Monday, February 11, 2013

PepsiCo Sells Dresses To Promote New Trop50 Juice In U.K.

via AdAge

London Designer Makes Only 50, Priced At £555 Each, To Draw Attention To New Drink

PepsiCo is selling dresses for $872 (£555) each, as part of the U.K. launch campaign for Trop50, the Tropicana-branded juice with 50% less sugar and 50% fewer calories than regular juice.

Josephine De La Baume models new Trop50 dress at a pop-up store
 
Josephine De La Baume models new Trop50 dress at a pop-up store

The dress has been created by London designer Richard Nicoll, and is modeled by Josephine de la Baume, the French model and actress who is married to producer Mark Ronson, creator of the music for Coke's 2012 Olympic "Move to the Beat" campaign. Only 50 of the dresses – adapted from Mr. Nicoll's trademark Stella t-shirt dress – have been created. They are available at www.atelier-to-go.com and at a pop-up shop in London's Carnaby Street, which has been curated by artist Robert Storey, who recently worked with Vogue, Victoria Beckham and Kenzo. All profits from sales of the dress will go to Fashion Targets Breast Cancer. Mr. Nicoll has also worked with Vodafone; he created a mobile phone-charging handbag for the wireless company.

Tropicana's marketing manager, Duncan McKay, said in a statement, "Trop50 is this year's most exciting juice innovation so we're thrilled to be working with Richard Nicoll, the hottest designer at the forefront of British fashion. Trop50 is perfect for those who are conscious of their calorie intake but do not want to compromise on taste."

Top 50 is sweetened with extract from stevia, a plant native to Brazil and Paraguay.
The move is Tropicana's first designer collaboration, and comes in the same week that Diet Coke announced designer Marc Jacobs as its creative director for 2013. The U.K. launch of Trop50 is being supported by TV advertising as well as in-store campaigns, sampling and digital banners."

Thursday, February 7, 2013

Shirtless Marc Jacobs Is Diet Coke’s New Creative Director


Marc Jacobs has been named Diet Coke's 2013 creative director, which means he collaborated on a series of advertisements and "whimsical, feminine" limited-edition packaging redesigns, Women's Wear Daily reports. (Previous Diet Coke creative directors include Karl Lagerfeld and Gaultier.) In the first ad campaign, unveiled today, Jacobs joins Diet Coke's proud tradition of shirtless male spokesmodels cavorting in the vicinity of exploding beverages.

Here's the original "Diet Coke hunk" ad from the nineties:

And the latest one before the Jacobs announcement.

It debuted last week and stars male model Andrew Cooper: Shot by Stéphane Sednaoui, Marc Jacobs's campaign is "destined for print, outdoor, and digital" outlets. The series depicts Jacobs alone in a photo booth, getting sexy with a can of Diet Coke — which, as I understand it, is just a regular Tuesday night at Marc Jacobs's house, taking selfies and chugging zero-calorie beverages, while grinning.

Wednesday, February 6, 2013

Think Inside, Outside and About the Box: Packaging Matters

Steve KazanjianBrian Richard

Consumers Want a Container That Lives Up to a Product's Image: Easy to Use and No Leaks

via Steve Kazanjian and Brian Richard of MVW.

Packaging matters. It's important to consumers, brands and retailers and can influence purchasing decisions. It impacts product and brand satisfaction throughout the product lifecycle. And there is plenty of room for packaging improvements and innovation.

These were the takeaways from our firm's recent study of packaging satisfaction study -- an area where marketers clearly need to pay more attention.

Price and quality are predictably the most important components of product satisfaction, but we were surprised that the average consumer ranks packaging almost equal to brand on a list of factors. Think about the investment you make in your brand, versus your products' packaging -- are those two numbers anywhere equal?

Our research shows opportunities to get them more into line. We studied shopping habits and consumer satisfaction with packaging, defined as all aspects of the container that a product comes in, including shape, color and materials it is made from, as well as graphics and labeling. The survey included 3,000 U.S. consumers in October 2012.

