c



 

A brand is a product, service, or
concept that is publicly distinguished
from other products, services, or
concepts so that it can be easily
communicated and usually marketed.
A brand name is the name of the
distinctive product, service, or
concept. Branding is the process of
creating and disseminating the brand
name. Branding can be applied to the
entire corporate identity as well as to
individual product and service names.
Brands are often expressed in the
form of logos, graphic
representations of the brand.

A brand is a product that adds other dimensions, and differentiates it in some way
from other products designed to satisfy the same need. Regardless of the context, a
brand has to be unique and has to provide differentiation at any given point in time
in a competitive context. The time aspect has to be vital to ensure that the brand is
always on top of consumers mind. The time orientation also emphasizes the need
for brands to update their offerings. Ambassador, Fiat, Liberty and some of the
brands which lost their pioneering market dominance in a changing marketing
environment. A brand should functionally and emotionally reassure a consumer on
what it stands for- for example L&T housing brand may reassure about the quality
of housing, as well as provide them with emotional security of trust. A brand could
stand for fashion and status (Omega or Rolex). A brand could also stand for
personal grooming style which reinforces the look of an executive (Park Avenue);
a brand could also be associated with, fun adventure, freedom and a feeling of
community belongingness (Harley Davidson).

p p
Understandingp
nsumerspppparameswaranp
p
 c

p

Brands are decisive instruments in todays marketing scenario. Enhancing brand

image and awareness is a continuous process which enables the marketers to
withstand fierce competition. Usually brands reflect the goodwill that an
organisation enjoys in the market and the image that it projects.

A brand stands for

-Attributes
-Benefits
-Values
-Culture
-Personality
-The target user

 
Brands focus on the product attributes to inform the existing customers as well
as to influence the potential customers.


The attributes of a product should be converted into emotional and functional
benefits for the consumers.



Brands communicate human values that eventually reflect the tangible values of
the product.


Brand culture is nothing but cultural dimensions of brands that influence their
identity in the market.



Sometimes, brands also convey a personality trait.




Brands define the user segment- upper class, middle class, lower middle class
etc.

Understandingp
nsumerspppparameswaranp p p
p
 c

p

0arketers see brand as a symbol of trust that helps simplify the complex lives
led by today's consumers. In recent times the word 'brand' has grown to cover more
than just products. A brand is more than a product, a service or an offering. A
brand often stands for a lot more. In simple terms a brand is a 'product + images' or
'product + added values'. In fact, a brand stands for a complete set of emotions and
feelings, a mental mosaic that is in a consumer's mind.
When we say Nirma, what comes to mind? A girl? A washing powder? A soap?
Or a value-for-money offering? When the name Sony is mentioned, what images
come up? TV? Walkman? 0obile phone? Or an innovative product?
As the Indian market evolves from a commodity-oriented seller's market to a
brand-oriented buyer's market, the concept of brands, the role of brands, and the
brand-building will become more and more important, and in fact, vital for
business success.pp

Brand Images
Brand Product Images Values
Nirma Washing Powder Whiteness Economy
Value for
Detergent Bar Little Girl 0oney
Beauty Soap Song
Tooth Paste
Shampoo
Sony TV Design Innovation
Walkman Surprising Technology
Cellular Phones Useful
DVD
Computer

p p
Understandingp
nsumerspppparameswaranp
p
 c

p

 
 

 
How do we attempt to understand brands? 0arketing literature is full of various
terminologies, including Brand Architecture, Brand DNA, Brand Print, Brand
0apping, Brand Personality, Brand Onion, Brand Icon, Brand Essence, Brand
Worth, etc.
All these models attempt to define how one brand differs from another, in the
consumer's mind. They give a template to map competing brands to understand the
strengths and weaknesses of one brand versus the other. They also give the
marketers an idea of where and how to move the brand, in terms of product
offerings, advertising, services, images, etc.
Prof. David Aaker defines the brand to have three levels, the Brand Essence, the
Core and the Extended. Looking further, he has defined the Brand as a Product,
Brand as an Organisation, Brand as a Person and
Brand as a Symbol. If we were to look at an Indian brand like Nirma, we could
define the Essence as 'Value for 0oney. The Core of the brand will be the various
products it offers, and the Extended brand concept could be the images it evokes of
music, easy availability and friendliness. In a critical way the brand's Core may
also spell a 'lesser quality product' and its extended concept may spell 'a brand
made for poor people.

