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摘要
本文主要探讨了现代广告设计中洞察消费者需求和消费心理的重要性和重要作用。在当今社会中，图表广告的作用已经随着社会的变化有了巨大的改变，已知的最早的图表广告起源于20世纪60年代古埃及的创意革命，并一直延续至今。
本文主要通过一系列的主题进行讨论：为什么公司失去了对他们品牌的控制力?个人如何改变现代广告设计?消费者通过自身经历和看法对成功的品牌进行消费和利用，并经过深思熟虑划定商业广告的道德界限。
这些主题包括一众作者和记者的意见和建议，展示了当今社会企业发展过程中需要考虑的问题，需要作出的行动，并探索如何在现代社会满足消费者的愿望，接受消费者的建议。此外，研究发现深入考虑消费者的观点对于企业的发展是极为有必要的,在广告设计中，充分利用消费者的观点有助于激发广告设计的创作灵感，以保证完美地满足消费者的目标，达到既定的目的。 ABSTRACT
This paper offers an insight into the role of the consumer in modern advertising. It charts the role of advertising in society from the earliest known origins in Ancient Egypt to the creative revolution during the 1960's right up to modern day viral campaigns.
A range of topics are discussed from why companies lose power over their brands to how the individual changed modern advertising. It considers the ways in which, successful brands have utilised the consumer in their campaigns and goes on to deliberate ethical boundaries in the business of advertising.
Encompassing a range of authors and correspondents views on the subjects it demonstrates the need for businesses to consider and act upon consumer's desires and suggestions in modern society. Furthermore it discovers the necessity to ensure that the consumer's views are used as inspiration throughout the creation and development stages of advertisement design in order to guarantee its goals are met.
The paper concludes that particularly now, in an economy where there is very little venture capital, brands should embrace consumer-generated content and utilise it in a manner that will aid growth and development. It references industry experts and their views on the subject and establishes a means by which businesses of all sizes can gain from consumer interaction in advertising design. INTRODUCTION
Advertising design refers to the creation and development of visuals to be used in the advertising process. It is used attract audiences by pushing creative boundaries and appealing to their emotional senses in order to sell.
Advertising and advertising design have come a long way since their beginnings and that is no more apparent than in recent times with introductions of new media but how exactly has advertising changed in recent times? Why was it necessary? What effect have relatively new introductions such as the Internet had on advertising and to what level is the consumer involved when considering advertising campaigns? Pivotally, are advertising agencies still able to engage with consumers and sustain their interest?
This paper will discuss the many viewpoints concerning the need for consumer interaction within advertising design, what happens when it is ignored and offer case studies as to how it can be use effectively.
Despite much literature on the matter issues still exist with the implementation of consumers through all stages of advertising design. It is hoped that this paper, despite limitations of time constraints and access to large samples of primary research, will assist as a guide to designers and the use of consumers within the sector. CHAPTERS A Brief History of Advertising Design
The creation of advertising can be traced back as far as the ancient Egyptians who used papyrus to make sale messages and promotional posters. There are surviving signs from ancient Babylonia and ancient China during the Western Zhou Dynasty (1050 - 771 BC) advertising the sale of wine at trade fairs. Other examples have been discovered in the ruins of Pompeii, promoting a range of activities from political campaigns and theatre performances to sporting events and drinking establishments. Papyrus was also used in both ancient Greece and ancient Rome to advertise articles that had been lost and found. During the middle ages, where it was uncommon that the population in mass would be able to read, vendors would use symbolism to promote their trade. For instance a cobbler may have used a picture of a boot or a blacksmith a horseshoe to advise customers of their location. (Landa, 2004)
The year 1450, and trained Goldsmith, Johannes Gutenberg invents a printing press, the first of it's kind to utilize movable, metal type. Its release in Germany and popular rise throughout Europe allowed the widespread distribution of information to the public. It is this that can be accredited as the beginning of mass media (Kreis, 2004)
As a discrete form, however, advertising is generally agreed to have begun in the seventeenth century with classifieds and line-ads appearing in weekly English newspapers. (Wilson, 2009) Simple description, accompanied with a price indication, generally for books and newspaper, which due to advances in the printing press were becoming more affordable, served their purpose until false advertising became a prevalent issue, from which regulation of content was introduced.
