Posts filed under 'marketing'
Avocados, ethics and supermarket histories
Alex Steer writes:
The avocado pear’s name is the product of selective memory. Our word for the South American vegetable comes originally from the Nahuatl word ahuacatl, which means ‘testicle’. This unfamiliar word was borrowed into Spanish, but mishearing and confusion with the easier-to-remember word for ‘advocate’ or ‘lawyer’, avocado, led to this being used for the pear. Avocado was borrowed into English in the late 17th century, and has stuck.
The avocado has in recent weeks found itself at the centre of a standoff between two supermarkets. Sainsbury’s and Marks and Spencer have launched TV adverts – commemorating their 140th and 125th anniversaries respectively – in which they each appear to take the credit for introducing the avocado to Britain. The avocado is now an advocate in supermarkets’ increasingly fierce battle for market share, but it is arguing the case for both sides.
There has been no shortage of ads harking back to the past recently – Sainsbury’s, M&S, Hovis, Persil – and no shortage of commentators noticing this. Most have identified that behind these campaigns lies a perceived yearning by consumers for the securities of nostalgia and tradition. Hovis’s strapline – ‘As good today as it’s always been’ – resonates with wary, recession-weary shoppers who are longing for a little sanity. Nostalgia brands are brands that have stayed the course; brands you can trust.
But Sainsbury’s and M&S are not just saying they are reliable retailers. They are saying they are responsible, ethical ones, and that they always were: employing women, helping the planet, doing their bit for the war effort. These campaigns are histories, written to appeal to the values and good citizenship modern consumers seek from brands.
The demand for corporate social responsibility is relatively new, and it’s hard for older brands not to look like they’re jumping on today’s bandwagon, compared to new brands who have built CSR into their blood and bone. By framing their histories in terms of modern values, retailers are telling consumers that, unlike the avocado, they were always advocates, representing quality and fairness. It remains to be seen if consumers will buy this, or conclude that it’s all a load of ahuacatls.
The picture at the top – a photograph of a painting – is borrowed, with thanks, from Betweenland on flickr.
1 comment 15 June 2009
Eight tips about segmentations
Sarah King writes:
At The Futures Company we do a lot of segmentation work, for organisations trying to get really new insight into their audiences – who they are, how they behave, their attitudes and values. Segmentation helps our clients to drive genuine customer orientation across their businesses, with a shared perception of customers resulting in far more relevant offers. We shared some of our current thinking on how to get the most out of any segmentation project at a breakfast briefing for clients earlier this week.
Here are some tips from the presentation:
- Understand what you’ve already got – companies have plenty of data already, and it’s almost always more cost-effective to build on this. Add it to our insight and it can give you a real head start.
- Make sure you know what business question you’re trying to answer with the segmentation.
- Plan how you’re going to implement the segmentation before you begin – make sure you have a clear view of the end from the starting line and design your segmentation accordingly.
- If it’s your first time or there is a lot of change in your category, consider whether you need some exploratory qualitative research to help you understand how people divide and what questions you need to ask in your survey
- Remember that the segmentation work sits inside the business, which needs to be engaged in the process – before, during and afterwards. Bear in mind that you will have to resource embedding it in the business – both socially and in your daily business processes. You might need to access budgets other than the Market Research one.
- Avoid “the big reveal”. Get senior sponsorship for your project and take people along with you as you go, rather than trying to surprise them with the brilliance of the insight at the end. Less dramatic, more productive!
- Keep the segmentation story as simple as you can, without compromising the quality of the insight or the data. It makes a big difference if people in the business can keep the segmentation in their heads.
- Choose names for the segments which show respect for your customers and don’t caricature them. As the segmentation gets used by the business, the names will end up framing the way you think about customers.
It’s also worth looking at the post about segmentation in the public sector, based on an IIPS event held in the spring.
The cartoon is by Jake Goretzki.
