DEVELOPING BRANDS THROUGH
A CAMPAIGN FOR CHANCE BY CHANEL
ADVERTISING
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Contents Background ............................................................................................. 3 Chance – The Campaign ......................................................................... 5 Campaign Analysis .................................................................................. 7 Conclusion ............................................................................................. 13 References ............................................................................................ 15 Bibliography ........................................................................................... 17 Appendix ............................................................................................... 18
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Background According to Somma, M (2010), “Chanel is a brand known by everybody, aspired to by nearly all, and yet worn and experienced by very few,” making it a valuable asset. Chanel has its brand values accurately aligned to the target audience‟s aspirations and therefore, according to Rokeach (1973) their enduring belief that Chanel‟s mode of conduct and end-existence is personally or socially preferable to an opposite mode of conduct or existence means that for centuries Chanel remains to be a brand of longevity and has a confident and unflappable presence. Its inspirational values of luxury, elitism, glamour, and sophistication are just a few of the many emotional values that make this brand desirable.
One way in which Chanel maintains and builds the brand is through the long term strategy of creating top-of-the-mind awareness amongst their target audience and potential target audiences for the future. In order to do this, Chanel has developed a range of perfumes for a variety of ages. For example, Coco Mademoiselle is targeted towards a younger market compared to No5 yet; both are linked by the core values of the umbrella brand. This is evident when looking at Figure 1, both use the juxtaposition of aligning a face and perfume through the assumption that meaning from one can be transferred to another. This is evident as both models can be assumed to signify glamour, beauty, and sophistication. Using similar models from different generations has allowed Chanel to
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07070172, 08109636, 05050731, 08109425, 09144050 transfer these meanings to different demographics with the same values. Thus, a clear understanding of the core values of Chanel and the ability to link these to the individual target audience of the specific line brand is imperative.
We have taken the case of Chance (see Figure 2), targeted towards according to New York Times (2002) “the fickle group of women of ages 18 to 29,â€? who according to Chanel (2010) possess the following qualities passionate, reach for adventure, innocent and, dreamy. The aim of the campaign is to increase and reinforce top of the mind awareness among Chanelâ€&#x;s younger target audience to increase brand desirability and help secure long term loyalty in their developing purchasing habits through a feel-think-do hierarchy.
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Chance – The Campaign The target audience consists of a demographic of females aged 18-29 from a social class background of B and C1 which consists of sophisticated young females aspiring to be professional, affluent and, independent females. The Chance campaign (Figure 3) is in the format of a double page, glossy print advertisement to be displayed in four highend fashion magazines during September to January (Figure 4) to support the Christmas theme. The magazines include Vogue, Wonderland, Elle & Glamour which have been selectively chosen based on the target markets characteristics according to Brad (2010) see Figure 5. Consequently, the magazines help to maintain Chanel‟s aura of exclusivity as the mediums target niche markets according to Goldman, R. (1992) they sell on a guarantee to deliver to an audience with specific demographic characteristics therefore; the advert should have high potential of reaching its target audience.
The whole advertisement is encompassed by a black border. Along the top left hand corner is the chance logo in standard Chanel font with gold lettering for the word “chance” and black for “Chanel”. The presence of the brand logo is important in conveying meanings that have already been culturally derived within the UK. In the centre of the left hand side of page is the tagline “For those who dare to dream” which is staggered across three lines in the font Edwardian Script ITC. On the bed of the
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07070172, 08109636, 05050731, 08109425, 09144050 image is a snow covered floor, which bleeds across the advertisement. On the right hand side is a snow globe. The snow is partially covering the base to suggest that the snow has fallen around it and is slightly slanted to imply it has fell rather than been placed. Within the snow globe is the Chance bottle with a glamorous female embracing it. She is wearing a little black dress and is seen to be embracing the Chance bottle as if her whole body is wrapped around it.