1836 and French newspaper, La Presse, became the first media of it's kind to introduce paid advertisement space. Due to this successful concept, the paper was able to lower its retail price, resulting in wider readership and an increase in revenue. Four years later, in Boston, MA, Volney Palmer established what was to become known as a predecessor to advertisement agencies. Around the same time French news agency, Havas, extended its services to incorporate advertisement brokerage. These forerunners to advertising agencies worked as brokers, selling advertisement space in newspapers. It wasn't until 1869 and N. W. Ayer & Son of Philadelphia became the first full-service agency, which could be likened to those of today, in that they assumed responsibility for advertising content. (Landa, 2004)
It was towards the end of the nineteenth century, with an emergence of more full-service advertising agencies, that the business of advertising became an institution in it's own right. (Wilson, 2009) It had its own creative values and working models, as well as being considered as one of the few real career opportunities for women at the time. This was due to the fact that it was women who were responsible for the majority purchasing within the household. The advertising agencies soon realised the invaluable input of women's insight through the creative process. In fact it was Helen Lansdowne Resor's foresight that turned Woodbury's soap's attention away from sole promotion of its medical properties to line itself with the consumer. Her tagline; 'A skin you love to touch,' implied a romantic desire and is credited as the first utilization of sex in advertising. (Reichert and Lambiase, 2003, p. 44)
Advertising agencies became the response to an ever growing and often crowded marketplace. Manufacturers and sales people realized that promotion was vital to the success and longevity of a product. The agencies began to sell themselves as experts in constructing goods to consumer communication, which if employed, would leave the businesses to concentrate on the manufacture and growth of their goods.
The Great War saw a number of advances in advertisement to the mass market with the arrival of propaganda ads on all sides. It was the British government, who were at the forefront of the propaganda battle, using advertisement to persuade civilians to fight as well as an attempt to lure America to join them. It is written in Mein Kampf that Germany lost the war because they lost the battle of propaganda. (Kick, 2001) The most important affect the First World War had on advertising was the mechanization of industry and the resulting increase in expenditure that gave birth to a new concept; the desire to create need within consumer. It is this notion that has been the dominating force in advertising since the 1920's.
Into the 1920's and the first radio stations were established by manufacturers in order to sell more radios to a greater number of people. Soon many not-for-profit organisations also began setting up stations, such as schools and civic groups. The practise of sponsoring a program became popularised which usually meant the mention of the single sponsoring business as an introduction to the show. However, it was soon realised that an increase in the number of advertising spots available would create an increase in revenue. Station owners began selling time allocated slots to multiple businesses rather than selling the rights to whole programs.
This practise was proving very effective until 1929 when the Wall St. Crash hit, which put an end to widespread affluence. This was followed by the Great Depression and the Second World War, which meant that it was not until the 1950's that customers had enough disposable income to respond to the marketer's creation of need concept, which had been established through the twenties.
Post War affluence had prevailed, as did a wealth of goods for which a feeling of need for the consumer had to be created. Perhaps the most predominant product to be seen as a necessity was the television. No home could be without one and of course, where the televisions went, the advertisers soon followed. It should be noted that due to Britain's government control over broadcasting, they were a decade or so behind the US in allowing commercial TV stations to air. To this day the UK and Europe still have tighter control over the amount of editorial sway that advertisers possess over a programme. This is partly due to corruption within the US model that enabled sponsors to interfere with the storylines of quiz shows in order to make their goods more appealing. (Stafford and Faber, 2005)#p#分页标题#e#
1960's America and Doyle Dane Bernbach introduced what is said to be one of the finest advertising styles in modern times. So much so that it's creation sparked a period known in the states as the Creative Revolution. Set in a sea of hard sell, the agency used wit in addition to a certain amount of self-ridicule in order to advertise the now iconic, Volkswagen Beetle. The taglines 'Live Below Your Means' and 'Think Small' created the appearance of a company that was willing to make a pun about itself and it's product. The car and it's advertising was adored by the children of the revolution who saw it as a rejection of their previous generations materialism. (Consumer Guide Automotive, 2007) This form of societal advertising paved the way for some of the most creative and long-standing advertising models, which are still in use to this day.
Continuing with the American timeline, the late 1980's saw the introduction of cable TV, and significantly, the introduction the music video with MTV. MTV altered many advertisers mindsets and paved the way for a new model where by the consumer actively watches because of the message, rather than it being a by-product of the program. (Williams, 2003) As cable TV and more commonly in the UK, satellite TV, became more widespread channels emerged which, devoted themselves entirely to advertising product, such as shopping channels.
Moving into more modern times and the Internet has created a fantastic medium for advertisers to operate solely on advertising revenue. At the turn of the century, many online businesses, including giants Google, began using un-obtrusive, and contextually relevant advertisements to aid the user. Importantly this is a major factor in the increasing trend of interactive marketing. (Kuntz, 2008)
Now, well into the 21st Century and a somewhat recent innovation for the advertising world is guerrilla marketing, which is an unconventional means of advertising aimed at gaining maximum results from minimal resources. The phrase, coined by Jay Conrad Levinson, relies on the use of unexpected and unconventional campaigns in order to create a buzz, in turn becoming viral. Guerrilla marketing may involve PR stunts, product giveaways, poster campaigns, as well as creative use of modern technology, in truth anything required to get maximum results from minimum resources. (Drake and Wells, 2008) Analysis of Brand
"Is a brand a product, a service or company? Is it a logo, a marketing strategy or an attitude?" (Mono Design, 2005, p. 8)
The origins of the term brand and its modern definitions can be viewed as somewhat elusive due to its generalised use.
