Marta Chrzanowska

Exam Project Autumn 2008

MC51 Integrated Marketing Communication

Copenhagen Business School

2008
Abstract The aim of this paper is to analyze the current advertising of a global clothing brand Benetton and its two main competitors, H&M and Gap. In the first part the category background is described and the importance of a successful marketing communication is stressed. In the second part the analysis of H&M and Gap ads are conducted. The main objective is to show how the brands are presented with regard to product category, what benefit is delivered to the target audience and which creative tactics are implemented. The consistency of the advertising over time and ability to retain the same look and feel is also examined. There are two main conclusions. The H&M advertising delivers the benefit to the target audience using simple but effective creative tactics. Moreover, its consistent look and feel over time builds familiarity and strong brand awareness. The Gap advertising is considered less successful the benefit is hard to define and the target audience is too broad. Lack of consistency makes it difficult to establish a unique brand-benefit link and therefore a misattribution of message to another brand is likely to occur. In the third part the Benetton advertising strategy is analyzed and potential new advertising for the brand is suggested. Benetton ads are an example of a strong visual device, unique to the brand, triggering an appropriate positive emotional associations among the target audience. Therefore it is not advised for the brand to be repositioned but to deliver the same benefit in a creative, innovative way. The analyses conducted in this paper are based on the Strategic Advertising Management book written by Larry Percy and Richard Elliot.

Part One: Category Background Benetton, H&M and Gap are global clothing companies operating in a fashion retailing segment. They offer a wide range of collections for woman, man, teenagers and children as well as accessories, underwear and shoes. New collections are introduced on a continuous bases to fit with current consumer needs and constantly changing fashion trends. The concept is to offer medium quality fashionable goods that can be afforded by a large group of consumers. The emphasis is put on repeat purchase. Consumers are driven by a positive motivation and their purchasing decisions involve low risk. Emotions and feelings associated with certain brands are particularly important in a highly competitive environment of the clothing industry. Brands need to distinguish themselves by establishing a certain level of brand awareness, providing the link between the category and the need, and brand attitude, providing the link between the brand and the benefit. Consumers by choosing products of different brand choose not only the garments they would wear but also a vision of the world they are likely to share. That vision must be successfully communicated and presented. Not only must be understood by the target audience but also must seem appealing and convincing, consistent over time and real. To comply with all these requirements clothing companies are

increasing their marketing budgets on a continuous bases and are putting more and more emphasis on the marketing communication. With this category, where all the products might seem similar and evident, differentiating itself its crucial. If a brand cannot win customers and invite them to a Benetton / H&M / Gap world it will sooner or later disappear from the market. Marketing communication within this category has a great impact not only on revenue or income but affects the overall prospects of the company and influences its competitive position. The struggling economy and the recent financial crisis have a negative impact on the clothing brands. In 2007, just 3.5% of personal consumption expenditure was on apparel and footwear, the lowest proportion in 30 years1. With less money available, brands are having to fight hard to stay relevant and appealing to consumers2. As business becomes more and more global, brands are traveling more to mitigate the impact of difficult times. Luxury brands are looking to capitalize on the rising affluence in Asia, and fast fashion retailers are scaling up their presence in the US. Despite the general mood of gloom for example Gaps brand value has fallen by 20% and Levis has dropped out of the top 100 in the Interbrand ranking3 some apparel brands like Zara and H&M are thriving by having streamlined operations and a truly differentiated proposition. Recent economy slowdown and bad business conditions make the competition even more fierce and the differentiation strategy even more indispensable within the category.

Part two: Analysis of Competitive Advertising H&M is a Swedish clothing company, known for its fast fashion clothing offerings for women, men, teenagers and children, that are both inexpensive and fashionable. H&M has more than 1,600 stores in 34 different countries and employ over 68,000 people 4. It is aggressively pursuing geographic expansion, specifically targeting China, Russia, the Middle East, and Egypt. It has tapped into celebrity culture with collections from Madonna, Kylie Minogue, Roberto Cavalli, Stella McCartney, Viktor and Rolf, expanding the fan base of the
1 2

