram, "We have invited fresh bids for our bank's account and various presentations are being made by agencies." While pitches are being made by several agencies, including Grey Worldwide, Madison Communications has decided to stay away from pitching for the account in spite of having bagged its AOR recently.
States Mr Sam Balsara, CMD, Madison Communications Pvt Ltd, "We believe that its creative account is under evaluation but we are not pitching for it."
Meanwhile, having bagged the Rs 30-crore AOR account, Madison Media is expected to develop new tools in media buying and planning, in areas like insurance and banking, which are new emerging areas for the agency as well.
States Ms Punitha Arumugam, CEO, Madison Media (West), "We will be building a response model to get a better fix on our spends. The purpose would be to end up with a plan which has an impact and is cost-effective as well." The Kotak group has also appointed MOMS, the independent specialist outdoor division under Madison Communications for its outdoor planning and buying activity.
Adds Mr Balsara, "Although media is our largest revenue earner, today it's the outdoors unit which is our fastest growing division." With almost 12 clients under its fold, the new outdoors account from the Kotak Mahindra group is expected to boost its business.
In the recent past, the Kotak group has been primarily advertising for its Om Kotak joint venture insurance company with the baseline Zindagi ki azadi while two years ago it incorporated a universal baseline for its group (Zindagi ka hisab kitab) to reach out to a new set of retail customers.
Wednesday, November 4, 2009
The Happydent Wave film comes almost two years after the Palace film was released. Sameer Suneja, chief executive officer, Perfetti Van Melle, reasons that the previous film had generated enough top-of-mind recall and there wasn’t need for another film. “However, for launching a variant like Wave, we required a commercial that amplifies the launch and generates further recall,” he says. The film is expected to serve the purpose of creating trials for the variant as well as reinforcing the mother brand. The Wave, according to Suneja, is among the first-of-its-kind – coated gum with a liquid centre.
For Joshi, the biggest challenge was the weight of the previous film. Added to this was the task of cracking a film for a variant which dealt with twin propositions: sparkling teeth and a liquid-filled centre.Joshi attributes the story of the film to references of Jal Krida (an act of playing in or with water) in ancient Sanskrit tales and folklore about elephants and their love for water. Exaggeration to the nth power? Joshi explains, “Since the category isn’t that involving, one needs to suspend logic and make the ad as memorable and entertaining as possible. Exaggerations and elements of fantasy work as good tools in this respect.” The satire towards the end rounds the story up. To make it entertaining and catchy, the agency opted for Chhattisgarhi folk music as the background score – one may recall that the Palace film had a touch of Sufi music.The advertising for Wave presently comprises a single TVC and might branch out to OOH also.Behind the scenes
The film has been shot entirely in Palakkad, Kerala, over a period of three days. afaqs! caught up with Dadu, who has been working on Perfetti films – including the ‘crocodile and Kajol’ film for Alpenliebe – since 2001.The team originally wanted to shoot in Bangkok or Sri Lanka, the latter for its elephant farms. However, in Kerala, they had to rely on elephants from different owners; as a result, the animals didn’t know each other, nor did they share a comfort level. Various challenges came up in managing the herd of 12-13 elephants and their mahouts (the elephant trainers). Dadu grins, “In shooting the sequence of the elephants stepping on the cartons of gum and water splashing, we had to use hose pipes, which made the elephants run away.”Again, there was a persistent language problem with the mahouts, coupled with the problem of working with timber elephants instead of performing elephants. However, Dadu is glad to have found a dream location, which had all the elements for the film -- the jungle and the lake. All the team had to do was construct a village for the final shot. The film has a lot of CG (computer graphics) work too. For instance, the shot with the elephants swimming in the lake or their tusks glowing in the dark have been modified on the edit table. For the tusks, Chaudhuri maintains that “There was a need for a tube-light like flickering glow.” For this shot, the team had to make special replicas of the tusk and replace them with the shot of real tusks on the computer. Similarly, the number of elephants was multiplied on the computer in the final shot to give the feel of scale. In certain shots, the elephants would just not cooperate, and as a result, the mahouts had to be physically present in these shots. These were also later modified with the mahouts removed.Anybody smiling?
We spoke to adland to find out what they make of this attempt. Apart from the fact that most are still under the hangover of the Palace film, this is what they had to say.Ashish Khazanchi, national creative director, Publicis Ambience, remarks, “Most creative people, if told to work on the new Happydent ad, would probably rub their hands in glee. Not me though. I’d wear dark clothes to office and stand motionlessly in a dark corner till someone else cracked it. How do you better an ad that’s the best that this country has ever seen?” He finds the copy for the new ad a work of pure genius: ‘Roshni ka matka hai, ek nadi ka tukda isme latka hai’. Apart from that, he finds it visually arresting, and feels it improves with each viewing, especially, “when you catch the villagers’ wisecracks. But then, the Palace still remains the one to beat.”Pinaki Bhattacharya, senior vice-president, strategic planning, Saatchi & Saatchi, thinks there really is no insight here and never was – it’s just a superbly exaggerated visualisation of the product truth. Coining it as yet another memorable film for the brand, he says, “To McCann’s credit, I think they have pulled off another good one. This time, though, there was the added burden of the ‘liquid inside’, which has been nicely integrated into the whitening truth – ‘roshni ka matka hai’.”
Monday, October 26, 2009
Revised Advertising Strategies of Lakme
By
Lalitha Srinivasan
Deviating from the traditional mode of advertising, Lakme Lever, part of the Hindustan Unilever Ltd (HUL) has opted for a different strategy to market its new launch ‘Lakme Pure Defense’. The company has deployed a bevy of beauty advisors at 1200 Lakme retail outlets across the country to promote its new launch-dumping mass media ad campaigns. On the other hand, HUL’s arch rival Procter & Gamble India (P&G) has kicked off an aggressive consumer activation programme to popularise its skin care brand ‘Olay’ in Mumbai. Clearly, the accent seems to be on ‘direct consumer contact’ in the Rs 2,200 crore Indian skin care market.
On Lakme’s new initiative, Anil Chopra, vice-president, HPC Hindustan Unilever Ltd said “Our strategy is not to use mass media advertising to promote Lakme Pure Defense-the first of its kind across the globe. Instead, we have opted for the ‘education’ route to create awareness for our new product.” With the help of Unilever skincare technology, the company has developed ‘Lakme Pure Defense’ in India, informed Chopra.
According to industry analysts, Indian skin care majors are increasingly opting for direct marketing concept to create awareness for their products.” Recognising the growing significance of targeted marketing, HUL and P&G are now using this method to woo consumers at malls, retail outlets and departmental stores,” explained an analyst based in Mumbai. With increasing competition, the sector is expected to register a healthy growth this year. To support its new launch, Lakme is also introducing ‘Pure Defense-Anti Pollution facials’ at Lakme Beauty Salons across the country.” We are planning to extend the number of Lakme Beauty Salons from 105 to 150 in 2008. Currently, we have beauty salons in 35 cities in India,” said Chopra.
Meanwhile, Procter & Gamble is in the process of rolling out an aggressive marketing campaign titled `Total Proof. Total Challenge’ led by cine actor Tisca Chopra. “With this initiative, we have invited women to swap their moisturizers with for a brand new bottle of ‘Olay Total Effects’, explained a spokesperson from P&G India.
Saturday, October 24, 2009
by
David Kilburn
In a surprising and unusual move, Nissan Motor Co has sacked Dentsu, one of its main agencies in Japan for over 40 years.