The term itself derives from the practise of permanently stamping or marking something under a person's ownership. For example, a herdsman's would brand his cattle with a hot iron to display them as his possession. It was also, as Jane Pavitt writes (2000, p. 21) "a means of signalling disgrace." Up until modern times criminals would be marked using hot iron or tattoo as a sign of infamy. This can be traced as the origin of the term 'branded a liar.' Branding can therefore be principally known as "the process of attaching a name and a reputation to something or someone." (Pavitt, 2000)
The primary and most recognisable feature of a brand is a name or logo, which is used to denote its origin. It is this name or logo an individual or business will use to indentify and distinguish themselves from competitors.
It is widespread belief that brand is far more than a name or trademark however. It is the representative image for a product within its market. A brand owner must create a desire that connects the associations and attributes of the product from their own view, or desired identity, to that of the consumer. (Wheeler, 2009) This is referred to as brand image. It is this image of special or unique attributes that make the brand a primary advertising element due to its ability to demonstrate what an individual or organization can offer in the marketplace. The process of attaching values to a product or service, either physically or by suggestion, is called branding.
Branding is also defined as the method used to build consumer awareness and extend customer loyalty. It requires owners to seize every possible opportunity to communicate why an individual should choose their brand over a competitor's. (Pavitt, 2000)
"A brand is a person's gut feeling about a product, service or company." (Neumeiner, 2006)
Due to the multitude of choice created by competitors, those looking for a market foothold must aim to connect emotionally with consumers and become, in their eyes, irreplaceable and in doing so create long-term relationships to ensure brand longevity and staying power. People trust strong brands and believe them to have superior status. How a market perceives the brand will affect its success.
In Designing Brand Identity (2009, p. 2) Wheeler references David Haigh, CEO of Brand Finance statement that, "Brands have three primary functions." These are to navigate the customer in selecting one product or service from a wealth of choice.
To reassure and comfort the customer, through communication of quality, that they have made the best selection and to engage, using distinctive imagery and the previously discussed associations, to enable customers to identify with a given brand.
And to have the brand work to enable identification, which is referred to as brand identity. The final point here is of significance as brand identity is a tangible proposition. The identity aims to stimulate recognition, to amplify differentiation and to create accessibility for the consumer.
"Brand identity takes disparate elements and unifies them into whole systems." (Wheeler, 2009)
The ability to create and maintain a strong brand is referred to as brand management. It is brand management, which is of vital importance when considering consumer reaction and affect on marketing the brand. Marketing the Brand
When considering marketing their brand, whether for a start-up, a non-profit or a product, the owner must first consider a strategy.
"The best strategy is developed as a creative partnership between the client, the strategist, and the designer." (Wheeler, 2009, p. 12)
A brand strategy will provide the owner with a dominant and unifying plan around which, all actions, communications and behaviours are centralised. The best strategies are so straightforward that they are easily communicated to all levels of employees and consumers but are also so differentiated and powerful that they stand above the competition.
The strategy is built on a vision that aligns itself with the owner's strategies and develops from their culture and values. At the forefront of the strategy is the ability to ensure a deep understanding of the consumer's needs and perceptions. Brand strategy aims to define position and a competitive advantage as well as creating differentiation and a unique prospect for the consumer.
An individual rarely develops the brand strategy. Generally a team of people, which may include the CEO as well as heads of advertising, public relations and sales departments combine to head it's creation. Global firms will by and large hire in strategists with outside experience who can creatively aid a firm in articulating what is already there. Brand strategy is critical to a business' success and longevity.
"Companies frequently survive and prosper because they have a clear brand strategy. Companies falter because they do not have one." (Wheeler, 2009, p. 13)
Following on from the strategy and in its support is a positioning strategy that both exists and in doing so evolves to create openings in a saturated market, which the brand can exploit. It does this by taking advantage where it can of technology, changes in demographic and importantly, consumer trends. It aims to find a gap in the market in order to appeal to the public in an alternative, fresh and alternative manner.
Positioning, as a branding concept was developed by Al Ries and Jack Trout in 1981. (Harris, 1998, p. 27) They defined it as the foundations on which a company should build their brands, strategize planning and extend relationships with their customers. Positioning takes into account the four principal dimensions, which affect sales, product, place, price and promotion. Ries and Trout believed that for successful brand strategy that the owner must cement their position in the consumer's mind. This, they believed, should be done by considering the consumer's needs, assessing the strengths and weaknesses of their own business and understanding the competitive landscape. Ries and Trout's beliefs continue as a guiding staple pin throughout marketing, branding and advertising.
To further grasp the importance of brand and its position within marketing it is fitting to consider a case in context, that of Levi's.