Add comment 9 June 2009
When saying sorry doesn’t work
Andrew Curry writes:
Suddenly, ’sorry’ seems to be the easiest word, at least in London. Quite apart from politicians saying sorry, eventually, about their expenses, we’ve had Marks and Spencers saying sorry for charging more for bigger bras, and (as Andy Stubbings has mentioned here) the London Evening Standard saying sorry in an extensive poster campaign for, well, for pretty much everything.
It’s true that the Standard’s branding is discreet and it’s mostly done by typography, but it seems as if the paper is saying sorry for being complacent, predictable, negative, and out of touch among other things.
As ad campaigns go, it has the merit of getting them talked about (as this post demonstrates) although for this non-reader the Standard was always a smug evening paper which pandered to the prejudices of its core audience in the commuter belt.
Indeed the whole campaign, prompted by the arrival of new Russian owner and new editor, feels like they’ve done some focus groups with lapsed readers and slapped the findings straight on to the billboards. (Which saves the inconvenience of a debrief, I guess).
Will any of these work? I think the M&S apology will – it’s a simple issue with a simple remedy. I’m sceptical about the other two. In the face of their respective declining markets, both paper and politicians will find that saying sorry isn’t enough.
The picture at the top, published under a Creative Commons licence, was taken by renaissancechambers, whose photostream is here.
1 comment 14 May 2009
Old and unimproved
Andy Stubbings writes:
Pessimism is an often underrated emotion. In this dismal economic climate, brands like Schweppes (with their series of woodcut style print ads that send up British political figures) and even the Evening Standard (with their “Sorry” bus and tube advertising) have sought to capitalise on consumer discontent and, most probably, a simmering resentment towards our political and economic institutions (for a wonderfully vitriolic example of this anger, see Matt Taibbi’s ‘The Big Takeover’).
However, no mainstream brands appear to have done this as explicitly as Shredded Wheat in the US. The “Progress is Overrated” print ad above is part of a campaign by cereal manufacturer Post to publicise the simple, unchanged origins of their product. As you would expect, the long-copy form and type-setting feel of the print ad are wantonly old-fashioned, conveying “back-to-basics” message (although the slapstick tone of other campaign media feels at odds with this). What is especially interesting about the copy, however, is that it namechecks waste concerns, resource shortages and the impact of climate change as evidence that we have not progressed (though curiously no mention of the financial crisis. The people who buy Shredded Wheat are mainstream American consumers, many of them mums buying for their kids. The tone of the campaign (by Ogilvy & Mather in New York) implies that research has found this attitude reasonably prevalent in the target audience, which suggests that consumer discontent may be quite widespread.
While it may be difficult for established brands like Schweppes and Shredded Wheat to reinvent themselves as the Voice of Discontent, I think there is a substantial opportunity for less well-known brands to take this on, in the way that Mountain Dew reinvented itself as the ’slacker’ brand in the midst of the corporate greed of the 1980s. With so many brands offering similar messages of solidarity and empathy with consumers at the moment, it might be that pessimism proves a smarter and more distinctive position.
The picture is borrowed, with thanks, from Noise Between Stations.
1 comment 13 May 2009
Apples and oranges
Rebecca Nash writes:
Segmentation is widely used in the private sector, to get closer to customers, to provide a language for understanding, and to create a framework to make the most of available resources. In the public sector, it can represent a powerful way both to prioritise customer insight and improve service delivery. Hence the reason that the IIPS (Institute for Insight in the Public Services, the co-venture between The Futures Company and BMRB) turned its attention to segmentation in its first breakfast briefing of the year, in particular as a tool for service transformation.
While planning the event we realised that, despite these benefits, some are put off by segmentation because of its specialist, technical jargon. But we also wanted to make the point that segmentation demands more than analytical skills – it also requires strategic and cultural awareness. A segmentation team needs to draw on a range of expertise to succeed, and the cultural challenges can be just as significant as technical ones.