Nissan said that it was moving about US$76.5 million in billings out of Japan's largest agency to rival Hakuhodo in a formal letter to Dentsu dated February 10th 1992. The letter, from Shuzo Nogami, general manager of Nissan's advertising department, went to the account director at Dentsu, Jumpei Watanabe.
The letter reads: " The severe structural problems the automobile industry is now facing have affected our company more than was anticipated. In view of the critical situation we will have to continue to reduce our budget for advertising and make the most effective use possible of our advertising expenditures. Taking all things into consideration, we have decided to use the agency services of Hakuhodo. "
The decision which is expected to take effect from April 1st, the start on Nissan's new fsical year, was one outcome of a review carried out over recent weeks [months ???] by Nissan executives.
" We have been using four agencies. Dentsu, Hakuhodo, Nippo, and Standard," said a spokesman from Nissan's Corporate Communications Dept. " Dentsu, Nissan, and Standard have each had about 30% of our budget, with the remaining 10% going to Standard. In our last fiscal year, [ending March 1992], our advertising budget was Y 32 Billion for Japan."
" We evaluated the agencies in terms of their overall performance, but I must say that the cost savings agencies can provide are a very interesting and important factor to us since we want to save money. But we also want to make sure our money is spent as efficiently and as productively as possible. In saving money, we don't want to lose out on quality."
Executives at Hakuhodo said they were aware of the review, but not of any final decisions.
"We've been told nothing officially, but we are keeping our fingers crossed," said a spokesman.
Likewise Standard Advertising said they had not been told officially of any decision. Sources at Standard said they expected to continue as a Nissan agency but would not be booking media. Sources said Standard expected to work alongise Nippo Agency on unspecified projects.
Nippo Executives declined to comment. Nissan owns 40% of the agency, is the largest shareholder, and contributes about 3O% of the agency's billings.
An article published Monday (10/2/92) in the weekly trade magazine Kigyo to Kohoku speculated that there were a number of reasons for change.
One was Nissan's realisation that it would be easier to plot strategies for, and position their cars in the market by working with one agency. This would allow the agency to have an overall view of the business and eliminate competition between separate agencies as a factor in planning each campaign for each model. This, the magazine said, would lead to better strategic thinking and more efficient planning in Nissan's opinion. Both objectives were hard for Nissan to achieve when their different models were split over a number of highly competitive agencies.
Another factor suggested was that Dentsu is seen as being very close to Toyota, who spend about Y 31 Billion through Dentsu, out of a total budget of Y 45 Billion. The magazine also suggstes that Nissan preferred working with Hakuhodo's account executive structure which is seen as a little closer to that of international agencies than Dentsu's.
According to the magazine, Dentsu will lose about Y 12 Billion to Hakuhodo. Industry sources suggest that Hakuhodo's total Nissan billings could eventually go up from an estimated Y 10 Billion currently to around Y 30 Billion, depending how how much further business is consolidated with them, and the extent of any budget cuts.
One factor that apparently did not play a role was account conflict. Like Dentsu, Hakuhodo also works for several auto clients, including Toyota, Honda, Mazda, Daihatsu, and Suzuki, as well as for Nissan.
In the view of some agency executives, Nissan's dramatic move signals a change that is taking place in the way Japanese advertisers perceive the role of agencies and how they want to work with them.
".... they are being motivated by various factors, but primarily the ned to bring one agency closer to the corporation, and grasp the complete picture, to be a more substantive partner and take part in the planning and strategic aspects of a company's communications, " commented Mr. Denis Richmond, president of DDB Needham Japan Inc.
" Many Japanese auto executives have experienced the fuller and deeper professional relationship that exists with agencies in overseas markets and see value in seeking similar arrangements in Japan. Automotive advertising needs a major shake-up in Japan where it is possibly one of the least creative categories of advertising. The changes taking place are evolutionary and represent a more mature approach being adopted by automative advertisers. Japanese agencies will ned to become more strategic. This will test their ability to operate as multinational agencies do."
While Nissan's move is not the first time a major Japanese advertiser has moved budgets, it is unusual in that the company has chosen to severe ties, a practise often said to run counter to Japanese culture. It is unusual too in that the changes have not been conducted in the total secrecy that usually wraps even minor re-alignments.
As courteous as always, Dentsu promptly replied to Nissan, and wished them well.
" While we have some regrets, we of course respect your decision. We wish to express our deepest appreciation for the long business relationship we have enjoyed, and we extend our best wishes for your company's continued success," read their reply.
"It's not the first time we have lost an account," said a Dentsu spokesman. "We will recover from this."
In a subsequent interview, Nogami explained Nissan's decision:
Here is an interview with Mr. Shuzo Nogami, General Manager, Advertising Dept, Nissan Motor Co Ltd, Tokyo.
Q. Please explain the realignment of your agencies, and the reasons for it.
A. There are two major reasons. One is the pursuit of greater efficiencies in advertising. The second point is concerned with our products.
If we are to stay with four agencies as we have had hitherto, it is rather difficult for us to have agencies participate from the development stage where we would like to utilize their knowhow. That is why we have narrowed down our agencies.
Q So you plan to get closely involved with your agencies in all stages of developing marketing, advertising, strategy ?
A Exactly so. Nissan is a car maker, so it is Nissan who determines the product objectives and the model line ups. We don't expect agencies to get involved in this, but once the structure of our product line up, and development objectives of each model, are determined, then we need the agency know how and expertise. This includes making use of all the lifestyle information they have, and bringing added values to what we are doing as a result of this knowledge.
In this sense, we are not looking on advertising agencies merely as agencies, but as our business partner.
Q That's the first time I've heard an agency described as partner !
A Agencies work for many different clients in many different industries, therefore they have a great wealth of knowledge about the consumer and about lifestyles as a result of this work. We Nissan are pursuing a market oriented product development strategy. It is important for us to have an outside party verify whether or not we are really succeeding in being more market oriented, and sensitive to the consumer.
Q What factors led you to choose Hakuhodo ?
A We've been using four agencies - Nippo, Dentsu, Hakuhodo, and Standard.
Nippo is our house agency, so they cannot really fulfil the role of giving an outside, independant point of view.
Hakuhodo is a very aggressive agency. When we put forward our proposals to our agencies, usually the response is 'Yes, We understand, We agree, We'll be happy to do what you say." But Hakuhodo aren't like that. They say "Why don't you look at the problem this way ...." or "Have you ever thought of ...." They make critical comments about our ideas and come back with their own counter proposals.
Naturally, we expect commitment and advice from advertising agencies. With Hakuhodo this was done in great earnest and from a critical point of view. We think very highly of this.
Q So you felt Hakuhodo had been making a bigger and better contribution to your advertising over recent years?
A I certainly gained this impression and my colleagues shared the same view. Various corporate officers concerned with sales and marketing reached the same conclusion. No-one was opposed to the idea of going with Hakuhodo when the idea was put forward.
Q Will you still use Nippo and Standard at all ?
A Yes. Both will have subsidiary roles alongside Hakuhodo. They will have a part to play. Although Standard Advertising is a small company, we think they are outstanding in terms of both marketing and creativity. We work with Standard both domestically and internationally through Nippo, and we think highly of their work.
Q Why did you decide to totally severe your links with Dentsu ? Japanese culture is often said to stress long term - permanent relationships.