A majority (64%) of the respondents said they will sometimes buy a product off the shelf, drawn by packaging, without prior knowledge or having researched it first. We found that, despite the smartphone revolution, most consumers (72%) still rarely use a mobile device to research a product while they are shopping. Other studies have ranked packaging as one of the highest drivers of repeat purchase, with more impact than TV ads, online reviews or even recommendations from friends.
Given how significant packaging can be, it's surprising that less than 20 percent of consumers report being very satisfied with it. Shoppers are satisfied with its appearance on the shelf, but frustrated by many structural features that don't perform according to expectations. Of the 15 packaging attributes studied for importance and performance in our study, consumers ranked shelf appeal, or the product's "attractiveness" and "distinctiveness," as least important.

A package's appearance needs to communicate intangible brand attributes, such as luxury or value, but consumers expect the package to perform to the brand promise. It should be be easy to open, and dispense every last drop. The packaging must work.

After a consumer buys a package off the shelf, satisfaction can rapidly decrease as he transports it home, stores and uses it. To drive repeat purchase, packaging needs to satisfy consumers all the way to disposal. If a product's packaging leaks on the way home, or is too difficult to store or use or dispose of, you can bet that your consumers will consider another brand the next time they shop.
How should a brand go about making improvements to its packaging? While each product category differs, the identified areas for improvement in our study consistently related to functionality: "easy to open," "easy to carry," "maintains product integrity" and "getting entire product out of package."
Structural packaging elements can enhance a brand's image. For instance, the massive amount of marketing dollars that go into a high-end fragrance launch may be rendered null-and-void if the spray head doesn't perform. Whether a fragrance spray is fine and powerful with a whisper sound or long and uniform with a weightless, sensual feel, this packaging element offers brands the opportunity to enhance emotional connection with consumers.

An emphasis on function, as well as form, contradicts conventional wisdom. But, we believe carefully designed packaging will delight and keep consumers loyal long after they've bought into the brand's marketing, purchased the product and left the store.

Each day, more products are purchased online, removing more traditional tactics from the marketing equation. What does that mean for your brand? As buying off the shelf decreases, performance, execution and structural packaging features will outweigh attractiveness and distinctiveness of packaging in gaining consumer satisfaction and repeat purchase. Because 100 percent of a brand's purchasers interact with packaging, it has to be the physical manifestation of the brand -- both on the retail shelf and at every other touch point in the product lifecycle.

Tuesday, February 5, 2013

Has Apple lost its cool?

It's a question that's been asked since Apple rose from the ashes in 2001, a time during which the company has become nothing less than the most valuable in the world. Nevertheless, journalists, analysts and just about everyone else have been champing at the bit to pinpoint the exact moment when the company will lose its imagined Svengali-like grip on the minds of American consumers and Appleapocalypse is upon us.

Venus and Serena Williams in ad for the iPhone 5.
Venus and Serena Williams in ad for the iPhone 5.

The latest occasion was Apple's report on the last quarter of 2012, a record quarter that was nonetheless panned by investors sniffing a post-Steve Jobs slowdown and the mass realization that its iPhone finally has a worthy rival in the Samsung Galaxy.

In an interview, technology analyst Rob Enderle stated an entirely conceivable negative outlook for Apple. As Apple combats a saturated U.S. market, Mr. Enderle expects a "continual slide, much like when Jobs left, when it went into a slow then more rapid decline over 10 years."
And he wasn't the only Apple bear. Ricocheting around the web last week was a Wall Street Journal article headlined: "Has Apple Lost Its Cool to Samsung?" CNBC asked "Is Samsung Cooler Than Apple?"

For a marketing world that has been hanging on every Apple move for decades, these are huge questions that seem to herald some sort of new brand order.

They also might be the wrong ones entirely. After all, it's been a long time since Apple has had to worry about issues of cool -- it's a ubiquitous cultural force with little of the underdog feel it had when it was the hip alternative to IBM or Microsoft.

Brand-wise, Apple is these days too often understood as the rebel brand that defined itself against the grim reality of Microsoft products. When it came to music and especially mobile, things changed. Apple didn't position itself against then-dominant BlackBerry, but rather the nonexistence of a beautifully designed, wonderfully functional small computer that's open to a constellation of brilliant software developers and happens to make phone calls. Now Samsung, while hilariously criticizing Apple's stuck-up rep, has rebelled against a reality where the only option for this miraculous sort of device is made by Apple.

Unlike, say, the market for jeans or sneakers or even cars, the world of smartphones seems almost post-cool. Absent a BlackBerry comeback or a Microsoft surge, there are two options right now if you want to carry a wholly modern phone. What we're talking about in the Apple-Samsung showdown is two multinational companies with gigantic marketing budgets effectively waging a market-share battle. Together they own 70% of the U.S. smartphone market.

