BREXILE: I left my soul in SW19

 

     New Year’s Eve 1995/6

This where I get personal. 

Not much about brands or ads, but a lot of me-me-me. (I’m entitled, though, aren’t I?)

Next year’s big project will be clearing out and selling up. Going into Brexile officially. I’m dreading it, but perhaps it’ll be therapeutic to jot down my feelings and experiences so I can look back and laugh.

It’s also a chance to regurgitate some of my creative writing. This first piece was written in 2010, so 14 years ago, but also 14 years after my move here.

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I LEFT MY SOUL IN SW19

 

In March 1996, I jumped the great ship Britannia as she sailed towards the island of Cool. My one-way ticket cut through the Heathrow fog like a landing-light. Terminal 1 echoed with finality – no going back?

 

London still slept but my mind already marched to the beat of the Teutonic clock. My heart followed more than willingly, long lost in the mists of a fairytale.

 

Only my English soul stayed stubborn. 

 

Like my mishandled baggage, it was wrenched kicking and screaming from the conveyor belt at Frankfurt. 

 

The tear could not be repaired.

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By-Gad Astounding!

 

It warms the cockles of my half-British heart to see a brand I worked on in the mists of time finding its feet - and soul - again in its communication.

British Airways had been known as "Bloody Awful” before - and long after - I worked on the brand. And recentish communication had been insipid at best.

Enter Uncommon and the new campaign based on the brand essence “A British Original”, launched in October 2022. 

The campaign gets better and better - and now we have a new masterpiece: “May We Haveth One’s Attention.”

Blimey. What do I love about this instant classic? Let me count the ways ...

INSIGHT: I guess there was a discussion about Britishness and what we can be proud of. What do we export? And the answer, for 2024, is period dramas, love’em or loathe ‘em. So this film draws on Bridgerton, Outlander, Pride & Prejudice, Downton Abbey and probably a few I’ve missed. A huge hit for the cultural bullseye.

EXECUTION: style, humour, watchability, great performances and casting - a triumph

BRAND: the cabin crew and other co-workers (all 40 of them), the well-know Flower Duet from Lakme and the brilliant, self-deprecating Britishness of it all (including the bad teeth)

Safety videos are one of the few times your audience really is captive. I remember Air Canada had some great ads back in the 80s - “flights so good you won’t want to get off”. 

Well, this could be the safety video that’s so good you don’t want it to end.

BA: A quantity of quality

 

When I worked on the BA account, decades ago, the passenger survey struck me as one of the top reasons why quant surveys got a bad name. How could the categories of business or leisure really sum up the multiplicity of reasons for flying? Even (from memory) the third alternative, which may have been added later - visiting friends and family - didn’t add much. Well, that could cover anything from a wild and exotic party to your granny’s funeral.

I’ve been a bit sniffy about BA advertising in recent years, but since October last year, I’m sniffing no more. The brand launched their new campaign (by Uncommon Creative Studios) in October 2022. It’s based on the brand essence of “A British Original” - which is pretty neat, by the way, as the phrase can be applied to passengers, staff, journeys, innovations and the rest. The idea acknowledges that there are far, far more travel purposes than those described in the two boxes “business” and “leisure”.

This campaign is remarkable in its variety - 512 print, digital and outdoor executions plus numerous second spots. And, simultaneously, its coherence around one strong creative idea. None of the visual old or new cliches associated with airlines. Just great copywriting and clever art direction/use of media. The idea used contextual OOH - buses, tube stations - and also adapted to the weather, to the time of day, to news events. There were no surprises when it won the outdoor Grand Prix at Cannes.

 

This month sees an expansion of the campaign in OOH, print and social media with some clever contextual jiggery-pokery. From boat sails and jumpers ...

to cheese ...

And finally, BA isn’t the only big old mass-market brand getting it right with its advertising. I’m also a great fan of this cheerful follow-up to “Arches” for McDonalds.

Find your originality - then use it!

We weren’t so bad

 

As yet another year draws to a close, I have to admit that I’ve been having some angsty, existential pangs in a “and what have you done?” sort of mode. Not in a full-on George Bailey-James Stewart manner, but irritating twinges, nonetheless.

What am I still doing in this business, at my age?

Couldn’t I have put my education and talents to better use?

Why am I just a touch ashamed to admit, these days, that my working life has been spent in advertising?