While studying brands the following may be a good set of

questions to ask:
p What are the product benefits? Functional? Emotional?
p Who are the target consumers? What are their perceptions?
p What are the core values of the brand?
p What is the Brand Positioning?
p What is the advertising strategy? Creative approach?
Advertising Positioning Statement?

Studying both the consumers and the competition, the internal company records
will help us develop metrics for Brand Loyalty, Brand Awareness, Brand
Associations and Perceived Brand Values.

p
p
Understandingp
nsumerspppparameswaranp
p
 c

p
|


  


It has been said that the single most important role of business is to attract and
retain a customer. If this is done successfully, it leads to profits and sharing of
wealth with all the stakeholders, be they employees, suppliers, distributors or
shareholders. The single most important tool used to build customer base and
customer loyalty is through focused brand-building activities. A strong brand is the
ultimate customer glue.
A product attracts a particular price. A brand attracts a premium. The premium
leads to profits. A brand ensures the consumer loyalty that a simple product cannot
command. And brand-loyal customers ensure that the company continues to get its
share of the consumer's wallet month after month, year after year. Any soap vs
Lux. Any engine oil vs Castrol. Any TV vs Sony. The brand almost telegraphically
tells the consumer that it is not just a product he or she is buying. It is a lot more.
The brand stands for an assurance of quality, value, service and price besides
offering intangible benefits like glamour, energy, style, and so on.p


 

A brand provided a guarantee of reliability and quality. Its owner had a powerful
incentive to ensure that each pie was as good as the previous one, because that
would persuade people to come back for more while tracing the origins of brands.
One of the biggest functions of brands, with respect to the marketer is to ensure
that the consumers come back and ask for it by name. 0arketing practices have
proven that it costs six times more to attract a new customer as against retaining a
current customer. So, given the same marketing efforts, a marketer is better-off
retaining as many customers as he can, before trying to attract more new
customers. The single biggest glue is the brand.
From the consumer's standpoint the brand stands for a familiar friend, a symbol
that is trusted. In many ways, a brand plays a role in simplifying the consumer's
purchase process, saving his time and effort. A brand is therefore a welcome sign
for the consumers as well. New theories even say that brands ultimately belong to
the customers and not to the marketers.
The truth is that people like brands. They not only simplify choices and guarantee
quality, but add fun and interest.

Understandingp
nsumerspppparameswaranp p p
p
 c

p


   
A brand has the power to
command a premium price
among customers an a premium
stock price among investors. It
can boost earnings and cushic
cyclical downturns and now, a
brand's value can be measured.
As societies move from
commodities to brands,
consumers learn that they get
more with the symbol of the
brand. And they learn that they
have to more. As Indian
consumers moved from cheap
home-made washing soaps to
Sunlight and later to Nirma washing powder, they were willing to pay more for the
assurance of quality. In a similar way as consumers moved from a direct cool
refrigerator to a frost-free Whirlpool, they were willing to pay more for the new
technology and for the assurance of the brand's service, quality and values.

It is, however, difficult to predict how much extra a brand will be able to add to the
price that a consumer is willing to pay. In product categories like cigarettes, the
premium could be a big number. For instance, a smoker is willing to pay Rs 2.00
for a stick of Wills brand when another filter cigarette brand is available for half
the price. That is the power of brand premium. But in India, there are several
markets where a brand cannot command a big premium. The cooking oil and the
tea markets are two such examples where the large brands, that cater to the masses,
have constantly to keep an eye on the loose commodity prices. If they fail to adjust
to the fluctuations in commodity prices, strategic moments, they can see their
brand markets shrink rapidly.
The willingness of consumers to pay more for brands implies that the marketer can
test the waters with options that offer differing levels of quality, service, etc. at
different price points. The effort can be to bring in consumers with a value offering
and then upgrade them to the better, more premium brands.