In this sort of Coke-Pepsi contest, traditional notions of cool go out the window.

Cool, in a marketing context, has historically meant something like a big corporation borrowing -- or preying on -- some sort of underground culture to enhance its appeal. The classic example is the late 1990s club-kid revitalization of Hush Puppies as chronicled by Malcolm Gladwell in "The Tipping Point." But Apple and Samsung aren't Hush Puppies; they're the big dogs.

Samsung ad pokes fun at rabid Apple fans lined up outside a store.
Samsung ad pokes fun at rabid Apple fans lined up outside a store. 
 
Exclusivity, a big part of cool in the Gladwellian sense, is something Apple has been parting with. Mr. Enderle observes that following Mr. Jobs' death, Tim Cook "hasn't followed a number of rules that Jobs created to preserve the brand. Part of what makes it cool is exclusivity," he said. "You don't buy cool products at Walmart. High-volume products aren't cool because they're not exclusive. They're not the ones [consumers] lust after. At the very least, Apple's going to be less cool."
This is a common way of thinking about marketing cool, and for certain products, especially luxury goods, it makes all the sense in the world. For phones, not so much. If it did, Samsung would already be uncool and all of us who struggle for coolness would be carrying BlackBerry Torches or Windows phones. Take one of those into your next agency meeting and imagine just how cool you'll look in your co-workers' eyes.

What will true ubiquity mean for Apple? Truly global availability would necessarily be a drag on Apple's profit margins since it would need to appeal to some less-than-affluent consumers in Asia. But it's hard to imagine U.S. consumers getting turned off to the iPhone because there's a cheaper version of it available to consumers here or abroad. If they were that fickle, then Samsung, with its mix of mobile phones that appeal to all rungs on the economic ladder, wouldn't have a chance among the uber-cool consumers.

In the long run, when retention is key, then continuous hardware and software innovation and maintenance of the ecosystem is crucial. As the sides firm up, it may be loyalty that's the most important factor. Late last year, Strategy Analytics found that iPhone loyalty dropped for the first time since the launch of the phone. Eighty-eight percent of owners said they would definitely or probably buy another Apple phone, down from 93% the year before. Most companies would sell their soul for these numbers, but for Apple the drop is worth noting.

Ultimately, missteps like the company's attempt to force its own inferior maps product down its users' throats last year might end up being more important than abstract notions of cool.
Cool?

Monday, February 4, 2013

How a Beauty Company Generated Facebook Buzz Without Giveaways

via mashable.com

Nars-facebook-app-2

In November, Nars took on a unique challenge: to promote a new cosmetics collection using social media without giving away free product or paying for advertising.
The company decided to develop a Facebook app for the Andy Warhol-inspired collection that would allow Facebook users to make over their profile photos and cover photos in the style of Warhol, with prominent Nars branding throughout. (To see it the app in action, check out the video from Nars below.)


Speaking at a WWD conference Wednesday, Heather Park, director of digital media at Nars, said her team wanted to target the cover photo section of users' profiles after discovering that every time a user changes her cover photo, it appears in friends' newsfeeds as a unique rather than a group update (i.e. not as, "13 friends of your friends updated their profiles photos…"). Park said they decided to forgo paid advertising "to see how far we could take it purely on earned [media]."

The app attracted a relatively small number of users — 3,143 — but an impressive amount of engagement: Together, those users made more than 5,300 images and spent an average of seven minutes and nine seconds using the app, generating an estimated 823,000 impressions on Facebook. A little more than half of those users are based in the U.S., but a surprisingly high number (23%) are from Brazil.

Like many creative social media campaigns from established brands, Nars' app enjoyed greater traction off Facebook than on. Earned media impressions totaled 151 million, driven largely by press coverage from tech and beauty blogs, Park said. (Nars calculated that figure by adding up the monthly unique readers of each site that covered the campaign and, in the case of Twitter, but multiplying each tweet about the campaign by the number of followers that particular Twitter user had — in other words, the figure is rather inflated.)

Arguably, the app could have enjoyed far greater pickup if the company had made a modest investment in paid advertising on Facebook — something Maureen Mullen, director of research at luxury/digital research firm L2, has repeatedly advised brands do to increase the reach of their Facebook and multi-channel campaigns. But Nars should be at least be commended for generating that kind of reach without leaning on a giveaway or sweepstakes.

