Ged Carroll

Category: branding | 品牌推廣 | 브랜드 마케팅 | ブランディング

The dictionary definition of branding is the promotion of a particular product or company by means of advertising and distinctive design.

I have covered many different things in branding including:

  • Genesis – the luxury Korean automotive brand
  • Life Bread – the iconic Hong Kong bread brand that would be equivalent of wonder loaf in the US
  • Virgil Abloh and the brand collaborations that he was involved in
  • Luxury streetwear brands
  • Burger King campaigns with Crispin Porter Bogusky
  • Dettol #washtocare and ‘back to work’ campaigns
  • Volkswagen ‘see the unseen’ campaign for its Taureg off road vehicle
  • SAS Airline – What is truly Scandinavian?
  • Brand advertising during Chinese New Year (across China, Hong Kong, Singapore and Malaysia)
  • Lovemarks as a perspective on branding
  • BMW NEXTGen event and Legend of Old McLanden campaign
  • Procter & Gamble’s Gillette toxic masculinity ads
  • Kraft Mother’s Day campaign
  • Kraft Heinz brand destruction
  • Porsche Design in the smartphone space
  • Ermenegildo Zegna
  • Nike’s work with Colin Kaepernick
  • Counterfeit brands on Instagram, Alibaba and Amazon
  • Gaytime Indonesian ice cream
  • Western Digital
  • Louis Vuitton collaboration with Supreme
  • Nokia
  • Nike Korea’s ‘Be Heard’ campaign
  • Mercedes SLS coupe campaign
  • Brand collaborations in Hong Kong
  • Beats headphones
  • Apple
  • Henrion Ludlow Schmidt’s considerations of branding
  • Cathay Pacific
  • Bosch
  • Mitt Romney’s failed presidential bid
  • Microsoft Surface launch
  • Oreo Korean campaign
  • Chain coffee shop brands and branding
  • Samsung’s corporate brand
  • North Face’s brand overeach in South Korea
  • Mr Pizza Korean pizza restaurant and delivery service brand
  • Amoy Hong Kong food brand
  • Chevrolet Corvette ‘roar’ campaign promoting a build your own car service

  • The North Face and Nike

    The North Face and Nike on marketing

    The North Face seems to have just peaked on its cultural moment in Korea. The North Face jackets are worn by all strata of society. Below is a Korean blog post that compares Its winter coats with different types of high school students as the brand has become so ubiquitous in South Korean school yards and on the backs of consumers during the winter months.

    The bottom of the blog post goes on to compare The North Face with the duffle coats worn by previous generation of school children in a mocking way.

    it is as much the winter uniform of the Korean salary man as his tie.

    The North Face sees itself as a technical brand rather than a true luxury brand, but the vast majority of its jackets don’t see the mountains and ski slopes for which they were originally designed. It has begun to treat itself as a premium brand with its purple label retro designs and different fabrics like Harris Tweed – currently exclusive to the Japanese market. But how can this be maintained if the brand becomes this overexposed?

    It is not a corner that it can easily get out of and technical innovation in the clothing design will be of limited use.

    North Face overexposure

    Part of the problem is the nature of Korean society itself which has a certain conformity to it. This means that once a trend picks up, it goes everywhere. But then because it goes everywhere it has a finite life. A small amount of tastemakers move on and the cycle begins again.

    The next winter jacket might be Canada Goose or Moncler.

    Contrast this with Nike: The Wall Street Journal has an interesting article about how Nike and Footlocker maximised revenue from the Jordan franchise through careful timing of limited product releases. More marketing related posts here.

  • Consumer interest in iOS etc.

    If you’re like me you read far more journalist analysis of the wireless phone market than is good for you. I thought that it would be instructive to have a look at what consumers are looking for instead and look for any patterns. After sales availability and visibility consumer interest is probably the biggest determinator of success. My weapon of choice was Google Insights for Search. My research was based on a few assumptions about consumer interest in the wireless space and some limitations in the tool that I was using:

    • Consumers know what type of smartphone that they want
    • Consumers decisions aren’t carrier loyal
    • Consumers used Roman script to search for the brand
    • Search is a good proxy for consumer interest – it hasn’t been disrupted by Facebook in this regard yet despite what others may tell you
    • China despite being the world’s largest market isn’t going to be providing meaningful data because Google Insights for Search doesn’t cover that market
    • The Russia sample is indicative of overall consumer sentiment in Russia (Yandex is a big search player in Russia)

    Consumer Interest in platforms
    Some of the biggest interest in handset brands is in the developing world. In many respects this is their PC revolution. In developed Asian markets like Hong Kong and Singapore there is a much higher interest than EU countries – partly because of on-the-go lifestyles and partly because of the economic cataclysm that the western world is facing. The iPhone still attracts the most interest, but what is interesting is the acceleration that Android seems to have in terms of increasing interest. Microsoft’s efforts, whilst lauded by critics haven’t yet turned into consumer interest.  Research In Motion’s Blackberry platform seems to be down but not out yet in the consumer stakes.

    Nokia

    I took a snapshot of consumer interest in Nokia over the past three months to try and see what effect the global launch campaign for Nokia’s Windows phones are doing to consumer interest in the brand.

    I deliberately didn’t compare them to the iPhone because Nokia themselves acknowledge that they are competing against Android handset makers like HTC and Samsung. Nokia launched the Lumia phones with their biggest marketing campaign ever and had a lot of column inches written about the brand alongside a gamut of marketing commnications tactics from experiential events and advertising to point of purchase.