Thirty years ago, in London, every taxi driver knew the name Saatchi & Saatchi. Respondents in group discussions regularly joked about enjoying the ads more than the programmes. Our agency hired Alexandra Palace for the Christmas party - and I nonchalently flew off to LA the next day on three hours’ sleep for client product experience with British Airways.

It’s fashionable to regard advertising as a rather sorry, grubby little business these days. The glamour has passed its sell-by date and attempts are made to elevate it from the snake-oil salesman via association with super-scientific data-driven rigour or a holier-than-thou world-saving loftiness. The rot set in already in the 1990s when Kevin Roberts proclaimed Saatchis to be an “Ideas Company” rather than an advertising agency. 

But now and again, I read an article which warms the cockles of my old ad woman’s heart. And I’ll end my blog posts for this year with this marvellous article by Tom Roach . Although the main theme is the much-hyped imminent death of advertising, the underlying message is that maybe those working in the business could be a touch prouder of what they do. 

How the advertising industry uses the power of human imagination for commercial impact should be something we’re all in awe of.

As a measure of that commercial impact, Tom quotes a Deloitte study which estimates that every $1 spent on ads generates $6 in broader economic impact. Not bad for a grubby little industry - one of the few true proven levers of growth.

The role we play in driving the economy, and therefore society, forward is something we should be proud of. We often highlight advertising’s societal impact when talking about social purpose, but advertising’s economic impact alone should be a sufficient source of pride.

Well, maybe if you put it like that ... I may hang on in here for a while yet!

Take out your earpods and listen!

 

Back in the last century, when such things were aspirational and fashionable, I was a high-flying young advertising executive. I have undoubtably been in the British Airways Executive Club more years than those runningit have been alive, and made it to the dizzy heights of Gold Card Level.

Things have changed, to state the obvious, but I still hang on in there in the club, clutching my meagre points in the hope of having a “free” glass of fizz next time I fly to the U.K. However, given the grim news on cancellations and airport chaos, I’m not sure I risk booking a flight, let alone one with BA.

What are my Executive Club friends doing, meanwhile? Sending out cheery newsletters. OK, we all need cheering up, and they must have enough data collected on me by now to be able to make some reasonable guesses about what kind of content might be the most cheering. 

A recent newsletter offered me “inspirational stories from LGBTQ+ writers and explorers” as well as “luxurious and remote desert hotels.” I was invited to “take a peek at family-friendly pads” and to do the “which cabin bag is right for you” quiz and fill it with “this season’s must-have travel essentials.”

The ghastly, cliche-ridden trash journalism style is bad enough (written by AI?) but as for an attempt at empathy or customer-centricity or whatever marketers are meant to be good at? It sounds as if they are writing for a not-so-bright 12-year-old with stinking rich parents. Which I’m not.

Equally dreadful is a recent email from P&O Ferries who say: “We’d love to still be your preferred ferry operator for your next trip, and are truly passionate about showing you all that travelling by sea has to offer on board our ships.” Like heck you are. Why would I be enanmoured of a ferry operator that sacks hundreds of its staff without consultation, then replaces them with desperate people paid peanuts?

I don’t want to take transparency to extremes and know every last little detail of corporate comings and goings, but surely people can be treated like adults? 

I breathed a sigh of relief when I got this from Lufthansa’s Executive Board. By no means perfect (these things never can be) but at least they are talking the right language:

