Chanel No. 5 Ad (1960's)
Chanel No.5 Ad campaign(2009)
To talk about the evolution of brand advertising dynamic, I always think that the haute couture speaks its best in representing this ever-changing environment because that is a typical world where the name of the brand is more important than what's in it. Simply look at the two Chanal No.5 ads above, we can see how the way a high-end brand (or on a larger scale, most brands) changes its way of advertising in a short period of 50 years:
1. A shift in target market positioning:
From the 1960s tagline "Every woman alive loves Chanel No. 5", to the 2009 campaign that targets more directly at the high social economic consumers, we can see how brands hacve become more and more cautious in selecting the right target market instead of doing those one-fits-all advertising campaigns. Mark Ritson, the author of Why are brand positionings made so complex?, suggests that if positioning are successful, it will ultimately "drive the company's behaviour to such a degree that it will appear in customer research as the things customers notice about that company." That way customers will then be able to identify themselves with the brand's characteristic (which in this case is the celebration of woman individual expression, beauty and luxury), and furthermore develop likelihood for it, if found any connection. Especially in an information age cluttered with marketing messages, if a brand like Chanel isn't able to set itself apart from the generic "all women" brand, it is more than likely that the halo of its glory will finally fade away.
2. The celebration of new media:
As for the media used, when the 1960s ad uses print due to the technology limitation of the time, the advance of the new media allows the 2009 campaign with a whole new range of possibilities. Besides the print ad, there is also a consistant TV commerical and a 2 minute short film developed to be placed in retail and its online promotion. This shows how brand advertisers in the digital age has the advantage to utilise more than one kind of media, maximising the marketing effectiveness.
2009 Chanel No 5: train de nuit
Another interesting thing I've noticed is the shifting of female role in advertising through this 50 years.
Although Chanel has always been a brand that celebrates female independency, we can still see the 60's ad basing its idea of 'attractiveness' on the appreciation of the male gender towards female. Females are positioned as an object, and by seeing the model in the print ad looking straight at the audience we can tell that she's aware of the gaze of appreciation, or even enjoying the attention. In other words, the consumer insight established by the advertiser would probably be as simple and shallow as: "all women who feel attractive when guys flock towards them." On the other hand, when the social dynamic of female gender continuously grow stronger and more independent, today brand advertisers tend to target female's independent success. The perception of beauty shifts from being appreciated by the opposite sex to self-appreciation, as portrayed in the 09 campaign. Also the model in the ad no longer cautiously stares at the audience. Instead, she seems to be enjoying her own presence regardless of others' opinions.
References:
Ritson, M. (2004). Why are brand positionings made so complex?. Marketing (00253650), 21. Retrieved from Business Source Premier database.
Tom Denari from Advertising Age
Has Your Advertising Become a Vuvuzela Blowing in the Night?
Credits:
Both advertising campaigns are created in-house. However the 2009 video campaign is directed by Jean-Pierre Jeunet, director of Amélie. (Audrey Tautou also starred as the main character in the movie.)
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by the way, this is the second time where Chanel has played with the cinematic idea in conjunction with its famous No. 5 fragrance. The first campaign was released in 2004, with actress Nicole Kidman and Rodrigo Santoro in a Baz Luhrmann-directed/Mandy Walker-filmed multi-million dollar commercial entitled No. 5 The Film
J.
1. A shift in target market positioning:
From the 1960s tagline "Every woman alive loves Chanel No. 5", to the 2009 campaign that targets more directly at the high social economic consumers, we can see how brands hacve become more and more cautious in selecting the right target market instead of doing those one-fits-all advertising campaigns. Mark Ritson, the author of Why are brand positionings made so complex?, suggests that if positioning are successful, it will ultimately "drive the company's behaviour to such a degree that it will appear in customer research as the things customers notice about that company." That way customers will then be able to identify themselves with the brand's characteristic (which in this case is the celebration of woman individual expression, beauty and luxury), and furthermore develop likelihood for it, if found any connection. Especially in an information age cluttered with marketing messages, if a brand like Chanel isn't able to set itself apart from the generic "all women" brand, it is more than likely that the halo of its glory will finally fade away.
2. The celebration of new media:
As for the media used, when the 1960s ad uses print due to the technology limitation of the time, the advance of the new media allows the 2009 campaign with a whole new range of possibilities. Besides the print ad, there is also a consistant TV commerical and a 2 minute short film developed to be placed in retail and its online promotion. This shows how brand advertisers in the digital age has the advantage to utilise more than one kind of media, maximising the marketing effectiveness.
2009 Chanel No 5: train de nuit
Another interesting thing I've noticed is the shifting of female role in advertising through this 50 years.
Although Chanel has always been a brand that celebrates female independency, we can still see the 60's ad basing its idea of 'attractiveness' on the appreciation of the male gender towards female. Females are positioned as an object, and by seeing the model in the print ad looking straight at the audience we can tell that she's aware of the gaze of appreciation, or even enjoying the attention. In other words, the consumer insight established by the advertiser would probably be as simple and shallow as: "all women who feel attractive when guys flock towards them." On the other hand, when the social dynamic of female gender continuously grow stronger and more independent, today brand advertisers tend to target female's independent success. The perception of beauty shifts from being appreciated by the opposite sex to self-appreciation, as portrayed in the 09 campaign. Also the model in the ad no longer cautiously stares at the audience. Instead, she seems to be enjoying her own presence regardless of others' opinions.
References:
Ritson, M. (2004). Why are brand positionings made so complex?. Marketing (00253650), 21. Retrieved from Business Source Premier database.
Tom Denari from Advertising Age
Has Your Advertising Become a Vuvuzela Blowing in the Night?
Credits:
Both advertising campaigns are created in-house. However the 2009 video campaign is directed by Jean-Pierre Jeunet, director of Amélie. (Audrey Tautou also starred as the main character in the movie.)
-----------------------------------------------------------------------------------------------------------------------------------
by the way, this is the second time where Chanel has played with the cinematic idea in conjunction with its famous No. 5 fragrance. The first campaign was released in 2004, with actress Nicole Kidman and Rodrigo Santoro in a Baz Luhrmann-directed/Mandy Walker-filmed multi-million dollar commercial entitled No. 5 The Film
2004 Chanel No 5: the film
J.
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