Chapter Five - Thinking Small

The 'Think Small' campaign is incredibly iconic and memorable, and that's not just because of it's effectiveness as an advertising campaign, it's also down to the co-operative and creative process responsible for driving the campaign.

  

  Of course there had been people creating intelligent advertising before, these are the people who recognised the value of directness and honesty, however they tended to be isolated resulting in their efforts being easily snuffed out. DDB as an agency opposed this by encouraging constant communication between their creatives which resulted in the critical analysis of their ideas from different perspectives, in turn leading to the improvement and strengthening of ideas. 

  This communication didn't just happen between the art director (Krone) and the copywriter (Koenig), it also included the rest of the agency and even the client. This vast communication meant that ideas were constantly being shot down and disapproved to ensure that only the best ideas remained, leading to a new way of advertising; originality. The 'Think Small' campaign is a prime example of how originality within advertising can create the most powerful impact, gripping the viewer with excitement to then be hit directly with an honest, trustworthy selling point that you couldn't avoid. 

Cracknell, A (2011) The Real Mad Men

Chapter Four - Lighting The Touchpaper

In the late 1950's, Italian-American Jerry Della Femina, a young copywriter at the time, was told in an interview at JWT that on the basis of his name alone, Ford Trucks 'wouldn't want your kind on their account'. 
   This didn't stop the Italian-Americans like Della Femina thought, they were demonstrating the growing confidence among the second and third generation ethnics. In fact, very few had any reservations about applying for white collar jobs in advertising agencies, an aspiration that would've never occurred to their parents. However, there were a few slight setbacks, with the increasing number of foreign names along the doors of agency corridors, ethnic origins became a matter of pride.

- 'I'm not a fucking Jew, I'm a fucking Greek!' - George Lois - 

It wasn't just their origins however, it was also their youth. The American invention of the teenager brought about a new kick-ass energy which gave the youths presence and influence. This energy found a period of fantastic artistic expansion and experimentation to fuel it. As George Lois wrote in a Playboy article (2010), 'It was an inspiring  time to be an art director with a rage to communicate, to blaze trails, to create icon rather than con. The times they were a-changin'.

   This was evident to see with Manhattan's whole building and rebuilding programme, which coincided with technological changes to bring everything up to date. And it wasn't just evident with this programme, it was also evident within music, art and literature. There was an explosion of imagination and energy, ignited against a social background that was far from settled due to the tension caused by the rapidly growing awareness of racial injustice and the new found rebellious nature within society. 

   DDB also found inspiration from this rebellious nature when advertising for Polaroid in 1954. DDB produced several campaigns, each as radical as any advertising the public had ever seen. Arguably the most radical being the introduction of the 'live' TV campaign that appeared on Steve Allen's The Tonight Show. It involved Allen taking a picture of a member of the audience, and then showing the picture to the whole audience within 60 seconds, like a conjuring trick, to receive an applause. How simple, direct and desirable, to have a live TV audience applaud your product on national TV. It was all about letting a good product sell itself. 

   Another trend in DDB's work was to play with the imagery, with the page itself to make the point visually. If advertising had always been regarded as sales talk in print, DDB was frequently doing demonstration in print. An example of this was the campaign in which Helmut Krone showed a photo of a gift-wrapped package in a vertical space up the side of a page of Life magazine. When the reader held the page up to the light, as invited 'for an X-ray peek at a great gift', they saw a bottle of Ancient Age apparently on the inside. It was illustrated on the reverse side of the page and showed through in the light. 

   DDB's ability to play with imagery so successfully led to one of their most memorable campaigns for El Al Airlines, in which Bill Taubin tore a strip off a picture of the sea to advertise a new faster service from New York to Tel Aviv. Other Airlines advertised with no personality, just showing flight schedules, but DDB wanted to change this and so they went further than just new visual ideas - there was a new verbal excursion as well. 

   El Al was one of Bernbach's many Jewish accounts, and it's remarkable how DDB handles their Jewishness amongst the many Jewish accounts they had. DDB celebrated Jewishness within their ads, and wrote the spots in Borscht Belt idiom. And while the Italians were infiltrating the art department, Jewish writers and idiom played a huge role within the creative revolution, with Yiddish vernacular and Jewish humour creeping in to the New Yorkers' daily language. 