Best Global Brands 2008, Interbrand, p. 50. To cope with the crisis manufacturers have responded by divesting under-performing brands and focusing on better-performing brands. Partnerships with celebrities and famous designers have helped successful brands differentiate themselves from the competition and justify higher mark-ups with fewer markdowns. Retailers are offering more shop-in-shops where floor space is dedicated to individual displays of specific brands with distinctive signage and fixtures. This creates the atmosphere of a specialty store with focused expertise and is likely to attract more consumers. 3 Best Global Brands, op.cit., p. 85. 4 www.wikipedia.org

brand and legitimizing its status on a world stage5. Perhaps their most interesting venture was with Karl Lagerfeld, the iconic Chanel designer who brought all his know how into the creation of a range that was clearly at a different price point to his usual customer base. Innovative channels for connecting with the consumer, such as MySpace and the Sims2 computer game, have increased the frequency and depth of engagement. The H&M brand is valued 13,840 M USD, scoring 22nd place in the Interbrand Best Global Brands 2008 ranking6. Even though H&M uses several communication channels, works with a remarkable variety of celebrities, designers and artists it is able to keep a consistent look over years. One example of this look is presented by the advertisement described below.

H&M ad nr 1

(www.hm.com)

The advertisement is targeted at a young, fashionable woman. The relaxed demeanor and casual dress of the women portrays a simplistic, carefree, yet mysterious lifestyle. When assessing the treatment of colors in the photo, the use of grey and black tones sets a mood of subtle elegance. Women are meant to associate with the model, who is dressed in everyday wear, but are also meant to aspire to the underlying grace and sophistication inherent in the
5

The previous models for H&M included Claudia Schiffer, Kate Moss, Sophie Dahl, Amber Valetta, Naomi Campbell, Anna Nicole Smith, Bridget Fonda, Izabella Scorupco, Angie Everhart, Bridget Hall and Daniella Pestova 6 Best Global Brands, op.cit., p. 32.

way she wears such simple garments. The practical positioning of the price close to the model shows a universal appeal this is a look that everyone can afford and embody. Such a combination of soft imagery and low pricing gives the photograph a catalogue feel this is a non-exclusive fashion, available for all shapes and sizes (and wallets!). H&Ms business concept is to offer fashion and quality at the best price. This ad clearly delivers that benefit providing the brand with a differential advantage over its competitors. While choosing a target audience, the company might want to attract new users or encourage existing users to buy its products more often. This is an example of a typical H&M ad therefore it is likely to have a bigger impact on existing users than on prospective new customers7. Existing users can be mostly categorized as favorable brand switchers. Given the fact that there is little perceived risk in switching brands within the category, the marketing communication is focused on building more positive brand attitude and strengthening the brand equity. The advertisement focuses on the user to some extent as the underlying purchase motivation in the category is social appeal a positive motive that reflects purchase decisions. The user is looking for social rewards through personal recognition in using the products. The ad is reminding them of how good they will feel in using the products, sharing the H&M minimalistic but elegant style. H&M is not a luxury brand, consumers are buying its products for the unique style, not for the prestige of the brand itself the product characteristics are critically important. This ad successfully communicates a sophisticated, high fashion look for a low, affordable price. Target audience is positively motivated to buy the product. The ad delivers positive emotions (e+). There is no slogan or claim presented in the ad. The only information we obtain is the price and the brand name, which is in compliance with the requirement of low involvement purchase decision advertising. Brand awareness is stimulated by presenting visibly the companys name. When a need occurs the target audience can easily recall the H&M brand. The long history of the brand, consistency of the look and feel over time, global presence and use of diverse means of communication increase the target audiences ability to identify a brand within a category in sufficient detail to purchase it or use it.
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The company makes attempts to attract new users as well. A good example of this practice is the Roberto Cavalli campaign addressed to more demanding and sophisticated customers, willing to spend more on clothing. Roberto Cavalli at H&M ads are consistent with the look and feel of other campaigns but at the same time are more sophisticated and prestigious, presenting a good deal of variations in the executions (see appendix H&M ad nr 2). They are likely to attract new segment of customers (objective for these non users is trial) and have a positive effect on the overall brand attitude and awareness.

The described ad fits well with a low involvement transformational brand attitude strategy. The perceived risk (both financial and psychological) is low for the target audience. The consumer is positively driven is seeking more personal satisfaction, sensory gratification or social approval. The ad creates a mood that seems appealing and attractive to the target audience, it is transformational and emotionally authentic. The target audience can see itself emotionally in the role of using the products and is likely to like the advert. Moreover, the target audience can easily imagine itself as being similar to the person in the advert the emotional portrayal is authentic and the feeling inspired becomes the benefit for the brand. This H&M ad is a good example of a low involvement transformational advertising, that can appeal to its target audience by using simple but effective means. The consistent look and feel encourages familiarity and helps building brand awareness and brand attitude.

