You could argue that it obeyed Rosser Reeves’s dictum in that the VW Beetle’s USP was its size, especially when put alongside Detroit’s wallowing whales of the period.
But there was something else.
A tone of voice. An attitude. A brand personality.
In the 60s, the big marketing-led corporations all began developing the art and science of brand management. As important as how their customers used their products was how they felt about them. Successful brands today are injunctions.
‘Just do it.’
‘Think different.’
‘Open happiness.’
In the late 60s and early 70s, JWT London catapulted the role of the agency into the completely new discipline of brand building.
Creative Director Jeremy Bullmore and Strategy Director Stephen King, arguably one of the most dynamic duos ever to grace the UK advertising scene, began creating brands out of thin air.
The milling company Rank Hovis McDougall went to see the pair in 1966.
“We’ve got quite a lot of flour. Any ideas?”
Mr Kipling’s Cakes was the result, currently worth over £160 million.
Bullmore and King invented After Eight Mints as well.
In the 80s, a new kind of advertising began to emerge. It was designed to elicit a purely emotional rather than a rational response.
Nescafé stopped telling us about beans and created a romantic soap opera of ads that lasted for 11 years.
Absolut didn’t bother telling anyone it was a Swedish vodka made with winter wheat and water from a well in the village of Åhus. They just made the bottle one of the most noticeable bottles in the world.
In many ways, there were practical reasons for the rise and rise of the ESP, the emotional selling proposition.
From 30 seconds to three and more
In almost all markets there is product parity.
A Toyota will get you from A to B in as much comfort and in the same time as a Ford, a VW or a Suzuki.
All TVs give you pretty much the same picture.
All teas taste much the same.
The iPhone. Now that was new. That was different. For a few months.
Now all smartphones look pretty much the same and fulfil the same functions.
If you do come up with a genuine innovation, it will be copied almost instantly.
I had an idea for an insurance company. To encourage people to take out home insurance with my client, we created a product that offered additional hole-in-one cover. If the insured person was a golfer and got a hole-in-one, the policy would pay out immediately to cover all the expenses incurred at the bar.
Two weeks. That’s all it took before I saw an ad from another company offering a similar deal.
Reebok, Adidas, Nike. Their shoes are all brilliantly designed and engineered.
How do you choose between them? By what you feel about them.
Today, consumers are ad averse. They have ad blockers on their laptops and mobiles. They use the remote to zap the ads on TV and on their TiVos and DVR boxes and they skip after five seconds on YouTube.
Unless.
Unless what they see is interesting.
Unless what they see looks as if it could be amazing or hilarious or extraordinary.
Unless it’s a really great story.
And that might be three minutes long as in any of BMW films mini-masterpieces. Or 90-minutes long, as in Critical Assignment, a movie from Guinness that has made £42 million at the box office in West Africa.
Pushing and pulling
No one chooses to watch an advertisement.
But people will watch advertising. They aren’t the same thing.
An advertisement is pushed out at you.
Advertising, or branded content as it’s come to be called, pulls you in.
If the ad is still often about the product, branded content is about shared values.
Dove’s concept of real beauty, real women has helped them launch 14 new lines in the last 10 years.
Every brand is at it now, creating content not just for their own websites, but for their Facebook pages and their YouTube channels.
People don’t want to read about it, they want to watch it. So marketers are spending more time and more money on video.
The ‘Hero, Hub, Help’ model is providing a useful framework for many.
Take P&G’s Always brand. ‘Like A Girl’ was a hero(ine?) video with a total of around 200 million views on YouTube alone. It led people to Always’ YouTube channel, the hub, where there were other inspiring stories of girls achieving their ambitions.
As for help – ‘First Period Advice’ has had 18 million views.
Even so, it’s still a fairly conventional and, dare I say it,
old-fashioned idea of brand communication. Very much the TV ad refined and redefined for online.
Elsewhere in the rough and tumble of modern marketing, a handful of brands have discovered that they communicate as much in what they do as in what they say.
For instance, I’m told that L’Oreal were disappointed at the number of women who downloaded and used their ‘Makeup Genius’ app. However, to some surprise, a few months later, tracking studies revealed that L’Oreal’s image as a brand relevant to Gen Z has ratcheted up several notches. The very idea of the app had communicated a modern, forward thinking company.
And, no doubt, sales followed on.
My point is that over the last 70 years, technology has brought astonishing changes to how brands reach their core target groups and where. But what a brand is hasn’t really changed at all.
Let’s see what happens in the next 70 years.
Patrick Collister is a Creative Director in The ZOO at Google. He is also the editor of Directory (directnewideas.com).