   And finally, on the verge of the 60's a massive economic expansion created a huge need for the raw product of the advertising business, the ads themselves. The audience for this outburst was now a demographically younger, newly wealthy and curious one. This led to the breed of a new creative person who took no value in looking back and who demands things in a radically new way. 

Cracknell, A (2011) The Real Mad Men

Advertising Using Myth - Ferrero Rocher

This spot from Ferrero Rocher completely bases itself on a Greek Myth, starring the Gods of Olympus to make the product seem more exclusive and luxurious. It's a treat for the very highest of people, making it appear as a blessing for us to even try one, almost. 

Fiat Panda - This is the Italy We Like

Firstly there are several synecdoche's that are used, and it's important to note that some of them communicate the same points whilst others introduce new meaning. The use of workplaces, such as the car factory and the restaurant depict that hard work is necessary to produce a great product, but also infers that enjoyment and passion goes in to what they're building, to achieve the best possible outcome. Whereas the scene in space suggests that Fiat as a brand are technologically superior to other manufacturers, pushing the boundaries of what we think is possible or not. As well as this, the use of a theatre and a sculptors workshop as other locations suggests that the car is influenced by the arts, making it seem more elegant and tasteful. This is further reinforced by the coastal road in the closing sequence, as the road is curved and sporting a watercolour like background showing that the car is elegant, and something that can be visually stimulating. Finally, the final location used heavily implies that Fiat as a brand has great tradition, and is something that Italy as a nation can be proud of. 

The repeated use of the Italian flag as an objective correlative also highlights the point of Fiat and the specific model (Panda), as being something to be proud of as a Nation, and this almost implies that you're not properly Italian until you own a Fiat. As well as this, coffee is pictured in the ad, this suggests that driving the Panda is a lively experience, one that is sure to pleasure your senses and ultimately wake you up to make you realise this is the car/pick me up you've always needed. 

Finally the endline, 'The Things We Make, Make us.' provides anchorage and reinforces that as nation this is something they can be proud of to gain a stronger reputation, due to it's expert mechanics and artistically passionate flare. 

In What Ways Are The LMS Advertisements Typically Modernist?

During the early 1920's advertising was under heavy criticism for being tasteless in a time when Art Deco and Surrealism was starting to flourish. Therefore the London, Midland and Scottish Railway (LMS) approached Norman Wilkinson to advise their advertising process and influence it to become more innovative and up to date. 

Norman Wilkinson, amongst over Artists in the 20's, began to create bold designs with flat colours, and simplified forms. These were typically modernist techniques which were heavily influenced by the development of modern industrial societies within post-war culture. Below is an example of Wilkinson's work, picturing 'A Sheffield Steel Works.'

LMS didn't just use Wilkinson though. They also took a risk on sculptor Sir Bertram Mackennal who created the iconic 3D poster entitled 'Speed.' Mackennal's work was also typically modernist due to the crisp lines within the imagery he created.

 
These advertisements were designed to have a good influence on public taste, in contrast to the cheaply produced posters that dominated advertising at the time. Hence why they were so successful.

Surrealism in Advertising - Metamorphosis

Lifebuoy Hand Wash - 'You Eat What You Touch.' (2009)

The campaign was developed at Lowe Indonesia by creative directors Din Sumedi and Firman Halim, copywriter Anton Jaya, art director Andruya Andrus, advertiser’s supervisors Lusi Suwito and Eka Sugiarto, planner Krismalina Sinaga, account supervisors Eby Karsono and Irma Jeanette, with photograpy by Jeremy Wong at Nemesis Pictures and digital imaging by Evan at Magic Cube.

Advertising Jaguar in China

Jaguar as a brand is founded on a long history of distinctive cars offering a unique blend of style, performance, refinement, prestige and affordability. Over time these values have been built upon and reinterpreted to achieve even more success.

·         Contemporary, forward looking, distinctive design.