The Gap Incorporated is an American clothing and accessories retailer based in San Francisco, California. The company has five primary brands: Gap, Banana Republic, Old Navy, Piperlime and Athleta. As of September 2008, Gap Inc. has approximately 150,000 employees and operates over 3,100 stores worldwide8. The brand is valued 4,357 M USD, scoring 77th place in the Interbrand ranking9. When Gap was founded in 1969, it was unique and new. Its target customers were younger generations. Gap's hottest seller at the time was its "basic" look, which consisted of its signature blue jeans and white cotton t-shirts. By featuring celebrities (over 300 celebrities engaged in their campaigns) Gap brand awareness increased significantly over years. Today the company tries to position itself as a stylish casualwear retailer at affordable prices Gap's recent promotion strategy has been blamed for the company's bust. Due to lack of a clear message, it has been alleged that Gap has lost contact with its core customers. Despite a slow increase in profits, thanks largely to cost-cutting, worldwide sales are in decline as budget-conscious consumers trade down or are lured away by more appealing competitors. The ads described below are unlikely to change the negative image of the company. This ad is a part of a campaign Classics redefined, shot by the photographer Annie Leibovitz, who took black-and-white portraits of famous and semifamous people. All of them

8 9

www.wikipedia.org Best Global Brands, op.cit., p. 41.

are wearing the type of traditional garb that made Gap such a closet staple. The ads include a price point for each, to communicate Gaps mass appeal. This is an example of a low involvement transformational advertising the key is in the emotional portrayal of the benefit, not in providing information. Indeed the information included in the ad is very limited. However, is the advert eliciting positive emotional response consistent with the motivation involved (e+)? The unusual poses and mysterious yet unnatural, unreadable facial expressions of the two women make the ad distant and unapproachable. Target audience is intentionally kept out of the picture. The effect of distancy is strengthened by the use of black and white colors. The ad is targeted at women, potentially new users from a different market segment. It is aimed at older customers, possibly attracted by the Classic redefined style of clothes classic but not boring or dull.

Gap ad nr 1

(www.gap.com)

Making sure the people shown in adverts are seen as real people and not as actors should be critical. Low involvement transformational advertising must suggest emotional authenticity. The benefit should be in the execution. This would help the target audience personally identify with the emotional portrayal. This execution is unlikely to arise positive emotions among the target audience. Color positively influences the gaining of attention and has an effect on motivation. Black and white pictures can be enough to communicate information but should not be used in advertising addressing positive motives. The ad is badly executed, does not facilitate the processing nor the acceptance of the message, makes it hard for the target audience to consider it real and evoke appropriate emotional response. 7

The advertisement is supposed to focus on the user, reminding them of how good they would feel in using the products. In this case the target audience could hardly imagine themselves in the picture. Gap would like to position itself as stylish casualwear retailer at affordable prices. This ad does not deliver a benefit that is likely to distinguish the brand from its competitors. The benefit provided here is not unique to the brand. Gaps advertisements may have been memorable and able to influence brand awareness but, particularly in recent years, not necessarily in line with the brand strategy and positioning. There are many examples of truly creative ads, stimulating interest and awareness among the target audience but failing to bring about a positive effect. Commercials for Audrey Hepburn-style skinny black pants turned off women who could not imagine themselves fitting into them (see appendix Gap ad nr 4). Gap focused its entire fall campaign around a promotion for slim-legged pants which featured a montage of Audrey Hepburns dance routine in the movie, Funny Face, to the AC/DC song Back in Black. As the whole campaign was focused on one item only the number of customers potentially interested in it was limited. It was creative and innovative but did not bring any tangible results and did not comply with the overall brand strategy. The boyfriend trousers (see appendix Gap ad nr 2) with a couple squaring off to a screechy rendition of Anything You Can Do I Can Do Better was entertaining and well executed, maybe even memorable, but left women wondering why they should be wearing a guys pants. The benefit communicated in this ad was hard to understand. These two examples show that even the most brilliant creative execution cannot bring any tangible results if it is not consistent with the communication strategy and brand positioning. To manage a brands value, one have to be looking simultaneously at the strategic and creative intent of the brand. They are both equal parts of the value chain. Strategy and design should become indistinguishable. Strategy and creativity need to work in harmony to really deliver the brand promise in a tangible way. While analyzing the Gap adverting the question of consistency in creative executions should be posed. Consistency is particularly important for brand awareness when a consistent look and feel have been established, brand awareness will be stimulated by the execution itself. Moreover, a consistent visual or pictorial feel in marketing communication is more effective in brand identification than the company name itself as the memory for visuals is superior to memory for words. Consistency is vitally important for brand attitude as well.

