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Student Name:
Koh
Last Name (Use Block letters)
Email:
C3154280@uon.edu.au
M K
ode
G 2
Course Code
A5
1605
Lecturer/Tutor Name:
Mr Jason Ho
Extension ?
Yes
No
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Contents
1.0 Description of Organisation .............................................................................................................. 4 2.0 Marketing Challenge ......................................................................................................................... 4 3.0 Communications Strategy ................................................................................................................. 5 3.1 Message .................................................................................................................................... 5 3.2 Source ....................................................................................................................................... 5 4.0 Creative Strategy ............................................................................................................................... 8 4.1 Execution................................................................................................................................... 8 4.2 Appeals.................................................................................................................................... 10 5.0 Media Strategy ................................................................................................................................ 11 6.0 Recommendations and Conclusion................................................................................................. 12 List of References .................................................................................................................................. 13
The LOdyssee short film portrays a beautiful piece of jewellery in the shape of a panther encrusted with diamonds and sapphires break free and transforms into a real panther. It embarks on a journey through a series of breath-taking landscapes while pieces of Cartiers iconic jewellery such as the Love Bracelet, trinity ring and the Santos watch are embedded into the scenes. The entire film was expertly directed by Bruno Aveillan, an award winning director and the theme music which plays in the background throughout the film is an original composition by renowned conductor Pierre Adenot and features an 84 piece orchestra (Cartier, 2012). The production of the film spared no expenses and Cartiers executive Chairman, Arnaud M.Bamberger explained, "we wanted the best special effects, a big director, an incredible model and props to intertwine with our incredible history. (White, 2012). Symbolic images are taken to have additional meaning other than their own (Levy, 1959). This means that such images are meant to express more meaning than they would normally have when taken alone (Edward & Mick, 1992). The message communicating the illustrious history of Cartier and its desirability is encoded in a symbolic manner with heavy focus on the semiotics in the film as there are no verbal communications in the film. 3.2 Source
The source used in the LOdyssee campaign is the symbol of the panther. The panther is an iconic design that first appeared in 1914 on the design of a ladies watch (Fig 1.1) where the bezel of the watch was encrusted with precious stones to create the first panther inspired piece (Cartier, 2013). The panther became a symbol for Cartier and subsequently because the spark for the Panthre de Cartier collection which features jewellery (Fig 1.2, 1.3) created in line with the symbol of the Cartier panther (Cartier, 2013). According to the source attributes, the factors determining if a source is a successful one are those affecting credibility, attractiveness and power (Chow & Baack, 2012). The attributes focused on are the attributes of attractiveness. The panther in the film has been long associated with the Cartier brand and its range of Panthre de Cartier jewellery is coveted and worn by celebrities such as Beyonce in Fig 1.4. As the panther is already well liked by celebrities, consumers who aspire to be like these celebrities would also be familiar with the panther and see it as a source of attractiveness. Hence although the LOdyssee campaign lacks a human spokesman, the clever use of symbols as its source allows Cartier to communicate a clear message of desirability
while enabling its consumers the freedom to let their imagination run wild in their favourite manner without the negative backlash that may occur when using celebrities directly in the advertisement. Risks such as an ill-fitting celebrity for the brand or a misbehaving chosen celebrity would be mitigated.
The advertisement uses a dramatisation execution where a fantasy world is created in which the protagonist, a panther is observed to break out of its shackles and traverses the world. Inanimate objects such as pieces of jewellery are brought to life and incorporated into the storyline as seen in a series of gigantic Love bracelets rolling through the snow as the panther navigates through them in Fig 1.5. Precise placement of products in the imaginary world in an innovative way helps to catch the viewers attention and increase their involvement which aids in remembering the advertisement (O'Donnell & Brown, 2011). Figure 1.5 Rolling Love Bracelets
The advertisement also evokes the different senses to create a sensory rich environment to draw the audience even deeper into the imaginary world. The specially created music (Cartier, 2012) coupled with the incorporation of vibrant graphics like in Fig 1.6 further captures the audiences attention and enhances the inherent appeals.
4.2 Appeals
The main appeal in the campaign is emotional appeal. The affect intensity of people indicates how much emotion they feel when viewing the advertisement (Moore & Harris, 1996). The choices of impressive landscapes and dazzling music used in the film as in Fig 1.7 are chosen are appealing and stirs up the emotions of awe in the audience. Fig 1.7 Moscow Aristocracy
The storyline of the film depicts the panther conquering boundaries across continents, chasing Russian aristocracy, leaping on an aeroplane and taming a large dragon before returning to France symbolises the milestones of Cartiers history spanning from its early recognition by the Russian rulers to Cartiers invention of the worlds first wristwatch aimed at helping pilots while flying to Cartiers entry into China in 1990. These references hint at the rich heritage of Cartier and when presented in an expertly crafted film which expresses the brands superiority, Cartier is able to create an emotional response with its consumers and subsequently an emotional bond which positively influences purchases (Penz & Stttinger, 2012).
