Interesting interview with author Steve Saxty on how BMW as a modern car brand came into being as the ultimate driving machine and a discussion on what eventually became the 1-series. The brand value of it being the ultimate driving machine actually came from a review by US magazine Road & Track in the early 1970s.
This seems to have parlayed itself into an internal insight at the company and was then manifested in advertising by the 1980s. I remember seeing an interview with an ad exec at the UK agency claiming that it was an insight they had come up with. The truth can be a pesky thing.
The phrase itself worked really well from the small lightweight sporty saloons that Road and Track loved to the large executive models of the 7-series. Whatever your criteria was, BMW positioned itself as the ultimate driving machine.
Bob Hoffman is a long-time ad man and long-time commentator who points out the foibles of technology-driven marketing. His book 101 Contrarian Ideas About Advertising is a good read for anyone jumping on a plane. Hoffman has recently given away two books in electronic format Inside the black box focuses on the online advertising industrial complex, MKTG STINX takes a broader brush to things.
BBC coverage of GAA All-Ireland hurling final
For a long time BBC Northern Ireland have covered the key GAA matches. But this was the first time that the main BBC network carried the GAA All Ireland hurling final. 3pm I sat down in front the television to watch the BBC with volume down and my Mac playing the RTE Radio 1 commentary through its speakers. This is the same way as I have listened to the game all my life and I wasn’t going to change now. But it was refreshing that I didn’t have to trek out to a pub or fiddle with a VPN to secure video of the game. Cork vs. Clare gave hurling neophytes a great introduction with the winning score done during the last play of extra time.
Thamesmead time’s up
I have a soft spot for brutalism as an architecture style. I put this down to the clinic I was taken to as a small child which was part of a bigger civic centre including a library. It had massive concrete features and overhangs. It was quiet inside, great to climb and play on outside and the overhangs kept the hottest sun away from the massive round windows.
Brutalism felt comforting and futuristic, which was probably why Stanley Kubrick shot key parts of A Clockwork Orange in Thamesmead. But the Peabody Trust are well on their way to demolishing Thamesmead’s iconic buildings.
Warped media constructs as an idea originated from a few observations I made. The first was an article by Magic Numbers that examined the distribution of marketing spend across various media channels compared to the percentage of profit they generate. It was based on a piece of research done called Profit Ability 2.
A chart in the article caught my attention. While all channels contribute to profit, some have more comprehensive long-term effects than others. Any channel below (or to the right of) the red line represents a greater proportion of contribution to overall profit returns than the proportion of the marketing budget allocated to it.
Based on this chart: linear television, radio and podcasts and print advertising offer the best value for money for businesses.
What’s interesting is that two out of three of these channels are viewed as legacy media that brands are keen to move away from. When I worked at Unilever, the global media spend for the brands I managed amounted to about 92 per cent on television advertising. Some markets allocated even higher percentages.
The second influence for this post on warped media constructs was a post by Tom Goodwin.
Goodwin spent the best part of a decade working in senior roles for media buying businesses in very technology-centred roles.
It’s only just dawned on me that the reason Traditional Advertising is quite good and Digital ads are uniformly terrible is this.
Media owners always knew they were in the business of selling eyeballs.
Digital media companies think they are in the business of selling clicks.
Our core competence becomes how we see the world.
If you were a traditional media owner , your “job” was to attract , to respect , to inform, to tantalize, to satiate attention and repeat business
If you were a digital media owner, you were a tech company using algorithms to trick, harass, optimize, chase , game, attention by trying out any one of Billions of bits of content , made for free by users.
So while TV companies and traditional media owners are selling attention and eyeballs.
Digital media companies are selling clicks and data that show they create success.
The philosophy of traditional media is actually far more useful for longer term business success with advertising
For MOST companies of any scale, taste and longevity, digital media thinking is entirely wrong
But tech thinking swayed the market , they became so dominant and valuable, and profitable, nobody has the balls to call out how dumb this actually is and how much it’s degraded advertising.
I just wish we could apply the thinking of traditional media , the need to respect , to seduce , to value , to reward human attention , to digital media , because that’s where most people spend ALL of their time.
His post made me wonder about why such warped media constructs were widespread, when the flaws of lower performing media were readily apparent?
What does the data tell us about media?
The Profit Ability 2 research is a robust study of the UK media market. It took data from five media buying agencies looking at 141 brands in 14 sectors. it was based on a three-year media spend (2021-2023) and across ten media channels. Over a third of the brands matched pre-and-post COVID.
Retail media is one area that I would have liked to see examined in a bit more depth, given its rising popularity and ability to challenge generic PPC and online display advertising.
Media that is often the most lionised and championed by media agencies, notably paid social and programmatic display media were outshone by media types that have been declining investment by marketing teams over the past two decades.