The images should be unique to the brand and every exposure of an advert should help to reinforce a favorable attitude towards the brand. The examples of Gaps marketing communication differ significantly over time. There is no consistency, no common look or feel that could be identified by the target audience and recognized as unique to the brand. There is no imagery the brand would own and that would become familiar to the target audience. Every campaign differs significantly from the previous one, even Gap logo changes. There is no Gap-specific identity. That lack of consistency negatively affects brand awareness, there is no clear, long-standing link between category need and brand built in the consumers mind. No favorable attitude towards the brand can be adopted when the target audience is confronted with such a variety of executions, concepts and ideas. Gap's fashion continues to clash with its advertising style. Younger customers are attracted by trendier retailers, believing Gap jeans and sweaters are more appropriate for their parents. Older customers, on the other hand, have been confused by Gap's focus on youngerstyled apparel like skinny pants and the use of hip-hop music in ads. The benefit that could distinguish the brand from its competitors has not been successfully selected. Lack of consistency has made it hard to build a Gap identity.

Part three: Brand Advertising Strategy Benetton Group S.p.A. is a global clothing brand, based in Treviso, Italy, engaged in the manufacturing and distribution of clothing, undergarments, shoes, cosmetics and accessories. Benetton also licensed its brand name for a number of products like sunglasses, stationery, cosmetics, linens, watches, toys, steering wheels and knobs for automobile gearshifts, golf equipments, designer condoms, luggage and designer pagers etc. The groups principal brands include United Colors of Benetton (UCB), Sisley, PlayLife and Killer Loop. As of 2001, the company operated in about 120 countries through more than 7,000 retail stores and employed 7,987 people10. The Benetton Group enjoyed significant growth in 2007 in both mature and emerging markets, conquering new consumer segments in the former and increasing its penetration of the latter. In addition to continued search for growth opportunities in mature markets, five priority areas of growth were identified during last year: India, Turkey, Eastern

10

www.wikipedia.org

Europe and the former Soviet Union, Mexico and China. The brand is valued 1,107 M EUR and is the 10th most valued Italian brand according to Interbrand ranking 200811. The marketing communication started with youthful images from culturally diverse nations showing young people engaged in a variety of playful acts, colorfully dressed in Benetton attire. These images showed youth of both sexes and every skin tone who exuded integration, energy and joie de vivre. They suggested a somewhat abstract universe ruled by the easy straightforwardness of relationships and feelings. By linking the varying colors in the Benetton collection to the diverse colors of its world customers, a theme of racial harmony and world peace was presented. All the colors of the world was one of the first slogans to appear in Benetton ads, and was later altered to United Colors of Benetton. The concept of united colors was such a strong one that for the first time in its history, the company adopted the slogan as its actual logo. Moreover, for the first time in the history of commercial trademarks, the slogan United Colors of Benetton became a trademark. There was a shift in the creative approach in 1991, when Benetton merchandise was completely removed from the advertising. Instead, a strategy in which social issues played the major role was assumed - allowing for a communication of themes relevant to everyone, everywhere12. In this phase, the product gradually disappeared from the advertisements. Traditional advertising messages made the product their obvious focus, so that the campaign would have a measurable commercial impact. Benetton took another path, wagering that once the brands identity had been established, the product would become one of its attributes. Paradoxically, the growing popularity and availability of tangible Benetton merchandise translated into the disappearance of those goods from its ads. Since 2001, the brand has alternated, conventional product campaigns have been launched together with increasingly wide-ranging institutional campaigns (the most recent include: Volunteers in Colors (2001), Food For Life (2003), James & Other Apes (2004), Africa

