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INTEGRATED MARKETING COMMUNICATION CREATIVE STRATEGY FROM IDEA TO IMPLEMENTATION

T H I R D E D I T I O N

Robyn Blakeman University of Tennessee, Knoxville

ROW M A N & L I T T L E F I E L D Lanham • Boulder • New York • London

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Names: Blakeman, Robyn, 1958– author. Title: Integrated marketing communication : creative strategy from idea to implementation / Robyn Blakeman, University of Tennessee, Knoxville. Description: Third edition. | Lanham : Rowman & Littlefield, [2018] | Includes bibliographical references and index. Identifiers: LCCN 2017042452 (print) | LCCN 2017051349 (ebook) | ISBN 9781538101063 (electronic) | ISBN 9781538101049 (cloth : alk. paper) | ISBN 9781538101056 (pbk. : alk. paper) Subjects: LCSH: Communication in marketing. Classification: LCC HF5415.123 (ebook) | LCC HF5415.123 .B557 2018 (print) | DDC 658.8/02—dc23 LC record available at https://lccn.loc.gov/2017042452

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Printed in the United States of America

iii

Contents

Preface vii Introduction 1

 1  Integrated Marketing Communication 3 Here We Go Again 3 What Is Integrated Marketing Communication? 4 Basic Reasons for the Growth of IMC 5 Why IMC Fails 6 What Drives IMC 7

Case Study 1: NIVEA 8 Tying It All Together 17

 2  IMC Marketing Plans 26 The Role of the Marketing Plan 26 Where to Begin: Research 27 What Does a Marketing Plan Do? 27

Case Study 2: Pepperidge Farm Goldfish Crackers Campaign 28 The Creative Strategy and the Marketing Plan 42

 3  Branding and Positioning 43 Defining a Brand, Its Image, and Its Worth 43

Case Study 3: Dracula 44 Brand Equity: What Is Brand Equity? 46 Brands: What’s in a Name? 46 Brand Awareness: Perception Is the Better Part of Advertising 47 Tweaking the Marketing Plan 52

 4  Creative Briefs 53 The Big Influence Inside a Small Document 53

Case Study 4: CVS Rebranding Strategy 54 What Makes Up a Creative Brief? 56

 5  The Creative Process 69 The Creative Brief Is the Inspiration behind a Good Idea 69 The Soccer Game of Idea Teamwork 70 Is the Idea on Target and on Strategy? 72 Where Does a Good Idea Originate? 73 The Creative Concept 74

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Elements That Make Up an Ad: What Goes Where? 79 Type Is a Personality Thing 83 Putting Ideas on Paper: The Stages of Design 87 Visuals, Options, and Decisions 89 Color’s Representational Role 92

 6  Copywriting 95 The Components of Copy 95 Visuals: Tying the Verbal to the Visual 104 The Logo as a Symbol 105 Visual/Verbal Parts 105 Writing beyond the Ad: Promotional Devices 106 Copy Sheets 108 Selling the Client on the Creative Idea 110

 7  Campaigns 112 The IMC Campaign 112 Planning the Campaign 113

Case Study 5: Ecco’s Catwalk 114 Isolating the Key Consumer Benefit 115 Developing a Cohesive Visual/Verbal Message 116 The Promotional Mix 117 Types of Campaigns 118 Concept Components 122 Stand Up and Stand Out: It Pays to Be Different 128

 8  Public Relations 129 The Strategic Use of Public Relations in IMC 129 Marketing Public Relations 129 The Diversity of the Public Relations Voice 131

Case Study 6: Dawn Dishes It Out 132 How Does Public Relations Help IMC Be Consumer Focused? 136 Incentives and Deterrents of Public Relations 136 Putting Public Relations to Work 137 The Strategy behind Public Relations 138 The Many Documents That Make Up Public Relations 140 Publicity 147