A We work in a cultural environment that attaches importance to harmony. We used to spend our budget based on this concept, using multiple advertising agencies. But the business climate is becoming very severe. Customers tastes and preferences have been diversifying, and they also look at companies, their products, their activities from a much more critical point of view than before. It's important that we evolve, and develop our products and activities accordingly. It is no longer possible to deal with multiple agencies as we once did. But it is important to us that the agencies understand this new philosophy and accept it as necessary in the prevailing business environment.
Q Hakuhodo works for several other car companies. Would you prefer an exclusive relationship with them ?
A Emphatically No. An agency like Hakuhodo has many divisions and each division corresponds to an independant advertising agency in the USA. The division that handles Nissan at Hakuhodo has no contact with the one working for Toyota, for example. For Hakuhodo to develop their relationship with Nissan, it is not necessary for them to relinquish their relationships with other, competing, car makers. Having competing accounts in an agency serves to keep their ideas fresh. It keeps an agency on its toes.
The corporate culture of Hakuhodo is a very aggressive one. We hope very much that this will ensure they don't lose any accounts from our competitors.
Q So you feel for Hakuhodo to handle competing accounts leads to a high level of service, and helps innovation.
A That's right.
Q It's unusual for agency changes by major advertisers in Japan to take place so publicly. Normally secrecy prevails. Could you comment on this ?
A We started this project last summer [1991] and we kept it secret till the end of January when some news came out.
Q When do the changes take effect ?
A April 1st.
Q. Do you think we are entering a period of structural changes in the advertising industry in Japan ?
A I think advertising agencies now recognise that changes such as this really can happen. From my contacts with people outside the auto industry, I know that my counterparts in many other companies share our ideas. I think our decision will prove a case study for them.
Q Has the overseas experience of Nissan executives been a factor in reaching your decision.
A It has been a trigger, but I think its questionable whether European or American business practises can be introduced and adopted in a Japanese business climate.
Q How has your budget been changing ?
A We're planning FY 93 Budget now, I imagine there'll be a 5-10% reduction on the current fiscal. This year our budget is about 7% down on the previous year.
Originally published in Advertising Age, February 17th 1992
Wednesday, October 14, 2009
It's safe to say Second Life is uncharted territory for brands in India but Tata Indicom has decided to take the plunge by launching a presence on the virtual real time 3D site. The telecom brand has announced the extension of their brand campaign 'Suno Dil Ki Awaz' on Second Life and will be kicking off the marketing effort with a talent hunt that will look at identifying amateur artists, musicians and photographers. The initiative was kickstarted by Irfan and Yousaf Pathan who are Tata Indicom's brand ambassadors and will interact with users on Second Life in their online avatars.
The main target of this marketing effort, according to Abdul Khan, VP, (Marketing), Tata Teleservices Limited are young, influential opinion leaders online, in an attempt to create a youthful buzz around the brand. The company is largely looking at word of mouth marketing to build up their Second Life foray.
"Word of mouth happens to be the largest influencer in purchasing telecom services, it's much more effective than expensive commercial airtime. Harnessing word of mouth is the most sensible thing any marketer can do," says Khan.
Tracing the root of the idea, he adds, "The idea to experiment with Second Life really came from looking at our target audience of young emerging India. It was an attempt to look at spaces which are cool, where we will be able to reach opinion leaders in the digital space."
Khan says that the most important component of this online foray will be in sustaining the virtual space that they have built on Second Life. For all the noise about top brands like Coca Cola, IBM, GE and Nokia enjoying a strong presence on Second Life, there are more than enough brands that have experimented with Second Life and failed. Khan says the critical factor will be to have a focused road map on the brand's Second Life presence. "Many brands in the past failed because they did not have a ready road map on sustaining their initial marketing effort. There has to be a constant buzz around the brand's Second Life space that should make young people want to actively participate online," he adds.
Users do not have to register separately on Second Life to enter this space, they will be directed there from the brand's website, www.tataindicom.com/sl.
The brand's Second Life presence has been made possible by their partnership with Indusgeeks, a virtual world development and services company that has created the online space for Tata Indicom. Siddharth Banerjee, founder and CEO, Indusgeeks Solutions says there are specific situations where using Second Life makes sense for brands. He believes promotional events and brand launches are an ideal stage for brands to get involved as it allows users to log in from anywhere in the world and meet in a common virtual world. Including Second Life in a brand's marketing strategy is useful for creating a buzz around the brand. "It's the only medium which allows complete immersion and interactivity with the brand and opens up the brand experience in all sorts of ways," adds Banerjee.
The foray into Second Life though begs the question of when traditional agencies will begin immersing themselves into online spaces such as these and be able to conceptualise, execute and develop such ideas for brands. After all, technology aside, they are the ideas people. Is that a domain that Khan expects will be largely untouched in a scenario where TV and print continue to rule communication budgets? Khan says that most brands at the moment depend on pure play digital agencies to address their digital strategy, traditional agencies will take their time to come around. "They are still navigating their way through the complexity of traditional media, it will take time before agencies will harness their digital capabilities."
By Bindu Nair Maitra, 21 January, 2009 in Campaign India.
Tuesday, October 6, 2009
by
Nita
This campaign is the starting point for any other advertising strategy. But is Raymond’s Complete Man, a man who is the epitome of loving, caring, and also style, in danger of being left behind?
Creating waves Some saw it as an emasculation of the Great Indian Role Model. Others raised toasts to him. Finally, they cheered, some ‘real flesh and blood’ they said – emotions, a sense of humor and sensitivity rather than just brawn. Even a touch of vulnerability. The dream guy with no shining armour. A man for the liberated Indian woman. Someone who doesn’t see himself with Rambo’s body and a James Bond style.
The Complete Man. From Raymond.Sneering competition had to eat their words
Rivals in the early 90’s sniggered quietly at this pseudo-liberal western import. More than a decade later, this campaign is still going strong and a lot of suitings advertising is still life-style driven. If there is a problem, it’s that the Complete Man is too powerful, not in terms of testosterone, but in the way it dominates the consumer mindspace.
The sniggers of the competition turned to wonder, and then worship. He-men were dumped and clones of the Complete Man appeared everywhere…but they didn’t work. Only the original did. After all, pretenders are better at tickling people, not selling them suit lengths.
How did it all start?
The Raymond’s campaign is still the most influential. But how did it start? ‘We wanted a real man, a 3-D flesh and blood figure, the kind of man who is our target audience,’ says Rajiv Agarwal, CEO, Enterprise Nexus. It was research that indicated that men did not really aspire to be muscle-rippling superstuds.
Accordingly, the Raymond’s man was developed – as someone more believable and fleshed-out than the standard cardboard cut-outs of yore. But portraying a caring man was a revolution in Indian advertising. Research however told the agency that the market was ready. Social trends indicated that the upper-end Indian male had indeed evolved, or aspired to evolve. So Raymond took the bold step of translating this into an advertising strategy. Today, this thinking stands vindicated…even Hindi cinema has veered away from bash-em-up films to romantic and family drama’s.
Some of the later Raymond spots featured a fellow who takes time out from his busy schedule to hunt out an old disabled friend. Another had a guy spreading his arms at the edge of a cliff – in an apparent desire to take flight.
Is the Complete Man for real?