11 12

Classifica dei brand italiani globali a pi alto valore economico 2008, Interbrand, p. 4. Ads depicting Benetton's gourmets were replaced with powerful and problematic visual images of AIDS, environmental disasters, terrorism and racism. Social issues became the embodiment of Benetton's product and, through the transformation into commodities, lost their significance as problematic human conditions. The ads were a means to draw attention to important social problems and thereby generate public discussion. Toscani, the creator of Benetton campaigns, said: "unlike traditional advertisements, our images usually have no copy and not product, only our logo. They do not tell anyone to buy our clothes, they do not even imply it. All they attempt to do is promote a discussion about issues which people would normally glide over if they approached them from other channels, issues we feel should be more widely discussed." (www.ciadvertising.org) Hence, advertising that speaks across all cultural boundaries and raises social awareness by presenting powerful human and universal themes. Ads presented photos that portrayed the real world, fell within the conventions of information, and introduced questions about the fate of advertising. Marketing was used to establish a dialogue with consumers that focused on something other than companys products.

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Works (2008). Benettons recent marketing communication is more similar to the original one. An example of an ad used in the current advertising campaign is presented below.

Benetton ad nr 1

(www.benetton.com)

Again we have an example of a low involvement transformational advertising directed at arousing emotions rather then providing information. The advertisement is targeted at a young, dynamic woman. The colorful sweaters and the woolen balls portrays an interesting concept of softness and easiness, highlighting the key characteristics of Benetton products. When assessing the treatment of colors in the photo, the use of many vibrant tones sets a mood of dynamism, fun and joy. Strong visual component is critical here. The models, coming from different ethnic backgrounds, look convincing, their facial expressions are amused, the emotions are real. They are wearing a core Benetton product. It benefits: 100% wool, softness, quality are clearly delivered and recognized. The creative tactics work together, facilitating the processing and the acceptance of the message. The ad is playful and optimistic. This advert communicates well Benetton positioning as a global brand, with an international style that combines color and energy. All the key elements of the companys positioning find their expression in the execution which is unique and strongly linked to the brand. 11

Target audience is positively motivated to buy the product. The ad delivers positive emotions (e+). With low involvement transformational advertising the emotional portrayal of the benefit is the key. The advert creates the right mood, the image makes the product more desirable and the benefit is in the execution. While processing the advert the target audience can see itself emotionally in the role of using the products. The target audience is likely to enjoy the advertising another crucial condition for transformational messages the execution itself, not the information in the message, is to elicit the emotion. The ad is user oriented, showing how good a customer would feel in using and displaying the brand. The benefit delivery is implied, there is no selling or convincing customers, no implied causality involved, only an association of the brand with a positive experience. This ad would most likely be used to encourage existing users (favorable brand switchers) to buy more often rather than attract more users (other brand switchers). The image presented here is familiar to Benetton customers, the advertised garment is the core Benetton product. However, the company makes attempt to attract different customer segments. The example of an ad targeted at loyal Benetton customers as well as at non-customers is presented in the Appendix (Benetton ad nr 2). When involvement is low and there is little risk incurred, the target audience do not really need to believe the message is true. The advert that excites curiosity or interest (curious disbelief) is good enough. The advertising must ring tune, target audience must see itself emotionally in the role of using the products. Both presented Benettons adverts are emotionally authentic the emotions are real and desired. Benetton campaigns follow year after year the evolution of the values traditionally set forth by the worldwide known communication of the brand. What is always recognizable is a colorful globalism and the uniqueness in the difference statement claimed by the logo. Benetton ads have always been sophisticated, creative and stimulating. They were able to present the brand in a truly differentiated way, communicate the benefit in a way that was important to the target audience. They seemed to comply with Luciano Benettons belief that communication should not be commissioned from outside the company, but conceived from within its heart.13 Remarkable consistency together with an original artistic spirit have created a unique brand benefit established over time influencing both brand awareness and brand attitude. Benetton brand awareness is very high. The shocking and provoking images from past social campaigns made the brand immediately recognizable. On the other hand, campaigns
13

Benetton Group S.P.A., UCB advertising presentation, 2008, p.5.