 9  Newspaper Advertising 149 The Strategic Use of Newspaper in IMC 149 What Is Newspaper Advertising? 149

Case Study 7: Nissan Altima 150 The Diversity of the Newspaper Voice 152 How Does Newspaper Advertising Help IMC Be Consumer Focused? 153 Incentives and Deterrents of Newspaper Advertising 154 The Strategy behind Newspaper Advertising 155 The Look of Newspaper Advertising 156 Co-op Advertising 159 Evaluation 159

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10  Magazine Advertising 161 The Strategic Use of Magazines in IMC 161

Case Study 8: Max Factor 162 The Diversity of the Magazine Advertising Voice 163 How Does Magazine Advertising Help IMC Be Consumer Focused? 165 Incentives and Deterrents of Magazine Advertising 167 What to Avoid and What to Include in Magazine Advertising 169 The Look of Magazine Design 170 Cooperative Advertising and Magazines 173

11  Radio Advertising 175 The Strategic Use of Radio Advertising in IMC 175

Case Study 9: Post Honey Bunches of Oats 176 The Diversity of the Radio Advertising Voice 177 How Does Radio Advertising Help IMC Be Consumer Focused? 179 Incentives and Deterrents of Radio Advertising 180 The Strategy behind Radio Advertising 181 The Sound of Radio Design 181 What to Consider When Designing for Radio 184

12  Television Advertising 190 The Strategic Use of Television in IMC 190

Case Study 10: The “Aflac Duck” Historic Campaign 192 The Diversity of the Television Advertising Voice 196 How Does Television Advertising Help IMC Be Consumer Focused? 197 Incentives and Deterrents of Television Advertising 199 The Strategy behind Television Advertising 200 The Sight, Sound, and Motion of Television Design 201 How to Deliver the Message 204

13  Out-of-Home and Transit Advertising 216 The Strategic Use of Out-of-Home in IMC 216 The Diversity of the Out-of-Home Voice 217

Case Study 11: The Metropolitan Museum of Art 218 How Does Out-of-Home Advertising Help IMC Be Consumer Focused? 224 Incentives and Deterrents of Out-of-Home and Transit Advertising 225 The Strategy behind Out-of-Home and Transit Advertising 226 The Look of Out-of-Home and Transit Advertising 227

14  Direct Marketing 230 The Strategic Use of Direct Marketing in IMC 230 A Word about Databases 232 The Diversity of the Direct-Marketing Voice 233

Case Study 12: Auburn University 234 How Does Direct Marketing Help IMC Be Consumer Focused? 238 Incentives and Deterrents of Direct Marketing 239 The Strategy behind Direct Marketing 240 The Many Documents That Make Up a Direct-Mail Kit 242 Bottom Line 247

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15  Sales Promotion 248 The Strategic Use of Sales Promotion in IMC 248 The Diversity of the Sales Promotion Voice 249

Case Study 13: Pepsi 250 How Does Sales Promotion Help IMC Be Consumer Focused? 255 Incentives and Deterrents of Sales Promotion 256 The Strategy behind Sales Promotion 257 The Look of Sales Promotion 258

16  Internet Marketing and Social Media 260 The Strategic Use of Internet Marketing in IMC 260 The Diversity of the Internet Marketing Voice 261 The Strategic Use of Social Media in IMC 267

Case Study 14: Gatorade Dunk 268 The Diversity of the Social Media Voice 269 How Do Internet Marketing and Social Media Help IMC Be Consumer Focused? 277 Incentives and Deterrents of Internet Marketing and Social Media 279 The Strategy behind Internet Marketing 280 The Design of Internet Marketing 281 Designing for a New Medium 282 The Strategy behind Social Media 285 Bottom Line 286

17  Mobile Media Marketing 289 The Strategic Use of Mobile Media in IMC 289 The Diversity of the Mobile Media Marketing Voice 291

Case Study 15: IKEA 292 How Does Mobile Media Marketing Help IMC Be Consumer Focused? 298 Incentives and Deterrents of Mobile Media Marketing 300 The Strategy behind Mobile Media Marketing 301 The Look of Mobile Media Marketing 303 Designing for the Newest Digital Medium 305