This isn’t a new phenomenon as Ebquity research back in 2018, showed that there was a considerable gap between what marketers and agencies thought were effective, versus real-world evidence.
Secondly, this data indicates that brands are not using the channels in the best way for the long term interests of their business. There is also a correlation with declining campaign effectiveness rates.
Why do we have warped media constructs?
This pivot towards warped media constructs has benefited everyone but advertising agencies. And it would be reasonable to hypothesise that agencies chasing incremental growth, enterprise software vendors and consultancies have been leading large corporates up a digital focused route that provides data and efficiency at the expense of effectiveness and marketing ROI.
Agencies’ legacy businesses are fading as the vast majority of incremental marketing spend is directed online. Digital growth is accruing to leading publishers, enterprise software and consultancy firms, while technology enables marketers to do more in-house. Market share loss is already evident in slower organic growth, but trading multiples fail to recognise the heavy dependence on M&A. Fragmentation. Almost 80% of every incremental advertising dollar spent globally accrues to digital. As their legacy traditional media businesses are fading, agencies are failing to capture digital growth, resulting in a lower market concentration in favour of new entrants empowered by technology
Redburn Atlantic (equity research paper): Ad Agencies Marginalised (2016) by Bianca Dallal, Matt Coupland and Mandeep Singh.
Advertising industry commentator Michael Farmer alluded to this change in his newsletter Madison Avenue Insights back in 2020.
Creative agencies have mastered the requirements of integrated campaigns, from TV to online video, websites, Facebook, Instagram, ad banners and e-mail marketing. It’s a pity, then, that this victory is being undermined by agency price-cutting strategies that leave agencies understaffed and underpaid. Senior agency executives need to create winning business practices – they’re losing the business war.
Platforms like Facebook have repeatedly tried to prove that they can substitute for linear TV in advertising campaigns since the late 2000s with varying degrees of success.
The Devil is in the details.
Remember the question about what the data tells us about media? Let’s examine the data in more detail.
One of the key phrases on the slide plotting out the different media sources is ‘full profit returns’. This term is quite important to bear in mind. Consider how these media channels work.
Long-term memory model or brand-building channels
Linear television adverts
BVoD (Broadcaster Video on Demand)
Radio and podcasts
Cinema
Online video
Print advertising
Good brand building content that we are sufficiently exposed to can stay with us for decades and even become part of culture.
Short-term brand activating channels
Generic PPC (Pay-Per-Click)
Paid social
Display advertising
This means that once you have clicked on the ad and gone to a destination, the advertisement has largely had its effect.
The Long and the Short of it
Now if we look at the performance of these media types over full payback, sustained payback and immediate payback we see that each these media channels serve short-term or longer-term goals. Time matters, Profit Ability 2 found that 58 percent of advertising’s total profit generation happens after the first 13 weeks.
If you are a digital-first organisation, or looking at ‘last-touch’ attribution, your measurement is capturing less than 40 percent of profit generated by advertising depending on the marketing mix of the campaign. Your organisation’s marketing culture could be leaving substantial marketing generated profits unharvested with an overly short term focus and less efficient over longer timelines than a financial quarter.
Binet and Field established some useful heuristics for thinking about marketing spend, which can help shape media choices from a macro perspective of brand-building and brand-activating activities.
Immediate payback – profit derived in the same week as the advertising.
Sustained payback – profit derived from week 14 to 2 years of advertising.
Full payback – profit derived over the full 2 year period.
Anything above the yellow line makes a positive contribution relative to the proportion of marketing investment. Linear television works when used consistently and has a long-term impact.
Paid social media is about achieving immediate results, being a very tactical channel by nature.
Print advertising is unique in serving equally well across immediate goals, sustained campaigns, and delivering long-term results.
Each media channel can play its role based on the communication objectives. Their effectiveness also depends on how they work together.
A second consideration is the channel’s reach in the population. Print is interesting as a universal channel for consumers who read print publications, from older Telegraph readers to Monocle magazine-toting hipsters. However, it’s less useful if you’re looking to reach a football-mad teenager. Ebiquity in its analysis of Profit Ability 2 talks about a related concept called saturation:
The study analysed the saturation point for each channel, which is the last point where every pound invested in a channel generates at least £1 profit.
It found that TV has the highest saturation point. Advertisers can increase investment in TV to a higher level than other media and it will continue to generate a profitable return.
Based on immediate payback (i.e. payback within one week of investment), Linear TV advertising on average hits saturation at the highest spend level – £330,000 – nearly triple the equivalent scale of the next largest channel (Print) and over 8-times the scale of Online Video.