Advertising and marketing pundits wondered: Has the Indian male really evolved or was this just a polished exterior to please idealists on the look-out for the ‘New Age Man’? And was it really possible for a man to be only gentle, and have no aggressive impulses? And would this repressed reality stage a dramatic come-back at the turn of the Millennium? Yes, thought some, the gentle Raymond man who tucks his daughter into bed and plays the violin is a figment of an elitist imagination. ‘It’s alright in the metros, but I do not think it will work in middle India,’ says Shivjeet Khullar, national creative director, The Joint. ‘Or perhaps it works for Raymond, but no other brand.’ Pranav Dewan, Creative Consultant, Mudra, says that The Complete Man may not have completely arrived, but he has aspirational power, and in a way has given an impetus to the change in the metro man, even though not all of it has been voluntary. ‘It’s now accepted to be that way, and aspire to be that way. For some it has been a reluctant change…but in a way it’s a feeling of relief, to be dragged kicking and screaming to the altar of sensitivity.’ Tapping aspirational values Agarwal of Nexus acknowledges that the typical Indian male, even the ‘well-educated’ one, may not be the idealised person depicted by the campaign. ‘But what is important is that he aspires to be him,’ says Agarwal. And that’s good advertising.
Whatever the new reality, the fact is that Raymond is still India’s top suitings brand – having imbedded itself in the mind of the audience that matters in value terms. Therefore, the advertising is right.
Rival players
Rival brands knew that they had to position themselves away from the Complete Man. Just to gain an identity – of any sort.
The obvious way to stand apart, as some brands had known all along, was not to have a fictitious personality, but an actual celebrity. Vimal had a series a cricketers, back in the 1980’s, including Vivian Richards and Ravi Shastri. Digjam had Shekhar Kapur, the film maker. ‘Tiger’ Pataudi was the Gwalior Suitings man, and Sunil Gavaskar posed for Dinesh Suitings. But agencies subconsciously started to emulate the persona of the Complete Man. Pataudi turned discernibly more ‘family-oriented’ in the later days of the Gwalior series, with his wife Sharmila Tagore and actor son Saif Ali Khan making appearances. Shah Rukh played ‘Mayur’ Khan for Mayur suitings, an actor with a ‘family man’ image. OCM tried to go soft too and attempted to show how the suiting gets the OCM man his wife’s attention. The ad spot had the wife not noticing her husband when he comes home from work, until he changes into a suit. Suiting companies like Reid & Taylor still go in for celebrity advertising and today Amitabh Bachhan endorses the brand instead of Pierce Brosnan.
And ofcourse, the man getting the girl is a re-current theme.
However in the dawn of this millennium suiting advertising has become more product oriented. Brands today hawk the feel and finish of the fabric. Occasionally we have suitings which claim to look good but are not as expensive. This is a direct hit at Raymond.
What’s the future?
India has always been a low-value market, but today with globalisation, the value base has started to move upwards towards the global average and this trend can only accelerate. In this context, the Raymond personality-based advertising is likely to retain it’s appeal, at least for some years to come. And His rise to eminence will cast a longer shadow on other brands, resulting in an even greater desire on the part of rivals to take The Complete Man down. Or better it in some way.
It would be interesting to see how The Complete Man copes with competition in the coming years. There is a ‘casual’ clothes wave and thanks to Silicon Valley, it’s cool to look uncomfortable in suits. The Complete Man will have to tailor himself to a new generation reality. But without hurting his values.
(This piece, written by Nita, was published in A&M (Advertising & Marketing) Magazine.)
2006 October 25
tags: Brandsby NitaThis campaign is the starting point for any other advertising strategy. But is Raymond’s Complete Man, a man who is the epitome of loving, caring, and also style, in danger of being left behind?
Creating waves
Some saw it as an emasculation of the Great Indian Role Model. Others raised toasts to him. Finally, they cheered, some ‘real flesh and blood’ they said – emotions, a sense of humor and sensitivity rather than just brawn. Even a touch of vulnerability. The dream guy with no shining armour. A man for the liberated Indian woman. Someone who doesn’t see himself with Rambo’s body and a James Bond style.
The Complete Man. From Raymond.
Sneering competition had to eat their words
Rivals in the early 90’s sniggered quietly at this pseudo-liberal western import. More than a decade later, this campaign is still going strong and a lot of suitings advertising is still life-style driven. If there is a problem, it’s that the Complete Man is too powerful, not in terms of testosterone, but in the way it dominates the consumer mindspace.
The sniggers of the competition turned to wonder, and then worship. He-men were dumped and clones of the Complete Man appeared everywhere…but they didn’t work. Only the original did. After all, pretenders are better at tickling people, not selling them suit lengths.
How did it all start?
The Raymond’s campaign is still the most influential. But how did it start? ‘We wanted a real man, a 3-D flesh and blood figure, the kind of man who is our target audience,’ says Rajiv Agarwal, CEO, Enterprise Nexus. It was research that indicated that men did not really aspire to be muscle-rippling superstuds.
Accordingly, the Raymond’s man was developed – as someone more believable and fleshed-out than the standard cardboard cut-outs of yore. But portraying a caring man was a revolution in Indian advertising. Research however told the agency that the market was ready. Social trends indicated that the upper-end Indian male had indeed evolved, or aspired to evolve. So Raymond took the bold step of translating this into an advertising strategy. Today, this thinking stands vindicated…even Hindi cinema has veered away from bash-em-up films to romantic and family drama’s.
Some of the later Raymond spots featured a fellow who takes time out from his busy schedule to hunt out an old disabled friend. Another had a guy spreading his arms at the edge of a cliff – in an apparent desire to take flight.
Is the Complete Man for real?
Advertising and marketing pundits wondered: Has the Indian male really evolved or was this just a polished exterior to please idealists on the look-out for the ‘New Age Man’? And was it really possible for a man to be only gentle, and have no aggressive impulses? And would this repressed reality stage a dramatic come-back at the turn of the Millennium? Yes, thought some, the gentle Raymond man who tucks his daughter into bed and plays the violin is a figment of an elitist imagination. ‘It’s alright in the metros, but I do not think it will work in middle India,’ says Shivjeet Khullar, national creative director, The Joint. ‘Or perhaps it works for Raymond, but no other brand.’ Pranav Dewan, Creative Consultant, Mudra, says that The Complete Man may not have completely arrived, but he has aspirational power, and in a way has given an impetus to the change in the metro man, even though not all of it has been voluntary. ‘It’s now accepted to be that way, and aspire to be that way. For some it has been a reluctant change…but in a way it’s a feeling of relief, to be dragged kicking and screaming to the altar of sensitivity.’
Tapping aspirational values
Agarwal of Nexus acknowledges that the typical Indian male, even the ‘well-educated’ one, may not be the idealised person depicted by the campaign. ‘But what is important is that he aspires to be him,’ says Agarwal. And that’s good advertising.
Whatever the new reality, the fact is that Raymond is still India’s top suitings brand – having imbedded itself in the mind of the audience that matters in value terms. Therefore, the advertising is right.
Rival players
Rival brands knew that they had to position themselves away from the Complete Man. Just to gain an identity – of any sort.