12

showing youthful images from culturally diverse nations, thanks to a remarkable consistency, unique benefit presentation, global presence and a long history made it easy for the target audience to associate the brand name with the category need. The recall brand awareness strategy has been well executed over the years. Both described adverts are a part of this viable and comprehensive strategy. Brand attitude is a complex issue while describing Benetton marketing communication. With low involvement transformational brand attitude the image should make the product more desirable and the target audience should like the ad. Clearly, by using shocking and problematic social issues in the past campaigns, the emotions triggered were far from positive. The images, coming as a surprise in a context where they were not expected, aroused controversy. However, the target audience of Benetton, the youth of Europe, was aware and concerned about social problems around them, and the campaigns might have actually been something easy to relate to. The recent examples of Benetton ads comply more with the transformational brand attitude requirements triggering positive emotional associations, being enjoyed by the target audience. Benetton marketing communication has always seemed to be more than just about selling clothes. It is not as shocking and provoking as it used to be, it does not address powerful and problematic social issues in order to rise brand awareness and create a certain brand attitude. However, the ads are still able to provoke strong emotional response by inviting the consumer to the Benetton world. The dialogue that Benetton begun with its target audience has gained depth over the years. The label is geared not to a specific target but to a collective one: consumers whom Benetton considers intellectually sophisticated enough to stop assailing them with buy now- type advertising. The success of the strategy embraced by the company suggests that the brand should not be repositioned. Colorful, artistic, youthful campaigns aimed at presenting new products and the Benetton sprit together with wide-ranging institutional campaigns seem to work well for the target audience. The more sophisticated and demanding customer wants to be treated with respect rather then dealing with ads directly imposing on him to buy. The company should focus on delivering the best executions, making their adverts little pieces of art, both stimulating and innovative. The precise emotional portrayal of the benefit is crucial especially while dealing with consumers who have more messages coming at them, are becoming increasingly bored, less interested in advertising and more skeptical about communication than even before. With less time to process an increased quantity of information, there is no doubt that an emphasis on ideas that truly connect with the target audience on an emotional 13

level in the right place at the right time is a necessity. Consistency should remain the key focus especially as the company is becoming more global, wants to conquer new markets of Asia and Far East and win new diverse customers. New consumers must feel the same energy and should feel encouraged to enter the Benettons world. The well established brand awareness is a key asset of the company. Future campaigns should stimulate the brand awareness to the bigger extent. New customers should be able to recall the brand every time the need occurs therefore associate the brand name with the category need. There must be something about the brand that would lead people to purchase one rather than another. Benetton has always seemed to understand this rule. Its marketing communication has been highly distinguishable arousing approval and interest or controversy and opposition. The brand attitude has always been very strong. Even if the adverts were banned and rejected by many they seemed to work well for the target audience. The strong brand attitude should be kept in the future. The institutional campaigns are likely to affect both what is known (cognitions and beliefs) and what is felt about the brand (affect or feelings). More traditional ads together with institutional ones are a good strategy of building a positive brand attitude among the target audience. It is not advised to include promotional strategies in the marketing communication. Benetton should remain a company with a conscience, sophisticated brand, unwilling to plug for its products. The company strived to promote itself as a socially responsible business, by supporting social organizations and discussing moral issues in its print campaigns throughout the world. Benetton believes that it is important for companies to take a stance in the real world instead of using their advertising budget to perpetuate the myth that they can make consumers happy through the mere purchase of their product14. Changing the strategy and embracing more forward ways of advertising and promoting its products would inevitably tarnish this image. What the company can consider is to invite their customers to take part in the creative process. In the past the technical skills and distribution capabilities required to create and deliver a marketing campaign were significant and far beyond the means of any one individual. But, with the proliferation of personal technology and the rise of interactive networks, the barriers to entry are gone. Every consumer with an idea and a laptop is a potential visionary and might be willing and eager to step into the role of a brand ambassador. It is a risky step for the company but may help to understand the consumer and its needs to a
14

Benetton Group S.P.A., UCB advertising presentation, 2008

14

greater extent and come as close to the target audience as it has never been. However, it must be stressed that the results of this direct dialogue ought to be consistent with the overall marketing communication of the company.

