They'd like the world to buy a shirt

 

Coca-Cola drinkers will soon be able to buy casual clothing that uses the values of the world's most popular drink. Coca-Cola is about to launch its own fashion line to reflect the idea that "consumers feel a special relationship with Coke that relates to more than just the drinking experience".

Which other brands might stretch easily and which might fail? Mars has successfully pro­duced ice creams branded with the names of its Mars and Snickers candy bars. These are all "sweet tooth products". Couturiers such as Armani and Hugo Boss have moved into cosmetics, fragrances and spectacles - all "fashion victim products". Banks now offer insurance policies, invest­ments, business advice and other financial services.

One of the most successful brand-stretchers is Walt Disney, which has added merchandise, shops, books, videos, games and theme parks to its original film­making. The move from making children's cartoons to other products using the same figures appears a natural development. Yet these are totally different businesses - there is little in common between making films, running shops and operating a packaged holiday business.

Disney's success comes from its clear view about what its core brand values are, says one branding specialist. "Disney is about fun, entertainment, child­hood and families doing things together. Any business that deals in those values fits into the brand."

"All the evidence is brands stretch best when they come from a high emotional starting point. Disney has this. But packaged goods are more functional every­day brands and it could be a real challenge for Coke to move into a more experiential category such as fashion."

From the Financial Times

 

Tasteful

 

BENETTON'S colourful jumpers may be soft and woolly, but its advertise­ments are not. The Italian clothes maker's autumn 1991 campaign includes an ad picturing a not-so-platonic kiss between a ' priest and a nun clad in old-fashioned habits. "The affirmation of pure human sentiment," says Benetton. Offensive, say outraged Catholics.

Olivero Toscani, the photographer ' who dreams up and directs Benetton's ad­vertising campaigns, says that the firm tries to distance its ads from boring old commercial considerations. They aim, says Mr Toscani, to capture people's attention, provoke reflection and "break through the barrier of indifference". As Benetton's sales grew by a healthy 24% in recession­ary 1990, to 2.1 trillion lire ($1.7 bil­lion), the ads clearly sell jumpers too.

But the firm is finding that conven­tion-breaking is a ticklish business. Its spring 1991 campaign showed a group of tombstones, one sporting the Jewish star of David, just as the first Iraqi Scud mis­siles hit Tel Aviv. Accused of exploiting death for commercial purposes, Mr Toscani is this autumn countering with an off-putting (and full-colour) image of a gunk-covered newborn baby. The ad has already been rejected by Child, an American child-care magazine.

Benetton reckons its campaigns "ad­dress the major social issues of our time including AIDS, overpopulation, environ­mental problems and racial harmony." Its audience, however, often seems to miss the point. Two years ago a Benetton ad showing a black woman breastfeeding a white child created uproar among American blacks. The company looks set for a repeat performance. One ad in this year's autumn campaign depicts an angelic-looking white child embracing a black one whose hair has been shaped into devil's horns. Black groups are already starting to grumble.

In line with its "united colours" global philosophy, Benetton shows the same ads around the world. A campaign that back­fires in one market often wins awards in others: the white-baby-black-breast ad that shocked America won awards in France and Italy. The missing link in Benetton's advertising policy may well be understanding where different countries' sensitivities lie.

© The Economist