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Cannes Creative Lions, Creative Effectiveness Lions, 2013
This relaunch campaign in the French market for Dior J'adore, the flagship women's fragrance from Parfums Christian Dior, aimed to make the perfume the top-seller over the Christmas holiday season and depose Chanel No.5 from its status as the iconic market leader.
This relaunch campaign in the French market for Dior J'adore, the flagship women's fragrance from Parfums Christian Dior, aimed to make the perfume the top-seller over the Christmas holiday season and depose Chanel No.5 from its status as the iconic market leader. The resulting creative strategy positioned J'adore as the creative force of the overall Christian Dior brand. A TV-led strategy featured a commercial starring a range of iconic women from the past, with support from newspapers, magazines, outdoor and digital. Dior J'adore recorded annual growth of 17% over the previous year and gained leadership in the Christmas market.
Lacoste L.12.12: Polo in a bottle
European Association of Communications Agencies, Silver, Euro Effies, 2012
Sales of Procter & Gamble's Lacoste scent line were declining and its brand image was becoming blurred, especially among the young.
Sales of Procter & Gamble's Lacoste scent line were declining and its brand image was becoming blurred, especially among the young. The brand needed to launch a signature male fragrance, and restore growth, partcularly in the key markets of France, Germany, the UK and Spain. It built its campaign by aligning the scent with the image of the classic Lacoste Polo shirt, and using visual allusions to the shirt in a series of television, magazine and digital creative expressions. An event was also added to the mix. This case study includes evidence of the success of the approach which includes growth in value sales and value share.
Penhaligon's Christmas boxes 2010
Design Business Association, Bronze, Design Effectiveness Awards 2012
Penhaligon's is an English boutique fragrance house with a long heritage. For Christmas 2010, the company wanted to redesign its gift range of eight SKUs, as the holiday period equates to 50% of annual sales and it was felt that previous gift boxes struggled to reflect the brand's personality and premium nature.
Penhaligon's is an English boutique fragrance house with a long heritage. For Christmas 2010, the company wanted to redesign its gift range of eight SKUs, as the holiday period equates to 50% of annual sales and it was felt that previous gift boxes struggled to reflect the brand's personality and premium nature. Following the redesign, which evoked a Victorian style, like-for-like sales were up 23% and overall sales volumes grew by 38%.
Procter & Gamble: BOSS Orange
European Association of Communications Agencies, Gold winner, Euro Effies, 2010
This campaign, winner of a gold award at the 2010 Euro Effies, introduced HUGO BOSS - a brand best known for men's suits - to the female fragrance sector.
This campaign, winner of a gold award at the 2010 Euro Effies, introduced HUGO BOSS - a brand best known for men's suits - to the female fragrance sector. The product, BOSS Orange, went to #1 in its category following launch in the UK and DACH, with revenues hitting 135% and 270% of target in these areas respectively. The target audience were "Emotional Indulgers" - twenty-something women who wished to be "happy in their own skin" and expressive. In contrast to the perfume ad cliché of glamour and decadence, the creative focussed on the qualities of authenticity and happiness - resulting in a more "achievable" sense of beauty being conveyed. Celebrity branding was key to the campaign, with UK actress Sienna Miller becoming the perfume's endorser - a "personality", rather than a supermodel "face".
Boss – Bottled
European Association of Communications Agencies, Long-term Effectiveness Award, Euro Effies, 2007
Launching a new fragrance is highly expensive, and can only be considered a success once the brand has established a loyal base of repeat purchasers, combined with low levels of long-term adspend.
Launching a new fragrance is highly expensive, and can only be considered a success once the brand has established a loyal base of repeat purchasers, combined with low levels of long-term adspend. Boss launched Boss Bottled in 1998, in an effort to reinvigorate its presence in the market, and almost a decade later the aftershave remains a top ten fragrance in France and Germany, as well as providing a consistently impressive level of return on investment.
Boss – Boss range
European Association of Communications Agencies, Silver winner, Euro Effies, 2007
The male fragrance market is highly competitive, with over 30 product launches every year. This results in a high degree of segmentation, which is especially a problem during the Christmas season, which accounts for around 40% of annual sales.
The male fragrance market is highly competitive, with over 30 product launches every year. This results in a high degree of segmentation, which is especially a problem during the Christmas season, which accounts for around 40% of annual sales. Bucking conventional wisdom, Boss initiated a range advertising strategy in France and the UK, which result both in well-received communications and higher market share growth than the competition.
French Connection Group PLC: Scent To Bed campaign
Mark Lane, Encyclopedia of Major Marketing Campaigns, Volume 2, 2007, pp. 579-582
In 1997 the French Connection Group PLC embarked on a rebranding of its flagship French Connection line of clothing, which was sold in both department stores and stand-alone company stores throughout the world.
