User:Christinam830/notes

Edits for super bowl advertising
Benefits Through this we made a grammatical edit in the Benefit section

In the beginning of the second paragraph we changed "can be to be valuable" to "is valuable" because of awkward wording.

Original: Airing a commercial during the Super Bowl is valuable for advertisers seeking an audience for their products and services; as such, the network who broadcasts the Super Bowl can also charge a premium on the advertising during the game, to the point where marketers have raised concerns that Super Bowl advertising has become so expensive that the sales the advertising produces do not pay for the cost of buying ad time.

New: Airing a commercial during the Super Bowl is valuable for advertisers seeking an audience for their products and services. The broadcasters of the Super Bowl can also charge a premium on the advertising during the game; marketers have raised concerns that Super Bowl advertising has become so expensive that the sales the advertising produces do not pay for the cost of buying ad time.

Internationally

The Super Bowl commercials are generally limited to the American broadcast of the game—preventing international viewers from watching the game with these often iconic commercials. The availability of Super Bowl commercials on websites such as YouTube following the game have partially alleviated the issue.[10][11]

Early Advertising

Although the advertisement did not originally premiere at the Super Bowl (having premiered in 1979), Coca-Cola aired "Hey Kid, Catch!" during Super Bowl XIV in 1980, featuring Pittsburgh Steelers All-Pro defensive lineman "Mean Joe" Greene being offered a Coca-Cola by a young fan, and tossing the kid his game-worn jersey as repayment. The ad quickly became one of his most famous roles, and also prompted Procter & Gamble to produce a parody of the ad in 2012 entitled "Stinky". The ad saw Greene reprise his role, but having the young fan throw Downy Unstoppables fabric softener to Greene instead of Coca-Cola, and the fan rejecting his jersey because it smelled.

SodaStream

Another SodaStream ad featuring Scarlett Johansson was produced for and aired during Super Bowl XLVIII in 2014; the apparent rejection of an initial version for containing the line "Sorry, Coke and Pepsi" was overshadowed by growing controversies surrounding the fact that its factory is located in an Israeli settlement.[67][68]

Downy
Downy

Products[edit] Downy brand logo used until 2006.

The Downy product line contains the following:

Ultra Downy Liquid (released in 1991)

Downy Simple Pleasures (released in 2004) *Downy Simple Pleasures is now Downy Infusions

Introducing the Downy Infusions collection — a new look and new layers of fresh, luxurious scent. Downy Infusions give you a scent experience so fresh, it's unforgettable. You'll remember the days you wear it.

Downy Ball

Downy Sheets (released in 1987)

Downy Wrinkle Releaser

Downy UNSTOPABLES In Scent Wash Boosters

Actual Article
Background Strategies Experimental Strategies Luxury Sign Values? Companies that use Massification?

Massification
Noun. The practice of making luxury products available to the mass market.[1]

"Massification is a relatively low risk product strategy and therefore opportunity for capturing growth and market share.Massification occurs most often when services provided to the wealthy are re-platformed into information-based products for a broader market."[2]

Experimental Branding Strategies
"The ﬁrst step is to conduct a customer experience audit in order to assess and evaluate the current experience of the brand. The second step is to create a brand platform that involves deﬁning a clear brand-positioning statement. The third step is to design the brand experience. This involves the alignment of the brand’ s people, processes and products against the brand proposition. The next steps are to communicate the brand internally and externally. The ﬁnal step is to monitor performance in order to ensure that the brand is delivering against deﬁned objectives."

7.notes
The appeal of luxury brands has become global in scope as the distribution of wealth has broadened geographically (see Table 1). Recent figures indicate that 40 percent of sales are made in Europe, 28 percent in North America, and 24 percent in Asia, Most luxury purchases are made by men, though only 20 percent of the sales are men’s products. Most luxury purchases are made by men, though only 20 percent of the sales are men’s products. The equity markets have recognized this growth trend and have rewarded publicly traded luxury brand companies-as The first luxury brands consisted of silverware, glassware, and china made industrially in France and England by Baccarat, Wedgwood, Lalique, and others. In the words of the president of one luxury brand firm. “A luxury product is a work of art designed for an exclusive market.” Luxury, de- rived from the Latin word luxus, means indu- gence of the senses, regardless of cost. Luxury brands are those whose ratio of functional utility to price is low while the ratio of intangible and situational utility to price is high.

