This is a fantastic Nescafé campaign from the late 1980s.
It’s an interesting variation on the leitmotiv approach: evolve a creative concept over time to deliver increased depth and duration of audience engagement:
The same technique was harnessed in the equally wonderful Nicole, Papa work for Renault Clio a few years later.
Such storytelling is a powerful communications proposition that brands can deliver through conventional media like TV.
However, the proliferation of storytelling media like the Web means we now have many more opportunities to engage people than we did in the 1980s; which brand will be the first to refresh this approach and deliver the first epic transmedia story?
I’d love to see more examples of these brand ’soap operettes’ – please share any links via the comments section below.
Marketing is similar to conducting an orchestra: our role is to bring all the different pieces of a story together into one, harmonious experience.
I’ve been thinking about this for a while, but this superb TED talk from Itay Talgam helped to bring those thoughts together:
Itay’s points have relevance to many areas of business, but they seem particularly pertinent to today’s world of participative brand relationships.
Let’s explore his points in a bit more depth.
Be as one
Itay begins his talk by observing that, until the conductor arrives, the orchestra is just making noise.
Some of that noise may stand out above the rest, but ultimately, the noise lacks a coherent structure.
A conductor’s role is to establish that structure:
“The conductor enables eveyone’s story to be heard at the same time.”
It’s important to remember that brands only exist in people’s minds, and their perceptions differ depending on individual experiences and context.
Some people hear different parts of our brand’s music in different ways, and those differences lead to differing perceptions and preferences.
As marketers, we need to ensure that the important instruments stand out, but also that they all come together in one, harmonious melody.
Communications should work as an ensemble
When combined effectively, a full orchestra delivers a far richer experience than any one instrument can on its own.
The same principle applies to communications channels (i.e. media): we can use the power of a ’solo’ where appropriate, but relying too heavily on just one instrument can limit your potential.
Our task is to take the beauty and power inherent in each instrument, and weave each of them together into a rich symphony.
Audience participation is a double-edged sword
The clip Itay shows of the Viennese audience clapping along to the music is a great example of audience participation.
Rather than ‘interfering’ with the performance, their contribution adds to the ’story’ and elevates the experience.
However, such participation would have ruined a rendition of Mozart’s Moonlight Sonata:
Where it’s relevant, audience participation can play a valuable part in the experience, but it’s critical to remember that it’s not always relevant.
Our task is to identify when it makes sense to harness participation, and then influence and guide it to ensure that it doesn’t become an unwelcome distraction.
Inspiration vs. control
Itay tells the story of the conductor at La Scala, who was forced to resign because he was overly commanding.
As Itay notes, trying to control with an iron fist removes the possibility of partnership – a loss that would have serious consequences in a world where participation is becoming increasingly important.
If we try too hard to command the conversations surrounding our brands, we risk suffocating them.
Instead, we need to shift our focus from control to guidance – as Itay suggests,
“Open a space for players to add in another layer of interpretation — their own.”
We can guide the conversation along a particular path, but we need to allow that conversation the freedom to evolve of its own accord as well.
Immerse yourself
Quite early on in his talk, Itay notes that:
“success comes from happiness”
I’ve mentioned this before: if you want to be the best at what you do, you’ve got to love doing it.
Most importantly, you’ve got to getinvolved.
A means vs. the end
For me, the most salient point in Itay’s talk is when he contrasts interpretation with execution.
As marketers in a social world, our role is to inspire; not to control.
That will inevitably lead to some unexpected results; sometimes, people will interpret our efforts in a way that is markedly different to what we’d intended.
However, as long as the the results are still favourable, there’s little reason to worry: there are many different routes to success, and it’s arriving at the destination that counts.
A few weeks ago, over on the wonderful Noisy Decent Graphics, Ben shared some history relating to the oldest logo still in use today.
He came to the conclusion that it’s the S.P.Q.R. mark, which dates back to Ancient Roman times:
This started me thinking about the world’s longest surviving brands.
The world’s major religions – Buddhism, Judaism, Christianity and Islam – would probably all make it into the top 10.
Surprisingly, this Wikipedia page suggests that they might be joined by a few hotel brands.
Less surprising was the fact that breweries would probably make the list too; I can think of a few beer brands that have been around for more than a couple of centuries.
It’s by no means the world’s oldest beer brand, but it’s certainly one of the most widely recognised; indeed, it enjoys such cult status that people happily wear Guinness T-shirts, even if they’re not big fans of the drink.
So what is it that has helped Guinness to survive and continue growing for so long, and what can other brands learn from its success?
Here are a few thoughts:
The brand is a story
Many people still believe that the recipe for Guinness was discovered by accident when Arthur accidentally burnt a batch of his normal brew. The story goes that he sold this batch at a discount to porters at the local docks, who all came back asking for more. Regardless of whether this story is true*, it’s exactly the kind of trivia that the brand’s core consumers love to share in pubs and bars, inspiring talkability at the point of purchase and consumption.
In a similar vein, I’ve heard many people retell the more accurate story that Guinness was regularly prescribed to new mothers, people who gave blood, those with heart conditions, and for a variety of other ailments. A variety of functional qualities, not least the drink’s high iron content, mean that many people still believe the brand’s historic claim that “Guinness is Good For You.”
The product is highly distinctive
In a market saturated with hundreds of lager brands that all look, smell, and taste the same, Guinness offers something different. It’s thick, dark, and bitter, and as a consequence, it stands apart from all the competing offers at the bar.