The past ten years have seen a steady movement away in customer purchasing from established denim-wear brands such as Levi's and Wrangler to a contrasting base of manufacturers. Designer labels and smaller independent, street-wear manufacturers have been acquiring a larger market share despite the fact the in many cases these manufacturers are not primarily focused on designing jean lines, seeing them rather as an accompanying product to clothing lines, which are of greater focus. It is felt that consumers are drawn in by the individuality and distinction of small-run lines, as well as the perception of celebrity through associations with their parent-label. (Mono Design, 2005, p. 74)#p#分页标题#e#
Levi's tackled this shift in consumer behaviour in a positive manner by opting to reinvigorate and expand their own product lines, creating designs that did not just reflect emerging trend but actually drove them. Levi enlisted the expertise of London-based design agency, Kitchen who began working with Levi Strauss across the continent to aid in the reinvention and repositioning of the Levi's brand image. They did this by consulting the customer at stores and consumers in third party research to gain a better understanding of their mind-set when purchasing a pair of jeans. Kitchen discovered a need for Levi to fully immerse themselves in culture and the environment around them. (Mono Design, 2005)
Although predominantly consumer based, the rebranding exercise aimed to stretch further, by raising the profile of the repositioned image in the press and by doing so educating retailers about the visual direction and expectations of the brand.
Directly due to consumer input, the forefront of the campaign was presented as a limited collection of books that made use of unexpected materials and experimented boldly with a number of conceptual formats. The idea behind the individual designs of the books was that each theme would be representative and reflective of the product it was promoting. For example, the book released alongside the premium product line featured a quality, embossed leather cover, where as the press book for the vintage clothing line featured earthy colours and an individually distressed cover.
Although distribution of the revitalised brand image was overseen by the Brussels based, head office, the true manifestation and grasp of the identity occurred in the outlet stores, which are somewhat varied in style themselves. Retailers were given the power to dress their stores in a manner that they felt was appropriate to the product lines they stocked and the environment around them. The books and promotional material encouraged creativity and inspiration due to the individual and experimental surrounding concepts. Consistency of the message was achieved, which maintained a modern, revitalised and innovative approach to marketing the brand. (Mono Design, 2005, p. 82)
How Companies Started to Lose Power Over Their Brands: The Need For Personality
Early 2005 and Apple was set to release it's latest addition to the iPod family, the Shuffle. Shaped like a stick of gum, it was set to become the smallest music player created. The iPod has been market leader since 2000 and broke ground with its innovative scroll wheel interface. However, Apple had once again set themselves up to break convention with the Shuffle by completely redesigning the interface and removing the screen. It was clear from early test reviews that if customers were to ever be attracted by an iPod without a screen that the marketing behind it must be something special. The feature, which caused real stir about the shuffle, was its size and the fact that it was probably going to appear too small for some users. (Bhargava, 2008) Apple therefore took it upon themselves to add a note of advice to UK consumers within the product's disclaimer manual, 'Do Not Chew iPod.'
These four words soon caused mass, viral debate through blog postings and online reviews. Was this a light-hearted pun or a true disclaimer to protect the company?
In truth, Apple had used an untouched part of the marketing language in a fresh and unexpected manner that created a huge amount of buzz. It was a fitting tagline that demonstrated the personality of the product as well as Apple themselves.
This is just one of the many facets that has helped the iPod become CoolBrand's fourth place in their 2009/10 respected, marketing league table, with Apple one place above and their revolutionary iPhone in the top spot. (CoolBrands, 2009/10)
"Personality is the unique, authentic and talkable soul of your brand that people can get passionate about." (Bhargava, 2008, p. 6)
It does seem, however, that until recent times Apple were one of the few companies that would commend and promote such a display of personality through an untouched medium, such as a disclaimer at the bottom of the instruction manual.
There was a day when consumer's choice was limited, when there weren't hundreds of television channels, tens of thousands of magazine publications and primarily the Internet as a base to gain information. Since there were fewer choices, it wasn't necessary for companies to provide so many choices. However, those times have now passed and consumers are far savvier, demanding options in both product and brand. Consumers also have more choice when deciding to buy from large, industrial producers or the trend to buy from small, local producers.
"They [customers] realize that paying less for something made by a giant, faceless corporation is often less rewarding than paying more for something made by a small company." (Calagoine, 2005)
Consumers have the power to decide what to buy, where they buy it, how much they should pay for it and whether or not to believe the marketing messages behind it. Consumers hold supreme power over business and their products because they possess the ability and desire to voice their opinions with others through a multitude of devices. An example of the user's new found power can be found in the ability to block pop-up ads while browsing online, thus selecting which marketing messages to receive.
In today's era of social media, full of portable, personal and individualized mediums, with accessibility a key player in promotion, companies and their brands are becoming shaped not only by an individual's perception but equally their communications.