Profit Ability 2: The new business case for advertising | Ebiquity
Reflecting on my experience at Unilever: I wasn’t brought in to help digitise the marketing mix away from television because digital was an ineffective channel, but because linear television wasn’t as good a platform for reaching busy young mums as it had been previously. We had to broaden the media mix to reach them, which meant more investment in online video and paid social media. In retrospect, we focused on reach, deprioritising consideration of the communication objectives. BVoD, radio, and podcasts might have had greater weighting if I were to do it again.
This might all change
If a channel became more expensive, you would get less value for your money; it would be equivalent to raising the yellow line. Conversely, reducing the cost of the media would be equivalent to lowering the yellow line.
Cost inflation
Price inflation for larger clients likely endangers cinema, display advertising, online video and BVoD in client budgets first. There may be a strong case at present to allocate more spend to channels that would encourage branded searches, to improve the effectiveness of a reduced PPC spend. Examples of these channels would include public relations, print advertising and television.
Job to be done / payback period
An emergency locksmith will have a very different budget and timeline for marketing return compared to an aftershave brand. The emergency locksmith wants to rank top in local search on mobile devices to get a call-out; they are far less likely to consider brand building and word-of-mouth. The exception to this rule would be at the top of the market, like Banham in central London, which would be providing more of a concierge security service.
Regulation
I have worked with pharmaceutical clients where most of the communications we were doing had to be addressed directly to healthcare professionals. In that case, you have a much more limited palette of possible communication channels.
You face a similar situation if you are looking to market regulated consumer products like sports betting, gambling, alcohol, cannabis and tobacco-related products or vapes. The channel limitations are based on screening off protected audiences or reducing the chance of positive brand attributions. Regulators don’t want smoking to appear cool.
So what’s the best media channel based on our warped media constructs?
It depends. The good news is that all advertising channels analysed in Profit Ability 2 generated a positive payback from advertising when sustained effects are accounted for.
Mediatel: Newsline: Starcom: TV is now twice the price… but not twice as good -“There’s still nothing better than [a 30 second ad],” Dan Plant said on a panel at Future of TV Advertising Global. “Unfortunately it costs twice as much now – and it hasn’t got twice as good at what it was doing. You pay twice as much to achieve the same thing.”
Welcome to my June 2024 newsletter, it’s been a bit of a mad month with the European Union elections foreshadowing a rightward lurch in policy direction. The snap call for a French general assembly election and the bizarre spectacles happening in the campaign efforts of the UK general election. And before you say it, the UK general election is not a TikTok election. In the northern hemisphere midsummer (21 June 2024) – the longest day of daylight taps into something primal bringing us back to nature with campfires to meet the dusk, seasonal food and the beauty of summer on display.
This newsletter which marks my 11th issue. The number 11 is a mixed bag associated in medieval theology with the ’11 heads of error’. However there are more positive associations for those who believe in numerology. In Chinese its sonic similarity to the phrase ‘definitely fine’ gives it a positive association. For me it’s forever associated with the old bingo call of ‘legs 11’.
New reader?
If this is the first newsletter, welcome! You can find my regular writings here and more about me here.
Things I’ve written.
Collapsing the funnel is a term that I have heard thrown around a lot on blogs, LinkedIn posts and podcasts, but what does it really mean?
Nixonland by Rick Perlstein. Perlstein is an American historian with a progressive eye on history. His book name was passed around earlier on in the spring given perceived parallels between Biden and a likely second Trump administration, together with increased activism. It is one of a series of books that Perlstein wrote documenting post-second world war. Reaganland documents the Carter administration and America’s pivot to Reaganism. Before The Storm which looks at the rise of the modern American libertarian conservative moment and the decline in cross-party consensus – viewed through the lens of Barry Goldwater’s campaign to become the republican party candidate against Richard Nixon. I started reading Nixonland before the US college protests started, which gave the book added resonance.
Cinema Speculation by Quentin Tarantino. The first thing that jumps off the page when reading Cinema Speculation is the deep abiding love that Tarantino has for film. Film permeated every part of his life. His Mum took him along to films at the cinema that he probably shouldn’t have been allowed to see. In this respect he was a cinema media consumer in a time when mainstream television had already eaten Hollywood the first time around. The second thing that comes through is the way his deep knowledge allows him to build connections and linkages in non-obvious ways. Something that we lose the ability to do as we mediate knowledge seeking through Google and Perplexity instead of going through library newspaper clippings and reading magazines. I then realised that was a similar red thread in Perlstein’s Nixonland. Tarantino writes how he speaks and I was able to devour the book in two sittings despite suffering from a summer cold at the time. If you like to hear someone writing passionately about the New Hollywood movement of the early 1970s, then read Cinema Speculation.