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Campaign Analysis According to Laforet, S. (2010) advertising contributes to the establishment of brands equity, “over time through advertising and communications.” However, this can only be done if the communication is aligned with the target audience‟s perception of the brands identity, image and positioning. Consequently, in order to establish the true meanings derived by the target audience we can use content analysis to establish hidden layers of meaning as according to Chandler, D. (2002) “meaning is not transmitted to us but, we actively create it according to a complex interplay of codes and conventions of which we are normally unaware.”
Consequently, Chance campaign fulfils the anti-sell advertising prophecy and according to Boutlis, P. (2000) “invites the reader to share the sophistication and contrariness of the ad, and infer those qualities to the brand.” The problem is that not everyone interprets in the same way, the same signifiers as signifieds (Saussure, 1967), as a result of culture, gender and age which can cause problems when advertising to mass audiences. Thus, semiotic triangle (Pierce 1931) may be more representative as it incorporates the concept of the „interpretant,‟ suggesting meaning is dependent on the lenses of the viewer.
In accordance with the gaze motion path within British culture people should read our ad as follows (Figure 6). Implying the first thing seen
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07070172, 08109636, 05050731, 08109425, 09144050 would be the logo and the last being the snow globe. The first and last images seen are suggested to be the ones that stick most prominently in the viewers mind. Therefore, the ad has been composed to help to encourage the name Chance/Chanel to be at the forefront of the literate mind and the snow globe will be remembered in the audience‟s visual mind. However, this may not always be the case as some interpreters no matter what their culture may read the ad backwards rather than forwards. Therefore, each piece of the ad has its own generated meaning as a stand along object as well as within the context as a whole to ensure the essence of the campaign exists.
The black solid border reinforces the brands high class stature. It metaphorically signifies a picture frame suggesting the advert is likened to a famous painting and therefore, signified as a piece of art. It also coincides with the brands heritage and links to older campaigns where Chanel‟s trademark advertisements used black borders to position the brand as exclusive (Figure 7). These associations are largely dependent on the target audience‟s ability to make a creative leap to which the image alludes. Alternatively, the formal frame surrounding the image functions as a synecdoche according to Chandler, D (2002) by suggesting that what is being offered is a slice-of-the-Chanel-life in which the world outside is effectively the same as in the image. However, this requires the reader to „fill in the gaps‟ and interpret what they expect that Chance to bring to their life.
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The font acts as a metonym for evoking the connotative values relating to Chanel‟s heritage with signified links to Parisian culture which are assumed to be interpreted by the target audience as with referral to (Figure 8), it can be seen there are significant aesthetic similarities between the construction of the font styling and shape of French handwriting. However, this requires a degree of experience rather than an imaginative leap.
The use of the words “For Those Who Dare To Dream,” has a significant „langue,‟ (Saussure, F. 1967) value to a younger demographic by playing on the characteristics of a vivid imagination and a dream like state of belief for future aspirations. This connotative value can draw them into the idealistic state of mind that the perfume promises by suggesting that they can achieve these emotions of happiness, self belief and contentment through Chance. Alternatively, a more personalized interpretation may reach into their seasonal emotive values through memories of their childhood such as, visions of Santa/gifts and the happiness evoked from these. These memories are surfaced through the word “Dream”. Then, as in Langue, the individual relates these positive seasonal experiences as a result of their culture onto the product and see it as reinforcing a magical state of mind. However, those with negative experiences of dreams and Christmas may interpret the „parole‟ differently and think of negative experiences.
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Iconographic analysis (Panofsky, E. 1970) can be used in the interpretation of the glamorous girl in the bottle relative to the umbrella brand of Chanel. The way she is posing could be read as seductive, although this supports brand personality, it could be perceived negatively through the application of gender ideology viewing the woman as a sexual object. Marxist feminists in particular could view this role of objectification as a reinforcement of patriarchal capitalist values, legitimising female oppression. The use of black and white on the dress symbolises Chanelâ€&#x;s brand colours therefore, links the young and fresh brand of Chance to the early brands of Chanel such as, no.5 or 19, in a subtle manner.