A luxury brand is not merely a premium- priced product, an ephemeral status symbol, or a smart investment. Traditional luxury brands share the following characteristics with their historical antecedents: * consistent delivery of premium quality across all products in the line, from the most to the least expensive; * a heritage of craftsmanship, often stern- ming from the original designer (Tiffany’s, for example, is 160 years old); * a recognizable style or design (the savvy consumer does not need to look at the label to know the brand);a limited production run of any item to ensure exclusivity and possibly generate a customer waiting list; a marketing program that supports, through limited distribution and premium pricing, a mar- ket position that combines emotional appeal with product excellence; * a global reputation (the brand’s world-class excellence is universally recognized); * association with a country of origin that has an especially strong reputation as a source of excellence in the relevant product category; * an element of uniqueness to each product (the imperfections in each hand-blown Wdterford crystal vase provide, ironically. the assurance of exclusivity); * an ability to time design shifts when the category is fashion-intensive; and * the personaiity and values of its creator.

Nevertheless, within the expanding luxury brand marketplace, we can identify three types: limited awareness brands, often managed by family businesses and focused on the delivery of a narrow product line to an exclusive niche market (often hand-crafted and available through only one or two stores); well-known brands (such as Rolls Royce cars) that are inaccessible to a broad market as a result of premium price and the fact that they cannot be sampled; and well-known brands in categories that permit affordable accessory items (of the requisite quality) to be available to a broader audience.

-Managing luxury brands here are four keys to managing luxury brands successfully: design and commu- nications management; product line management; customer service management; and channel management. In each case, we present a prescriptive circle to guide managerial decision making.

5.notes
The size of the worldwide luxury market was estimated at $350bn per year Nueno and Quelch deﬁne luxury as a means of ‘indulgence of the senses, regardless of cost’. Luxury brands are those that are able to persistently demand considerably higher prices than goods with comparable tangible functions. The luxury market provides further growth potential as people’s desires for appearance and materialism are increasing Brand image consistency can be achieved through consistent communication.

8.notes
The codes of luxury are cultural, in as much as the luxury brand lies at the conﬂuence between culture and social success. Money (high price of products) is not enough to deﬁne luxury goods When it comes to luxury, being unique is what counts, not any comparison with a competitor. Luxury is the expression of a taste, of a creative identity, of the intrinsic passion of a creator; luxury makes the bald statement, ‘ this is what I am ’, not ‘t hat depends’ – which is what positioning implies. The most over-used word in luxury is ‘ perfection’ ‘product excellence ’ is the primary prerequisite of luxury The aim of a premium product is to be a perfect product. It would take a touch of madness for it to be counted a luxury In traditional marketing, client is king. P& G’ s success relies on a methodology that puts the customer at the heart of the business: P& G does this by listening to its customers – listening to what they have to say or are trying to say – then transforming these wishes into global, or at least regional, products that are then sold through mass distribution channels. The luxury brand, on the other hand, comes from the mind of its creator, driven by a long-term vision. To preserve this status, the brand must always dominate its client. This is not the same as saying do not respect him:As a result, a certain distance is preserved that is not supercilious or aloof, but nevertheless maintains an aura of mystery This is the whole problem with so-called relational programs, CRM, those that seek in traditional marketing to involve customers in the shaping of a brand, in co-creation, in consumer empowerment and in creating a relational intimacy. 17 Nothing could be more alien to a luxury brand. Luxury has to know how to set up the necessary obstacles to the straining of desire, and keep them in place. Luxury needs to excel in the practice of distributing rarity, especially when there are no real shortages To create this obstacle to immediate consumption, it should always be necessary to wait for a luxury product –time is a key dimension of luxury, as with all desire for anything even remotely sophisticated. In luxury, advertising aims exclusively at recreating the dream In traditional marketing, the keyword is effectiveness, but over and above effectiveness there has to be a return on investment: this is efﬁciency. In luxury, if somebody is looking at somebody else and fails to recognize the brand of his watch, and to have an idea of (know) the price that goes with it, part of its value is lost. It is essential to spread brand and worth awareness far beyond the target group. Today luxury brands face a rare and violent economic crisis. Not only are the middle class buyers gone, but many wealthy consumers have also been hit; traders for instance. Even those wealthy people who have not been personally affected by the crisis are changing their purchasing behavior. Louis Vuitton, the most valuable luxury brand in the world according to Interbrand (20 321 billion dollars in 2007, ranking 17th among all global brands To live in luxury you have to be above others, not be ‘reasonable ’, in both senses of the word. A reasonable price is a price that appeals to reason, and therefore to comparison Luxury purchases have two facets: indulging in one’ s pleasure (luxury for self) and demonstration of success (luxury for others). The latter will cease to be a major driver in Europe and in the United States