The obvious way to stand apart, as some brands had known all along, was not to have a fictitious personality, but an actual celebrity. Vimal had a series a cricketers, back in the 1980’s, including Vivian Richards and Ravi Shastri. Digjam had Shekhar Kapur, the film maker. ‘Tiger’ Pataudi was the Gwalior Suitings man, and Sunil Gavaskar posed for Dinesh Suitings. But agencies subconsciously started to emulate the persona of the Complete Man. Pataudi turned discernibly more ‘family-oriented’ in the later days of the Gwalior series, with his wife Sharmila Tagore and actor son Saif Ali Khan making appearances. Shah Rukh played ‘Mayur’ Khan for Mayur suitings, an actor with a ‘family man’ image. OCM tried to go soft too and attempted to show how the suiting gets the OCM man his wife’s attention. The ad spot had the wife not noticing her husband when he comes home from work, until he changes into a suit. Suiting companies like Reid & Taylor still go in for celebrity advertising and today Amitabh Bachhan endorses the brand instead of Pierce Brosnan.
And ofcourse, the man getting the girl is a re-current theme.
However in the dawn of this millennium suiting advertising has become more product oriented. Brands today hawk the feel and finish of the fabric. Occasionally we have suitings which claim to look good but are not as expensive. This is a direct hit at Raymond.
What’s the future?
India has always been a low-value market, but today with globalisation, the value base has started to move upwards towards the global average and this trend can only accelerate. In this context, the Raymond personality-based advertising is likely to retain it’s appeal, at least for some years to come. And His rise to eminence will cast a longer shadow on other brands, resulting in an even greater desire on the part of rivals to take The Complete Man down. Or better it in some way.
It would be interesting to see how The Complete Man copes with competition in the coming years. There is a ‘casual’ clothes wave and thanks to Silicon Valley, it’s cool to look uncomfortable in suits. The Complete Man will have to tailor himself to a new generation reality. But without hurting his values.
(This piece, written by me, was published in A&M (Advertising & Marketing) Magazine.)
Monday, October 5, 2009
Transforming the brand narrative: The global redesign of Pantene Pro-V
As a product, Pantene Pro-V is a blockbuster-the planet's best-selling shampoo, with annual sales topping
one billion dollars. After a decade of envious growth, however, the line had become dated and somewhat confusing. In this story, Emily Kokenge and Liz Grubow tell how the brand has been revitalized with new graphics, packaging, and advertising based on a strategy that blends local marketing and sales tactics with a compelling global presence.
Pantene Pro-V is the world's numberone shampoo. It is sold in virtually every country, in tens of thousands of superstores, grocery stores, drug stores, kiosks, and tiny corner markets. Well over one and a half million people purchase.
Article from: Design Management Review Article, date: January 1, 2003 .Author: Kokenge, Emily; Grubow, Liz
Tuesday, September 29, 2009
PHILIP H. DOUGHERTY
Published: April 1, 1981
On the surface it seems a small matter: Kellogg assigning a ''new cereal product under development'' to the J. Walter Thompson Company in Chicago. But think, the Leo Burnett Company, Chicago, traditionally handles all cereal assignments in the United States for the country's leading marketer of dry cereals, while Thompson has been doing most of it overseas.
Is this a portent?
The Kellogg Company spends about $100 million in advertising at home and most of that backs its cereals. Thomp@son, domestically, has been handling its Salada line of teas, deserts and fudge. Small potatoes.
Kellogg has assigned Burnett to handle LeShake Yogurt, which it acquired late last year from the Elmhurst (Queens) Milk and Cream Company and has since moved out of the New York market and into all of the East Coast.
First LeShake advertising was done by Gerald Schoenfeld, then by Mathieu, Gerfen & Bresner and then in-house by Elmhurst.
Friday, September 25, 2009
"Other"wise?: The Selling of Global Cultural Difference
The era of globalization is here and with it a new concept - global culture. For those of us who see our task as one of responding to this phenomena of globalization, it is critical to unpack the meanings that surround the concept of a global culture. I understand globalization as a term used to describe the transformative activities characterising contemporary politics, the current world economy and the peoples and cultures of the world. The new global culture is the expression of deterritorialisation and a borderless world. Operating through the logic of late capitalism, it can be seen as the creation of powerful media empires and transnational companies with a culture of consumption or the capitalist agenda as one of the primary signifiers of the era of globalization.
In as much as "the new global" culture owes its existence to powerful media empires and transnational companies promoting a culture of consumption that announces the arrival of the era of "boundarylessness," advertising can be read as a global cultural signifier. But then advertising of commodities sold around the globe specializes in emphasizing boundaries, caters to a demand for difference and exploits "otherness" through its attempt to resurrect universalism under the aegis of global consumption. In other words, global culture seen through advertising signals a desire for the dissolution of boundaries in order that personal freedom and free trade be facilitated and at the very same moment articulates distinct cultural characteristics that are "innate markers of difference." The Coca Cola advertisement that features common every day folk from "exotic" countries across the globe - Black, White, Middle Eastern, East and South Asian - beating their own respective indigenous/local version of drums to the beat of the Coca Cola jingle "always Coca Cola" comes to mind immediately as the most compact example of this contradiction between "an universal" and "a particular" being the basis for selling a product. It is my contention that in understanding this contradiction we take our first steps in grappling with the phenomena of global culture.
Barthes (1973, Myhtologies, Paladin) explores the ideology of universalism and analyses the mythology at work in the conjuring of a universal human community out of examples of cultural diversity:
This myth functions in two stages: first the difference between human morphologies is asserted, exoticism is insistently stressed, the infinite variations of the species, the diversity in skins, skulls and customs are made manifest, the image of Babel is complacently projected over that of the world. Then, from this pluralism, a type of unity is magically produced: man is born, works , laughs and dies everywhere in the same way :and if there still remains in these actions some ethnic peculiarity, at least one hints that there is underlying each one an identical 'nature'.
The sentimentality of the notion that we are all brothers and sisters `under the skin' disguises the historical facts not just of cultural difference, but of domination and inequality - that it is under conditions of inequality that people experience birth, death, work and laughter and not some blissful "natural" condition. The questions that remain unasked, of course, are: Whose nature? and What is this Natural? At a broad level the answer is clear. It is the values of Western Enlightenment that are being universalised as natural, the notions of modernization and industralisation as the only "civilized" path to follow. Radhakrishnan (1992, in Nationalisms and Sexualities, Routledge) points to this as:
Third World nationalisms are forced to choose between `being themselves' and `becoming modern nations' as though the universal standards of reason and progress were natural and intrinsic to the West .....this divide perpetrates the ideology of a common dominant world where the West leads naturally and the East follows in an eternal game of catch-up where its identity is always in dissonance with itself.
And here the boundaries of this new "global" culture become more visible, for the question that needs to be asked is "Who really catches up?" or rather "Who is in a position to catch up?" While, invoking difference and pushing universality, global advertising, at its most common denominator is aimed at not the general mass, but at specific people. The model example is again Coke. Armed with essentially the same universal packaging, logo, taste and advertising, Coke has carried its carbonated beverages to over 160 countries and accounts for almost 50% of all soda pop consumed worldwide. It works primarily through the concept of global market segmentation. This form of segmentation involves defining markets in multiple countries based not on national boundaries, but on some other basis- most often, a life style or value system. Thus while the term global culture seems to suggest a politics of inclusion, we find that a great deal of commonality is actually found amongst certain classes of people across national boundaries rather than classes of people within any one country. The elite and upper middle class in India share similar values and lifestyles with similar social classes in the United States than with the working class or poor in India. There has emerged, thus, a new breed of identities based on mobility. This new breed popularly known as possessing the "hotel culture " are the cosmopolitan business people, bureaucrats and intellectuals. They are "the new class," people with credentials, "decontextualised cultural capital..." that "can be quickly and shiftingly recontextualised in a different setting" (Hannerz, 1990; Cosmopolitans & Locals in World Culture, TCS, 7). These are the sets of people that global capital works for and who global marketing segment-ation pertains to. This creation and mutation of classes fosters and reprod-uces the mobility of transnational capital.