Understandingp
nsumerspppparameswaranp p p
p
 c

p


 
Brand Equity encompasses a set of assets
linked to a brand's name and symbol that adds
to the value provided by a product or service to
a company's customers. There is always the
underlying expectation that the brand will
deliver the satisfaction it has promised. A
consumer expects a certain standard of quality
and the manufacturer has to make sure that the
product lives up to that expectation, otherwise
the consumer will stop buying the brand.
Simply speaking, brand identities primarily
exist in the minds of its consumers. A brand is
his or her evaluation of the performance of that
brand. And if this evaluation is positive the
customer is willing to pay more for one
particular brand over another similar product.
This is the strength of Brand Equity.p
You may well ask why there is such fascination with brands, and what are they
worth? The reasons are many. Firstly, it is because brands create Trust, and trust is
the basic precondition to Loyalty. Ultimately it is loyalty that ensures sustainable
income to the companies that own these brands. It is this relationship, born out of
loyalty, that ensures continuous sales, and therefore profit to the company.
Secondly, it is because brands can be shown to be valuable to shareholders.
Once again, why is Brand Equity important? It is important because a strong Brand
Equity enables the brand to command a premium. The reason customers are
prepared to pay a premium is because of the perceived reliability, trustworthiness,
as well as the positive image of superior quality that the brand commands. As
emphasised, the major assets of Brand Equity can be categorised as:
(1)pBrand Awareness: This refers to the strength of a brand's presence in the
consumer's mind. Awareness is measured according to the recognition and recall of
the brand.
(2)pPerceived Quality: Perceived quality lies at the heart of what customers are
buying; and in that sense, it is the ultimate measure of the impact of a brand.
(3)pBrand Loyalty: A brand's value to the company is largely created by the
customer loyalty it commands. Since a company considers loyalty as a major asset,
it encourages and justifies a loyalty building programme which, in turn, helps
create and enhance Brand Equity. In a way, the loyal customer gets emotionally
attached to the brand.

Understandingp
nsumerspppparameswaranp p p
p
 c

p


  


pp
    U




p
 
 

 
c




 
  




 







crand-uildingplsp

Brands are built block-by-block and the best analogy one can give is how a
building is constructed.
The building of a brand is a three-part process. The first part relates to the idea.
Like an Architect, the 0arketing 0anager must not only be able to visualise
whether there is a consumer need for a particular product but also in what form. It
is only when he has been able to pinpoint his particular need, that he can proceed
further in terms of satisfying that need.

Understandingp
nsumerspppparameswaranp p p
p
 c

p
This leads to the second part. Like construction of a building, he must have certain
ingredients to build up the brand which will satisfy that need. For example, what
should be the physical properties of the product? How is the brand going to be
positioned? How will it look? What should its price be and so on. These are the
inputs through which the brand is built.
The third part relates to the process. In other words, all the ingredients we saw in
the second parthow are we going to use these ingredients to make the brand?
This process includes research, the logic behind the introduction of the brand,
creativity in terms of how to project the brand to the consumer and of course, make
sure there is adequate quality control to ensure that the product delivers what it
promises.

How are great brands built? Is brand-building a one-time activity? Is it a myste-

rious science, a divine art? Let us go back a couple of decades and try and recall a
few brands from that era:


   pp

These were possibly the leading names in their fields. But these names sound queer
to today's marketing students. When they are told that these were the leading
brands of men's wear, textiles, radios and two-wheelers, respectively, the surprise
will turn to amazement.
What happened to these brands? Was it just the winds of globalisation that swept
them aside? How then does one explain the survival of the following brands:


p p
Understandingp
nsumerspppparameswaranp
p
 c

p

[   
pp

It would be simplistic to explain that the only difference was that the latter group
of brands were more focused on brand-building. However, attention paid to brand-
building must have played an important role. Brand-building activities start and
end with the consumer.

   
 
     

p Economy? Style? Power? Value?


    
 
p Regular users
p Occasional users

  
  
 
 
 



  

   

p Competing brands
p Complementary products/brands
p Supplementary products/brands

 
!     
 
p Changes in consumer tastes?
p Changes in consumer choices?

 

    
 
p How to project the brand?
p What else to offer?
Successful brands are managed by astute marketing men who ask themselves the
above questions, and more, as often as every day. The day they stop asking these
questions they are preparing their brands for their demise.