Transference (Goodman, N.1968) is used within our advertisement relating to the aesthetics of the chance bottle. According to Chanel the bottle is designed to metaphorically resemble a gem stone, which has many connotative values of quality and preciousness. The aim is to transfer these values unconsciously to Chance then to the audience through transference. This is reinforced by the model having her arm wrapped around the bottle demonstrating a magnetic desire towards it. However, this requires the interpreter to make an imaginative leap which may not yet be habitually employed.
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07070172, 08109636, 05050731, 08109425, 09144050 Encompassing the image of the glamorous girl and the Chance bottle is the snow globe. Although physically a snow globe is a transparent sphere made of glass enclosing a scene (signifier) referentiality suggests there are a variety of interpretations (signifieds). The conventional connection made between the snow globe and Chance is that of learned habitual connections where through transference the globe metaphorically suggests Chanel stands for preciousness, beauty and exclusivity. However, there are cases where these learned leaps of imagination vary as a result of culture. A viewer who is rich in historical knowledge may know the „snow globe‟ was established in France to celebrate the recovery of the Franco-Prussian war. Thus, interpret the link between the two as being historical importance. However, the likelihood of the target audience knowing this is low but, what is obvious is snow globes in British culture are traditional which suggests history. Therefore, this can be transferred without historical knowledge. Alternatively, the snow globe metaphorically encapsulates the sphere of life of Chance. Inside the globe is „you,‟ the target audience, through the mirror phase according to Willamson, J. (2002), embracing and „living the inspirational dream.‟ The problem with conveying such aspirations is it connotes a degree of surrealism not attainable to all but, arguably we are only mirroring what already exists in society.
Snow is often associated with Christmas as it adds to the aura of magic and romance as a fresh covering of snow can make everything it touches
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07070172, 08109636, 05050731, 08109425, 09144050 appear elegant, perfect and, unspoilt like the Chanel brand. Conversely, there may be those who would wonder about the imperfections hidden by the snow creating a sense that the brand may be attempting to cover imperfections up. Alternatively, in some cultures the use of the colour white according to Freud, 1970, citied in Lear, 2005, is used to metaphorically symbolise innocence and purity which is aligned to Chance‟s young brand personality. However, in some Asian cultures the use of the colour can be seen as a symbol of death which could affect mass distribution of the campaign. Cultural ideology would also indicate the theme of entrapment with snow, in colder countries where snow fall effects distribution and limits everyday activities such as jobs and leisure activities therefore; a negative brand perception could be evoked.
Due to seasonal exposure it is evident that the product will sometimes be bought by members who aren‟t necessarily the target market, males. Therefore, the appeal of the advert could be rationalised with Freudian motives. The overture use of white (blonde hair) within the image evokes messages of chastity and purity. However, the spattering of black on the models dress means she is not as pure as initially seen. Therefore, the theme of innocence is just a mask for the „nice but naughty‟ image. However, this would be difficult to quantify as Freud, 1970, citied in Lear, 2005, suggests this would be subconscious therefore, it couldn‟t be consciously proven.
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Conclusion Language according to Chandler, D (2007) is “seldom treated as static, closed and stable” consequently, one can never assume that what one thing means to someone means the same to another. Consequently, despite using content analysis techniques one can only ever establish potential meanings. Thus, we must try to eliminate the potential for error by not using components (signifiers) that may result in inaccurate interpretation (signified). Therefore, we have attempted according to Goldman, R (1992) to create structures of meaning through rhetorical tropes to maximise the „preferred interpretation‟ of the ad. However, these strategies are only useful if when they are encoded they take into consideration the effects of subjective characteristics such as culture, gender, age and according to Shannon and Weaver (1949), „noise‟ that will influence the target audience when decoding the message as effectively they distort reality.