We can at this point add a little more specificity to how exactly this transformation occurs - the "keeping in place" of difference but the simultaneous marking of a universal. One notion that transnational advertising draws heavily from in their attempts to penetrate third world markets is imagery that reflects the age old traditions and cultures of the nation they are marketing to. By appealing to sentiments of a glorious cultural, national and spiritual heritage, advertising tries to define for India its civilizational identity and great worth in the global context. It is possible to discern here that one of the major tasks at hand for transnational advertising is to reconcile two identities - the favored identity of "authentic cultural plenums" (Buell, 1994; National Culture and the New Global system, JHU, MD) or tradition has to be reconciled with a culture of consumption. Transnational advertising therefore makes strategic use of aspects of a selective Indian collective conscious, so that they might further their own ends. For all other purposes of course the cultural plenums of the Third World are kept behind tight conceptual and geographic boundaries. They are restrained definitionally as premodern, particularistic and firmly bounded primordialist cultures.
Let us take the example of the advertisement for Walls Ice cream. The advertisement works as a good example of a transnational commodity being marketed in India through what might be a global campaign. While the advertisement begins with a laughing Mona Lisa and the Eiffel Tower , and savvy executives going to work in France the advertisement within its allotted space of 30 seconds features an elephant in ceremonial attire, the Taj Mahal, kids playing cricket on a sunny day, a parrot (associated with good fortune in India), a regional south Indian costume dance Kathakali and the yuppie urban elite of India.
Locked in the advertisement are the dichotomous discourses of tradition and modernity striving to reconcile dissonant identities. The use of tradition as an operating concept is strategic and clearly these "essential" identities which have been so arbitrarily assigned are invidious. Just as the West has always looked to the East where the East is assigned the role of authenticating itself to the West, now in the form of transnational advertising comes along another oppressive force that decides and then defines what the Third world's authentic nature in its essence is and isn't. The advertisement is also representative of a popular orientalist tendency. The desire to "freeze" the "native culture" in the trappings of its own making is but a familiar hierarchial strategy for "othering" the third world. While this particular advertisement concedes to India's bow in the direction of modernity - the yuppie - this is acknowledged/accepted only after a necessary detour through its culture/traditions. In other words one can comprehend India's participation in the modernist project, or the emergence of the "Indian" yuppie only through a "freeze dried" national identity - a revitalisation of the idea of nationhood, but a nationhood over which a majority of Indians have no control.
At this point, it is necessary that I correct any impression that I may have given that this is all to do with multi-nationals only. Indian national capital, in as much as it is part of that "new global class" to whom "global" culture pertains, also reproduces this very same discourse. Here it is interesting to look at the case of Thums Up in India. Thums Up is a popular aerated beverage that has revamped its advertising strategy since the entry of Coke and Pepsi in the Indian market. Since the "masses" of India have always found this cola far out of their reach the Thums Up advertising campaigns had always targeted the urban youth with the "Taste the Thunder" slogan usually set to Western Rock Music and elitist sports such as billiards and so forth. The interesting development has been the response of this national campaign in the face of the invasion of transnational advertising. Thums Up ran a fresh new campaign using the theme song "Sare Jahan Se Achcha Hindustan Hamara" - loosely translated it reads as "The finest land in the world, our India." Here we see how the themes embodied in the rhetoric of nationalism have been appropriated by a national firm in the face of the threat posed by transnational companies. The discourses of nationalism and transnationalism therefore work back and forth and play off against each other to ultimately further the capitalist enterprise.
The conjecture then is defined, as we noted above, by a culture of consumption that lies at its very base - commodities that traverse across nations - their appeal worked out through the idea of a `privileged' West/White-ness existing coevally and non-hierarchically with the underprivileged, but simultaneously specifically nationalist (the golden age) Other, all in the context of pleasure. The critical task therefore is to question all of the parameters that define the conjecture and their interconnections - the culture of consumption (thus capitalism), the modes of Othering within universalisms (and thus imperialism) and the essentialist heritages (thus nationalism). Paying attention to any one parameter exclusively could just as successfully subvert a progressive agenda as ignoring them all.
[Sangeeta Rao is a graduate student of Communications at the University of Massachusetts at Amherst]
Wednesday, September 23, 2009
PUMA launches new marketing strategy with national ad campaign aimed at alternative youth...
Advanced CELL technology basis for retro-futuristic campaign developed by Gyro Worldwide and award-winning music video producers PUMA, the fourth largest sporting brand in the world, makes a bold marketing move this week with the launch of the brand's first nationally advertised campaign in more than a decade.
The television campaign -- a retro-futuristic perspective on PUMA's revolutionary advanced CELL technology -- was developed over the past two months by Gyro Worldwide, the highly acclaimed Philadelphia-based advertising agency that specializes in marketing to the alternative youth culture, and was produced as the first commercial endeavor by Jonathan Dayton and Valerie Faris, producers of the 1996 MTV music video of the year, "Tonight Tonight" by the Smashing Pumpkins. PUMA named Gyro Worldwide its advertising agency of record in September 1996.
The advertising campaign sets the stage for a major turnaround of the PUMA brand in the United States, and comes on the heels of PUMA AG's announcement last month of its strategic partnership with Monarchy/Regency Enterprises, a leading Hollywood film producer or co-producer of such blockbuster hits as "Pretty Woman," "A Time To Kill," "JFK" and "Free Willy." Monarchy/Regency's standing in the entertainment business enables PUMA to further step up its marketing efforts in the United States.
"PUMA enjoys 68 percent brand awareness in the United States, and with this ad campaign and other strategic marketing initiatives we are now focused on shortening the gap between our strong brand awareness and 1 percent market share of American consumers," said Herbert Elliott, president of PUMA North America, which is based in Brockton, Mass. "We will leverage PUMA's distinctive identity as a superior performance sport brand that also is perceived as confident and rebellious -- a personality that appeals to young Americans, who as a group purchase between 70 and 80 percent of all athletic footwear in the United States."
To help build its brand positioning, PUMA turned to Gyro Worldwide, an advertising agency that has gained both notoriety and praise for its own brand of unabashedly "hip" advertising that is decidedly different from traditional Madison Avenue campaigns. The agency, founded in 1990 by Steve Grasse, 31, has distinguished itself for an ability to tap into the psyche of a generation of American consumers who refuse to be "demographic targets" and who do not respond to the same marketing messages that have appealed to generations before them.
The PUMA advertising campaign reinforces PUMA's heritage as a performance sports brand whose product excellence is derived from highly advanced technology. PUMA, which has a long history of leading-edge technical advancements, revolutionized the sporting goods industry earlier this year when it launched CELL technology and became the first athletic footwear manufacturer in the world to introduce a "foamless" midsole running shoe. Using sophisticated computer analysis, PUMA developed a mid-sole made of interlocking polymer cells that are differentiated in size, thickness, firmness and height to create a running shoe that provides better support, motion control and cushioning and lasts 50 percent longer than foam-based running shoes.
To highlight that PUMA is technologically ahead of its time without being "too technical," Gyro developed a series of fast-paced :15 and :30 commercials, shot on location at the Rockwell Defense Center in Seal Beach, Calif. The commercials dramatize the futuristic laboratory creation of PUMA's CELL technology coming to life as if in a Petri dish, and intersperses a sci-fi chase scene with "Bionic Man" type images.