In 1997 the French Connection Group PLC embarked on a rebranding of its flagship French Connection line of clothing, which was sold in both department stores and stand-alone company stores throughout the world. The company's agency, TBWA\London, used an internal company moniker, FCUK (French Connection United Kingdom), as the conceptual basis for a newly brash brand image. Featured on product labels, storefronts, and in advertising that overtly encouraged the subliminal rearrangement of the acronym, the letters FCUK proved an immensely successful marketing device. The brand name was exported to North America in 1998, and subsequent advertising campaigns used the near-obscenity to incite predictable and, for French Connection, lucrative controversies. A 2003 print and promotional campaign on behalf of a line of FCUK fragrances, however, was bolder than previous FCUK campaigns, and it met with more mixed results.The 2003 campaign, called "Scent to Bed," leveraged a projected $10 million budget to introduce American teens and young adults to the fragrances FCUK Him and FCUK Her. The obvious implications of the tagline and product name were bolstered by an image, in print ads, of an attractive, nearly nude couple in an intimate bedroom situation. The ads ran in men's and women's fashion magazines as well as in teen magazines. Planned promotional tie-ins included in-store handouts labeled "License to FCUK," which touted a "Scent to Bed" website.French Connection was not, however, able to mobilize the campaign's full budget or promotional capacities. Widespread protests by religious and concerned-citizens' groups led the country's largest department-store company—Federated, the owner of Macy's, Blooming-dale's, and Goldsmith's—to remove all FCUK products from its inventories, and the "Scent to Bed" ads were pulled from the teen magazines in which they had been placed. Though French Connection reported strong sales of the FCUK fragrances, the marketing campaign was put on hold. The company's next American advertising campaign did not use the FCUK acronym at all.
Calvin Klein Cosmetics Company: Ck Be campaign
Christine Minderovic, Encyclopedia of Major Marketing Campaigns, Volume 2, 2007, pp. 261-264
Calvin Klein Cosmetics Company, a subsidiary of Coty, marketed fragrances under the name of Calvin Klein and cK.
Calvin Klein Cosmetics Company, a subsidiary of Coty, marketed fragrances under the name of Calvin Klein and cK. In August 1996 Paulanne Mancuso, CEO and president of Calvin Klein Cosmetics, announced the arrival of the latest cK unisex fragrance, cK be. The sequel to the company's extremely successful cK one, cK be was described as a "raceless, genderless, ageless, and shared statement." Each Calvin Klein ad campaign had its own characteristic image and its own particular target market. While the ads for cK one, Calvin Klein's first unisex fragrance, portrayed groups of young, multicultural, mostly androgynous urban men and women, the "cK be" campaign featured an intimate and raw close-up of the individuals within the cK one groups. According to Mancuso, "The 'cK be' campaign pulls you into these people's lives."There were several similarities in the marketing of cK one and cK be, but the Calvin Klein marketers went further in launching cK be. The advertising of cK one involved images of sharing, groups, and similarities, whereas that of cK be was based on the idea of having the freedom to express oneself while living among a group and about the values and the lifestyles of the generation being portrayed. Whereas cK one was billed as "a fragrance for a man or a woman," cK be was described as "the new fragrance for people."The ads, which were the creation of Calvin Klein's in-house advertising agency, CRK Advertising, were shot by the photographer Richard Avedon. He featured both well-known and unknown subjects in the commercials and black-and-white portraits. The portraits were paired with "be" statements such as "Be good. Be bad. Just be" and "Be shy. Be bold. Just be." Some magazines ran multipage ads in which the first page was all black with the statement "to be" printed in white. The next page or two contained only black-and-white portraits, while the last page, which also was black, had the words "or not be" printed in white. The last page was also accompanied by a portrait and a pull-apart scented tab.Avedon took care to portray his models as real, imperfect people. He had the models look directly into the camera as if they were speaking revealingly and intimately about themselves. Most of the models were unusual looking, with many having tattoos and body piercings, and some appeared unkempt. In short, they did not fit the fashion industry's idea of all-American beauty, the type that usually graced slick magazine ads. Perhaps the most recognizable spokesperson for the "cK be" campaign was the model Kate Moss, who bared all of her blemishes and freckles while she also bared her soul. The photograph of Stacey McKenzie emphasized unforgettable lips, freckles, and hair. Other subjects included Theo Kogan, a member of the alternative band Lunachicks; Jason Olive, a popular African American model; and Vincent Gallo, a musician, actor, and writer and director.The text of the ads was equally provocative. The guitarist Billy White announced, "I find whatever's in my mind is better kept up there. You know what I mean?" In one of the longer ads for cK be a young man told viewers, "You could get hurt. You could get sick. You could do all these things, and if you don't have intimate relationships that are strong, you're really alone. But alone is something I know how to do. Intimacy comes and goes. Alone is forever. Be single. Be plural. Just be." The androgynous female Felix N'Yeurt proclaimed, "I never have to wait in line for the bathroom."
Sara Lee (France) - Ambi Pur
Integrated Marketing Communications Council Europe, Bronze, PMC European Awards 2006
This short paper shows how Ambi Pur launched an upmarket domestic product for both consumers and distributors to establish itself on the French home fragrance market.
This short paper shows how Ambi Pur launched an upmarket domestic product for both consumers and distributors to establish itself on the French home fragrance market. A targeted campaign gave the impression of buying perfume rather than home fragrances, and resulted in a demonstrable uplift in diffusers and refills.
European Association of Communications Agencies, 1999
The challenge for Lynx was to retain the spirit of the brand that has made it so successful, but to find fresh and interesting ways of expressing that spirit.
The challenge for Lynx was to retain the spirit of the brand that has made it so successful, but to find fresh and interesting ways of expressing that spirit. The campaign resulted in a phenomenal cut through of TV shorts, enjoyment of theme advertising, improvement in brand image and growth in volume sales.
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