Understandingp
nsumerspppparameswaranp p p
p
 c

p


 "  

#p
A brand needs to be constantly
tracked and nurtured. The market
is changing. The consumer is
changing. And the competitive
landscape is changing.p
One of the biggest dangers is
complacency. The brand is doing
well. The growth rate is a bit off.
Why rock the boat? Riding on past
success is no guarantee for
success. Hindustan Lever did not
address the Nirma threat for the
first ten years. By the time they
woke up with their answer, in the form of the brand Wheel, Nirma had become the
biggest detergent brand. Bajaj thought that Indians would buy their scooters for
one more decade. But they woke up in the late 1990s to find that the market was
moving rapidly to motorcycles. By the time they moved into action, Hero had
moved to the top spot.
The other big danger is that of being inconsistent. What is the brand? Who are the
customers? What are they looking for? 0any a brand has suffered because the
marketers have not been consistent with their offering. They have cut down on the
quality. They have wooed the wrong kind of customers. And they have sent the
wrong messages. Godrej was at one time the leading refrigerator brand. But they
lost their top spot because they were not only not moving with the times, they
allowed their quality to slip. The modern day Indian customer is ruthless and quick
with his verdict.
The third big issue facing brand marketers today is the fact that the turf is no
longer clear. Competition can come from the most unexpected quarters. If we do
not track the entire spectrum of competitive activities, we can get hit by a moving
truck, as 0aruti discovered when the commercial and utility vehicle manufacturer,
Tata Engineering, launched and built a successful passenger, car business with
their Indica brand.

p p
Understandingp
nsumerspppparameswaranp
p
 c

p


 "  

#
The most important issue is that
of focus on the brands. Not just
on technology. Not just
factories. Not just quality. But
the overall brand. 0any compa-
nies tend to dissipate efforts on
numerous brands and numerous
efforts across various brands.
Given the problems of limited
resources, the first issue is to
identify the core brands that exist in the company's portfolio. The next step is to
identify the brands that will be focused on, keeping in mind both the short-term
and long-term outlooks. Unilever has taken a global decision to focus on a limited
number of what they call Global Power Brands. They believe that this will result in
a focus on and increased impetus in driving the real important brands.
Innovation drives brands. Brands need to keep moving ahead with constant
innovations. These could be through improved product performance, improved
packaging, improved delivery methods. Car marketers know that a car design has a
life of about ten years. But they attempt to effect improvements every three years,
if not more often. In the the case of consumer products, the relaunch with
improvements is mandatory every two years. 0arketers of consumer durables
attempt to bring in new models every year. The computer industry looks at 18
months to double the processing power. So, however successful the brand is, it is
imperative to constantly innovate.
The most important of all 'Do's' is the need to track and understand the customers.
Brand marketers need to keep an eye On their customers on an ongoing basis.
There is a need to understand the changing consumer needs, tastes, habits,
attitudes, desires and life.
How does the brand fit into the consumer's life? And how will it fit into his life in
the future? What is needed is not only a general understanding, but more in-depth
understanding in the form of how the users differ from non-users, how the heavy
users differ fron light users, etc.
The new marketing approach is to build a brand not a productto sell a lifestyle or
a personality, to appeal to emotions. But this requires a far greater understanding
of human psychology. It is a much harder task than describing the virtues of a
product.

Understandingp
nsumerspppparameswaranp p p
p
 c

p
 
 
  
  
p
Consumers decide the fate of brands
and of enterprises. Whether the
brand is an F0CG (fast moving
consumer goods) like a toothpaste, a
consumer durable like a washing
machine, or a service like a hotel, it
is the consumer who calls the shots.
In the case of organisational selling
efforts like heavy equipment or
office automation products, it is the
buying organisation, in a collective
form, that performs the role of the
buyer/consumer, albeit in a more
rational and often a complicated
way.
Brand-building has to start and end with the consumer. The best branding theory,
discussed in boardrooms, is of no use if the consumer is not going to buy into it.
Can the brand be extended into a new category? Can a washing powder become a
beauty soap? Can a milk brand become a pizza brand? Or does the milk brand
stand not so much for milk as or good quality and good value?
Understanding consumers has to start and end with a series of questions:

p Who are the consumers for the brand?

p Why should they buy it?
p When will they buy it?
p Where will they buy it from?
p How often will they buy it?
p How much will they pay for it?
p Whom will they consult for advice?
p What are their beliefs about the product category?
p What are the other products that serve the same purpose?
p What is the share of this product category in solving the problem?
p What are their attitudes towards the brand?
p Why are some consumers never using the brand?
p Why are some consumers using the brand regularly?
Finding answers to some, if not all, of these questions is the first step towards
successful brand-building.

p p
Understandingp
nsumerspppparameswaranp
p
 c

p

x 


$
  

 

%&''(p

This is precisely the story of Gujarat Ambuja Cement. Back in the mid-1980s
when the 0anaging Director of the company approached Trikaya-Grey for a
session as to how the then new company's product, i.e., cement, could be promoted
through advertising, the meeting ended with an open question: could Gujarat
Ambuja's cement be converted into a brand.