Conclusion A great idea sits at the heart of the brand. It has to be true and relevant to the target audience, different and distinctive from everything that had been create before. It should convey a brands personality, be able to create a clear picture in the minds of consumers. Choosing the right benefit an objective component, a subjective claim or a feeling associated with a product that best distinguishes the brand from its competitors is crucial. By embracing a coherent and effective communication strategy, brand awareness and brand attitude should be built. Different creative tactics have to be used in order to optimize attention, deliver the message and make it easy for the target audience to process and understand it. Marketing communication is vital for brand development in the fast fashion category. When products seem similar and evident, the brand is a companys most valuable asset. It is a crucial signal that helps navigate choice. It creates value by generating demand and securing future earnings for the business. With the breakdown of traditional borders, brands are a great passport into everexpanding empires. They help companies enter new markets and win new customers. The past year has been one of the most dramatic and turbulent that global economies have endured. Economic growth slowed down and the business conditions deteriorated. It may seem counterintuitive, but brands actually matter more not less in uncertain economic times. Consumers nowadays have to buy on a budget. As a result, they will want more value for their purchases and become more demanding. In difficult times brand remains a far less volatile asset than other business assets tangible or intangible Companies that focus on improving their brands customer experience can benefit from competitive differentiation, increased brand loyalty, advocacy, and revenue growth. There has never been a more important time to focus on understanding customers and improving their experience with the brand. This vision is clearly shared by two of the analyzed brands, H&M and Benetton. Their ads are a good example of low involving transformational advertising, where a unique benefit has been selected and delivered and correct emotional response among the target audience has 15

been aroused. Brand awareness and brand attitude have been successfully built and kept over time, strengthened by a consistent, coherent communication. A unique brand benefit has been established to avoid misattribution of the message to another brand. Several creative tactics have been executed to ensure emotional authenticity and positive associations. Attempts to attract new users have been made. Strategy and design have been successfully managed to the extent that they have become indistinguishable and have been able to deliver the brand promise in a tangible way. As a result the brand value has risen significantly and enabled both companies to reach even further. The communication strategy embraced by Gap was less successful. Poorly executed ads, undefined target audience, clash between the strategy and creative executions, lack of a unique benefit being able to differentiate the company from its competitors and serious inconsistency over time negatively influenced the brand. The company did not know how to evoke the right emotional context for the brand, which cues to extenuate and which to downplay, which to reinforce and which to redefine in order to accentuate the idea of the brand. Incorrect marketing communication resulted in a substantial loss of the brand value in the past years. It can be concluded, based on the analyses of the three campaigns, that a convincing marketing communication is crucial for the success of any company operating within the fast fashion category. Brands need to constantly demonstrate value in a results-oriented, nervous economy. The ongoing crisis and the harsh economic environment makes this rule even more palpable.

References 1. Benetton Group S.P.A., UCB advertising presentation, 2008. 16

2. Best Global Brands 2008, Interbrand (www.interbrand.com). 3. Classifica dei brand italiani globali a pi alto valore economico 2008, Interbrand (www.interbrand.com). 4. Colton S., Ray C., Its whats on the inside that counts, Best Global Brands 2008, Interbrand. 5. Feldmeth J., The Crisis Paradox: How Intelligent Branding Can Help You Seize Opportunities in a Downturnby (www.interbrand.com). 6. Ganesan S., Benetton group: Unconventional advertising, Global CEO, 2002. 7. Husler J., Brands create nations, Best Global Brands 2008, Interbrand. 8. Helm B., Best Global Brands, Business Week, 18 September 2008. 9. Jean-Baptiste Danet J., Herdlicka V.,The impact of risk on brand value, Best Global Brands 2008, Interbrand. 10. Payne A., The value of creativity, Best Global Brands 2008, Interbrand. 11. Percy L., Elliot R., Strategic Advertising Management, Oxford University Press, 2005. 12. Perlmutter K., Kramer M., Engage and Deliver: Understand Your Customers and Improve Their Brand Experience (www.interbrand.com). 13. Waller D., What factors make controversial advertising offensive: A preliminary study, School of Marketing, University of Technology, Sydney, 2004. 14. www.benetton.com 15. www.ciadvertising.org 16. www.gap.com 17. www.hm.com 18. www.wikipedia.org

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Appendix

H&M ad nr 2

(www.hm.com)

18

Gap ad nr 2

(www.gap.com)

Gap ad nr 3

(www.gap.com)

Gap ad nr 4

(www.gap.com)

Gap ad nr 5

(www.gap.com)

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Benetton ad nr 2

(www.benetton.com)

20