Despite the subjective belief that the ad has been effectively developed in correspondence with Chanel‟s positioning according to the target audience no matter how well constructed, a portion of them will undoubtedly according to Goldman, R. (1992) “create a „non-preferred interpretation of its meaning.” Therefore, our efforts to ensure that the ad is decoded similarly by different receivers have given rise to the importance of analysing our ad from a hermeneutics perspective. In doing
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07070172, 08109636, 05050731, 08109425, 09144050 so it‟s recognisable that the campaign could potentially be effective for the Chanel if accurately targeted in the suggested mediums. This is proposed because all of the singular elements added together encompass everything that the Chanel/Chance stands for as an umbrella and line brand based on traditional habitual and conformed behaviour.
The use of the black border, the Prussian font, the little black dress and the iconic model help to create links between the umbrella and line brand by using iconic images that are symbolically renowned as being associated with Chanel. Then, the use of the snow globe, the snow, the words, and the iconic mirror image of the model are used to create a juxtaposition of transference of meaning between the target audience and Chance. All of which add to and support a strand of common meaning running through the campaign of glamour, elegance, sophistication and exclusivity through their singular and as a whole connotative meanings. In effect, according to Somma, M.D (2010) “regardless of whether you buy it or not, there is no mistaking the personality,” as it can be according to Goldman, R. (1992) interpreted from “virtually any direction with the same result.”
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References BRAD (2010) Insight media and marketing intelligence: Womenâ€&#x;s magazines [online]. Available from http://www.bradinsight.com/bradv2/Member/ClassificationPage.aspx?clas sificationId=1476. Accessed: [10th November 2010]
Boutlis,P. (2000) A theory of postmodern advertising. International Journal of advertising, 19 (1).
Chandler, D. (2002) Semiotics: The basics. Second Edition. London, Routledge.
Chanel (2010) Chance [online]. Available from: http://chance.chanel.com/. Accessed: [2nd November 2010]
Goldman, R. (1992) Reading ads socially. London, Routledge.
Laforet, S. (2010) Managing Brands: A contemporary perspective. Berkshire, McGraw-Hill Higher Education.
Lear, J. (2005). Freud. New York: Routledge, 39-49.
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07070172, 08109636, 05050731, 08109425, 09144050 Rokeach (1973) Brand Values: In Chernatony, L,D (2006) From brand vision to brand evaluation: The strategic process of growing and strengthening brands. Second edition. Oxford. Butterworth-Heinemann.
Shanon, C, E. and Weaver, W. (1949) The mathematical theory of communication. University of Illinois press.
Somma, M, D. (2010) Lessons in durability and relevance from a near century-old brand [online]. Available from: http://www.allaboutbranding.com/index.lasso?article=421. Accessed: [12th October 2010]
The New York Times (2002) The Media Business: Adevrtising; Chanel makes a big pitch for a new perfume aimed at young women, its toughest market [online]. Available from: http://www.nytimes.com/2002/08/15/business/media-businessadvertising-chanel-makes-big-pitch-for-new-perfume-aimed-young.html. Accessed: [5th October 2010]
Williamson, J. (2002) Decoding advertisements: Ideology and meaning in advertising. London, Marion Boyars Publishers Ltd.
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Bibliography Chernatony, L, D (2006) From brand vision to brand evaluation: The strategic process of growing and strengthening brands. Oxford, Butterworth-Heinemann.
Cobley, P. And Jansz, L.(1999). Introducing semiotics, Cambridge
Hogg, M, Vaughn, G. (2005). Prejudice and Discrimination. In: Social Psychology. 4th ed. Essex: Pearson Education. 349-360.
McDonald, C. (1998) How Advertising Works, Henley-on-Thames: NTC Publications.