It was third time lucky for me with Red Queen by Juan Gómez-Jurado. I was recommended the book by my friend Ian Wood and tried to read it a few times, but only really got into it at the third attempt. Once I got into it, I enjoyed it. There are the surface comparisons with Stig Larsson’s Millennium trilogy (The girl with the dragon tattoo and sequels). Without giving plot spoilers I found this comparison lacking. Instead I think of it as a modern-day version of the Sherlock Holmes novels of Arthur Conan-Doyle, but that view may change as I work my way through the series.
Things I have been inspired by.
Bad Times Disco.
Bad Times Disco put together eclectic parties bringing out music like Japan’s 1980s ‘city pop’ sound and art to secret venues.
For their closing event until autumn in Hong Kong they had developed an equitable pricing policy that allows an equally eclectic crowd.
Come join us for our season closing party on June 21st, in a spacious and very central location, filled with BTD regulars, our loving staff, and a great lineup of vinyl-centric DJs. More than a party, BTD is truly a community and we want to see all the regulars for this one.
* Multi-functional space layout *
* Special set design, group exhibit of multidisciplinary art, and more special touches *
* Sober friendly party *
Presales: 270HKD
Phase 1: 330HKD
Phase 2: 380HKD
Last min: 420HKD
Solidarity ticket: 500HKD. If you are a landowner, homeowner, or have generational wealth, please consider purchasing a solidarity ticket to our party and making it possible for lower-income folks to attend the party.
*Limited Low Income Ticket*: 150HKD – This is *only* if you are a service worker in Hong Kong, working class, or unemployed without a safety net in Hong Kong. We will trust you to choose this option for yourself if you need it.
Design Discoveries: Towards a DESIGN MUSEUM JAPAN.
Japan House London has an exhibition of industrial design that reflects on the paradox of Japan having great design, but not a museum of design. Japan has a culture of good design; it’s a living thing and expected. By comparison, the celebration of good design could ironically indicate a norm of mediocre to bad product design. The exhibition runs until September.
Digital mortality.
David Webb is a long time activist investor in Hong Kong. I know of him by reputation since before I first went to Hong Kong and China in the mid-2000s. He has a long-running website that is invaluable for all things Hong Kong business-related – and is likely even more valuable given the recent regulatory and legal changes in the city. In a time when Hong Kong’s retail investors are disadvantaged by the large families and opaque Chinese government, Webb-Site is one of a few assets that retail investors can use for research. The site shows its late 1990s web design roots and makes extensive use of RSS to power its content.
David has been receiving treatment for cancer since 2020 and is now thinking about how his website might live on as a crowd-sourced online database. At the moment he is looking to bring on board volunteer editors. Part of the reason for this is that the Hong Kong Securities and Futures Commission didn’t embrace XML data output, that sites like David’s could ingest and process. More details here on how you can get involved.
Kantar’s blueprint for brand growth.
Kantar’s blueprint for brand growth uses a decades worth of its client’s data to refine their approach for success. It broadly meets what you would expect from the marketing science corpus built up by the likes of Ehrensberg-Bass and the IPA. They boiled down this blueprint for brand growth into three points
Predispose more people – which boils down to a mix of salience and fame.
Be more present – which equates to marketing penetration to capitalise on the increased number of people predisposed to the brand.
Find new spaces – this is about innovating in communications and new ways of achieving market penetration.
This last point is particularly interesting. Much of Kantar’s clients would be mature well-known brands so breaking out into new spaces represents a blue ocean approach, designed to move beyond the fractional gains against entrenched competitors.
Michael Page 2024 talent insights
Michael Page have launched their annual talents insights report. It has content on a diverse set of areas including working locations (remote, hybrid and on-site), artificial intelligence and perceived job security. TL;DR – hybrid seems here to stay, AI usage is in the minority at the moment and the majority of workers feel secure in their current roles.
Quiet pride.
Probably not the right section in this newsletter, it would fit better in a section of ‘things I have been disappointed by’. Campaign Asia and Campaign US ran the following article: Brands plan for a quiet Pride Month. The iPA ran a similarly themed article. I guess ‘pride washing’ of brands will be less of a problem this year, but the lack of visibility is a concern.
The articles imply a wider rollback from brand purpose, indicating a hollowness to the buy-in from large corporates.
The hesitation around Pride may also be related to executives’ increasing reluctance to speak out on social issues more broadly. Wolff pointed to Edelman’s Trust Barometer, which found that 87% of executives think taking a public stance on a social issue is riskier than staying silent. “Essentially, nine out of every 10 executives believe that the return on investment for their careers is not worth the support during this turbulent time,” said (Kate) Wolff. “This is clearly problematic for both the community and the progress we have made in recent years.”