·         “Performance” driving experience.

·         Appropriate application of technology.

·         Modern interpretation of luxury.

·         Quality in all attributes.

Unfortunately due to advertisement restrictions in China, some of these values can’t be clearly expressed through the advertisements. Luxury advertising has been banned in Beijing and other major cities as the outdoor ads are viewed as too ostentatious, and as a painful reminder of the growing gap between the rich and the poor.
 The Beijing government wanted the removal of words such as: luxury, royal, supreme and high class. Otherwise advertising agencies and brands would face fines from 30,000 Yuan (£2,800) upwards. As well as this aspirational advertisements were assumed to be creating a politically unhealthy climate and the Chinese government lashed out on advertising, warning the industry of how it shouldn’t encourage people to aspire to a foreign lifestyle.
  As well as this due to the congestion on the roads in China it’s hard to express how the performance of the car will be of any benefit to the Chinese general public.

With all of these restrictions in place I moved on to researching current trends within the Chinese car market regarding sales figures and brand interest, to pick out positives I could possibly use within my ads. I looked at two lists of the top car brands in China, one from 2010 and one from 2013, it’s clearly noticeable how Jaguar have fired up the rankings table whilst other luxury car brands have slipped down.  
  According to Phil Popham, Director of Group Sales Operations at Jaguar Land Rover, Jaguar is expecting its Chinese sales to increase further and jump from between 20 to 30% growth thanks to demand for its new product line, specifically the redesigned XJ and XF models which have been tailored specifically for the Chinese market.

With the new information discovered I got underway with image surfing and other creative processes, here are a few ideas of many that I’ve turned into simple visuals.

I thought that the route of the formal suit would be the most effective in relaying the values of distinctive design, the appropriate application of technology, luxury and quality in all attributes. Whilst also showing how the car is tailor made for the Chinese market, which I believe is the unique selling point for the products.  Here are a few finalized ideas, adopting the strap line of ‘Tailored to suit you.’

Marks in Time

 

-- Evolution --

Economically as a business Marks & Spencer’s had to evolve according to the times. The penny bazaar store was a great success and expanded to great effect; however as the First World War began the maximum price was lifted to 5 shillings allowing them to stock a wider range of products for the general public such as electrical goods, clothing and affordable luxuries. Due to this expansion the business would not be able to turn back, so they thought wisely and branched out with care identifying themselves as a family brand in the 30’s.
   These expansions continued throughout the Second World War and up until the 60’s when trends changed and there were new innovations for modern life, briefly leading the business to become more fashion orientated to keep up with the want for new man-made fabrics. However, this changed again during the 90’s when convenience became top of the list, meaning ready meals and homeware were now stocked in store making M&S a one-stop destination for all of your needs. Despite the introduction of all of these things, people became bored with the St Michael label and in an attempt to liven up the brand they introduced new sub-brands. Between 2000-04 we saw the introduction of Autograph, Per Una and Ltd Collection allowing M&S customers the choice, based on their lifestyle and budget.
   Similarly to how they financially adapted with the times, they introduced new technology according to trends in a bid to keep the people happy and make money. The most noticeable change in technology came during the 60’s where man-made fabrics were seen as a cutting edge necessity, due to the synthetic fibres being convenient to make and long lasting. An example of this is the St Margaret tights they introduced in 1962, considered to be the only way to bridge the mini gap which stocking missed, they were top-sellers and broke sales records.
    Following on from this, Marks & Spencer’s audience has always been the general public; therefore it’s essential for them to think socially one hundred per cent of the time. It’s clear to see how they’ve kept their products up to date, but more importantly it’s the changes to their branding which have focused on the social side of things. The sub-brands introduced between 2000 and 2004 gave their customers a choice based on their lifestyle and budget. Something they didn’t have before under the St. Michael range. Showing how M&S thought on a personal scale, later reinforced by the rebranding of the entire business thanks to the ‘Your M&S’ campaign, highlighting how M&S always put the customer/society first.
   Culturally, M&S have constantly been evolving. As any successful business would have to, simply to keep up with trends and turn a profit. However as time has gone on, the term culture itself had evolved. We no longer view culture on a small scale, it involves the whole planet and it’s clear to see in recent times how M&S have adapted to this. By introducing ‘Plan A’ in 2007, M&S became the first major UK retailer to stock fair-trade cotton which showcased their willing to care for the world. Human rights and ethical policies are now focussed upon heavily when a customer is judging on which place to shop, showing the change in culture and how people now view things.
   Overall these aspects have led to Marks and Spencer’s being one of the most well known historical businesses, as it has truly stood the test of time and is still expanding and growing in this modern age.  