Friday, February 1, 2013

Juiceburst: the first digitally interactive soft drink brand


"New packaging, created by London based brand design agency, Williams Murray Hamm, will be unveiled at the start of February making JuiceBurst ‘the world’s first digitally interactive soft drink brand.’ New to the industry, the interactive labelling will be incorporated across the entire JuiceBurst range. The fruit on each label will literally burst off-pack for consumers who have the easy-to-download Blippar app on their smart phones. The exploding fruit will reveal links to JuiceBurst social media channels inviting further consumer engagement including consumer competitions.

Jon Evans, Marketing Director for Purity Soft Drinks and ex Britvic Head of Seed Brands, explains: “We are extremely excited about bringing Blippar technology into the soft drinks sector. It’s something our core target audience, 18 to 24 year olds, know all about and use frequently via their smart phones. By completely overhauling our packaging and making it interactive we feel it will not only stand out on shelf and in-store but also create greater engagement with our consumers.”

Garrick Hamm, creative director of Williams Murray Hamm, the agency behind the design of the JuiceBurst new look said; “It's typical WMH - taking the brand name JuiceBurst and putting an idea behind it.  The clue is in the name.  It’s packaging as media. A series of 'outbursts' with the pack literally shouting from the shelf as the fruit 'bursts'. Artem, the special effects company behind some of the opening ceremony scenes at the Olympics, blew the fruit up for us whilst the action was filmed at high speed.  We just loved the idea of people watching the bursting fruit on their smart 'phones as they shop the fixture. I don't think anyone's done that before’.

THE TOTAL PACKAGE

Alongside the new interactive Blippar enabled label, the new packaging will feature a sleek bottle to give greater standout and reinforce the brands quality credentials. In another industry first JuiceBurst will be launching their website via Pinterest one of the fastest growing social media platforms, this will encourage consumers to share content more easily. A full marketing campaign will be rolled out to support the launch including digital and social media, a consumer and trade PR programme and a sampling campaign.

As well creating the core brand idea, designing the new look graphic and structural packaging and producing the films of the bursting fruit for the fully interactive packs, Williams Murray Hamm has crafted individual JuiceBurst 'stories' to give each fruit its very own personality and voice.
JuiceBurst relaunch has been designed by multi-award winning and internationally recognised brand design agency, Williams Murray Hamm. As well creating the core brand idea, designing the new look graphic and structural packaging and producing the films of the bursting fruit for the fully interactive packs, Williams Murray Hamm has crafted individual JuiceBurst 'stories' to give each fruit its very own personality and voice.1 26 13 juiceburst 6

1 26 13 juiceburst 2
1 26 13 juiceburst 3

Thursday, January 31, 2013

Banksy's Take

Banksy is a world renowned street artist, whose political and social commentary has led to his art being banned and praised all over the world.

Wednesday, January 30, 2013

See the Latest Early Super Bowl Ads: Taco Bell, Toyota and Hyundai


Taco Bell was in the news Monday for agreeing to stop running a commercial that compared vegetable snacks to "punting on fourth and one" -- which is to say, lame. Today it's out with the minute-long ad it plans to run in the Super Bowl on Sunday, and it reminds us of "Cocoon." Toyota, too, has posted a minute-long commercial slated for the Super Bowl, this one starring Kaley Cuoco from the CBS sitcom "The Big Bang Theory" as a genie who appears to a family of Toyota RAV4 owners. And Hyundai is out with one of its Super Bowl commercials -- not the one with a surprising Flaming Lips soundtrack, but a 30-second spot advocating the delights of a 274-horsepower engine. The pre-releases follow other early Super Bowl commercials from marketers including Axe, Volkswagen, Century 21, Audi, Coca-Cola and GoDaddy, with plenty more sure to come as the week advances.