Brands plan for a quiet Pride Month – Campaign Asia.
It offers a different angle on the broader issue that people like Nick Ashbury with his new book The Road to Hell have been driving at with regards the state of brand purpose.
Things I have watched.
I am a bit of a Federico Fellini fan and finally got to watch Roma. Roma is semi-autobiographical in nature. It is a series of vignettes all based around the city of Rome which go from the 1930s to the 1970s and cover various parts of city life with some of the aspects such as Roman frescos turning to dust on first viewing in a millennium to a religious fashion show having an especially fantastical aspect to it. The deconstructed nature of the film is also interesting from a storytelling point-of-view.
Delicatessen was part of a wave of dystopian movies that were produced during the late 1980s and early 1990s. Films like Richard Stanley’s Hardware and Dust Devil. Given that its French there is a distinct mid-century modernism sensibility to many aspects of it such as the vehicles use. In terms of the plot it is similar to a futuristic Sweeney Todd meets Brazil. The directing and writing team Jean-Pierre Jeunet and Marc Caro went on to make more popular films including City of Children.
THX 1138 was George Lucas’ first professional film based on his student film. It feels modern and fresh despite being shot in the early 1970s. It captures the impersonal socially isolating aspects of modern technology. The film proper opens with Robert Duvall speaking with a system about how he is feeling echoing the nascent current use of AI for therapy. While Lucas became famous from his directing of the film, a good deal of credit is due to Walter Murch’s futurist soundscape and Lala Schiffin’s tonal soundtrack which isn’t that far away from the likes of Jóhann Jóhannsson. It’s no coincidence that later on Lucas named his audio company THX.
Murch although less well-known is a multi-Oscar award-winning film editor and sound mixer who pioneered the use of Apple’s Final Cut software in Hollywood.
I got a good deal of my license fee’s worth of the BBC going through the 1960s Royal Shakespeare Company performances of William Shakespeare’s Henry VI, Edward IV and Richard III which together make up the telling through an English protestant lens of the War of The Roses. Peter Hall’s direction is spot on. I only wish that I had seen this while I was studying English literature in secondary school.
Useful tools.
Basic Excel formulas guide.
Nicolas Boucher usually works with finance teams looking at adapting AI, but he put together a PDF with 21 Excel commands and examples. Some of them can be handy in digging your way through quantitative data. You can get your copy of the PDF here.
Bookfinder
The everything store Amazon, a fair few times hasn’t had what I wanted. There are also sound moral arguments to want to buy elsewhere, or you might want to buy cheaper. That’s where Bookfinder comes in. It is fast, has a front end that looked basic back when when Netscape Navigator was your tool for coasting on the information superhighway and surfing the worldwide web.
LittleSnitch 6.
If you’re a long time Mac user who can remember back when Adobe creative suite came in a box, then you might know Little Snitch. It was popular for people running bootleg copies of PhotoShop and InDesign by stopping the software from ‘phoning home’ to Adobe.
In reality Little Snitch is so much more, it’s my go-to software firewall. It allows Mac users to retain a fine control on what goes in and out of your computer stopping dodgy connections in their tracks.
Additional MagSafe 3 cables.
I have a surplus of USB-C chargers now, but the move towards the MagSafe 3 charging connection on newer Macs is a great back to the future move. They are magnetically connected, allowing the connection to be broken before your laptop is dragged to the floor like the original MagSafe connectors that Apple had in two versions from 2006 to 2017.
They got rid of it, and long time users like me moaned about it as USB-C, felt like a backwards move for mobile workers. Apple brought it back with MagSafe 3, which now works with USB-C chargers.
Third-party MagSafe 3 cables are now available so you no longer need to pay the Apple tax of premium priced cables. My favourite is the BeckenBower USB C to Mag-Safe 3 Cable, which has worked out really well for me so far.
Organiser.
I work from home and usually have Bloomberg or Yahoo! Finance on in the background at a very low volume ambient noise if I am not listening to podcasts. I had the classic living room problem of hunting down remote controls to turn devices on and off. I was inspired to build on existing behaviours of looking around the TV first for the remote control and bought an organiser to hold them and a supply of spare AAA, AA batteries and the lightning cord for my Apple TV remote. The one I eventually settled on was Blue Gingko Multipurpose Caddy Organiser. It’s well made from plastic and thoughtfully designed which is why I was prepared a bit more to get something made in Korea, rather than made in China.
If you are using it for artwork or as a go pack for a workshop you can stack several on top of each other.
The sales pitch.
I am now taking bookings for strategic engagements or discussions on permanent roles. Contact me here.
Ok this is the end of my June 2024 newsletter, I hope to see you all back here again in a month. Be excellent to each other and onward into the dog days of summer!