18  Alternative Media Advertising 310 The Strategic Use of Alternative Media in IMC 310

Case Study 16: Allstate 312 The Diversity of the Alternative Media Voice 314 How Does Alternative Media Advertising Help IMC Be Consumer Focused? 319 Incentives and Deterrents of Alternative Media 321 The Strategy behind Alternative Media Advertising 322 The Look of Alternative Media Advertising 324 The Choice to Use Alternative Media 327 Guerrilla Marketing Is All about the Innovative Encounter 328

Glossary 335 Bibliography 346 Index 351 About the Author 359

vii

Preface

Selling a product or service today requires the creative and strategic use of multiple media options. Understanding how to use those options to best effect requires having a firm handle on how business theory affects the development of the creative message. Professors, instructors, and students in myriad disciplines will appreciate the unique approach of this book—which takes a combined look at both marketing and advertising rather than focusing on just one or the other. The goal here is to provide readers with a simple introduction to how the business of marketing can be transformed into a visual/verbal message and how that message can in turn be strategically delivered.

Today’s business environment requires students to be well-rounded professionals, understanding not only the business of advertising and marketing but also how to choose and employ the best media options to deliver the message and reach the intended target audience. This book focuses on:

• communicators employing the correct message; • placing the message in the most appropriate media; and • using the most advantageous communications approach.

Instructors who can combine both marketing and advertising tactics let students know that marketing and design are no longer separate entities; they are the result of all parts working as a cohesive whole.

In order to achieve this cohesive visual/verbal message, the choice of media vehicles employed depends on several factors, such as a brand’s life-cycle stage, copy length, who is to be reached, what objectives need to be strategically accomplished, how the most important attribute will be visually and verbally presented, and the overall tone of voice used to deliver the message throughout the campaign. To ensure effective delivery, the text breaks down the varied media options into individual chapters, allowing instructors to tailor both lecture and projects around how each vehicle can or cannot accomplish the overall marketing and advertising goals.

Instructors teaching courses that focus on finding strategic and creative solutions to business problems will find that this text not only simplifies abstract design and con- cept-building principles but also clearly and simply outlines:

1. how to lay the foundation for the development of a marketing plan, creative strategy, and creative brief;

viii P R E F A C E

2. how a creative strategy fits in a business plan and how it is developed and used; 3. how to use a creative brief to develop a brand image and/or concept that is cohesive

across multiple media and speaks to the intended target; and 4. how to write and design for multiple media using the strategy developed during

the business phase.

To keep up with the ever-changing media environment, I have updated the discussions on newspaper, magazines, out-of-home and transit, electronic media, and mobile to include more interactive options. The discussion on social media has been expanded to include the growing use of video; additional alternative media examples and case studies have also been presented. Although not all visuals used in the text are available in color, the e-edition of the book uses the color images whenever possible. New to the third edition is the inclusion of discussion questions and additional teaching materials.

A complimentary Instructor’s Manual and Test Bank are available, as well as an open- access Companion Website for students that includes interactive flashcards and other learning material. Visit http://textbooks.rowman.com/blakeman3e or e-mail textbooks@rowman. com for more information.

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Introduction

Have you ever seen an ad and said, “Wow, that’s cool?” Or thought it was stupid, or that you could do it better? If you have, you’re not alone. Unfortunately, creative teams rarely get to do whatever they want with an ad. They must meet strict prerequisites for an ad to be considered effective or successfully sell a product or service. What ends up in print, online, or on television isn’t all about the message; it’s also about how the message visually and/or verbally accomplishes a marketer’s business plan of action.

There’s a lot of really good advertising out there, but if an ad doesn’t reach the target audience with a relatable message . . . if it doesn’t strategically accomplish a predetermined set of objectives or goals . . . if it doesn’t clearly push a single attribute important to the target . . . no matter how cool that ad is, it will fail. Some of the most mundane, seemingly uncre- ative ads you are exposed to are often more successful at accomplishing these prerequisites than their more entertaining counterparts.

