Women's Collection from Marketing to Counter-Marketing
PHILIP MORRIS BATTISTONI CREATIVE PRESENTATION
Length: 38 pages
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Presents a "creative presentation" of market research by Battistoni for Philip Morris. Concludes that young adults of the time were heavily influenced by the rock star Madonna, craved control over their lives and suffered from "dimmed financial hopes." Builds on these conclusions to state that this need for some sense of control over their world led young adults to create social action groups Greenpeace and Act Up. States in response that Philip Morris's advertising should "empower" young adults with "permission to smoke" and provides possible routes for doing so through marketing.
THE PHILIP MORRIS OPPORTUNITY GIVING YOUNG ADULTS PERMISSION TO SMOKE
In this era when smoking is under attack as dirty imposition on a just-say-no society, smokers need to be empowered with permission to smoke. For young adults, the single most powerful argument that can be made in defense of smoking is, "no matter what others say, I am entitled to enjoy my pleasure because I chose it." To quote Madonna, "Poor is the man whose pleasure depends upon the permission of another." With the exception of Camel--who well understands defiance as part of the smoking experience--no cigarette offers smokers a way of saying, " _____ off, it's my life and my pleasure."
THE PHILIP MORRIS OPPORTUNITY THE NEED FOR GLAMOR
Cigarette marketers also fail to capture another key category benefit: glamor. In spite of the feeble attempts at offering glamor and sophistication by a number of brands (Benson & Hedges, More, Cartier, YSL), not one offers the kind of sophistication that smokers expect cigarettes to impart to them. Cigarettes, like clothes, send a signal to the world. For young adults, having the right clothes that connote the right values signifies sophistication. While very few young adults would want their peers to think that they blew a wad of money on clothing with a fancy label, the right brand of clothes still says everything--as evinced by the successes of such youth- adult targeted brands as The Gap, Benetton and Guess. We believe that there is tremendous opportunity for the first cigarette maker who can market a product that provides glamor and sophistication without asking the consumer to pay extra for it. These qualities should be part of what cigarettes promise anyhow. If a brand of cigarettes can bring these qualities to the twentysomething generation, there is an untapped opportunity to form a strong bond with smokers ripe to develop brand loyalty. Moreover, providing a brand with a point-of-view relevant to the target's values can help give the young adult "permission to smoke." If further coupled with the defiant sensibility embodied in the Smooth Character, such a brand can reaffirm to the smoker that the right to one's own pleasure is one's own business. Madonna would agree.
PHILIP MORRIS USA ADVERTISING STRATEGIC OBJECTIVES
Throughout development of an advertising campaign for Battistoni, we kept three fundamental objectives in mind: Advertisinq must indicate a new product, differentiating it from already existing products that consumers show little interest in switchinq to. Almost all cigarette advertising imagery draws from three main areas: --aspirational/upscale situations --nature/outdoors --socialization/relaxing with friends. To young adults, these familiar approaches are stale and irrelevant; this generation is savvy to familiar approaches as "typical" or "phony" advertising. Advertisinq must involve the consumer in the brand enouqh to make trial possible. As most current cigarette advertising does not engage the consumer's interest, there is little reason for young adults to even try a new brand. Moreover, their attitude towards advertising, particularly cigarette advertising, encompasses not only boredom, but also suspicion of "claims" or enticing imagery. Elegant situations and idyllic natural settings come across as lies, and are therefore easily dismissed. Cigarette advertising needs to engage the consumer in the brand by leading him to, as opposed to foisting onto him, a brand identity that reflects his values. From the ideas the advertising provides, he must draw his own conclusions about what the brand stands for, so that, in effect, his own values~become part of the brand. Advertisinq must also give permission to smoke. With increasing social pressure not to smoke, the rationale behind choosing to smoke has to counter the rationale against smoking. Advertising should reassure the consumer that it is "correct" or socially appropriate to smoke. The brand image must be compatible with consumers' attitude toward smoking. Somehow, the brand must help him:
--justify his belief that the decision to smoke is calculated, reflecting his own free will;
--reassure himself that others will not think less of him for smoking;
--explain that his attitudes toward smoking fit in with his peer group's "philosophy of life."
--avoid feeling that a cigarette company is inducing him to smoke with advertising that "insults his intelligence," telling him what to do.
BATTISTONI CIGARETTES BRAND PERSONALITY
Battistoni is the triumph of emotional expression within rational control. Battistoni's packaging expresses this idea already. Battistoni is Rome and New York; classic and contemporary. A restrained, ordered modern graphic treatment superimposed over fiery red, and a latin name on an American cigarette both communicate the tension between emotional expressiveness and control, and the place that emotional expression has in a rational world.
BATTISTONI CIGARETTES BRAND PERSONALITY RELEVANCE
Most conflict in the daily lives of ordinary people has to do with the differences between internal, emotional drives and rational obligations or external pressures. Early adulthood is the time when most people submit to the "rational" world, beginning careers, settling down, looking back, perhaps longingly, on the freedom of youth. But the basic emotional drives remain. Most people live lives dominated by order and rational precepts: going to work, meeting deadlines and obligation, taking care of oneself, and abiding by the social contract. Cigarette smoking, especially in the current environment, does not belong to the rational world. With the new puritanism spreading beyond Anglo Saxon countries, expressions of basic drives are receding from popular favor. In the U.S.A., Camel's new positioning reflects an understanding of how to respond to the anti-smoking environment in a fresh, new way that engages the sympathies of a certain segment of young Americans. The Smooth Character's mischievous wink endorses a defiant juvenile delinquency that sums up a certain response to authority and growing up. To be sure, the Smooth Character's appeal is limited, and would unlikely appeal to a more mature twentysomething generation worldwide. However, there is opportunity to address this conflict between emotional drive and the rational in a subtler, more sophisticated way that appeals to older, more educated, middle class consumers.
BATTISTONI ADVERTISING 12% BLACK 88% RED THE SIGNIFICANCE OF COLORS AND THEIR PROPORTIONS
Emphasizing the color red through copy and visuals suggests that red, and everything the color signifies, dominates the brand. Red is the color of emotion, passion, heat and blood. It is elemental and strong, and in our world, relatively rare. Numerous color research studies indicate that the color red--as opposed to cooler blue and green-- attracts individuals who challenge authority. As adolescents grow into adulthood, their preference for red gives way to liking for cooler colors. In psychological studies, people can be classified as "form-driven"--detail oriented and rationally inclined, or "color driven"--emotional, sensitive and expressive. These people prefer red. The 88% red, however, is offset by the 12% black, suggesting restraint on the power of red. Across the world, black connotes darkness and mystery, suggesting imagination and the unknown. During the past two decades, color experts have documented growing popularity of and sympathy to the color black, in spite of (or because of) its negative connotations. Together, red and black suggest great passion, tinged with mystery and darkness. This is the popular understanding of human psyche.
- Presentation Materials
- Philip Morris
- Gender mentioned, differentiation possible
- Named Person
- Clay, Andrew Dice
- Stern, Howard
- Named Organization
- Anne Klein
- Blue Nun
- Boston University
- Calvin Klein
- Carlo Rossi
- Coca Cola
- Donna Karan
- Hamilton Beach
- Millstone Coffee
- Procter Silex
- Ralph Lauren
- RJR, R.J.Reynolds
- West Bend
- William Grant Foundation
- Act Up
- Benson & Hedges
- Virginia Slims
- Thesaurus Term
- Young Adults
- Ethnic Minorities
- Market Segmentation
- Brand Image