Don’t forget to like, comment, share and subscribe!
Let me know if you have any recommendations to be featured in forthcoming issues.
I got a chance to judge the UK Young Lions advertising awards and Adforum’s PHNX awards. The Young Lions responded to a common brief with the solution viewed through their specialism:
A communications activation plan.
A creative concept.
The standard of thinking was high, but I could also see the benefit of more agencies and brand teams tasking younger members of staff to enter the campaign. I was expected to having to wade through dozens and dozens of entries; there wasn’t that many.
Adforum’s PHNX advertising awards attracted global entries and took a long time to go through the entries that I saw. I got to see a lot of good work and wanted to showcase some examples later.
PHNX were more complex in nature compared to the UK Young Lions, with many more categories.
Advertising awards mistakes.
I saw a few unforced errors:
Category -spamming – award entries were submitted for categories that they weren’t appropriate for. You would see the same work turning up category-after-category with no relevance. You could see other judges becoming frustrated in the electronic chat function that ran alongside the entries.
Link the work tightly to the challenge that the client faces. You would be surprised how many entries failed to do this.
Have your entry in a language that the judges are likely to understand. You can only get so far with Google Lens when trying to tease out winning nuance of advertising awards.
Advertising awards entries that caught my eye.
There were a number of Adforum PHNX advertising awards entries that caught my eye and some entries that inspired me.
Advertising for advertising
A few years ago, LONDON Advertising (who I have freelanced for previously) ran an advertising campaign to demonstrate the power of advertising.
This was possible due to the cheaper media rates available early on during COVID-19 as brands paused spending.
It’s a very unusual tactic outside of advertising festivals and trade publications. So it was interesting to see a Spanish agency submit a couple of films into the Adforum awards that purely showcased their craft capabilities for use on different aspects of advertising.
It’s not Studio Ghibli, but still really well done by La Caseta. It was still surprising for me to see it entered for advertising awards.
Inspiring content
Grab Thailand
Uber analogue Grab ran this advert in Thailand to promote its version of Uber Eats, showing how the app is on the side of the consumer in terms of pricing, choice and speed of delivery. It uses thai boxing as a metaphor and features Bella as the main protagonist. Bella is a much loved soap actress beloved in Thailand. Her coach in the corner is a highly regarded former thai boxer.
Lux
For me Lux beauty soap was a brand that I associated with my Granny in Ireland, who used to alternate using it alongside Oil of Olay soap.
I was pleasantly surprised to find that Lux is still alive and well as a brand half-way around the world in Asia and Africa. Lux’s ‘change the angle’ campaign was a collaboration with female athletes to try and change the way they are portrayed in live sports coverage.
Mistine
Mistine is a Thai beauty brand founded in 1988. It became the go-to beauty brand in Thailand. The company sold its products via direct sales, wholesale, online, retail, and the export market. In recent years it had focused on expansion into China, but had lost touch with younger generations of Thai women. It was seen as a low-class, outdated brand. The brand team started with a campaign with a film of young generation focus group discussing on societal judgmental issues while having a make-up session. None of them chose Mistine as they were all judgmental to the brand name.The film signed off with an apologetic message to Mistine users and have been insulted by negative associations with the brand name “Sorry that my name is Mistine.”
It’s a brave move to take that raw insight and build a campaign around it.
That then drove a six-fold uptake in search volume and media impressions.
I was privileged to freelance at Ogilvy on Dove a number of years ago and got to understand the brand a little better during that time. My work on Dove was focused on product advertising for Dove soap in Brazil, the US, Vietnam and the Philippines rather than adding to the master brand canon around beauty standards.
When the 20th anniversary of the master brand campaign rolled around my LinkedIn was filled with posts about 20 years of the Real Beauty (or changing beauty as its currently articulated) positioning for the Dove brand. I took more of a slow read/write approach to my take on Dove.
Dove origin.
The origins of Dove lie in the injuries experienced by American servicemen during world war two. There was a need for a milder soap to address the needs of burn victims, and the concept of having moisturising cream (or cleansing cream as it was called in the earlier ads) was included in the soap to rehydrate skin rather than leaving it excessively dry after stripping off the skins natural oils.
Dove was introduced as a consumer product in 1957. The original advertising focused on the functional benefits of the product.
Decades later and the Dove advertising continued to focus on the products functional benefits.
For instance this 1990s advert positions Dove against everyday beauty brands and premium brand Neutrogena.
Dove still does functional benefit advertising, but it’s the master brand level advertisements that tend to get the most attention.
2004.