In her presentation, IIPS Chair Michelle Harrison demystified the use of segmentation for those interested in better designing and embedding the method in their organisations but also emphasised that organisations must be clear about why they’re using segmentation. Sometimes it is not an appropriate insight tool and other methods will work better.
In the public sector there is growing recognition of the benefits of customer segmentations, but there are still concerns about equity (when some, not all, groups are targeted); the scale of public services (when your ‘customers’ are entire populations); and the analytical approximations that produce the segments (the boundaries of attitudinal and behavioural segments). But panellists from the Department for Schools, Children and Families (DCSF) and the Department of Health (DH) illuminated how segmentations that go beyond socio-demographic profiles are informing policy, interventions, marketing and communications, and how the government community is building up a body of best practice in this area.
The Futures Company will take another look at the technical and cultural challenges of segmentation, from the perspective of the private sector, when we host a breakfast briefing at our More London offices on 14 May. Please contact Jennifer.Kivett@thefuturescompany.com for more information.
Add comment 1 April 2009
Sounds like the future
Andrew Curry writes:
Anyone with a passing interest in modern jazz knows the ECM label, now 40 years old, with its distinctive roster and innovative design. To mark the anniversary it has released 40 of the best from its back catalogue as ‘Touchstones’ – with performers ranging from Pat Metheny and Keith Jarrett to John Surman, Anouhar Brahem and Jan Garbarek. The price is low (”at download prices”) and the packaging reduced.
It’s a move which pushes some obvious buttons. The €9.90 price is a response both to the digital download market and also to the recession, the card covers more environmentally friendly than the typical jewel case. But it also touches on some less obvious trends. The packaging design reduces the amount of space the CDs take up, in an age of decluttering, while also evoking the glossy look and feel, if smaller, of the original LP sleeves, creating a kind of nostalgia for the future. It can only be a matter of time before ECM’s new releases follow suit.
The picture is of pianist Chick Corea and vibes player Gary Burton, both on the Touchstones series.
Add comment 20 January 2009
The return of zombie brands
Jake Goretzki writes:
Jake Goretzki writes:
The world of brands has always had a lively lexicon (those ‘wheels’, ‘onions’, ‘keys’ and ‘prisms’), but I came across a new face recently when I was listening to BBC World Service’s ‘Global Business‘ – the evocatively named ‘zombie brand‘.
Zombie brands are dead and delisted brands which retain emotional value, decades after they’ve been buried – and can, with clever handling, be reanimated by adapting yesterday’s positioning to new trends while retaining core truths.
The example which the programme cites is ‘Brim’, a decaf coffee in the US with an unforgettable jingle (something about ‘goodness to the brim’) that has, apparently, been resurrected as a vitamin-enhanced coffee. Brim, it is claimed, had been retained in the American collective memory as an idea of a coffee ‘that you could drink and it would not be bad for you…even good actually’. The Ford Taurus and Coke Tab also fit the bill.
In Eastern Europe, countless decommissioned Communist-era favourites, many gradually returning, behave in similar ways. Back in the UK, I hear the wailing of our own brand zombies – and nostalgia websites are teeming with them. Can it be long indeed before the dream return to the shelves of Spangles, this time single source and fairtrade? My hopes are still alive; sorry, undead.
The programme, presented by the incomparable Peter Day, can now be heard online.
The Brim poster at the top of the post is courtesy of Gasoline Alley Antiques.
Add comment 26 November 2008
Marketing and art
Emily Pitts writes:
The late work of Mark Rothko is currently on show at the Tate Modern, and much has been written about the innate spirituality of both the artist and the work. Rothko was one of the last of the Modernist artists, a contemporary of Jackson Pollock and de Kooning, and many of his ideas and painterly practices looked back rather than forwards. As the critic Robert Hughes observed, he believed that his ‘painting could carry the load of major meanings and possess the same comprehensive seriousness as the art of fresco in the 16th century or the novel in 19th century Russia”.
