Berger Paints have been in Pakistan for 70 years. Their branding has gone from a basic to a stylised representation of the modern homemaker’s dream. The theme has always been the product benefit. It is the way this is communicated that has changed.
In the fifties, there was something innocent about Berger’s ads. Focused on the benefits of using the paint, there is naiveté in the messaging. It is simple and straightforward; there is no spin. An explanation of what the paint does, with simple illustrations delivers the point.
The sixties saw the introduction of the ‘Robbialac Look’. It was about having a freshly-painted look throughout the year and the availability of a wide range of colours. The illustrations became better, the copy got a bit creative. In the seventies, the illustrations were replaced by photographs. The headline stated the problem, and the body copy gave the solution.
Every ad illustrated a new USP – appealing to the rational mind of the consumer rather than the emotional side. In the eighties, graphics were introduced. The message was that Berger was a global brand offering high-quality paint. The nineties focused on health. Lead-free paints were introduced and the copy emphasised benefits of these paints. The brand was evolving but not connecting. Human emotion was missing.
This has changed. Berger now engages with young homemakers for whom paint is as important as their furniture. Berger took a huge leap by focusing on a younger target group. A celebrity endorsement has been introduced with Mehwish Hayat, because celebrities inspire people to be like them.
From a rational, somewhat distant brand, Berger has evolved into an emotional, connected and iconic brand. From selling paints to selling lifestyles, the brand has left a footprint in every household.
Sarah K. Yaldram is Creative Director, Firebolt63.
First published in THE DAWN OF ADVERTISING IN PAKISTAN (1947-2017), a Special Report published by DAWN on March 31, 2018.