"Historically, advertisers have thought of themselves as top-down communicators, in control of what information is released, to whom and when, as well as the channels of communication themselves." (Spurgeon, 2007)
It is clear that appearing faceless and unapproachable doesn't work in modern times. Consumers must now be considered as primary creative contributors through the development, communication and marketing processes. Companies have come to realise that personality and character are key elements behind the brand and it's image.
"Marketing is not about selling." (Kotler, 2000)
Both sales and marketing use similar approaches. When considering a sales campaign, the focus is product based. However, a market-driven business focuses on the consumer. Marketing aims to penetrate the psyches of consumer and this is what companies like Apple have utilised in order to create an almost character like representation.
The previous example of their pun-disclaimer was just a tit-bit in a wealth of marketing, but it is encompassed by an identity that consumers already associated with the Apple brand. The disclaimer was confident, bold, and different, just like Apple.
Brand owners must now concentrate on being responsible not just for releasing fantastic product, but creating passion and enthusiasm for their customers to buy into. They must tell a story which consumers understand and appreciate and most importantly, pass on to others. How The Individual Changed Advertising: The Viral Boom
Before the Internet, businesses had two real choices to attract attention. They could buy up expensive advertising placements or get third-party commendations through the media. The web has changed all that. (Odih, 2007)
Prior to the Web, traditional, directionless advertising through television, radio and newspapers ware the only established methods to create publicity. However, this made individualised and personal advertising messages rather difficult, which, as mentioned above aids in the creation of a personal and accessible brand. It should be stated here that mass advertising still exists in a successful and appropriate manner today, for example Carling advertising their Lager during half time of a football game through television. This is because, although a stereotype, men watching football on the television will often do so while drinking lager, it therefore makes sense that as a product that sets itself up to appeal to a mass market, Carling should advertise to the mass, male market of football enthusiasts they wish to attract.
When considering the millions of other businesses, independent retailers, not-for-profits and entrepreneurs, traditional advertising is so broad and impersonal that it is largely ineffective. (O'Shaughnessy, p. 490) For these subjects however, the web has created a fantastic opportunity to promote themselves to the individual with target messages that cost a fraction of the traditional, mass-market approach.
It may be argued that traditional advertisers employ what David Meerman Scott refers to as one-way interruption. (2007, p. 7) Meerman paints a picture of an advertising agency's creative team sitting in an office and conjuring up ways to interrupt an audience so they become engrossed in a one-way message. Continuing from this example, in the middle of a television show, it would be the creative team's job to craft an advertisement that would gain the viewer's attention, when they would prefer to be doing something else, for instance, watching the intended show. This example and in fact all examples of traditional advertising, rely on holting an individual in what they are doing so that they will pay attention and soak-in a message. This, it is argued, is where the web differs.#p#分页标题#e#
The web and online advertising has the ability to, instead of interrupting an individual, actually deliver useful content exactly when the consumer requires it. Furthermore, for the first time, consumers not only decided when they want to receive advertisements, but they also possess the ability to enable growth and longevity of an advertisement and therefore the product or service it would be promoting. This, it is claimed, is due to the development of viral marketing.
Viral marketing is now an everyday term, which suggests passing something on, it is word of mouth marketing. (Kotler et al. 2008, p. 856) Its aim, from the view of the advertiser, is to create something that grows as it is passed from person to person and is often utilized in a similar manner to snowball sampling. From an audience's viewpoint, viral marketing empowers them by giving them a choice whether to buy into something and in turn help it grow or alternatively click off and choose to ignore it.
The huge rise in video-sharing websites such as YouTube and Veoh spawned a new level of accessibility for marketers, which was stumbled upon somewhat by chance.
Early 2006 and home-made videos of bottles of Diet Coke exploding when mixed with Mentos mints began to appear on the Web. Neither Coca Cola nor the Mentos brand owners could control either the use of their product or the distribution of the destructive nature of the images. Replication of the experiments using the two brands was ripe and with the means to share these experiments through the web, the videos snowballed. Thousands of videos were uploaded tallying up millions of views. The finest examples were rapidly powered through viral-dissemination and soon topped most-watched lists on video-sharing sites. Mentos was said to be the happier of the two brands about this popular display of its brand and new found association with youth-culture. Christina Spurgeon (2007, p. 3) quotes Vranica and Terhune (2006) and states that the media exposure was worth an estimated $10 million USD, approximately more than half their yearly advertising budget. They also took immediate steps to expand on this undeveloped market and newfound publicity by partnering with YouTube to host a contest for the finest Coke-Mentos video. Coca-Cola too explored the consumer-generated promotion by creating an unrelated competition in order to further build the Coke brand. (Spurgeon, 2007)
It was sporadic revelations such as the success of the Coke-Mentos videos that set in marketer's minds the power and influence of the user in the management, interaction and productivity of media. Utilising the Consumer in Viral Campaigns
One of the finest examples of viral marketing and its manipulation is that of MSN.com and it's free email service, Hotmail. (Sweeney, 2006, p. 54) Since it's creation, every email sent using a Hotmail account has contained a tagline informing the recipient about the service. It currently reads: 'Join the world's largest e-mail service with MSN Hotmail: http://www.hotmai.com.'