Rothko at his best should allow us to contemplate, as the shadows of the colour open and close before us with luminosity and movement. Indeed, the artist was very careful in stipulating how his work was shown, hung, and lit because of the importance to him of its impact on the viewer. To experience his low-lit, enveloping canvases is often described as similar to stepping into a cathedral, and reviews and critiques tend to be peppered with religious language.
But visiting the exhibition, one of the striking features is the lack of reverence to be found among the visitors. This is not to say that the work on display is not spiritual, or fails to convey a sense of the sublime. Instead, it is the all but inevitable result of the business of blockbuster art shows. Earlier this month, an article in Marketing Week (not available online without subscription) argued that marketing had ruined art. At the Rothko exhibition the visitor is accosted by the usual array of extras – headsets, printed guides, the line of merchandise on the way out. Because of the large volume of visitors, entry is operated on a timed basis. So perhaps it’s not surprising that visitors are wont to race round, listening to commentary rather than looking at the work, and picking up some postcards at the end. The marketing and packaging of the show doesn’t help the work find its audiences. Instead, visitors seem confused as to how to approach it. There is relatively little of the usual reaction of thought and quiet reflection that are normally associated with Rothko.
This all begs the question of the role of marketing in art; can marketing devalue the work it attempts to promote? If culture becomes just one more way to consume, does art become as disposable as consumer goods? Germaine Greer was quoted in Marketing Week as saying that ‘the art form of the 21st century is marketing’. This may be true, or may be grandstanding (although her example of Damien Hirst creating such a strong brand on a ‘conspicuously threadbare rationale’ resonates) – but when marketing overtakes the art in question, the works seem to become secondary to the gloss of marketing, and the cachet of an exhibition lies in visiting it rather than absorbing it, perhaps marketers have to ask themselves what it is they’re trying to achieve by marketing.
The picture at the top of this post is from The Swelle Life – which has an entertaining post about the Tate’s merchandising of Rothko. (They’re not fans). The Tate Modern exhibition runs until 1st February 2009.
Add comment 30 October 2008
Talking like children
Jake Goretzki writes:
I couldn’t help noticing recently just how widespread ‘childlike Innocence’ in visuals and creative has become in UK advertising. This was brought home to me sharply last week when I collected a friend’s elderly mother at Gatwick. She’d flown to the UK from Bosnia, and seeing the billboards at the railway station, remarked with mild horror that ‘your banks even have advertising for children here!’. Looking again, it occurred to me just how much of today’s communication, stylistically, might be thought at first glance to be aimed at the average 8 year old.
I’m talking about simple, bold colours. Geometric shapes: circles and squares. A degree of studied low production and naivety too – some ads looking like screenprints or even potato prints. Lots of cutesiness too, through cartoon and animated characters. Cutesy animals, bunnies and teddies scurrying everywhere.
This may be nothing more than a current fashion in print advertising, reaching across campaigns and agencies. Fashions come and go: an earlier one was ‘punter + message on cardboard sign’, stolen from DA Pennebaker, last used by Apple Mac but also favoured by banksn. Another is ’subversion of everyday lettering’ (one of the thrills of Photoshop), where lettering on photo-real shopfronts / street signs / embroidery is altered to carry the message and force a double-take (last seen in UK anti-smoking advertising and still going strong).
For all the ubiquity of this style though, ‘childlike innocence’ clearly strikes a chord with consumers and chimes closely with several current trends. It reveals a lack of patience in consumers’ ’stop go lives’ for complexity, heavy copy and detail. It also reflects a caginess about risk and uncertainty, particularly potent in the realm of financial services, which means that clarity, hypersimplicity and even innocence can reassure. While this might seem to be a great opportunity for marketers and communicators grow up and ditch the bunnies, in recessionary times ‘talking to you like children’ begins to feel even more resonant. It’s a cosy bedtime story and a tucking in.
1 comment 29 July 2008