Dear Ms. Imgrund,

Two tough years of perceived and actual grounding lie behind us in aviation. All our Lufthansa Group employees have been wishing for nothing more throughout than to finally be able to welcome you back aboard our more than 750 aircraft.  Unfortunately, however, as the Northern Hemisphere summer begins and with global travel restrictions now almost all lifted, everyone involved in aviation worldwide is reaching almost daily the limits of the resources that are currently available. And the ramp-up of the complex air transport system from almost zero to now almost 90 per cent is clearly not proceeding with the reliability, the robustness and the punctuality that we would like to offer you again.  We can only apologize to you for this. And we want to be completely honest: In the coming weeks, as passenger numbers continue to rise, be it for leisure or business travel, the situation is unlikely to improve in the short term. Too many employees and resources are still unavailable, not only at our infrastructure partners but in some of our own areas, too. Almost every company in our industry is currently recruiting new personnel, with several thousand planned in Europe alone. However, this increase in capacity will only have its desired stabilizing effect by the time winter comes.  In addition, the ongoing war in Ukraine is severely restricting available airspace in Europe. This is leading to massive bottlenecks in the skies and thus, unfortunately, to further flight delays.  In the summer of 2023, we not only expect to have a much more reliable air transport system worldwide. We will be welcoming you back on board our Airbus A380s, too. We decided today to put the A380, which continues to enjoy great popularity, back into service at Lufthansa in summer 2023. In addition to this, we are further strengthening and modernizing our fleets with some 50 new Airbus A350, Boeing 787 and Boeing 777-9 long-haul aircraft and more than 60 new Airbus A320/321s in the next three years alone.  We promise you that our more than 100,000 Lufthansa Group employees will be doing everything humanly possible to provide you with the best possible air travel experience in the coming weeks, even under the current difficult circumstances. And they will be doing all this with a commitment that deserves the highest respect, not only from us on our Group Executive Board.  So on behalf of all our employees, I sincerely hope that you feel very welcome on board after your return, which is something we have all been keenly awaiting. We thank you for your loyalty; and we hope we may count on your understanding, too, should your journey not yet go quite as expected or planned.  We are doing our utmost to again offer you the quality, the punctuality and the reliability that you can rightly expect from your Lufthansa Group airlines as soon as we possibly can.  Stay with us.

Having it all (or as good as)

When I was a 20-something bright young thing starting in advertising, the women's magazines of the time were full of articles debating whether we women really could "Have It All." One person who has made a pretty damn good job of it is Rita Clifton, CBE. She's someone I can look at and say - yes, she's both personally and professionally fulfilled and very much still at the top of her game. Rita is the author of a new book, entitled Love Your Imposter.

I worked with Rita Clifton in the late 80s and early 90s at Saatchi & Saatchi London. She was my boss on the British Airways account. Reading Rita's book was like leaping into a rediscovered video-tape in a sort of Alice-in-Wonderland fashion: I was back in the crazy world of yuppies and Concorde, shoulder pads, strange new-agey gurus and The Only Way is Up.

Rita always spoke a lot of sense, but never in a preachy kind of way. She led by example, and what an example she was! Reading this book was like listening to her chatting - so different to many business books, with warmth, openness and a sprinkle of self-deprecating humour pervading its pages.

The honesty - and specifically, that you have to work and understand the language of finance to get to the top - is just one appealling aspect of this book. Rather than the glib advice to "be yourself", Rita is very clear that you have to stretch to get on, that there is a skill to knowing when to toe the line, when to fit in and when to stand out, and an art to getting yourself taken seriously. (Oh, those memories from my early career days on being lectured about "gravitas" - not from Rita, I hasten to add). The chapters on finance and numbers were a well-needed kick and reminder to me that I must always keep one eye on solid ground even if the other is floating up in the ether of visions and purposes.

I'm less of a fan of personal branding and the whole personal development shebang than Rita is, but maybe that's telling in itself. At a few points in the book, I had little aha moments about where I've gone wrong, and toppled off the career ladder a couple of times. I even wondered if I have a reverse imposter tendency now and then. The book certainly gave me food for thought, and encouragement that it's not too late, even now ...

I know that Rita worked bloody hard and made sacrifices to get where she is - and this success couldn't happen to a brighter, friendlier and all-round-good-egg sort of person. Thank you, Rita, for giving me the belief that I could make it - even if in the end my choices in life took me in another direction.

The Aviatrix, the Algorithm and the Roulette Wheel

Ever wondered what an algorithm would make of a photo of you? In the  Milan exhibition Training Humans, Trevor Paglen and Kate Crawford show an exhibit which looks at how machine learning classifies people, based on the ImageNet dataset. ImageNet was created in 2009 to "map out the entire world of objects."

There are 2833 sub-categories under "person", and some of these are described as "problematic, offensive or bizarre." If you are intrepid enough, you can upload your own photo here.

I had a shot with my author photo, and bizarrely enough, given the theme of the books, it came up with "aviatrix." Even more bizarrely, my husband's photo prompted the label "co-pilot."

In order to dispel my worry that it was all going to be aviation-themed, I uploaded my son's photo.

The one he used for his CV. And the label? "dissimulator, pretender, phoney."