It is worthwhile considering the context that Dove was entering into with its reinvention. While we were post-9/11 the culture still has the optimism of the early 2000s. Celebrity gossip and paparazzi photos and videos were still a thing. Facebook had been launched for Harvard University students. Myspace had launched a year earlier with a focus on music and blogging was gaining a head of steam as a social channel. Real Media had launched a streaming music service but Spotify was a couple of years away from launch.
iTunes music downloads, CD ripping and iPods were reinventing music. Television shows were used to find the next popstars, while Dido and Eminem were dominating radio play.
DVD series box sets were a thing. Season three of TV show 24 was the must see TV with Jack Bauer trying to stop a biological terrorist attack and deal with his own heroin addiction.
I was using a Nokia smartphone and a Palm Tungsten T personal digital assistant at the time.
Beauty soap category at the time.
Beauty soap was not a new category. Unilever had arguably marketed the first beauty soap called Pears. By the time real beauty happened Pears was no longer distributed or marketed by Unilever in the UK. As well as Dove, Unilever owned Lux which was seen to be a ‘milder for your skin’ soap. By this time, Lux was a heritage brand that my Grandmother had liked and its main market focus was Latin America, Africa and South / South East Asia. Lux has pivoted to a girl power like position against societal sexism in its brand purpose led advertising.
Procter and Gamble had their own Lux analogue called Camay that traded on the glamour of famous actresses and socialites. At this time Camay was not seen as contemporary in the UK, but was selling well in Eastern Europe. By a strange twist of fate P&G sold Camay to Unilever in 2015, it was available in Latin America.
Simple soap was a British market competitor that had been part of Smith and Nephew’s spin-off of their consumer products division to focus on their medical businesses including advanced wound management. Simple’s positioning was that it contained no unnecessary ingredients and that it was ideal for sensitive skin.
Nivea had cleaning products like shower gels rather than soap per se but was in the personal care space.
At the time, Dove like Palmolive and Simple might be bought by a housewife and used by all the family. My Mum and Dad still use Dove or Simple soap bars, based on which they find first on their supermarket run.
Real beauty.
Dove’s global brand team wanted to reposition Dove more firmly in the beauty category. The story that is promoted revolves around how the brand team presented the Unilever board at the time with interview footage from their wives and daughters about their opinions on beauty.
There were a few iconic images that came out of the campaign.
The tickbox images that appeared in a lot of out of home executions at the time.
The Dove evolution video which captured what lots of people knew in the media industry, but tapped into wider public discussions about the use of photo manipulation that were appearing around that time.
How real beauty memed.
Dove’s outdoor execution in the London Underground had wags using pens and markers to suggest the negative answers. I remember on the escalator in Holborn station seeing every advert with the box ticked. It even memed with online celebrity news site Holymoly launching the campaign for real gossip.
Dove Men+Care range.
Dove brand extension Dove Men+Care was launched in 2010 and now has a comprehensive range of everyday products. Unilever described this as a ‘white space’. But Nivea for Men had been in this space since 1986 and Nivea had sold shaving products to men as far back as the 1920s.
Dove Men+Care’s purpose wasn’t that clear when I worked on Dove as the master brand is so focused on empowering women and girls.
We believe that care makes a man stronger, and in order to best care for those that matter to you most, you need to start with care for yourself first.
This take from the Unilever website about what the Dove Man+Care brand stands for is still very generic and it could cover anything from Gillette or a Jordan Peterson sound bite to Andrew Tate’s various manosphere-oriented, fitness-focused enterprises.
The risk of a male counterpart.
It would be a major undertaking to build this into something a bit more pointed, yet fit for purpose. I could understand why it would be low on the priority list, particularly when Gillette’s effort was received so badly at the time.
We know from behavioural science that positive reinforcement works better than taking a negative stance. I have heard a couple of hypotheses put around at the time that:
Men may use Gillette razors; but women in households buy them.
Women represent the largest growth market for disposable razor systems due Gillette’s male market dominance, male consumers inertia to change brand once chosen and facial hair growth – meant that the Gillette brand team didn’t feel that they were taking a risk.
In both cases, men feature in the advert, but may not have been the ads target audience.
However I think that the media buying suggests these hypotheses were wrong. The ad was run during a prime TV spot on the Super Bowl. Critics point to Procter & Gamble taking a $8 billion non-cash writedown for the shaving giant.
P&G reported a net loss of about $5.24 billion, or $2.12 per share, for the quarter ended June 30, due to an $8 billion non-cash writedown of Gillette. For the same period last year, P&G’s net income was $1.89 billion, or 72 cents per share.
…The charge was also driven by more competition over the past three years and a shrinking market for blades and razors as consumers in developed markets shave less frequently. Net sales in the grooming business, which includes Gillette, have declined in 11 out of the last 12 quarters.