Van Leeuwen, T., (2005), Introducing Social Semiotics, London: Routledge Arnott, D
Wells et al (2006) Advertising: Principles and Practice: 7th Edition. USA, Pearson Prentice Hall
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Appendix Figure 1
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Figure 2
Campaign Introduction Product/Service
Chance Chanel Seasonal Winter Campaign This campaign for the Chanel Chance Perfume, targeting “Fickle young women aged 18-29” around the winter period. Its aim is to increase brand awareness hopefully leading to an increae in seasonal purchase. This is will then potentially secure brand loyalty. Chance Perfume By Chanel. http://www.chanel.com/en_US/fragrancebeauty/Fragrance-Chance-88240 Focusing Solely on the original Eau d‟ Toilette/Parfum
Advertisement Positioning
Objectives
Media Budget & Selection Key Message Mandatories
Two Page Spread Glossy Magazine Advertisement In Four Major Female Lifestyle/Interest Fashion Focused Publications: Vogue Wonderland Elle Glamour To increase awareness and interest of the target market in terms of Brand Awareness and Brand Loyalty, Reinforcing Current Loyal Consumer and Securing New. Create the following desired perception change among the target audience Chance as exclusive yet attainable Preference over competitors such as Dior Reinforce Brand Value Associations within Target There is a media budget of £2,000,000 (Two Million Pounds) This is to be spent on Magazine Advertising. “For Those Who Dare To Dream”
Chanel Logo Tagline Double Page Chance Bottle
Target Audience
Attitude of Chance: Exclusive, Affluent, Expensive Finance: Secure Full Time Job or Mother. Comfortable Income Living: House/Apartment Inner City, Or still with parents Leisure: Shopping, Fashion, Socialising with Friends Taste/Fashion: Very brand conscious, interested in
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07070172, 08109636, 05050731, 08109425, 09144050 celebrity lifestyle, fashion and popular culture. VALS: Strivers, Experiencers
Female 18 – 29
Brand Values USP Style Time Frame
The decidedly young scent for those who dare to dream A Scent from a brand with a world famous heritage and History, with a secure exclusive high end positioning, without the old fashioned connotations. Pretty, Feminine, Young, Delicate & Passionate Released September- December 2010. For seasonal Christmas Theme. (See Gantt Chart For Developed Time Frame)
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Figure 3
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Figure 4
Gantt Chart : We have used the Fortini- Campbell Model (1992) on which to base our planning.
Reference: Yeshin, T (2006). Advertising. London: Thomson. 145-149. 22
Figure 5
Vogue is the leading-edge fashion magazine and is renowned for its glossy double page spreads. Vogue is read predominantly by women who aspire to be like the models and to wear the brands displayed in the magazine i.e. Chanel. Its targeted readership is women aged 20 – 44 with high disposable income, this is similar to the other magazines the advert would be displayed in as it reflects the type of consumer that would purchase the perfume.
Wonderland is the most expensive of the magazines that will be displaying the advert costing £5, however unlike the other magazines it targets both men and women. Although males are not in the direct target audience exposure to the campaign may result in purchasing the product for a female friend or partner. BRAD (2010) states the readership is “affluent men and women of sophisticated tastes, aged 25 – 45”. The magazine targets the older end of our target audience however the Chanel brand does appeal to consumers with sophisticated tastes.
Elle is a worldwide magazine which focuses on women‟s health, fashion and beauty. According to BRAD (2010) Its target readership is “18-26 year old women, style-conscious opinion formers, with a high disposable income and a passion for shopping”. This magazines‟ target readership fits in with our target market in all aspects such as age and type of consumer, making it the most attractive choice for the advertisement.
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Glamour is the cheapest of all four magazines costing just ÂŁ2 it therefore has a slightly different target readership. The other magazines focus mainly on high fashion which in most cases is meant to be aspired to rather than achieved, Glamour focuses on accessible and affordable fashion with ideas from the high street. Although Chanel the brand is exclusive the perfume being in most cases under ÂŁ100 is reachable for more people, making Glamour suitable for the advert.
Figure 6
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07070172, 08109636, 05050731, 08109425, 09144050 Figure 7
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07070172, 08109636, 05050731, 08109425, 09144050 Figure 8
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