Download Advertising Age - 21 March 2011 by Abbey Klaassen (Editor) PDF

By Abbey Klaassen (Editor)

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While Chanel was busy twisting the fashion writers around her little finger, other designers were demonstrating that they also knew a promotional trick or two. Although her brand did not prove as resistant as that of Chanel (and, let’s face it, few did), Elsa Schiaparelli was a formidable pre-war competitor. Salvador Dali collaborated on her dress designs – notably providing a cheeky lobster print – and the curvaceous bottle containing her perfume, Shocking, was supposed to have been modelled on the bust of the actress Mae West.

CAT positions itself as a genuine American icon alongside brands such as Budweiser, Levi’s and Harley Davidson. A typical extract from one of its catalogues tells the story thus: ‘Whether it’s a builder swinging a hammer, a musician strumming a guitar, or a student studying from his local café. . ’ It is a perfect piece of branding narrative, together with the slogan ‘No guff since 1904’. This tinkers slightly with historical fact, as the date refers to one of the two tractor firms that later merged to create Caterpillar.

Gucci, Prada and Dior’s formula of young, inventive clothes and affordable accessories, plus aggressive marketing, seemed to reanimate the public’s inner fashion victim. Ford and Galliano were personally photogenic and exciting – as entertaining in their own way as rock stars. Fortuitously, their makeover of previously moribund brands coincided with the media’s increasing obsession with the cult of celebrity and the rise of magazines like Heat and OK! When the paparazzi captured Victoria Beckham or Jennifer Lopez swathed in designer brands, millions of young women wanted to imitate them.

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