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The media mix for the LOdyssee campaign centres on market exposure in the mass media and internet (Cartier, 2012) and is detailed in table 1.1. Table 1.1 IMC media mix for Cartier LOdyssee Media Type Mass media Channel Television Vehicle Shown in 12 countries around the globe including the US, China and South America Mass media Interactive Movie theatres Social media Film shown at 800 UK cinema screenings Film posted on Youtube with 16,699,018 views
The main aim is to increase the global coverage and awareness of Cartier (White, 2012) and the internet is a potential market with 50% of U.S. internet users buying luxury goods (PR Newswire, 2000). Hence the intended outcome is to create a good base with a spectacular campaign to allow the word to spread through the internet and mainstream media through buzz marketing where impressed consumers share the video with their social circle. This media mix is a suitable fit for the communication objectives to reach out to a wider audience as the internet is a global marketplace effective tool to communicate with the customers because of their high value and product differentiation (Riley & Lacroix, 2003). In addition as most luxury customers today are internet users (Riley & Lacroix, 2003), it is an apropriate way to communicate with the consumers and keep up with their pace.
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The launch of the LOdyssee campaign is very successful in its communication goals of raising awareness of the brand and its heritage and has garnered the attention of the media and social media alike. Good things have been said by the public on how impressive the film is and have generated positive word of mouth with 26,053 likes on Youtube and 16,699,018 views. Perhaps following the successful campaign that generated an increase in awareness, Cartier could have followed it up with further communication efforts to improve the affective and conative behavioural dimensions to call consumers into action to purchase. Examples could include releasing a limited and exclusive product line of jewellery to allow loyal customers a chance to be part of the historic 165 year celebrations. This line of products would be targeted at people like top celebrities and business moguls that aspirational customers look up to. This would encourage the wave of publicity to snowball beyond the initial launch and further enhance establish the brand as the epitome of luxury.
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List of References
Canon, E. (10 May , 2011). The Aspirational Consumer. Fashions Collective. Cartier. (2012). odyssee: Cartier. Retrieved 17 02, 2013, from Cartier corporate Web site: http://www.odyssee.cartier.us Cartier. (2013). Through Time: Cartier. Retrieved 26 02, 2013, from Cartier: http://www.cartier.com/ Chow, K. E., & Baack, D. (2012). Integrated Advertising, Promotion, and Marketing Communications. Essex: Pearson. Edward, M., & Mick, D. (1992). On Resonance: A Critical Plurastic Inquiry . Journal of Consumer Research, 180-197. Lamb, R. (05 March, 2012). Luxury Daily. Retrieved 26 02, 2013, from Luxury Daily Web Site: http://www.luxurydaily.com Levy, S. J. (1959). Symbols for Sale. Harvard Business Review, 117-24. Menkes, S. (10 January, 2006). A ball for the 'king of jewelers'. New York: The New York Times. Moore, D. J., & Harris, W. D. (1996). Affect intensity and the consumer's attitude toward high impact emotional advertising appeals. Journal of Advertising, 37. O'Donnell, E., & Brown, S. (2011). THE EFFECT OF MEMORY STRUCTURE AND FUNCTION ON CONSUMERS' PERCEPTION AND RECALL OF MARKETING MESSAGES: A REVIEW OF THE MEMORY RESEARCH IN MARKETING. Academy of Marketing Studies Journal, 71-85. Okonkwo, U. (Mar-May, 2009). Sustaining the luxury brand on the Internet. Journal of Brand Management, 302-310. Penz, E., & Stttinger, B. (2012). A comparison of the emotional and motivational aspects in the purchase of luxury products versus counterfeits. Journal of Brand Management, 581-594. PR Newswire. (2000). New Study Finds Half of All Internet Users Are Luxury Goods Buyers. PR Newswire, 1. Riley, F. D., & Lacroix, C. (2003). Luxury branding on the Internet: Lost opportunity or impossibility? Marketing Intelligence & Planning, 96. Riley, F. D., & Lacroix, C. (2003). Luxury branding on the Internet: Lost opportunity or impossibility? Marketing Intelligence & Planning, 96. Riley, F. D., & Lacroix, C. (2003). Luxury branding on the Internet: Lost opportunity or impossibility? Marketing Intelligence & Planning, 96-104. Socha, M. (2010). New World For Luxury: Aspirational Retreat, Elitism Comes Back: Women's Wear Daily Women's Wear Daily. . White, B. (05 March, 2012). Cartier debut short film 'L'Odysse de Cartier' to celebrate their rich history. The Telegraph. 13
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