Gyro's Grasse also reached out to Dayton and Faris, producers of music videos for R.E.M., the Beastie Boys and Smashing Pumpkins, winner of seven MTV music awards in 1996. The PUMA ads are the first time Dayton and Faris lent their music video expertise to commercial production.
makes a bold marketing move this week with the launch of the brand's first nationally advertised campaign in more than a decade.
The television campaign -- a retro-futuristic perspective on PUMA's revolutionary advanced CELL technology -- was developed over the past two months by Gyro Worldwide, the highly acclaimed Philadelphia-based advertising agency that specializes in marketing to the alternative youth culture, and was produced as the first commercial endeavor by Jonathan Dayton and Valerie Faris, producers of the 1996 MTV music video of the year, "Tonight Tonight" by the Smashing Pumpkins. PUMA named Gyro Worldwide its advertising agency of record in September 1996.
The advertising campaign sets the stage for a major turnaround of the PUMA brand in the United States, and comes on the heels of PUMA AG's announcement last month of its strategic partnership with Monarchy/Regency Enterprises, a leading Hollywood film producer or co-producer of such blockbuster hits as "Pretty Woman," "A Time To Kill," "JFK" and "Free Willy." Monarchy/Regency's standing in the entertainment business enables PUMA to further step up its marketing efforts in the United States.
"PUMA enjoys 68 percent brand awareness in the United States, and with this ad campaign and other strategic marketing initiatives we are now focused on shortening the gap between our strong brand awareness and 1 percent market share of American consumers," said Herbert Elliott, president of PUMA North America, which is based in Brockton, Mass. "We will leverage PUMA's distinctive identity as a superior performance sport brand that also is perceived as confident and rebellious -- a personality that appeals to young Americans, who as a group purchase between 70 and 80 percent of all athletic footwear in the United States."
To help build its brand positioning, PUMA turned to Gyro Worldwide, an advertising agency that has gained both notoriety and praise for its own brand of unabashedly "hip" advertising that is decidedly different from traditional Madison Avenue campaigns. The agency, founded in 1990 by Steve Grasse, 31, has distinguished itself for an ability to tap into the psyche of a generation of American consumers who refuse to be "demographic targets" and who do not respond to the same marketing messages that have appealed to generations before them.
The PUMA advertising campaign reinforces PUMA's heritage as a performance sports brand whose product excellence is derived from highly advanced technology. PUMA, which has a long history of leading-edge technical advancements, revolutionized the sporting goods industry earlier this year when it launched CELL technology and became the first athletic footwear manufacturer in the world to introduce a "foamless" midsole running shoe. Using sophisticated computer analysis, PUMA developed a mid-sole made of interlocking polymer cells that are differentiated in size, thickness, firmness and height to create a running shoe that provides better support, motion control and cushioning and lasts 50 percent longer than foam-based running shoes.
To highlight that PUMA is technologically ahead of its time without being "too technical," Gyro developed a series of fast-paced :15 and :30 commercials, shot on location at the Rockwell Defense Center in Seal Beach, Calif. The commercials dramatize the futuristic laboratory creation of PUMA's CELL technology coming to life as if in a Petri dish, and intersperses a sci-fi chase scene with "Bionic Man" type images.
Gyro's Grasse also reached out to Dayton and Faris, producers of music videos for R.E.M., the Beastie Boys and Smashing Pumpkins, winner of seven MTV music awards in 1996. The PUMA ads are the first time Dayton and Faris lent their music video expertise to commercial production.
The nationally televised PUMA ads initially are airing exclusively on MTV. In addition, PUMA launched a national print campaign that includes alternative youth culture publications such as Spin, Details and Ray Gun in addition to running publications such as Runner's World. Both the television and print campaigns feature the PUMA running shoes CELL Speed and CELL Venom, the cross training shoe CELL Gator and the revolutionary CELL Pro and CELL Top soccer shoes to be introduced in mid-year 1997.
Since introducing the CELL technology in 1996, PUMA has substantially increased its penetration into U.S. specialty sports stores. This week, PUMA introduced a line of shoes with more advanced CELL technology that extends across the full-length of the mid-sole rather than limited to the heel-to-instep section of the mid-sole. The PUMA CELL is now incorporated into a broader product line, including men's and women's running, soccer and cross-training footwear.
"To make it in today's competitive athletic footwear marketplace, it is imperative to first establish credibility for performance," added Elliott. "We believe we have done that, and PUMA is now in a position to extend our appeal to a wider general audience and to capture a substantially larger share of the U.S. footwear market."
PUMA's history dates back to 1924 and includes relationships with generations of championship competitors and sports enthusiasts who have endorsed PUMA products for their innovation, quality and performance, including U.S. stars Roger Clemens, Isiah Thomas, Evelyn Ashford, Bill Rogers, Thomas Smith and Walt Frazier, as well as international stars Martina Navratilova, Linford Christie, Merlene Ottey and Boris Becker.
PUMA products include footwear, apparel and accessories and are manufactured for a wide range of sports categories, including soccer, running, cross-training, sports lifestyle, basketball and tennis for professional and recreational athletes.
PUMA AG is headquartered in Herzogenaurach, Germany and the company's North American operations are based in Brockton, Mass.
Publication: Business Wire Date: Wednesday, December 4 1996
Monday, September 14, 2009
ADVERTISING : Kellogg Strategy Change Is Hinted
by PHILIP H. DOUGHERTY
On the surface it seems a small matter: Kellogg assigning a ''new cereal product under development'' to the J. Walter Thompson Company in Chicago. But think, the Leo Burnett Company, Chicago, traditionally handles all cereal assignments in the United States for the country's leading marketer of dry cereals, while Thompson has been doing most of it overseas.
Is this a portent?
The Kellogg Company spends about $100 million in advertising at home and most of that backs its cereals. Thomp@son, domestically, has been handling its Salada line of teas, deserts and fudge. Small potatoes.
Kellogg has assigned Burnett to handle LeShake Yogurt, which it acquired late last year from the Elmhurst (Queens) Milk and Cream Company and has since moved out of the New York market and into all of the East Coast.
First LeShake advertising was done by Gerald Schoenfeld, then by Mathieu, Gerfen & Bresner and then in-house by Elmhurst.
Published: April 1, 1981 in Newyork Times
Monday, September 14, 2009
New Delhi: If you’re the kind who enjoys the more than occasional rush of adrenalin that comes with negotiating sharp turns and hairpin bends at top speed, then your bouquet of strong speed machines has just grown a bit wider. Provided your pocket is just as loaded as your attitude. Leading Japanese bike producer Yamaha introduced two power-packed sports bikes — the 998cc YZF–R1 and the 1,680cc MT01 — here on Tuesday, targeting a niche class of avid bikers.
Easy rider: Tomotaka Ishikawa, CEO & M, Yamaha Motor India, poses with the newly launched Torque Sports MT01 bike in New Delhi. Reuters / Vijay Mathur
Both are six-gear road machines and share the same ex-showroom price at Rs10.5 lakh each. The bikes are available in New Delhi, Chennai, Bangalore and Ahmedabad initially. While Bangalore has two dealers, each of the other cities would offer the bikes through a single dealer.
“We are also planning to market these bikes in Mumbai, Pune and Chandigarh in the near future. In fact, we plan to sell these bikes in 10 cities within six months,” said P. Sam, Yamaha Group head, marketing & sales, on the sidelines of the launch. “We have a network plan to distribute these bikes through 50 outlets across the country by 2010,” he added.
