Illustration by The Partners
[Sometimes I get asked to write stuff and feel the marketing strategy equivalent of those famous protest signs that read ‘I can’t believe I still have to protest this shit’…]
Nearly 20 years ago, global M&A sprees combined with massive product innovation required the likes of Unilever and Nestlé to carefully assess their portfolios as well as scrutinise any arguments for the creation of new brands.
In February 2000, Unilever famously embarked on a global programme to reduce its number of brands from 1600 to 400 in five years. Coining the term ‘power brands’, Unilever shifted budgets from smaller, local, regional or niche brands to brands like Dove and Persil. It also leveraged the ice-cream Heartbrand to connect local heritage brands (Walls in the UK, Algida in Italy, Langnese in Germany, for example) and act as a platform for international powerhouses (Magnum, Cornetto, Solero, for example) across more than 40 countries.
Telecoms quickly followed suit and we experienced a shift from a world where even an audience-specific mobile tariff would have its own brand to largely monolithic portfolios across the entire sector. Today, you would struggle to point out a non-endorsed sub-brand for one of the major telecom brands.
FMCG companies may not be monolithic, but all the major players increased the prominence of their corporate brand endorsement over the last decade. Nowadays, most of the revenue of Unilever and P&G is estimated to come from a combined group of about 30 brands.
It’s ironic, then, that many of the consultancies behind those famous portfolio efficiency projects are holding increasingly proliferated brand portfolios that are straining not just marketing budgets and internal resources, but the amount of attention they can command in the market. Continue reading
This is going to get sentimental…
A few months back I went to a music video showcase I’ve been going to for about a decade BUG (#50!)
which had a very special guest. One who is an example of the cultural ripples creativity can send.
It’s a guy I guess most of you have never heard of, and yet he’s touched your life in more ways than you imagine.
is a director who started as a tea boy on sets and by the late 70s was directing videos for bands like The Jam.
He was quite humble in Adam Buxton
‘s interview, saying that many of today’s videos would have won ‘video of the year’ from MTV back then because the form (and production values) evolved so much.
Back then, labels didn’t really believe videos made a difference to an artist’s success. Most of them were shot in 16mm.
But then, in 1981, he managed to convince the execs to let him shoot in 32mm and the result was this little triple-inception-meta Truffaut homage.
But wait, it gets SO much better. So much better that I just had to write a whole post… With some help from the BUG programme notes, the interview and wikipedia.
(Short comment written for an article about the rise of craft gin. not sure if it was ever used, so here it is)
Q: how can craft gin brands stand out, and how is branding/packaging helping to differentiate artisanal/craft/small batch products?
Gin is a marketer’s dream. It offers more aspects of brand storytelling than your typical spirits, and the craft angle adds more.
Like other spirits, you can use history. Many craft gins will look to that as the nexus of their brand. If they don’t wish to take on established brands on heritage, there are many alternatives. If distilled in a surprising place, provenance could play a part. If that’s too close to heritage, they could explore the botanicals. Gins use a long lists of potential ingredients beyond juniper. Each ingredient, be it lemon peel or coriander seed, presents opportunities for differentiation and story-telling. Monkey 47, uses the sheer number of ingredients to define the brand.
If none of the botanical is interesting enough, the story of traditional small batch methods is often what makes ‘craft’. If there isn’t much in that, there are drinking rituals. Hendrick’s use of the humble cucumber is a case in point.
Finally, you could tell the story of the people behind the gin. With the big producers increasingly using the term ‘craft’ to describe their own premium spirits, that personal touch is one thing they can’t take away from the smaller distilleries.
Give it an intriguing name which embodies the essence of the brand. Add a premium carefully designed bottle, label and communications that sing the praises of the product in harmony, and you may just come up the next big name in spirits.