Pat McGrath's notes for Bistro Presentation. Discusses changes in product development, use of focus groups to create a higher end reduced tar brand which will not cannibalize existing Lorillard brands; suggests both regular and menthol. Names target as younger, better educated individualists. Discusses advertising with theme: "Not just another faceless cigarette."
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PAT McGRATH'S NOTES FOR BISTRO PRESENTAlION TO CURT JUDGE - MARCH 9, 1981
1. We should understand this is not a Harvard Business School type new product
development project. It is much more a result of a way things really are in
life and reminds me of a speech I wrote about new products, the theme of
which was, "What New Product Development Needs Is More Bulldogs and Less
One example of how we have stumbled,and bumbled on our way to what we think
is a brilliant end result is that we started with the name Sentry, then it
became Metro, is now Bistro Lights, and just might become Metro again.
2. The breakthrough came at focus groups we did a few weeks ago, and it became
clear tfaat people were involved in and excited about this product. Some
loved it. Some hated it, but everyone had an opinion. I looked at my
focus group*notes later and remembered I had written down, "My God, we may
have harne"ssed 'word of mouth'. If that is in any way true, we are on to
3. I will present the basic premise of the project. In other words "locate"
everybody as to exactly what we have up our sleeves. Jim Jordan will talk
about why we are confident that Bistro Lights will sell and Gene Case will
show you what we are tal kic:g about.
A BRAND ENTRY IN THE HIGHER END OF THE REDUCED TAR
SEGMENT THAT WILL NOT CANNIBALIZE EXISTING LORILLARD
With brands like Triumph, True and Kent III, the Company is a major factor
in the lower end of the reduced tar segment. We are confident that Bistro
Lights is a Un1(Iue product and will not cannil>il ize Golden Litjht:,-) in tkie
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mid-section, nor Kents in the higher end of the reduced tar segment. We
don't bdlieve that Bistro Lights will take business from your strong
~ OUR PRODUCT
THE EF II PRODUCT AT THE 12 mg. TAR LEVEL HAS
`, TESTED WELL AGAINST WINSTON AND MARLBORO.
4. Everyone is quite familiar with the positive results of the EF II product
test. An important'point I will mention here is our recommendation to go
forth with a regular 85 mm and a menthol version of EF II. We wanted to
use a menthol instead of 100's for three reasons:
- We are~after a younger target and menthols generically skew younger.
We are after a dual audience and menthols split 50/50 whereas
100's skew to women.
The most critical point is that we feel menthol is an extremely important
part of our total presentation of the Bistro Lights idea. This will. be
clear when we show you the advertising.
AN APPEAL TO THE YOUNG MEN AND WOMEN WHO
THINK FOR THEMSELVES AND THUS ARE LIKELY
TO BE MOVING DOWN FROM LO-FI TO LOW TAR.
5. In hard demographic terms, we are after younger and better educated people.
Overall, these kind of people are just more apt to try new and different
things. Bistro Lights is certainly new. It is also different. Beyond tt
demographics are what we believe to be more important - psychographics. ~
We believe Bistro Lights will appeal to a very special type of person ... IPA
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an individualist ... a person who thinks for him or herself and isn't
afraid that others know.it. We think the most important underlying
characteristic of Bistro Lights users will be this psychographics context
rathe'h than any hard, fast, demographic concept.
I think this explains the platform upon which Bistro Lights is positioned to
go to market. I would like Jim Jordan to tell you why we think it will be
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4. At a time when it is harder than ever for a brand to stand out,
Bistro will emphatically stand out -- and in a very positive way.
Lorillard has indicated that in 1970, the trade could satisfy consumer
needs by carrying 40 brands and styles of cigarettes. Today it must carry
100 brands and styles. In other words, it is 21 times harder to get attention
today than it was just ten years ago.
So today, more than ever, it is critically important for a brand to be
And yet 2ronically -- at a time when distinctiveness is so important
-- there is less and less distinction among cigarettes and their advertising.
Very little stands out.