This unobtrusive message enabled Hotmail to inform hundreds of thousands of potential users to the service they offer. As many great advertising campaigns do, the message went deeper. Hotmail itself does not actually retail products, however, the technique was used to create mass exposure for the Microsoft Network site. This is because users would generally log onto their Hotmail account through a link on the Microsoft Network's site, in turn creating exposure for MSN.com and their other available products and services.
As discussed, viral marketing is also a strong, effective tool for small businesses with a good product aiming to compete in already crowded market. This is what initially inspired by Blendtec employee, George Wright to put forward the idea of promoting his company's smoothie blender using a microsite entitled WillItBlend.com. The idea behind the site promotion is simple enough: use the blender to find out whether or not other everyday items, used by their potential consumers, will blend. These included iPhones, golf balls and glow sticks. Blendtec then established a channel on YouTube, which is now their primary marketing tool. The channel received several million views, so many that the product was featured in more traditional media such as on the television and in magazines, mediums that Blendtec would not have been able to afford at start-up. George Wright stated that it was due to the size of the company that they were able to display something edgy and fun. Due to a smart campaign and intrigued viewers that kept coming back for further episodes, sales of the Blendtec Blender increased by 500%. (Chaffey et al. 2009)
These examples rely heavily on the consumer, without them the ideas simply would not take off. There must be something for the consumer to enjoy, something they want to pass on and in the case of Blendtec, something that keeps them coming back. This is why advertising agencies must be more creative than ever when developing campaigns to pass on a message and boost their brand identity.
A Study into Stereotype, Gender and Consumer Manipulation
October 6th, 2005 and Neil French, Creative Director of WPP Group PLC stands in front of an audience in Toronto, ON and makes a statement in regards to a lack of women as Creative Directors within the industry;
"You can't be a great creative director and have a baby and keep spending time off every time your kids are ill... Everyone who doesn't commit themselves fully to the job is crap at it." (Edwards, Sep 2009)
This comment caused great controversy within the advertising world and provoked much online debate, it also resulting in French losing his job at WPP.
His comments, however interpreted, do raise important issues of gender and stereotype within advertising design.
For a number of decades both Dove and Lynx have been associated with the Anglo-Dutch conglomerate, Unilever. It was the beauty soap of Dove that was first developed and marketed by Unilever in USA, 1957 (Unilever.com) The product's initial campaigns ran for over 30 years and partly enabled Dove to become the top-selling cleansing soap in the world. It wasn't until the mid 80's that Unilever began to extend the Dove brand by developing body washes, deodorants, and other toiletries. It was also around this time that the company embarked upon creating and developing a toiletries brand to appeal to a youthful and adolescent-male market, this brand became known as Lynx in the UK. Ten years on and although the leading brand in its category, (Unilever.com) Lynx had become dated and was believed amongst many industry leaders to be at risk of following in the demise of one-time market category leader, Brut. In the mid-nineties the Lynx marketing account was handed to British advertising agency, Bartle Bogle Hegarty (BBH). It was BBH that truly understood and in turn somewhat exploited the ability to enlist support of the target market itself to co-create a modernised brand and reposition it's destination.
They accomplished this by passing the proposition of the revitalised brand through social networks and their own individual social groups in a manner that created great levels of consumer productivity. Inspired by tongue-in-cheek masculinity, the key proposition to be developed from this experiment was based on the generalisation that adolescent males share a common interest in the animalistic chase; 'the mating game.' Post-developmental stage and the company began to market 'The Lynx Effect.' (Spurgeon, 2007)
Unilever used similar tactics to create the equally successful 'Campaign for Real Beauty' drive for their leading personal care brand, Dove. The advertisements use 'real women', specifically not models to depict the beauty in difference. Unilever said the main purpose of the adverts was to "challenge the stereotypes set by the beauty industry over the years" (Unilever.com) They managed to execute this by going direct to their customers and discovering that many women felt beauty advertising to be out of sync with their own ideas and mind-set. Prompted by these insights, the company launched a series of advertisements for Dove's Firming Lotion using the real women, who all possessed different features that were not considered the norm in beauty advertising. It was then that predominantly due to the mass debate caused by Dove's apparent attack on the beauty industry and the sharp way in which, the brand aligned itself with it's customers ideals that sales of the brands firming lotion allegedly rose by 700 percent. (Brook, S. 2005)
Neither brand is without its critics. Lynx advertisements are often related to as part of discussions in sexist advertisement (Spurgeon, 2007) and of the Dove commercials it has been said:
"They might get the consumer's attention but only briefly. Using real people in ad campaigns cannot work in the long-term because the job of advertising is to create fantasy images that people will aspire for." (Celente, 2005)
However, as of this year, both Lynx and Dove are the most popular brands in their marketed categories in the world as a whole. Lynx is number one in several European and Latin American markets and is beginning to create a stronghold in the USA, where it was launched as 'Axe' in 2003, twenty years after it's initial European release. The Dove brand, also incredibly successful, has sales of around £2.25 Billion a year in over 80 countries and outsells all other skin care bars combined in the US. (Unilever.com)#p#分页标题#e# Ethics and Consideration in Direct Advertising
Advertisers sell. They may do this in an entertaining, shocking, educational or any amount of peculiar manners, but beneath the façade is a single primary goal, to sell. (Spiller and Baier, 2009) With so many firms battling for consumer's attention in such crowded marketplaces it is little wonder that advertising agencies are so ruthless, resorting to a range of tactical strategies to ensure consumer awareness.