Tuesday, January 29, 2013

YouTube Tantrum Throwers and Crybabies get Happy for Volkswagen

via fastcocreate.com

There is no shortage of people having epic meltdowns on YouTube these days. You’ve got the guy who smashes his Xbox to bits because someone calls him fat, the eHarmony girl whose love of cats sets her off on a crying jag and the minor league baseball coach who famously freaks out on an umpire, rips a base off the diamond, and hurls it across the field.
As distressed as these people are on YouTube, we see them in a different light in “Sunny Side,” a Volkswagen Super Bowl pre-game spot released on YouTube. Created by Deutsch L.A. and directed by MJZ’s The Perlorian Brothers (the directing duo of Michael Gelfand and Ian Letts), the video gathers the real people behind the Internet’s most famous freakouts, including the three mentioned above, and plunks them down in a field where they frolic holding hands, smiling and basking in joy while listening to Jimmy Cliff singing The Partridge Family’s “C’mon, Get Happy.”



“Since Volkswagen has always been a brand that champions positivity and happiness--last year, we did a brand spot where people just laughed all the way through the spot, from babies to nonagenarians, and signed off with the line, ‘It’s not the miles, it’s how you live them’—we saw an opportunity for Volkswagen to do something relevant and compelling by transforming the most notable YouTube cranks with some uniquely positive Volkswagen vibes,” says Deutsch executive vice president and group creative director Matt Ian.
That said, Ian and his partner Michael Kadin were hesitant to move forward with “Sunny Side” when Deutsch creatives Mark Peters and Brian Friedrich first brought the concept to them. “We were well aware of all the negativity and vitriol online in social media. How could we not be after living through the last election? But we questioned how many compelling videos we could actually find online to illustrate this trend. However, ten minutes of Googling search terms like ‘meltdown,’ ‘temper tantrum’ and ‘freakout’ uncovered an epidemic. We weren’t making this problem up,” Ian remarks. “Publicly going to pieces is a legitimate cultural trend.”

When it came to casting, a couple of the YouTube tantrum throwers were, not surprisingly, difficult to deal with. “I do know that I was on the phone late with our producers the night before the shoot trying to figure out how to get a couple of people [to the shoot] who had agreed, then backed out, then reconsidered, then backed out again. It wasn’t as amusing as it was completely enraging, and if someone were filming me on the phone that evening, I might have wound up in the video myself,” Ian says, adding, “Ultimately, the people I am referring to didn’t end up in the video anyway, and honestly, I don’t miss them. Michael [Kadin] and I really love who we ended up with. Everyone was great.”
“Sunny Side” was shot in Thousand Oaks, California, at Ventura Farms. “Everyone who came to be in the video was really positive and psyched to be there, but as for getting in a ‘happy place,’ it was a bit tougher than expected. The two days we shot on that hillside were two of the coldest friggin’ days I’ve ever felt in Southern California,” Ian says. “We were all freezing. It was in the thirties when we showed up, and people were huddling around portable heaters between takes. I felt bad for the talent. They couldn’t bundle up in jackets for this thing.”
Cara Hartmann, aka “the crazy cat-hugging lady,” probably suffered the most. She had to wear what she was wearing in her YouTube video: a tank top and pajama bottoms. “But if you look at the shots she is in, she’s got a smile on her face the entire time,” Ian notes. “She was a trooper.”
So was the shoot like some freaky YouTube reunion? “I’d imagine they did recognize one another. I mean, most of them have had mega hit tallies on YouTube, numbers we advertising types would kill for,” Ian says. “I think most of the people on the crew recognized them, too. Michael and I can specifically remember seeing each one of their videos when they broke. I shared the Green Bay fan video--Casey Lewis with her bad luck sparkly nail polish--in every conceivable social media channel I could.”

Prior to shooting the spot, Deutsch went into the recording studio with Jimmy Cliff to lay down a new version of “C’Mon, Get Happy.” While Ian and the creative team loved the song, they were worried that The Partridge Family’s original version might be too over-the-top happy for “Sunny Side.” “So we wanted someone to give it a little more of an edge. Jimmy Cliff immediately popped to mind. We love Jimmy Cliff. The guy is the real deal, a living legend. I remember seeing him as a kid in 1986 at the Capital Theater in Port Chester, New York, and him blowing the roof off the joint,” Ian says. “We felt Jimmy had the cred, the style and the voice to take that Partridge Family theme and really make it his. But even we were surprised by how f-cking cool the song turned out. Watching Jimmy walk into the Brooklyn recording studio of Vel Records, nail the song in like two takes and blow us all away was something to behold.”
For now, the plan is for “Sunny Side” to run on YouTube only, although that could change. “Last year, we intended to do the same with our pre-release spot, ‘The Bark Side,’ but then ended up running that on TV as a sixty second. So who knows?” Ian says.