There is~-the same look-alike, sound-alike wash of words and pictures
and numbers. In a category where imagery and character and personality
are perhaps more important than in any other category, very little new imagery
or character or personality has been created for a very long time.
Bistro is loaded with imagery. It's loaded with character, and it's loaded
~ And it's the right imagery! The right character! The rig_ht personality!
A lot of cigarette advertising today is cold. It looks like it was computed
instead of created. I3istro is warm.
A lot of cigaretto advertisillg is grim. 13istro is dood-natured.
Bistro is dramatically different. hut it's not just c_liffei-c:iit
for the sake of being different. It's different for the right rc:asons.
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Bistro's very pack will communicate that this cigarette is a pleasure.
bistro is the first cigarette ever, to our knowledge, to communicate pleasure
right on the pack. And pleasure -- despite what we see in a lot of the ads
these days -- should be what smoking is all about.
Bistro's pack and Bistro's advertising are tailor-made for the 1980's. In
the 1980's, 70% of all impressions in the cigarette business will come from
split-second media, like outdoor and point-of-sale. In a split-second medium,
you should have split visuals. Two pictures can be one picture too many. In
the case of Bistro, the pack is the ad, and the ad is the pack. One picture.
You can take it all in, even in a split second.
Bistro is more than just interesting. Bistro is provocative. People in
the focus groups discussed it passionately. They took sides! I know. I was
there. How long has it been since you saw people care enough about a cigarette
to araue. aboue. it? Not everybody will love Bistro, but some people will love it
a lot -- and nobody will be bored by it!
5. Bistro offers a much-desired psycliolocJical benefit t}iat almost
everybody neods -- but no olller cigarette is offeriny!
People in all walks of life today are fe;d up wit!i their anonymity. We live in
a society where people have lost their identity..... where they are known as
numbers rather than as names and faces and personalities. Instead of having the
grocer say, "Good morning, Mrs. Jones," lie hollers)"G7! Who's got number 67?"
In a country built by rugged iiidividualists, we have lost a lot of our
We have become a faceless society -- and we are sick of it. We are fighting
back, reaching to regain our individualism -- and we show it in a lot of ways.
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Pcople.arc activcly on the lookout f, things that help them express their
own character ... their oA taste ... thc.1r own style. Perhaps there has been
no more dramatic example of this than in the clothing market. People don't wear
jeans any more. They wear Calvins. Or Jordache. Or Sergio Valenti. Or
whatever defines and suits their own individual style.
It all adds up to a major psychological change taking place in this
country. The rebellion against facelessness. The Return to Individualism.
And yet astonishingly enough -- in the cigarette category, which turns
so heavily upon psychology, not a single marketer has taken advantage of this
development. Cigarette advertising, for the most part, continues to present
itself as an endless series of anonymous look-alike words and numbers and
pictures. Very few cigarettes offer the smoker an opportunity to make a strong
individual statement about himself.
Until Bistro. People smoke cigarettes partly because of what their
cigarette says about them. What will Bistro advertising say about Bistro
It will say, "Look. I am not a number. Ialn an individual. I've got
character. Above all, I've got my own style. I blaze my own trails. You
won't lose nle in tlle crowd, because I'm out in front of the crowd."
The theme is:
"Bistro. Not just another faceless cigarette."
The line works perfectly with the graphics. llow can L'istro be faceless?
Bistro has a face! And character. And color. And personality.
The line is short, crisp, memorable. Perfect for all those split-second
colllnlunications oll ouldoor and E>oilit-0l-}>urcha:;o :;ic.1uS.
The line is explicit. lt's meaning is crystal-clear. It tal:es a stand. But it
does so without bt;ing heavy-han(.lel.l. It is a CJoll(1-llatllred lill(-. It even hi13 cl
touch of humor tc~ it -- Csl)ui:ially in C0liju>>c-tic>11 with the
Finally the line 11.1:; yre~A 1unc_l(:vity. It c._ui y0 011 Cin13 on cint1 build
awareness and momentuin even if wO slwuld eventually want to say additional
things about Bistro.