Advertising agencies will traditionally use any number of a selection of popular and effective strategies. These can include product or price comparison, as is used by supermarket ASDA, selling a dream or lifestyle, selling sex, which is the strategy employed by Lynx, selling sentiment and using celebrity endorsement. (Scivicque, Dec 2007)
Clearly, some of the aforementioned strategies will require a strong brand image developed through marketing. This is true in the case of selling a lifestyle and was an approach utilised by design agency Kitchen when challenged to revitalise the Levi Strauss brand image. Here, the consumer is buying into a brand and it's name, advertisers will focus on the image, rather than the quality or value of the product or service. Using that example is it ethical to sell an image, which in reality will not change the consumer's lifestyle or status?
Advertisers will typically play upon the emotions of the consumer by creating a desire that is intended to result in purchase. This requires a certain degree of illusion to create a scenario to play upon the consumer's emotion. (Scivicque, Dec 2007) To what lengths then should advertisers be able to resort to in order to sell and what responsibilities do they hold when doing so? For instance, to what degree should an advertiser or the company they are representing be responsible for truthfully educating an individual about what it is they are selling? Is it moral to have celebrity endorse products that they do not personally use? This is true in the case of insurance firm Swift Cover using former rock star, Iggy Pop, to sell insurance when the firm does not actually sell to musicians. (Haurant, 2009) Is it then the responsibility of the consumer to ensure they are aware of these advertising strategies and not allow themselves to be influenced?
Case in point is California based video game developer, Electronic Arts. Early June 2009 at the Electronic Entertainment Expo in Los Angeles and twenty members of an apparent religious group demonstrated the soon to be released EA title 'Dante's Inferno.' The game is loosely based on Dante Aligheri's poem 'Divine Comedy.' The group claimed to be protesting their apparent belief that it glorified eternal damnation. This was done by handing out leaflets to the general public and holding picket signs printed with the slogans 'Hell is not a Video Game' and 'Trade in Your PlayStation for a PrayStation.'
Three days later and an EA spokeswoman admitted the demonstration to be a stunt, developed by a viral marketing agency hired by the firm. (Associated Press, 2009)
Bloggers and online reporters reacted angrily stating "[it] speaks volumes about what you think of marketing ethics and how much you (don't) respect your customers" and that due to a lack of respect "we [the consumer] probably should expect this behavior from you again in the future." (Kay, T. 2009)
Although EA did create a great deal of publicity, it wasn't the kind they hoped for. Losing respect from consumers and being likened to "a spoilt, immature brat." (Kay, T. 2009)
Marketing guru, Seth Godin, defines viral marketing, which is what EA intended this stunt to be, as "an idea that spreads and an idea that while it is spreading helps market your business or cause." (Godin, S. 2008) It is clear that in this case, although EA managed to further promote themselves, it was done not in a way that helped spread their cause of building excitement prior to the release of a new game title.
The example of EA can be further explored and the ethics behind it somewhat vindicated by the advertising agencies. These firms will often be given the task to differentiate from a rival's product or service when there are only negligible disparities and it is at this point when strategies developed to lure through emotional desire come in to play.
Take for example sex in advertising and the premise that sex sells. One viewpoint would be that sex is used to depict attention and although this notion has some validity through "borrowed interest," (Reichert, forthcoming) whereby advertisers use the representation of sex to generate interest for the brand, it is generally believed as misguided. The Lynx model can be cited here as a brand that uses sex in advertising to relate to a sex related brand benefit. Explicitly, the brand suggests that using that product will result in the user appearing more attractive to the opposite sex. Research conducted by Dr Tom Reichert and Jaqueline Lambiase (Sex in Advertising) discovered that 73% of sexual advertisements contained a sex-related brand benefit as in the case of Lynx.