What’s more, outlets invariably serve Guinness in distinctive, branded glassware – vessels so prized that drinkers often ‘forget’ to return them once they’ve finished their pint.
It’s part of numerous consumption rituals
To many people, Guinness is Ireland, and vice versa. Every year, people make a point of visiting bars on March 17th to drink a Guinness in honour of St Patrick. A good proportion of them will do so in an Irish Pub – another ‘brand’ which has successfully travelled the globe, invariably taking Guinness with it.
And then there’s the product ritual itself. The real Guinness pour – ‘119.53 seconds to perfection’ – is a brand ritual like no other. It’s an unparalleled intangible social object, reinforced by barstaff and brand fans the world over. Not only is the ritual observed, but people share the story themselves, citing the brand’s famous “good things come to those who wait” explanation.
Crucially, consumers can be a part of all these occasions – indeed, the brand is often merely a facilitator in their occasions – and that draws people deeper into the brand’s franchise.
It delivers a strong expressive (emotional) benefit
Guinness is often seen as a ‘real man’s beer’. The strong, bitter taste takes some getting used to, and more than a couple of pints in one sitting requires determination. The associations vary subtly by culture, but most relate to strength, courage, and masculinity, as well as a sense of mystery and intrigue.
It delivers inconic communications
The brand has built on its talkability through a long-standing association with iconic advertising. From the famous “Guinness is Good For You” slogan and the instantly recognisable toucan, to more modern incarnations such as the Rutger Hauer “Pure Genius” campaign and the award-winning surfer (both below), Guinness’s advertising regularly inspires conversations.
It’s an experience
It’s hard to rush Guinness, even if you could find a reason to want to. It’s a stout that’s meant to be savoured, not guzzled. The rituals, the distinctive glassware, the experiential settings all combine to make a Guinness so much more than a “quick pint”. Because of this, Guinness actually helps the drinker to slow down, which makes it a relevant choice at the end of a long day.
It’s tasty
While taste is a matter of subjective interpretation, it’s unlikely the brand would sell 1 billion pints around the world each year if it didn’t tickle the right taste buds. And that makes a big difference; no matter how much hype surrounds a brand, if it delivers fundamental utility, it stands a better chance of surviving in the long run.
I’m sure I won’t be alone in raising a glass (or two) in celebration of the Dark Black on September 24th.
*Apparently this story is pure legend, but I think I’ll stick with it anyway.
Remember that alcohol is only fun in moderation – don’t ruin the occasion by having too much.
Please note that I have great respect for Jonathan Charles, and I am not making fun of him in any way by sharing this clip. Many thanks to Rubber Republic for sharing the link.
“…testing several new stores in which there will be no
Starbucks branding at all. Instead, the coffee shops will
be branded with ‘community names,’ like ‘15th Avenue
Coffee and Tea’”
The article goes on to report that these new-concept cafés may serve alcoholic drinks and feature live music.
They may even adopt different names for different locations.
A far cry indeed from the cookie-cutter approach that made Starbucks famous (infamous?) the world over.
So why the radical shift in strategy?
An article in the Seattle Times suggests that the changes are designed to reintroduce an absent “community personality” that characterises traditional, local coffeehouses.
Critically, the article discusses the need for a “compelling consumer experience” that “tells a story“.
It is in these three critical words – ‘tell a story’ – that Starbucks may have lost its way.
As the chain expanded around the world, a considerable element of its appeal lay in the fact that it offered something new: a fresh take on the coffee experience.
But as time went on, and the brand stuck rigidly to its formulaic approach wherever it went, those same people came to know that story a little too well.
And while few would question the consistency of the Starbucks product and experience, that consistency might cause its very downfall.
Because while Starbucks almost always meets its customers’ expectations, there is precious little opportunity for the brand to exceed them.
And that means that Starbucks is still telling us exactly the same story it was telling us 10 years ago.
So, while this new approach from Starbucks may sound like a brave move, in reality, it may be the only strategy that can save the brand from extinction.
Each of these ‘profiles’ is based on a photograph of the person’s ‘thinking space’, and contains links to detailed stories behind some of the more important items within that space:
Inevitably, one of these ‘important’ items is always a copy of The Economist, but that inclusion is always relevant: each person explains how The Economist helps fuel their creative process.
“I’m always surprised to find articles on movies, books and
arts towards the back of the magazine. It gives me fresh ideas
on alternative media to get the information that I am
interested on.”
Another exciting feature is the option to upload your own thinking space profile – I’m really looking forward to seeing what people submit.
This social element is very clever: it allows readers to benefit from an affiliation with the Economist brand, deepening their relationship with its proposition, but it also allows the Economist to better understand its most engaged audience.
Perhaps more importantly, though, the site gives non-readers a reason to try the brand for the first time; I found the site’s focus on great creative thinkers particularly interesting.
Thinking Place is a great example of strategic communications: it conveys a strong brand personality, and establishes a clear linkage between the Economist brand and ‘inspiration‘.
*UPDATE: Thinking Spaces was created by AMV BBDO in Europe – the agency responsible for the Economist’s classic White out of Red campaign (more on that in this post). In the agency’s own words,
“The campaign message is ‘The Economist is read by, and inspires, interesting people’ and, therefore, has universal appeal. For its readers, The Economist satisfies their appetite for intelligent, independent, global analysis in a world of ever-more commoditised news.”
Thanks again to oneplusinfinity (another great place for creative inspiration!)