  

-- Quality – Value -- Service -- Innovation -- Trust --

Since the opening of Marks’ first stall in 1884 at the Kirkgate Market, the business relied on the five core principles of: Quality, value, service, innovation and trust. This was clear to the see with the open display of goods and the fixed price system, adopting the slogan ‘Don’t ask the price, it’s a penny.’ Thus clearly informing the customers and highlighting their core principles.
   This was emphasized in the nostalgic ‘Celebrating 125 Years’ campaign which used the strapline; ‘Quality worth every penny’ placed over images of their best known products. Including the melt-in-middle chocolate pudding which was one of many M&S products to be given the Fleetwood Mac treatment in the ‘This is not just food, this is M&S food’ campaign which began in 2004 as part of the ‘Your M&S’ larger scale campaign to save the business.
   Another contributory to the ‘Your M&S’ campaign was the new and innovative ‘Look Behind the Label’ campaign which brought M&S’ ethical policies and aims to the foreground.  Launched in 2006 this campaign reinforced the trust that may have been lost in previous years by showing customers the steps the business took to achieve the best possible outcome for not only the customers, but for the suppliers and the planet as well.

 -- Deconstruction of advertising practice --

The selection of the classy train setting in the 2007 autumn ad was a clever metaphorical choice. Much like the train, M&S has stood the test of time and is still journeying on by adapting to trends through the ages, making them a constantly reliable source for the customer. Furthermore, the train is the oldest form of mechanical transportation and it is still being used to a massive extent in everyday life. It is there for everyone to use, showcasing M&S’ ability as a business to cater for everyone and provide them with the best service possible.
   As well as this the journey the train is on expresses the fact that M&S have something for every occasion, no matter where you are in the world, or what you’re doing there. Thus highlighting the quality of their products, durable, aesthetically pleasing and worth every penny. The idea of quality is also reinforced by the classy look of the train, as the models are in what appears to be First Class suggesting that the products are of an incredibly high quality and that they will make you feel one million dollars. 

  

 

The ‘Leading Ladies’ campaign relies completely on the innovative women chosen who, it’s clear to see, stride for the best quality in their own work to create bold impressions in their own industries and universally. These women all aim to make other people happy as well, despite providing different services they all share the same outcome. “We’re fundamentally very similar, even though we all pursue different passions.”
   Also the inclusion of ordinary, everyday people such as the nurse also reinforces the brands key principle of trust, as a nurse should always provide the best service in order to maintain the good health and trust of the general public. The range of industries these leading ladies are involved in also shows how M&S is for everyone, no matter how much you earn you will be provided with the best value for money as their broad range of products are all made with care to a high quality.  
   As well as this, the way in which the interviews are shot make them seemingly very personal, yet again showing how M&S listen to the customers to provide the best service, and how the customers in turn trust them, allowing them to openly talk about their own experiences. These experiences are mainly based around overcoming problems, suggesting that buying from M&S will give you the ability to have more self confidence and the willingness to push the boundaries and become a ‘leading lady.’ 

 

Due to the range of the innovative women labelled as ‘Leading Ladies’ the target audience is broad, but approached with great effect. The campaign, I believe, targets the working woman as the interviews mainly involve conversations about the industry in which the women are involved in, and how they got to such a high position within it. However within this target audience there appears to be sub-branches such as women who are possibly lacking in confidence, and people that think M&S clothing is just for the older generations. This is why the interview style format is great, as it targets a wide range of people, but relates to sub-groups personally through different ‘Leading Ladies’ and their interviews.