Luckily, the CV (and the photo) got through and he has an apprenticeship. One assumes that the humans were still in control at his place of work (ironically, an aviation engineering company).

But it does all give you pause for thought on who - or what - is sifting through the CVs, and the basis for acceptance or rejection.

Would a roulette wheel perhaps be fairer?

Blooming Amazing!

There used to be a joke that BA stood for Bloody Awful, and I have to admit that I found the official ad to celebrate the centenary of British Airways this year, if not completely awful, then certainly underwhelming.

Retailers, airlines and other service brands are highly dependent on their people. Employee Engagement is often spoken about in conjunction with Purpose when it comes to brands with a significant public interface. But is Engagement enough? I read an interesting document from Imperative - The Workforce Purpose Index 2019 recently, which puts forward the notion that perhaps we should move on from Employee Engagement to Employee Fulfillment. Probably not a bad thought - "Engagement" for me has connotations either of busy bees or toilets. The report also contains a radical suggestion - "put employees before customers" - which is definitely worthy of discussion at a later stage.

Cut back to BA, and I was delighted to discover another idea to celebrate the centenary. To me the film above - and the idea behind it - couldn't say more about the ingenuity, creativity, dedication, skill and teamwork of BA people. 

BA Quality Engineer Lyndon Ooi is also a composer, violinist and leader of the BA Colleague Orchestra. He has taken the Flower Duet aria from Delibes' opera Lakme, that everyone associates with the airline, and composed/arranged 10 variations to take the listener through 10 decades of the airline's past, present and future.

What a supersonic idea - blooming amazing, in fact!

This septic isle?

Thirty years ago, at the beginning of my planning career, I was working in the most famous agency in London on "the world's favourite airline." I don't think I need to name either.

Three decades on, that airline is celebrating its centenary (or at least the centenary of one of its predecessors). And, for the first time in six years, has created a brand campaign. Described as "a love letter to Britain" the ad shows scenes of BA employees getting ready for the centenary flight, as well as a cast of celebrities and everyday passengers travelling on the flight.

Nice as it is, I find it rather underwhelming. It's meant to show the creativity and pioneering spirit of Britain but there's nothing creative or pioneering about this ad. It's derivative of the Nike "Londoner" ad as well as any number of films that were put together for the 2012 Olympics (I expect Britain will continue to milk that one for ever, rather like the Battle of Britain or the 1966 World Cup). And where is the famous British humour? A no-show, apart from a weak joke about tea. What exactly is the idea behind this ad? It comes over rather like a safety video without the safety bits.

It's not clear whether this is an ad for Britain in general, or for the carrier. Is it meant to make people feel good about British Airways, or Britain?

I know I'd feel better about Britain if I had a clearer sign that despite all the Brexit crap, the spirit of innovation and creativity is alive and not just well, but kicking.

Like a commercial that will still be remembered in thirty years' time.

Past Forward

Sometime in the 1970s, inspired by Blue Peter, I buried a time capsule in the woods at the back of our garden. Well, time capsule is a bit grand: it was a biscuit tin filled with various ephemera - a newspaper, probably, a paperback book, sweet wrappers, that sort of thing.

The only problem is that 40-plus years later, I have no idea where I buried it.

One criticism of much marketing activity is that it's terribly short-term. Even for durables and long-term services, the emphasis in today's digital world is on the now and the present and the instant. OK, there are the occasional exceptions. Ads for watches that you're just keeping 'for the next generation.' Or the promise of your own share of a barrel of whisky to enjoy in a decade or two. We've got a couple of rather nice bottles of red wine, vintage 2000, sitting in the cellar to enjoy when the boy turns 18 - not too long to wait now.

I've written a post here about taking your time, which mentions the Long Now Foundation (Founded in 01996 to foster long-term thinking and responsibility.) And here's another smart piece of thinking from Remy Martin and their agency to promote their Louis XIII cognac, which takes 100 years to make.

Two years ago, they kicked off the 100 Years campaign by producing a film starring John Malkovich which would first be released in 2115. (They are lucky they chose Mr Malkovich and not Kevin Spacey, but no doubt there will be other worries by 2115.)

And now they have teamed up with Pharrell Williams to create a music track that won't be released for 100 years. And this time there is a 'planet positive' message built-in: the disc has been pressed on unique clay vinyl (using soil from the vineyard - whatever next!) and will be stored in a water-vulnerable safe. So if we mess up, and water levels rise, our descendants won't get to hear it in November 2117.