Successful, memorable advertising needs to figure out how to tie the business of adver- tising to the creative of advertising, part of the foundation of integrated marketing com- munication (IMC). Creative represents the voice of business and can ultimately determine the success or failure of a product or service in the marketplace. It is important for you to understand that the advertising creative process is not an art—it is a marketing function. To be successful, advertising must seamlessly integrate the business of advertising into a visual/ verbal message that not only sells but also can build or maintain image as well as engage the target, all at the same time.

In a nutshell, the goal of advertising is to generate revenue through information and entertainment. To do this, account and creative teams must build an interpretive creative strategy based on a sound business plan. A creative strategy looks at who is most likely to purchase and what it will take to get them to purchase. A business plan that employs IMC expands the creative strategy’s voice by using one visual/verbal message throughout multiple media. This consistent visual/verbal message can be more accurately targeted to reach those most likely to purchase or use the product or service by incorporating a message developed with their specific needs, wants, and lifestyle in mind.

The development of an effective IMC campaign requires you to look at the creative side of advertising as a part of the business of advertising rather than seeing the two as sep- arate functions within the advertising process. Although two very distinctive and different mind-sets will need to analyze these areas for advertising to succeed or make a profit, they must work together. A creative idea doesn’t work unless the groundwork for that idea is laid down in the marketing process, is tied directly to those most likely to use or purchase

2 I N T R O D U C T I O N

the product, and is appropriately placed in media vehicles they are likely to see, hear, and/ or interact with.

The focus of this textbook is to teach you (1) how to interpret a business plan to create an idea and (2) how IMC uses a strategic approach to build and sustain brand-to-target relationships using a coordinated message in diverse media. We’ll first cover the differences between traditional advertising and IMC and then delve into the details of marketing plans, creative briefs, copywriting, and campaigns. Handy templates serve as a guide to help you execute your creative ideas. In the latter half of the book, we’ll look at specific media—tra- ditional outlets such as newspapers and magazines but also social media, mobile, and new alternatives. Each of these chapters explains the medium, considers the pros and cons of using it in an IMC campaign, and offers hands-on details for crafting creative in that format. Case studies throughout the text are designed to help you see IMC in action.

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‡ C H A P T E R

1

Integrated Marketing Communication

Here We Go Again

Understanding advertising today requires a look at where advertising in the United States began. Integrated marketing communication (IMC) can trace its roots to long before the invention of computers and industrialized manufacturing, all the way back to one-on- one trade among friends and neighbors.

Early in the settlement of the United States, most of the population lived and worked in small, tight-knit communities. While word of mouth was probably the first form of com- munication between sellers and potential buyers, it was personalized selling that built and retained relationships between local consumers and merchants.

Local citizens could rely on area craftsmen for handcrafted items such as furniture and boots and shoes that were custom made to meet a buyer’s individual needs. Household goods such as pots, pans, coffee, tea, ammunition, and tobacco were sold by (or could be ordered through) the resident grocer, while local farmers supplied the community with a variety of meats, fruits, vegetables, and dairy products.

The mid-nineteenth century ushered in the Industrial Revolution, and for the first time, mass-produced goods, often manufactured in far-off places, were sold to a wide audience. The custom work of the craftsman was all but replaced with machine-produced products, effectively ending the two-way dialogue between local merchants and residents. Taking its place was a generic one-way statement from an anonymous manufacturer to an

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unknown, uninvolved consumer. Limited competition and media options made advertising efforts simple and wide-reaching exposure more or less guaranteed—for a while.