Tomotaka Ishikawa, CEO & MD, Yamaha Motor India, highlighted the technical superiority of the new bikes, which many “Indian manufacturers may not have”. Responding to a question on falling sales of Yamaha bikes in India, Ishikawa said: “Unfortunately, customers do not appreciate our technology today.”
Hit by the sharp downfall in sales of the existing 100cc and 125cc categories, from 35,000 last year to 18,000 in the current fiscal year, Yamaha has bet upon its flagship big bikes to revamp its sales graph in India. The company currently has a 3% market share in the country.
“This is not a volume-generating exercise but a brand-building experience. We would prefer event-based marketing,” Sam told this correspondent. The company has a n annual target of selling 400 to 500 units of the newly launched machines.
Yamaha would go for niche magazines and lifestyle publications to advertise the YZF–R1 and MT01, instead of mass media advertising, the Group head said regarding the advertising strategy of the new bikes. The comapny would also use rock music as a platform to popularise the new products.
Yamaha would eventually enter the 150cc and scooter segments of the Indian two-wheeler industry, Sam said.
Does he foresee stiff competition from Harley Davidson, which is also into the premium brand segment? Not really, feels Sam, adding that both brands have their loyal set of customers. “You wont find a Yamaha guy buying a Harley and vice versa,” he quips.
Yes, but Harley is an older brand. “So? So are Harley riders!”
That says it all.
Saturday, September 12, 2009
Background:
Despite a recent surge in tobacco advertising and the recent advertising ban (pending enforcement at the time of this study), there are few studies describing current cigarette marketing in India. This study sought to assess cigarette companies’ marketing strategies in Mumbai, India.
Methods:
A two week field study was conducted in Mumbai in September 2003, observing, documenting, and collecting cigarette advertising on billboards, storefronts and at point of sale along two major thoroughfares, and performing a content analysis of news, film industry, and women’s magazines and three newspapers.
Results: Cigarette advertising was ubiquitous in the environment, present in news and in film magazines, but not in women’s magazines or the newspapers. The four major advertising campaigns all associated smoking with aspiration; the premium brands targeting the higher socioeconomic status market utilised tangible images of westernisation and affluence whereas the "bingo" (low priced) segment advertisements invited smokers to belong to a league of their own and "rise to the taste" using intangible images. Women were not depicted smoking, but were present in cigarette advertisements—for example, a woman almost always accompanied a man in "the man with the smooth edge" Four Square campaign. Advertisements and product placements at low heights and next to candies at point of sale were easily accessible by children. In view of the iminent enforcement of the ban on tobacco advertisements, cigarette companies are increasing advertising for the existing brand images, launching brand extensions, and brand stretching.
Conclusion:
Cigarette companies have developed sophisticated campaigns targeting men, women, and children in different socioeconomic groups. Many of these strategies circumvent the Indian tobacco advertising ban. Understanding these marketing strategies is critical to mimimise the exploitation of loopholes in tobacco control legislation.
Abbreviations:
BAT, British American Tobacco; GPI, Godfrey Phillips India; GTC, Golden Tobacco Company; GYTS, Global Youth Tobacco Survey; ITC, Indian Tobacco Company; SES, socioeconomic status; VST, Vazir Sultan Tobacco.
Friday, September 11, 2009
"Axe and the Bom Chic A Wah Wah ",
A new campaign for Axe body spray which replaces the “Axe Effect.” The spots in this campaign again show women taken out of their normal routine by the effects of Axe body spray. In one execution, a woman is preparing for a date with her man but when she arrives at the restaurant she is distracted by a waiter carrying bread. She bursts out with the phrase “Bom Chic A Wah Wah” while undulating. Then she catches herself and looks embarrassed. A second execution has a woman teaching English to a group of foreign students when a teenager enters and she repeats the Bom Chic A Wah Wah and shimmy which the foreign students repeat.
What Works:Unilever has gone to some lengths to ensure that this new campaign for Axe - the proverbial golden goose - is memorable. They have certainly put together spots that are unique on television and should be highly memorable.
As with most Unilever advertising, this campaign does focus on the unique selling proposition of Axe and the advertising strategy has good continuity with the old campaign. This adds credibility to the effort.
What Doesn’t:This campaign features the most cringe-worthy advertising produced thus far this year and puts this advertising blog in the odd position of feeling considerable sympathy for the actress/models who have to utter the “Bom Chic A Wah Wah” in front of millions of their fellow Americans.
It is always possible for the story to work against the brand in spots like this and it happens here. Frequently, the problem is that the story is memorable, but the brand is not. That is not the case here. Unfortunately, while both the brand and the store are memorable, the connection is neither pleasant nor motivating. In five syllables, Axe crosses the boundary from uncontrollable attraction to creepy stalking behavior.
Of course, we are not the target for this advertising, but we very much doubt that 13-year old boys will find this campaign compelling, either.
Branding Bottom Line:Axe goes from hero to zero. Lose this campaign before we lose our minds.
"Axe and the Bom Chic A Wah Wah ",
Wednesday, September 9, 2009
The iconic Polo mint is altering its ingredients to give the sweet a mintier flavour, and will be selling the changes to consumers with a new radio advertising campaign.
The brand's owner, Nestle Rowntree, is remaining coy about whether the flavour change was the most radical in the 56-year-old brand's history.
Last week the company dumped the KitKat slogan "have a break, have a KitKat" after five decades in favour of "make the most of your break".
In another bold move, the sweet that sold itself into the nation's affections by advertising itself as "the mint with the hole" has abandoned visual media for the first time.
It is telling consumers about the new mintier flavour solely by using radio in a £400,000 campaign by the advertising agency, J Walter Thompson.
Polo had taken a different path than rivals which claim to have a super-strong flavour or to be able to clean people's teeth, said Will Browne-Swinburne, an account director at J Walter Thompson.
"It's a considered reaction from a great brand to the way the world is going," Mr Browne-Swinburne said.
"In a world getting more extreme, Polo has made a token gesture," he said.
Nestle Rowntree said it could sell the changes using radio alone because the brand was iconic enough to be able to dispense with the visual media.
The six radio advertisements say that Polo mints have become 13.063% mintier.
"We've updated Polo in line with consumer trends and palates, and we wanted to tell the story the way Polo would. We felt that radio was the best medium to do this," said Mike O'Reilly, the head of consumer communications at Nestle.
Polo and J Walter Thompson will hope that the recipe change does not invite comparisons with Coca-Cola's disastrous decision in the 1980s to alter the flavour of its classic Coke.
After unprecedented consumer anger and lost sales, Coke had to revert to its original recipe.
Polo has always previously relied on visual advertising. At one time the brand even ran poems on train posters proclaiming its mints in parodies of poets such as Shakespeare.
Last month Nestle Rowntree lost an appeal case to expand its Polo trademark to include the familiar shape of the mint in any size or colour and without the word Polo embossed on it.
Lord Justice Mummery threw out a complex application in the appeal court and said: "This is an appeal concerning Polos, the mint with the hole in the middle. This is an appeal with a hole in the middle. It is dismissed."
· To contact the MediaGuardian news desk email editor@mediaguardian.co.uk or phone 020 7239 9857
Stephen Brook, advertising correspondent
MediaGuardian, Tuesday 10 August 2004 07.25 BST