If it could be, then only would the customers ask specifically for the brand, and not
just for a bag of cement. Naturally the product needed to be promoted as a brand,
and not as a commodity.

It was a bold move, since the general usage pattern of cement did not lend itself to
being seen as a brand. On the other hand, if it could be given the status of a brand,
it would not only be able to give itself an identity, but what was probably more
important, the Advertising Agency and the 0arketing Team could then create and
build a brand, and thus give it a unique status amongst the various bags of cement
available in the market at that time.

p
p
uccessfulpc
ppranpp
udurp
p
 c

p
Both the company and the advertising agency accepted the challenge. Over the
next few years they were able to successfully launch the product as a brand. And
thus history was created. This is the story of that singular creation.
 '
!p
A study of the market revealed that the
market was governed by commodity
trading. Those who interface with cement
can be divided into:
(1)pThose who produce cement, such as a
company like Gujarat Ambuja.
(2)pThose who use cement, i.e., the
construction industry.

However, the construction industry has

multiple segments:
*p The Dealer or Dealers through whom cement is sold.
*p The Builder, who buys that cement. This includes home builders as well.
*p The 0ason/Contractor who actually uses the cement.
*p
The target audience therefore can be divided into two main categories:
(1)pThe Trade, i.e., dealer or dealers who actively deal in this category. (It was also
noticed that the market was strongly distribution led. For obvious reasons it was
largely a 'commodity' market [and still is], where all cements were seen as similar.
Naturally price became a very important element. Obviously the dealers'
recommendation played a very important role.)

(2)pActual users (masons/contractors) also played a part in the recommendation of

a choice. But until then no company had talked directly to this segment, other than
the dealer from whom the cement was being bought.

There is, of course, another segment of the target audience, namely, 'the individual
homeowner'. One can even call 'this segment' the secondary target audience.
However, he belongs to a category that only finances the purchase. His
involvement with cement is generally low, for he is more interested in the finished
product, i.e., the home for which he is paying. He therefore, depends on the trade
for 'expert' advice. To be fair, brands like Haathi, Lotus, ACQ and Narmada did
exist, and company name and equity were also used to differentiate and
recommend, but only on a lower scale.

p p
uccessfulpc
ppranpp
udurp
p
 c

p

 )


When the Creative Team of Trikaya and the 0arketing Team of Gujarat Ambuja
Cement met to work out their 'strategy', they took into account the following:
p   *$
Since they were a cement company, and had no corporate equity to use as leverage,
there was a need to consciously identify a difference in the product so as to make it
special. The task therefore was to create a brand called 'Ambuja'.
To achieve the above objective it was agreed that a route be adopted which would
cut through the walls between segments of the market, and directly address the
needs of the individual house-owners, as well as the actual users, the mason and
the contractor. However, it was agreed that if the brand was going to project the
product as the best in the market, the brand must offer superior quality, that is,
superlative strength. Research also revealed that 'strength' was the one
overwhelming benefit desired from cement by all sections of the audience.
Furthermore:
*p It must be of consistent quality.
*p It must generate reliable supplies.
*p It must demonstrate superiority. This is where the use of a suitable mnemonic
became a necessity, later creatively rendered as 'the Giant Strength of Ambuja
Cement'.

p &  



The dealer remained the major player in the brand push. 0asons became an
important additional set of recommendees. Technical services were created to
reach the network via the services team.
Training programmes for the masons were started for the first time. The result was
spectacular. Not only were the skills of these people enhanced, there was evidence
of emotional indebtedness to the company as well. As a result the company
became an ally and not just a supplier. This emotional bonding with the network
played an important part in the transformation of a product into a brand.
p 

It was agreed that there should be uniformity of price, for which was required strict
price control. It was realised that along with the control on price, there had to be
control on the credit terms so that there was fairness across the entire segment.
This in turn, would ensure a fair margin for the dealer. Thus there was no need to
resort to price-cutting through discounts, etc. This in turn would ensure good stock
flow planning.

p p
uccessfulpc
ppranpp
udurp
p
 c

p

p &
 
  


To consciously create a sense of belonging, "The Ambuja Parivar" was created.
Activities included dealer conferences/meetings, awarding of shares, family
gatherings, celebration of festive occasions/personal milestones, scholarships for
children's education, etc., so as to make everybody feel that they were part owners
of the brand, and not just recipients of gifts and prizes.

p 
!
  