Advances in technology eventually expanded media options and encouraged com- petition. Product categories once dominated—often for generations—by one brand were suddenly inundated with multiple equivalent products. Features once considered unique or cutting edge in one brand could now be easily and economically copied by other brands within a category so that what was once a selling point for a particular brand became a routine product feature within months. Without any distinguishing features or meaningful differences between individual products, brand image erodes—along with consumer brand loyalty. The unqualified number of diverse and often misused or incorrectly used media options contributed to this erosion by splintering consumer attention further—offering too many media options to successfully guarantee reaching a specific target audience—and diluting brand awareness.

Today, IMC has resurrected the relationship between buyer and seller by re-creating an environment of consumer-focused communication efforts. IMC’s ability to strategically deliver a consistent message to the right audience through the correct media is crucial to the successful implementation of an IMC creative series. To do this effectively, marketers must develop a creative strategy that not only coordinates advertising efforts, both visually and verbally, but also answers the target market’s most important question: What’s in it for me?

What Is Integrated Marketing Communication?

IMC, also known as relationship marketing, works to interactively engage a specific individual, using a specific message through specific media outlets. The goal is to build a long-term relationship between buyer and seller by involving the targeted individual in an interactive or two-way exchange of information. Expertly placed media efforts and the use of computer databases play a big role in getting the message to the right target audience, as does the development of a consistent visual/verbal image for the product or service.

It wasn’t until the mid-1990s that IMC first began to attract and hold the attention of marketers. Up to this point, most advertising dollars were spent on more traditional mass-media advertising, such as print (newspapers and magazines) and broadcast (radio and television), that sent a more generalized message to a large audience. IMC, in contrast, focuses on the use of alternative or promotional media, such as direct marketing and sales promotion, the Internet, and social media, to name just a few, to reach individual consumers with a personalized message. Consumers in today’s marketplace are inundated with thou- sands of advertising messages daily; they must pick and choose which will be remembered and which will be ignored. IMC attempts to ensure that the message will be remembered by replacing unwanted one-size-fits-all tactics with an individualized message to a much smaller target audience in language consumers can understand and relate to and in media they are sure to see and use.

Messages used in an IMC campaign must be tailor made to fit a specific target audi- ence’s needs, wants, and lifestyle. The goal is to reach one individual within the target with a specially designed message that will create a lasting relationship and develop a brand-loyal

I N T E G R AT E D M A R K E T I N G C O M M U N I C A T I O N 5

consumer who will continue to purchase that brand without the need for continuing advertising efforts.

Each brand or product must be as individualized as the target. The enormous number of media options and virtual product anonymity in many categories make it necessary for marketers to create an identity for a brand or service that will make it stand out from the competition.

It is important that the product’s image match the target’s self-image, and the advertised message must get and hold the target’s attention among the clutter of competing brands.

If it sounds as though it’s more expensive to get a message to individual targets com- pared to a mass audience, it is. IMC is often more expensive to employ than traditional advertising methods, but the results can be worth the expense.

Communicating with a target that has a known interest in the product or service increases reach, or the number of interested people who will see the message, and reduces frequency, or number of times an ad or promotion will need to be used. Exposure to the message is essentially guaranteed when the message is placed in a special-interest medium the target is known to use, making purchase more likely.

The initial steps required to attract a brand-loyal consumer are more expensive than those needed to retain a brand-loyal customer. Once the consumer thinks of a brand as her only choice, the need for additional communication efforts can be reduced, minimizing costs.

Traditional advertising, on the other hand, takes longer to build loyalty. Because it is less likely a given target will have repeated exposure to a mass-media vehicle, the amount of time required to educate the target on the features and benefits of the product or service is increased. The result is a target who is often unable to recall the product’s name at the time of purchase.

Basic Reasons for the Growth of IMC

Technology has changed the way corporations market their products and services. Cus- tomers are now in control of what they buy, when they buy, and where and how they buy. Computerized databases have given a name and personality to the mass audience. Advertised messages can be addressed to an individual and can feature products he or she has a known interest in, based on past purchase behavior. The Internet and other interactive media make it easy to purchase virtually any item without leaving the house, at any time of the day or night, using a toll-free number or Internet site. Consumers are better educated about prod- ucts and can seek out additional information at their leisure. Marketers realize consumers have many product options from which to choose when making a purchase. Because of this, thinking has gone from being sales oriented to being customer driven in a relatively short period of time.