From a societal perspective in general masculinity related topics is a cultural land mine; particularly when #allmenaretrash and similarhashtags are now commonplace, so it is harder to use in an effective manner the kind of nuance Gillette attempted.
Egard – a watch brand made this response video to Gillette.
Impact
Dove grew as a brand and became a form of social currency. It made the agencies involved (Ogilvy and Edelman) famous for years to come. What Edelman actually contributed to the creative concept is open for debate.
In terms of the Dove real beauty brand purpose, the results seem to be more mixed.
The current Dove master brand ad ‘The Code’ seems to be very similar to the original ‘Evolution’ ad, the only changes have been that Photoshop was being used by an expert and AI has now put it in the hand of teenage girls.
While the public discourse has changed behaviours haven’t and the wellbeing of girls and women seems to be in a similar or worse position today than it was 20 years ago.
Part of this is likely to be societal, we live in more anxious times and the status quo may have been even worse, had Dove not sparked the kind of public discourse it had.
Brand purpose?
At the time when Dove’s campaign came out, I can’t remember purpose really being a ‘thing’. The closest thing I could remember in the marketing zeitgeist is that people would occasionally talk about technology in terms of the pitch a young Steve Jobs made to PepsiCo executive John Sculley: do you want to sell sugared water all your life, or do you want to change the world?
There was talk about changing attitudes and creating a movement – but it was seen in terms of creativity, rather than a higher purpose.
At the time Unilever’s fragrance brand Lynx / AXE were running creative like this.
AXE / Lynx is still the world’s number one men’s fragrance brand, but its positioning has changed a bit.
When you smell good, good things happen. You’re a little more confident and life opens up a world of possibilities. We believe that attraction is for everyone and between anyone. It doesn’t matter your race, your sexuality, or your pronouns. If you’re into it and they’re into it, we’re into it. That’s The New AXE Effect.
Lynx and AXE content wasn’t that far out. Advertising in the late 1990s and early 2000s wasn’t so serene. You has several ad campaigns that were subversive or transgressive in nature.
A good deal of this was cultural zeitgeist. If you were a creative director in your mid-30s at the time, your terms of reference were very different. You would have likely enjoyed sub-cultures like the rave scene and independent music that drew from 1960s psychedelia and counterculture icons. You probably watched the Jim Rose Circus Sideshow film, one of their TV appearances or attended one of their live shows. Russell Brand was considered funny.
Brands getting attention and critical acclaim like Sony’s Playstation gaming console, Levi’s and Skittles were taking brand risks with campaigns that were far edgier than we’d be likely to see now. One direct mail shot from Sony Playstation designed to promote the Tekken 3 fighting game was sent out in a plain manilla envelope stamped ‘private and confidential’. Inside was a convincing medical card advising that the recipient receive immediate medical treatment for a potentially serious condition. Some of those mailed were waiting for hospital test results and complained to the authorities.
Meanwhile in the US, Mountain Dew was promoting pager plans as part of a co-marketing deal. But this was happening in the middle of a moral panic on pagers being a portal to drug dealer hook-ups and teen prostitutes receiving bookings from johns. Kids were being arrested and charged for possessing pagers in schools and colleges.
Failed online business Pets.com had a distinctive shouty voice that we probably hadn’t seen since Poundland’s ‘teabagged’ social posts.
Two examples give a good temperature check of what was happening in agency teams at this time up to just before 2010.
The Volkswagen ‘terrorist’ film that was used as a door opener by creative team Lee Ford and Dan Brooks. It leaked online, much to the bemusement of Volkswagen. Creatives thought it would be well received by a brand marketing team with a sense of humour. While VW didn’t like it, it did get them work with a large production house in the US and London agency Quiet Storm.
The second one was Lean Green Fighting Machine’s Facebook campaign for Dr Pepper in 2010, that referenced an online Brazilian porn clip known as ‘2 girls, one cup’. The client had signed it off, without knowing the context. Controversy ensued on Mumsnet and the agency was fired from the account.
Amidst all this cynicism, boundary pushing and counterculture; Dove’s real beauty would have been distinctive and differentiated. Even if it did run a risk of being perceived as cynical self-serving corporate schmaltz.
Brand purpose as an idea seems to have gained popular currency after Dove’s campaign for real beauty.
You can see in this chart based on Google Books data how the English language mentions of ‘brand purpose’ took off.
Data from Google Books Ngram viewer
Brand purpose critic Nick Asbury places the rise of brand purpose to the 2008 financial crisis and related events such as the Occupy movement, which supports the post-2014 surge in interest. 20 years later, Dove is now seen as being emblematic of brand purpose. Dove took on brand purpose as a concept over time, with the increasing prominence of the Dove Self-Esteem Project being a case in point.