The customer knows very little about cement. He does not understand or recognise
the differences that exist between one brand and another. So he relies heavily on
the recommendations made by those he considers his expert panel, i.e., the actual
users, namely masons. By providing information to the consumer, i.e., the
individual houseowner, his involvement will become higher in the first purchase,
as he is then involved in the economies of the purchase, and in creating his
channels of credit. Since his only understanding of cement is that it should have
strength, the need for a suitable mnemonic became a very important element in the
communication objective. Also as far as individual houseowners are concerned,
because of the high indifference/ignorance of this category, the company saw a
unique opportunity for creating a brand image. By moving these people from a state
of indifference to one of familiarity, the company would be able to make them ask
the trade specifically for the Ambuja brand.

p 
$ *$
Trikaya-Grey realised that there were some limitations to this communication.
Cement was, by its very nature, a low involvement category. They also realised
that the basic reassurance sought was of strength, which in a way was intrinsic to
the category itself. They also realised that they needed to set it apart from the rest
of the category by using unique images, especially those denoting superlative
strength. Their brand of cement would therefore provide the benchmark for all
other cements, especially through the mnemonic for superlative strength. This
focus on' super strength would invariably set the product a few notches above the
rest of the competition, thereby truly demonstrating product performance.
Thus the clear task of the creative team was to create/use a simple tool for
immediate identification of the brand with its message of tremendous strength. The
creative platform developed for this product was: 'The Giant Compressive Strength
of Ambuja Cement'. Considering the low interest levels generated by this category
the company had to coax the buyer's interest by reassuring him about the great
strength of this product, in the easiest possible manner. Thus the need for the
creation of an icon for Ambuja Cement a giant figure of immense musculature,
holding massive concrete structures with great ease.

p p
uccessfulpc
ppranpp
udurp
p
 c

p

p  
To create a comparatively simple visual depicting a formidable giant symbolising
comprehensive strength, which by itself would become the main message. This
would give the individual houseowner a face to relate to, so that instead of
remaining only a visual to attract attention, the mnemonic would stand for all that
we want him to feel about building his dream home with Ambuja. The visual
mnemonic creates a medium for immediate identification, i.e., brand identification.
Such a mnemonic should be adaptable across all media, such as press, TV,
hoardings, etc. Also it should be extendable to the point of purchase materials. It
also gave an opportunity for the educated mason to identify the brand with the
visual mnemonic. The mnemonic itself being the message, it has the deliberate
advantage of communicating the message without diluting comprehension. The
mnemonic also has the advantage of longevity. Indeed the giant strength of
Ambuja Cement is as relevant today as it was 10 years ago.
p &
The company were the first to convert the IOH segment from a financier to play a
more active role in the decision-making activity of choosing the right brand of
cement, as there was an image he could relate to which enabled him to identify the
brand from the rest, thus moving the category from being a commodity to a brand.
The result was all-pervasive. The brand reached the ultimate position of being the
pioneer/leader among cements. Demand push from the IOH enabled the company
to command a premium the ultimate test for a brand.
Additionally, an offer of technical services to the mason, as well as having an expert
on hand as a supervisor, improved credibility, thus strengthening the leadership
imagery. No wonder Gujarat Ambuja Cement became the leader within its area of
operation. Its market share even today in the area where it first started operating,
i.e., Gujarat and 0umbai, is apparently 30 and 50 per cent respectively.

uccessfulpc
ppranpp
udurp p p
p
 c

p


 +, - )



#.


!
 