Of course, people in 2117 may be wondering who on earth Pharrell Williams was, but still.



Now, some people may argue that it's a bit pointless spending so much on and making such a song and dance (and film) about a product few can afford. (A bottle of Louis XIII costs over £2,000.)

But advertising Concorde never did British Airways any harm.

Are your roots showing?

A long time ago, when I was still in the UK and working on the British Airways account, they set up a fascinating piece of international 'Britishness' research which looked at impressions of Great Britain in a number of countries around the world. This was qualitative research, and people in each country were asked to imagine a typical British town and what the characters were like there: policeman, doctor, teenager, manual worker and so on. It was rather like that 'Heaven and Hell'  joke, one version of which you can see above. And - surprise, surprise - there was little consistency in the way Britain was seen around the world - sweet and quaint in the US, compared to pushy and arrogant in Australia.

I've just read a long article in The Guardian about the rise of nation and place branding, which appears to be a booming business. Not just from the point of view of attracting tourists, but for governments to attract investors, workers, students, or to allocate resources and increase esteem generally internally and externally, much as you would use a Brand Purpose or Position.

It's not an easy job. Apart from an uneven playing field to start with (as in the differing impressions of US and Australia in the example above),  just think how quickly the overall impression of a country can change due to a change in its leadership. Obama's USA and Trump's USA - worlds apart. Or how a personality associated with a country or place can make or break impressions. Or how a natural disaster can overshadow everything. The article quotes Naomi Klein: Diversity and debate are the enemies of branding. Is it folly to try and reduce something as complex and multi-faceted as a place to a mere brand?

As mentioned in the article, Institute for Identity are having a good try. Their work sounds like a dream job - travelling around, getting the feel of the place, talking with the people, everyone from historians to lace-makers to film-makers.

And even if it seems a step too far to attempt to distill an entire country with all its dynamism, history and diversity down to a slogan and a logo, in these days of globalisation it's increasingly important for brands to be unique and authentic. And part of that has to come from the provenance. How has where the brand came from, where it was founded, informed its purpose and values? Instid have some useful tools and techniques on their website for getting a clearer understanding of a place - through the intellect, emotions and senses.

For brands, as for people, it's important to never forget where you came from.

I'm retro, fly me!

Retro and nostalgic packaging for anything from washing powder to chocolate to fizzy drinks has become commonplace in the supermarket aisles, along with the increasing number of retro weekends and experiences to be had. I even had my old iPhone described as 'retro' by some young chap with an ironic beard last year. In the travel industry, ocean liners and steam trains (and even motor busses, I've seen) can take us back to more elegant and maybe simpler times.

But there are some areas where one might want to be a little careful when playing the retro card. Areas that stand for speed and being at the forefront and the latest technology. Despite that, a big smile came to my face at Frankfurt airport the other day when I spied one of Lufthansa's retro-liveried planes. They had several done to celebrate their 60th anniversary, and the design evokes the 70s beautifully.

I was even more envious when I discovered that the airline TAP have been going the whole hog and offering one-off retro-themed flights from Lisbon to destinations like Miami or Toronto. Just look at these funky uniforms!

But what of my reservations? (If you'll excuse the pun.) Well, maybe I am just showing my retro status myself. Airlines, in many cases, are positively ancient in branding terms, dating from the early to mid 20th century in most cases. The times that are celebrated in these retro packages are those when flying was a pleasure, when the skies were not quite so crowded and the pilots were some of the best, having probably been trained in the RAF or equivalent.

Times that evoke both trust and luxury, personal attention and quality as well as glamour and excitement.

However, I doubt they will be bringing back the smoking section.

A winning idea?

As we're right in the thick of holiday time, I thought I'd look at a couple of ads associated with airports. The first one is First Flight, Heathrow's first ever TV ad, to celebrate the airport's 70th birthday. Using the tried and tested John Lewis formula of a cute kid and music to pull at the heartstrings, this is the story of a first flight through the eyes of a little girl with an owl trolley and a very fetching pilot's cap.

It's a watchable enough ad, but I'm not sure it really captures the magic in the way it should. Is flying still as magical as it was when I was a young lass, when we'd go to the Queen's Building as a day out, just to watch planes take off and land? This film doesn't show anything of the crowds, the delays, the mangled and lost luggage, the confiscated drinks and children's scissors (I speak from experience ...)