Before IMC, traditional marketing efforts were simple, aimed at making a sale and increasing profits. This type of tactic, where the seller does no more than deliver a message to a buyer, is known as an inside-out approach. IMC, on the other hand, is consumer driven and understands the consumer has many choices available in any single product category.

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Marketers are now focusing on an outside-in approach, in which products are designed to meet consumers’ individual needs and wants.

Successfully employing IMC requires a change in corporate philosophy or a different way of thinking about and planning for strategically effective marketing communications. To be effective, IMC must be looked at as a process for building a relationship with the target and developing a product or offering a service that meets the specific needs of targeted indi- viduals. Product performance and quality are also critical components to success. Each time the target repurchases, the product or service must match her expectations and consistently deliver reliable results (see case study 1).

Why IMC Fails

IMC fails when it is seen as just another communication effort rather than a corporate philosophy expressed both inside and out.

Most people think of IMC as being in parity with advertising, with its one-image/ one-tone-of-voice approach. However, unlike traditional advertising, IMC really comprises all aspects and any “interaction points” of planned or unplanned communication between the brand, service, or corporation and the target audience and is affected by both inside and outside influences.

Planned contact is external and includes outside advertising and promotions employed to reach the target. Unplanned contact is internal, or corporately focused on employees and vendors, and is the least controllable of the two. Because of this, it must be the most flexible form of contact in order to adjust to changing market, corporate, or consumer conditions. Corporate philosophy plays a major role in unplanned contact, which includes:

• Employee gossip • Word of mouth • Governmental or media investigations • Management performance • Customer service initiatives • How sales associates greet clientele • Product quality and performance • In-store and out-of-store displays • Packaging • Distribution • Price • Store locations • Uniforms • Deliveries • Delivery drivers • Dress codes

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• Sales tactics • Management style and/or philosophy

These all will have a direct impact on how the target views the product or service and will affect both initial and repeat sales.

Any change in corporate philosophy brought about by IMC efforts must be commu- nicated internally as well as externally. Even the smallest details affect the success of IMC, and for it to work, every individual in the company, from the top down, must buy into the message being delivered to the consumer. If this is not the case, the target will receive mixed messages: a disconnect between what he hears in communication efforts and what he expe- riences when dealing with a company representative. Consider the following example: If the message to the public is “Fly the Friendly Skies,” every employee with access to the public must be made aware of and understand this message. Nothing will kill the momentum of this advertising campaign faster than the target’s meeting an angry ticket agent or snooty customer service representative.

What Drives IMC

To successfully use IMC, corporations must absorb the message into their corporate phi- losophy to ensure the target receives a consistent message and a reliable product or service. But this is only one of many initiatives that drive IMC. To be truly consumer driven, IMC planning must also address several issues:

• Research • Database development • Use of the Internet • Employing correct media tactics • Building brand-loyal consumers • Creating an interactive relationship • Brand development • Projecting a consistent visual/verbal image • The promotional and media mix • Evaluation

Research IMC can’t work without an intimate knowledge of the intended target audience—those individuals research has determined are most likely to buy the product or use the service. Research is key to understanding what the target audience wants, how buyers will use the product or service, where and how they live, what media vehicles they use or see, and what they are looking for in a customer-brand relationship. Information gathered in the research phase will be used to determine the best promotional and media mix to reach the intended target audience and the type of message that will motivate purchase.

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Ĉ CASE STUDY 1

IMC Advertising: NIVEA

Overview

NIVEA is one of the most recognized skin and beauty care brands in the world. NIVEA cream was first introduced in 1911, and the NIVEA brand now extends to fourteen product ranges worldwide, from sun care to facial moisturizers, deodorant, and shower products.