    Whilst Nokia’s new range of Lumia phones have had a substantial marketing budget put in place, but it doesn’t seem to have significantly affected search interest: it’s not quite living up the Amazing Everyday billing yet. This is also the case for Windows Phone with interest remaining consistently low in comparison to the Nokia brand. I think that the stubborn consumer disinterest in Windows Phone is a big challenge.

    More wireless related content can be found here.

  • Mr Pizza in Korea

    Pizza in Korea is a unique experience compared to other countries. Pizzas in Hong Kong were generally more premium and had more of a focus on sea food. Pizza in Korea was remarkably different:

    • Packaging – unlike the UK or most other countries I have been to for that matter, pizza can come in a four-colour patterned box. Part of the reason for this is cultural, Korea like Japan puts a lot of emphasis on presentation of products from product packaging design to the fit and finish of clothing. A second reason for the quality of the packaging is intense domestic competition: in addition to food mega-corporations Dominos Korea and similar brands also has its own giant brand: Mr Pizza with 350 branches in South Korea
    Mr. Pizza
    • Product – whilst UK pizzas follow US influences at the low end of the market and faux foodie Italian accents for ‘posh’ pizzas, Korean pizza options incorporate local foods including kimchi and bulgogi on the menu. This is especially true for this brand, though foreign brands like Pizza Hut try to adapt to local tastes too.

    About the company

    Mr. Pizza was founded in 1990. They have one branch in the US, one in Vietnam, 15 in China and some 350 branches in South Korea.

    They created a mockumentary  video The true origins of pizza as a satirical viral campaign to promote their brand, (presumably internationally). It considers the dish to be a Korean national treasure. However it did touch a nerve amongst other Asian countries as it’s similarity to Korean nationalist fringes meant that some of the film’s satire was lost to the audience.

    The company looked to further differentiate itself to eat-in diners by developing a new store format and sub-brand called MIPIHAUS. The concept of MIPIHAUS is to mix an art gallery environment with their restaurant. MIPI is a contraction of Mr. Pizza and the HAUS is a reference to the Bauhaus art movement.

  • CIC on China’s luxury market

    CIC who provide the IWOM set of reports and flakey tools (think Sysomos, Radian6 or Adobe SocialAnalytics for the mainland Chinese internet eco-system) have come up with an interesting report on online conversations around the Chinese luxury market. CIC is increasingly being integrated with GroupM. It will be interesting to see how CIC copes as China exerts increasing control over social and marketing data access.

    Key take-outs

    • They are motivated to buy luxury goods as a way to ‘show-off’ and most of the online conversations are around this subject. Status itself is a tool designed to engender trust in things like business interactions rather than self actualisation per se
    • The distribution system is complex with overseas purchasing and purchasing agents (presumably to avoid China’s luxury goods tax and for more choice) also a popular subject. For luxury brands it means that Chinese expansion needs to be tapped by also having presence in places like Hong Kong, Japan, Korea, Paris – France and the major cities of the US
    • Real-time reporting of runway shows initiated by the brands doing webcasts has been extended by netizens to their own platforms. Much of the commentary is similar to the social television interactions you used to see on early video platform Joost; and on Twitter during shows like The Apprentice or The Only Way is Essex (TOWIE)
    • Counterfeit – there was a significant group that own both counterfeit and authentic versions of a product because it is ‘interesting to mix and match usage between real and fake’. This is a really interesting brand interaction and raises the question: what if authentic isn’t authentic enough in terms of brand experience? This is something that I could see impacting the likes of Louis Vuitton. Gucci, Chanel and Hermes as they become over-exposed in the marketplace. One of the ways to approach this is to educate consumers on what luxury means: craftsmanship, heritage or being at the forefront of something (which may mean an intersection between streetwear and luxury)

    More related content here. More from CIC here.

  • The futility of QRcodes on tube

    Traveling on the London Underground ‘tube’ recently I have noticed that more and more adverts have a QRcode. But the trips also highlighted the futility of using a QRcode, particularly on many of the deep lines.

    I am not too sure if tube QRcode is a recent phenomena or that I have been paying more attention as a number of the projects that I’ve been recently looking at are about the ‘web of no web‘: the interface between the web and the real world. I am a big fan of progressive approaches to marketing, however, the more I thought about the phenomena, the greater the waste of time that it seemed to be:

    • Londoners often joke about the tube being like cattle trucks; in reality European Union regulations wouldn’t allow livestock to travel on a train with the conditions of the tube on a hot summers day. A combination of overcrowding together with the lack of air conditioning  means that some of the lines can be as hot as a walk in the desert. The over-crowding also means that would be hard to take a picture of a QR code. So whilst the advert may have a large reach, the realistic reach of the QR code call to action is a lot smaller
    • So you happen to be lucky in terms of where the crush places you and try to snap the QR code with your phone. You probably won’t be successful, tube lines aren’t known for the smooth ride of say the Paris Métro, so you will be trying to hold your camera still whilst the train carriage rocks and sways in front of your smartphone. Your phone won’t be able to focus and take a clear image of the QR code. That’s one of the reason’s why there isn’t a tube advert shown here to illustrate this post, despite at least three attempts over the past week to snap a picture of an appropriate advert
    • Unlike other mass transit systems in the likes of Singapore and Hong Kong, huge high-traffic sections of the lines are underground or in such a deep cutting that they are inaccessible to mobile phone networks so QR code won’t take the audience through to an appropriate web page, but instead prompt a ‘network unavailable’ message

    The futility of QRcodes on the tube shows that the media buyers, marketers and or designers don’t pay much attention to the context of their advertisement art work, which could artificially skew campaign objectives and measurement adversely. In order to combat ‘the futility’, we need to go beyond TGI data and media packs. We can start this process by keeping our eyes open to the world around us.