But, OK. I still think it's a brave thing for Heathrow to do, especially in these times of terrorist threat. And it's marvellous to hear that Bowie track again.

My second example is something I saw on my way back from a week away on business, when I arrived back at Frankfurt. An ad for the Bad Homburg Casino in the baggage hall. I hope my pictures will do it justice:

A baggage carousel disguised as a roulette wheel. OK, again the cynical may say that putting your luggage in the hold is a bit of a gamble, but I don't care.

After a long and hard week away, this idea, involving no apps or digital cleverness simply made me smile.

Good one.

Hold that status!

Somewhere in an old briefcase, I've got a British Airways Gold Card. Being a Gold Member was certainly good while it lasted, but my status went back to almost zilch with the birth of my son. On my return to work, I orientated myself more towards working within Germany, with at most short trips within Europe.

I was pleased to read that Qantas have launched a Status Hold initiative. Frequent Flyers will be able to hold their status 18 months after having a child. This applies to mums and dads, as well as those adopting or fostering a child, as long as they have taken at least 6 months m/paternity leave. So no more having to rebuild your status, and you can still use all the privileges bestowed on you - lounges, preferred seating and so on.

This is a great idea, and shows the true meaning of a loyalty scheme. It's a long-term reward, with the new parents getting something back. The brand recognises the potential value of those customers in the future, and also gives the new offspring a good first impression of the airline when they are travelling with their parents.

More than that, it recognises the way a new mum who has been a successful career woman may be feeling. She may feel guilty about leaving her young child, she may experience a loss of confidence. She is almost certainly sleep-deprived. Letting her keep her status and all those privileges, just when she needs them most, is something that hardly costs much to the airline, but could lead to increased loyalty in the next phase of her life and career.

Now that's what I call family-friendly!

Cuspidors and Catamenials

I've just read an amusing article from The Economist about euphemisms in marketing. It's about those products that most of the human race need at some time or another but we don't like referring to them - or the problem they solve - in polite company, or seeing lurid demos of the product's efficacy on our TV screens while we're eating.

I've never worked on the SanPro market (as we referred to it in the UK, aka 'feminine hygiene') but I have noticed that there's a bit of a movement away from the cliches in recent advertising, to the "heavily emotional and empowering" or to the "blunt and outrageous." But in other areas, twee euphemism still reigns. Nappies/diapers for school age children are called "sleepovers" or "pyjama pants."

I wonder, with the increasing number and purchase power of over 60s, whether we'll see a surge in acceptability of products and brands that were previously bought in plain brown wrappers or, at any rate, as discretely as possible, from constipation remedies to denture cleaners to incontinence pads.

Talking of which, I do remember being amused by P&G explaining that their collective term for SanPro and Adult Incontinence products was Catamenials. And, better still, my cabin crew friends at British Airways were told to refer to sick bags as Cuspidors.

Cuspidors and Catamenials. It sounds almost Shakespearian!

Graven Images

Most retail or service brands that I worked on in the past sooner or later came up against the dilemma:

How much of my communications budget do I put behind my brand image?

And how much should go on directly driving traffic?

With British Airways, for example, most of the money as well as the blood, sweat and tears went on building the image, with rather less outgoings on advertising special prices and offers, especially in those early days of CRM. However, my colleagues down the corridor who worked on Currys and Dixons spent very little time worrying about anything as lofty and pretentious as image. It was roll-your-sleeves-up-and-get-stuck-in time.

I'm rather pleased that the huge changes in media in the last few years have put paid to this kind of compartmentalised thinking. The point is, that no car, motor-bike, pony-trap or any other kind of traffic (can you tell I hate that word in that context?) is going to drive itself to your store or your website if your brand is a grey nonentity. And conversely, if you spend your whole time pontificating about your Vision to 2030 without letting anyone know what's new this season or when your sale is, people aren't going to turn up in droves, either.

All advertising should be an invitation to your store or website, if you are a retailer - communications that convey some mysterious, ethereal image that is detached from who you are and what you sell are money wasted.

Communications work in three ways - through the mind, through the emotions, through the senses (or persuasion, involvement and salience as laid out originally by Hall & Partners in 1991.)

And modern brands are tangible and substantial, not just a collection of images in "the consumer's" mind.