Objectives

The goal was to increase UK market share for NIVEA Men, but the brand also wanted greater market penetration for male skin care products. In other words, it wanted not just a greater share of the existing market, it wanted to expand that market. It wanted more men buying skin care products. One key aim was to move men from just considering skin care products to making actual purchases.

NIVEA also wanted to sell more male skin care products to women, who research indicated, were often the initial purchaser of skin care products for men. Another objective was to develop the NIVEA Men brand image. The NIVEA brand has always stood for products that are reliable, user- friendly, and good value for money. The brand’s core values are security, trust, closeness, and cred- ibility. These values would be strengthened and expanded on with the relaunch, to get more men and women to think of NIVEA as their first choice for skin care.

Tactics

The NIVEA Men team devised marketing strategies to deliver its objectives. These strategies set out how the objectives would be achieved within the designated budget set by the management team.

This focus on product development combined with an emphasis on consumer needs is a key differentiator for NIVEA Men. It is a major reason the brand is still the market leader in the UK for male facial skin care products.

It is important to get the promotional balance right. NIVEA Men promoted the new launches of its products through a mixture of above-the-line and below-the-line promotion. The use of sport was a key element here. NIVEA Men supported football events at a grass-roots level through its partnership with Powerleague to build positive relationships with men and help create stronger brand affinity. It also allowed the brand to build and maintain a consistent dialogue with men, which helped drive sales.

Above-the-line promotion included television and cinema adverts, which reached a wide audi- ence. By linking its products with sports, NIVEA Men aimed to build a positive male image for them. The brand also benefited from press advertorials in popular men’s magazines, making daily use of skin care products more acceptable to men.

Promotions were used to attract new customers. For example, distribution of free samples encouraged trial of NIVEA Men products, which drove purchase. These promotions have helped build brand awareness and consumer familiarity, which reinforce the brand presence. There is a dedicated NIVEA Men website to support its products and educate men on their skin care needs. To

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enhance the brand, a “Configurator” tool was created on the website to help customers determine their skin type and find the products that best suit their needs.

Results

NIVEA Men adopted a range of key performance indicators to assess the success of the brand’s relaunch in the UK. It looked at:

• Market share. Did the relaunch accelerate this growth and help achieve its market share objectives? NIVEA Men is a market leader in many countries and is consistently gaining additional market share.

• Overall sales. Was this in line with objectives? Internationally, NIVEA Men skin care products grew by almost 20 percent. Its sales in the UK market at retail were nearly £30 million and in line with expectations.

• Brand image ratings. NIVEA Men won the FHM Grooming Award for Best Skincare Range for the fifth year running. Voted for by consumers, this award illustrates that NIVEA Men has an extremely positive brand image with consumers compared to other brands.

• Product innovation. In response to consumer feedback and following extensive product innova- tion and development, the NIVEA Men range has been expanded and the existing formulations improved.

These results show that in the UK, the NIVEA Men relaunch met its overall targets—a significant achievement considering the difficult economic climate. The marketing plan for the relaunch used past performance and forecast data to create a new marketing strategy. This built on the brand’s and company’s strengths to take advantage of the changing male attitudes toward using skin care products.

Source: http://businesscasestudies.co.uk/.

Database Development The growth of IMC can be traced to the development of database marketing. Data- base marketing uses a computer to store personal information about individuals and their past purchase history. Unlike traditional advertising methods, which focus communication efforts on a large group of targeted members, IMC targets individuals. Every time a con- sumer makes a credit card or grocery store purchase, visits a website, subscribes to a maga- zine or trade organization, or fills out a warranty or rebate form, personal information about the consumer is gathered and stored in a database. This information is used to direct future communication to only those individuals known to be interested in a product or service, eliminating advertising waste and allowing for a more personalized appeal.

The ability to talk to a target audience member by name is not all that new. What is new is how much is known about the targeted individual and her special interests. Because messages can be designed to specifically address issues of importance to the target, the ques- tion What’s in it for me? can be answered for every target group or niche market. Database