3.notes
Experiential marketing is a growing trend worldwide, evident in most sectors of the global economy Experiential marketing essentially describes marketing initiatives that give consumers in-depth, tangible experiences in order to provide them with sufﬁcient information to make a purchase decision. four ‘ experiential zones ’, namely, Entertainment, Education, Escapist and Aesthetic. The four experiential zones are not intended to be mutually exclusive; the richness of an experience is, however, a function of the degree to which all four zones are incorporated. Entertainment, such as fashion shows Many luxury goods offerings include educational dimensions. For example, cruise ships often employ well-known authorities to provide semi-formal lectures about their itineraries – a concept commonly referred to as ‘ edutainment’ Escapist activities are those that involve a high degree of both involvement and intensiveness, and are clearly a central feature of much of luxury consumption When the element of activity is reduced to a more passive involvement in nature, the event becomes Aesthetic. A high degree of intensiveness is clearly evident within this activity Smith 26 has put forward a six-step process. The ﬁrst step is to conduct a customer experience audit in order to assess and evaluate the current experience of the brand. The second step is to create a brand platform that involves deﬁning a clear brand-positioning statement. The third step is to design the brand experience. This involves the alignment of the brand’ s people, processes and products against the brand proposition. The next steps are to communicate the brand internally and externally. The ﬁnal step is to monitor performance in order to ensure that the brand is delivering against deﬁned objectives. Lippincott Mercer 27 presented the following four principles of experience design. Identifying key customer segments is the ﬁrst step. The trend towards the so-called ‘ democratization of luxury’ has signiﬁcantly changed luxury consumption patterns. 9 The evaluation of customer data can help to identify the most proﬁtable customer segments. This will ensure that the brand is connecting with the right target segment. The second step is to develop a touch point chain and gauge those with the greatest impact. Davis 28 categorizes touch points or interactions between the brand and the target according to the phases of pre-purchase, purchase and post-purchase. The third step is to turn ﬁndings into project priorities. Some luxury brand touch points will be more relevant than others.

Annotated Bibliography
1) Atwal, Glyn, and Alistair Williams. "Luxury Brand Marketing – The Experience Is Everything!" Journal of Brand Management 16.5-6 (2009): 338-46. Web. 1 Mar. 2015.

Experiential marketing is a new developing practice that many luxury brands are trying. There are four “experiential zones”: Entertainment, Education, Escapist and Aesthetic. Many academics have put together different processes for experimental luxury marketing: Smith has come up with a six-step process, and design and brand strategy consultancy Lippincott Mercer has presented four principles of experience design.

2) Nueno, Jose Luis, and John A. Quelch. "The Mass Marketing of Luxury." Business Horizons 41.6 (1998): 61-68. Web. 1 Mar. 2015.

Luxury brands are expanding because of desirability on a global scale. There are 3 types of luxury brands in the marketplace. A luxury product is not only a high priced product, it is also a symbol of status. There are four keys to managing luxury brands profitably: design and communications management; product line management; customer service management; and channel management.

3) Kapferer, Jean-Noël, and Vincent Bastien. "The Specificity of Luxury Management: Turning Marketing Upside down." Journal of Brand Management 16.5-6 (2009): 311-22. Web. 1 Mar. 2015.

In the luxury market being unique is what matters most. Luxury needs to be proficient in the distribution of rarity hen there are really no shortages. It should always be necessary to wait for a luxury product, it adds more desire for the product. Luxury purchases are made for two reasons: indulging in one’s pleasure and demonstration of success.

4)Matthiesen, Insa, and Ian Phau. "The ‘HUGO BOSS’ Connection: Achieving Global Brand Consistency across Countries." Journal of Brand Management 12.5 (2005): 325-38. Web. 1 Mar. 2015

The worldwide luxury market is the fastest growing in the world. Brand image consistency can be attained through consistent communication. Brand knowledge relates to the cognitive representation of the brand in consumers’ minds and is pivotal in a company's success. Perception gaps are brand image inconsistencies which may hamper a brand’s success.