In addition another example of brand staying power through sexual advertising is designer Calvin Klein and lingerie boutique Victoria's Secret. Calvin Klein inc. is one of the world's leading fashion design and marketing studios, encompassing brands such as Tommy Hilfiger and Sean John. (CalvinKlein.com) Victoria's Secret has grown from a small boutique in San Francisco to one of the most recognizable lingerie brands around the globe. This was done through dressing supermodels, such as Gisele Bundchen, in their garments and placing them in magazines and in high profile television ad-slots. The company's revenue for the fiscal year ending 2007 was $3.7 Billion (Yahoo! Finance, 2008)
Many firms have successfully used sex in advertising and creating longevity as a direct consequence, not just to gain immediate attention. It is difficult to argue from this standing that both sex doesn't sell and that it is immoral or somehow unethical.
"As long as people desire to be attractive to others, and as long as people desire romance, intimacy, and love, and all the wonderful feelings they involve, advertisers can show how their products help meet those needs and desires." (Reichert, forthcoming) CONCLUSION
The Internet has been the fastest growing new media of all time and is a primary source for advertisers to approach and attract new customers. It has opened the doors for massive amount of user-generated content (UGC) which, if utilised correctly by the advertisers and brand owners can only aid success.
This will become truer over time. As UGC expands and matures brands will be made to feel more comfortable and embrace it, for example the case of Mentos mints. Brands will increasingly being to reallocate budgets from more traditional means of advertising to new media, such as the online advertising.
This idea is no more prominent than in today's economy where there are serious drops in venture capital, resulting in new ideas and new lines being put on hold in favour of reproducing and re-invigorating due to costs involved.
We will see a greater amount of UGC being implemented with traditional media as more and more businesses start to realise its potential. The early days of low quality, angry message board rants are generally being phased out as businesses begin to feel more comfortable being associated with the consumer at their level.
Traditional advertising will not be eliminated. Although advertising is in somewhat of a transition due to consumer interest in media shifting, for instance from the television to the internet, there is always a need for the user to be reminded about a product, this is apparent in the discussed case of Carling lager.
Brands and advertisers must realise however, that although UGC can be a fantastic addition to their advertising model, it must be implemented in a worthwhile manner. For example, just because there is interest in a product, doesn't mean it warrants the owners to set up blog feeds for its customers to talk about it.
In conclusion, the ability to interact with and communicate with the consumer should be embraced by businesses throughout the advertising process; it is after all them who the advertisements are directed towards and them who will choose whether or not to absorb the brand image. BIBLIOGRAPHY huffle_and_some_entertaining_cultural_differences/ (Accessed: 10 Dec 2009) Bhargava, R (2008) Personality Not Included: Why Companies Lose Their Authenticity. McGraw-Hill Professional. Calagione, S (2005) Brewing Up a Business. John Wiley & Sons.www.ukassignment.org Chaffey, D et al. (2009) Internet Marketing: Strategy, Implementation and Practice. 4th edn. Pearson Education. Drake, S and Wells, C (2008) The Complete Idiot's Guide to Guerrilla Marketing. Alpha Books. Gordon, B and Gordon, M (2005) The Complete Guide to Digital Graphic Design. Rev. edn. Thames and Hudson. Kick, R (2001) You Are Being Lied To: The Disinformation Guide... The Disinformation Company. Kotler, P (2000) Marketing Management. 10th edn. Prentice Hall. Kotler, P et al. (2008) Principles of Marketing. 5th edn. Pearson Education. Kuntz, D (2008) Contemporary Marketing. Cengage Learning. Landa, R (May 2004) Advertising by Design: Creating Visual Communications with Graphic Impact. John Wiley & Sons.#p#分页标题#e# Maeda, J (2000) Maeda@Media. Thames and Hudson.www.ukassignment.org Mono Design (2005) Branding: From Brief to Finished Solution. RotoVision. Neumeiner, M (2006) The Brand Gap. 2nd edn. Peachpit Press. Odih, P (2007) Advertising in Modern and Postmodern Times. SAGE. Pavitt, J (2000) Brand.New. V&A Publications. Reichert, T and Laimbiase (2003) Sex in Advertising: Perspectives on the Erotic Appeal. Routledge. Scott, D. M (2007) The New Rules of Marketing and PR. John Wiley & Sons. Spiller, L and Baier, M (2009) Contemporary Direct & Interactive Marketing. 2nd edn. Prentice Hall. Spurgeon, C (2007) Advertising and New Media. Routledge. Stafford, M and Faber, R (2005) Advertising, Promotion and New Media. M. E. Sharpe. Varey, R. J (2002) Marketing Communication: Principles and Practice. 2nd edn. Routlege. Wheeler, A (2009) Designing Brand Identity: An Essential Guide for the Whole Branding Team. 3rd edn. John Wiley & Sons. Williams, K (2003) Why I (Still) Want My MTV: Music Video and Aesthetic Communication. Hampton Press.
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