Trust me, I'm a brand

Tomorrow, John Lewis will launch its Christmas ad for 2012 via social media, just a few days after winning the Grand Prix in the IPA Effectiveness Awards for the "re-energising" campaign of the last couple of years.

Amid all the speculation, it's interesting to have a look at the case history and the thinking that's contributed to the success of the campaign so far. Commentators are making much of how John Lewis has tapped into a cultural trend - the need for constancy in a changeable world. There's a lot of talk about how people are "re-evaluating life choices" to focus on what's really important. I can interpret that as follows: it's not enough to know what makes human beings tick - it's vital to know what makes them tick right now, in the current context.

Of course that's some of it. But there are plenty of ads that communicate constancy and "as good as we've always been" and "always there" without having the emotional pull and commercial success of John Lewis.

I think the key is in a phrase used in the paper: John Lewis is described as a "beacon of stability." Now, think about that - it's a paradox. What could be less stable than something that's burning, flickering, in continual change? It's a bit like the "cuddly colossus" that we sought for British Airways. Again, from this apparent paradox, the brand derives its energy. Yes, it's always there, but at the same time it's always inspiring, enlightening, dynamic. It's a million miles from a security blanket.

As an aside, it always amuses me to see what short memories people in advertising have. Yes, the John Lewis "Always a woman" is a great ad - and part of a great campaign. But I wouldn't describe it as ground-breaking: surely it comes from the same school technically and emotionally as the 2008 Hovis ad, if not the same agency?

Right - I'm off to re-evaulate some life choices if that's what we're all meant to be up to these days!

The cuddly colossus

Who remembers the corporate advertising of twenty plus years ago? In the 1980s, corporate advertising on TV became de rigeur on the back of the many share offers arising from privatisation and deregulation. The classics of the genre were masterpieces in pomposity, with swirling clouds, rolling countryside backgrounds, classical soundtracks and sonorous voiceovers intoning "There is a company that..."

Working on the British Airways account at the time, our challenge was always to portray scale and humanity in one - our holy grail was "the cuddly colossus."

Times have changed, media have changed, film techniques have changed and people's relationships with corporate brands are very different. And this is reflected in the sort of brand films being made which could technically be termed corporate. Away with the pomposity, in with the human story - preferably that of the founder. The swirling clouds and rolling countryside scenes have been replaced with cute animation techniques.

Two examples come to mind - "The Lego Story" by Lani Pixels, a 17 minute film that has well over 2m views on YouTube, and the Adidas Adi Dassler animated film from a few years ago.

Maybe you can argue that the cuddly, naive animation approach is more fitting to a child or youth orientated brand, but I wouldn't be surprised to see some of the former colossi scaling down to Wallace & Gromit size.

Price is just a number

I'm going to be very lazy today and direct you to another blog rather than having too much original thought.

I have spent more hours than I care to remember over the years discussing the merits of price campaigns vs. value campaigns. And I've usually come down on the side of value, although that always seems infinitely more difficult to get right.

In this blog by Inese Smidre of my old pals The Value Engineers, the issue is discussed in detail, with some great examples from John Lewis to the latest British Airways vs. Ryan Air campaign.

The big truth that shines out for me in this is that price is just a number - which is, of course, not unique, while value is a unique human benefit.

The trick is then to define and communicate what value means for your brand. Which is difficult, as value is something personal and different for every human being.

But just because it's difficult doesn't mean that we shouldn't try.

Stereurotypes

While developing brand communications, we often have to consider the part that the provenance of the brand in question plays. And often, this can be quite different in different countries. While working on British Airways, years back, one of the difficulties of developing a global campaign was the differing perception of Britishness around the world. In the US, this could be summed up as "cute and quaint" while in Australia it centred around "colonialism and whinging Poms."

The latest "internet sensation", Mapping Stereotypes, may be a fun place to start if your brand has European roots. This is a series of maps from a Bulgarian graphic designer (he lives in London) showing Europe from seven different viewpoints. That's Germany, above.

While certainly not PC, the maps are at least a little diplomatic - I am sure that Germany is associated with arguably worse things than "dirty porn" by large sections of the US and UK populations. But what's interesting to me are the brand names that pop up - VW, Nokia and Volvo, for a start.

And what is most gratifying to me personally is that the whole of Sweden is rechristened "IKEA" as far as the Germans are concerned!