TRAGUS GROUP'S JEMIMA BIRD SAYSs

Tm obsessed with an app called Daily Notes - in fact the

drawing tool was brought in on my recommendation'

YOU SAY...
Being emotive, not emotional,
can be a powerful brand tool
@ While I agree with many of Nicola
Clark's points about emotional intelligence (Shift, Marketing, 18 July), I don't
agree that brands should necessarily
wear their hearts on their sleeves.
The real issue lies in understanding
how brands can resonate emotionally
with their target consumers. To do this,
brands have to understand the difference between being 'emotional' and
being 'emotive'.
Being emotional involves displaying
emotion - typically extreme emotions and implies some loss of control. But
displaying emotions doesn't necessarily deliver commercial results, as
Cadbury's 'Gorilla' campaign showed;
consumers felt 'joy' when they saw the
ads, but the brand lost market share.
Being emotive, on the other hand,
is potentially much more powerful.
When a brand is emotive, it doesn't
merely display emotion, it triggers a
response, making the consumer feel
something about the brand. The key to

triggering this response is to instil the

feeling through actions as much as
words. It's the same as saying you're
cool, or just being cool. No one believes
the former, but the latter is genuine,
and all the more believable for it.
Mark Wickens, founder, Brandhouse,
via email

Boots 'Here come the girls' hit right tone

Targeting women? Don't tell

obvious fibs and avoid clicbs
@ Marketers have a tough task targeting women. There is a fine line to tread
between celebrating and patronising
them. Then again, we don't always take
ourselves too seriously; Boots, with its
'here come the girls' ads, hits the right
tone. But get the humour wrong and
your brand will feel the backlash as
Femfresh found to its cost ('Sizing up
"real" women'. Marketing, 11 July).
We know we are being marketed to,
and are often willing participants in the
dream that is being sold; but sell us
obvious untruths and you will lose us.
The Tena 'Oops' ad, with its lovely
brunette whose purple dress gets

caught in a lift door, is hardly representative of the product's target market.

Nor did we believe Twiggy could look
quite that wrinkle-free in the Olay ads.
And please don't market to us based
on preconceptions about different lifestages and age-appropriate behaviour.
At that point you truly will lose us.
Sarah Druce, creative director,
MARS\Y&R, via emaii

Likeability and an interesting

story trump creativity in ads
@ Does creativity sell brands? asks
Alan Mitchell (Marketing, 18 July).
Absolutely, 1 say. Does it sell products?
Not as much as we agency folk like to

think. Price, availability, relevance and

quality of product clearly have a much
bigger influence on purchase decision
than a great ad. But, if I am in the market for a product, having an interesting,
likeable idea still counts for a lot when
choosing one brand over another.
Interest me and I will notice you.
Be likeable and I will listen to what you
have to say. Have an idea that is big
enough to reach and influence me and
my friends beyond a TV spot, and you
might convince me to buy your product.
Certainly this was the conclusion from
my recent sabbatical, when I was away
from the industry hubbub for the first
time in more than 20 years.
These days, many believe that brand
affinity (a spontaneous or natural liking) can be measured in 'likes'. Does a
creative campaign that gets bucketloads of 'likes' ultimately sell more? The
Big Data jury's still out on that one.
But seriously, can being interesting
and likeable do a brand any harm?
Daren Kay, director of innovation,
TMW, via emaii

Write to us at marketmg.letters@>haymarket.com or tweet us at twitter.com/marketinquk

Mafhetkig promotion

Outdoor Campaign of the Month KLM

"mm"

Vincent Kas
Commercial director,
Air France KLM
UK S. Ireland

What's the idea?

Air France KLM decided
to run a branding
campaign to underline
the group's marketleading position in
Scotland. This followed
the release of figures
showing that Air France
KLM carries one in four
long-haui passengers to
and from Scottish
airports.

Company Air France KLM

Group
Brand KLM

What was the media

strategy?
The strategy was to
raise awareness of
KLM's portfolio among
business and leisure
audiences at the main

marketingmagazine.co.uk

Sponsored by I

Scottish airports combining high-profile

locations with targeted
networks of digital
screens to attract and
engage the audience,
and gain coverage.
How did you use outdoor?
Working with JCDecaux
Airport, KLM took ownership of the Welcome
Site at Glasgow Airport,
reaching ail passengers
with the message
'KLM, your airline to the
world. Made in Holland,
growing in Scotland.'
At Edinburgh Airport
KLM booked the Digital
Lounge Sponsorship

network of 28 40in
digital screens, while
at Aberdeen Airport,

eight digital screens

reached passengers in
main walkways and

seating areas and on

flight-information
screens.

1 August 2012 Marlting 23

Copyright of Marketing (00253650) is the property of Haymarket Business Publications Ltd and its content may
not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written
permission. However, users may print, download, or email articles for individual use.