Deltol was first used in a leading UK maternity hospital in the early 1930s and
played a major role in reducing by half the mortality rate in women suffering from
puerperal fever. Shortly thereafter in 1933, with the endorsement of the medical
profession, Dettol was launched to the general public. Dettol's fame spread even
more with the Second World War during which, along with sulphonamide drugs, it
played a major part in the marked reduction of wound sepsis. It was carried by
many troops as a wound disinfectant from as far as Dunkirk to Rangoon. So vital
was Dettol's part in the war that the production facility was swiftly moved from its
location in Hull (UK) which was ravaged by bombings to the more peaceful
Yorkshire Dales.
In fact, the naming of the product had an interesting angle. The name Dettol was
chosen as it conveyed no particular meaning or idea and there were no
preconceived notions as to the nature of the product. However, the name did seem
to have a medical flavour.
Ever since its introduction more than 65 years ago, Dettol has become one of the
world's most widely used and trusted antiseptics. Its popularity today extends to
more than a 100 countries across the globe, and more than a billion people on our
planet have heard of it, Over the years extensive clinical studies and laboratory
tests have shown Dettol to be highly effective against microbes, yet gentle on the
skin.

p p
uccessfulpc
ppranpp
udurp
p
 c

p
In India also, Dettol has been at the forefront of providing the best in antiseptic
protection for our people, in order to help them improve the quality of their
families' health and hygiene.. Research has shown that Dettol has a strong heritage
and occupies a unique position of trust and reliability in the consumer's mind.
Consumers have described Dettol as the 'king of germkill and, for many people it
is the first thing that comes to mind on getting a cut or a wound. It is a brand which
offers a set of both rational and emotional benefits to consumers, who therefore
perceive Dettol as being a 'Doctor Friend' to their families. 0any people continue
to recall with nostalgia the 'letter' film campaign of Dettol, which showed a mother
reading a letter from her son, who is away at boarding school, and how she felt
reassured that her son who was away from home was safe with the protection of
Dettol.
# 
Liquid Dettol is today synonymous with the
liquid antiseptic market. It commands a market
share of 83.5% of this market. Savlon, which
was re-launched by Johnson & Johnson in
1993, only has 13.5%. In fact, the history of
Savlon shows that even when the brand was
owned by ICI in the past, its share was more or
less the same. Although Johnson & Johnson
pumped in a lot of money, (almost the same as
that allocated to Dettol), to re-launch the
brand, it has not been able to make a dent in
the share of Dettol liquid. Such is the strength
of the Dettol Brand Equity. The total market
however, is relatively small approximately Rs.
65 crores.


Inspite of having such a strong Brand Equity, there were however two main
constraints from the profit point of view. They were:
(1)pPrice Control: Dettol falls under the government's rule of price control for
certain drugs.
Restricted Volume Sale: By the very nature of the usage of the product both in
terms of frequency and volume used on each application even when the
penetration of the product is high, the volume sale is rather limited. The total
antiseptic liquid market is only Rs. 65 crores. Reckitt & Colman, therefore started
looking at the opportunity the very strong brand equity Dettol provides for brand
extension. Finally in 1979/80, the company launched Dettol Soap

p p
uccessfulpc
ppranpp
udurp
p
 c

p

#)

p


The initial launch was not much of a
success. While analysing the results, after
due market research, the company realised
that they had positioned Dettol Soap on the
wrong platform. When they analysed the
success of the mother brand, i.e., Dettol
Liquid, the company realised that the brand
had been promoted, over the years, on a
dual platform:
(1)pEmotional: i.e., 'love and care'
0other's love and care in treating any
wound suffered by a loved one.
(2)pFunctional: i.e., antiseptic. The product
in fact delivered what it promised it is
definitely antiseptic and cured the wound.
If one analyses the above two platforms, it
will be evident that really speaking the brand equity of Dettol is antiseptic
protection, and that:
(1)pIt is effective; and
(2)pIt is a tried and trusted product.
In their communication, the company had stressed only the first platform, i.e., 'love
and care'. When you think about it, one realises that for a product like soap, this
particular platform does not quite fit in with the general antiseptic platform, i.e.,
antiseptic protection. No wonder then that the new product did not meet with much
success.
There was one other factor, which the research results pointed out. Even before the
introduction of Dettol Soap, there was evidence that some of the consumers were
in fact using Dettol liquid in a diluted form in their bath water (in a bucket). In fact
such usage was also seen in the case of shaving water as well.
Thus was born the idea of the 100% bath. That is the way, the company brought m
the functional aspect, i.e., the 'antiseptic' platform. Fortunately for the company,
the second launch, or rather the re-launch of Dettol Soap in 1982/83 coincided with
the overwhelming feeling of many consumers that the air is polluted with dust and
germs, and therefore you need more than a simple bath you need a really 'clean
clean' bath hence, you need a 100% bath. Consumers understood the meaning
of this 100% bath idea.
p

p  p
uccessfulpc
ppranpp
udurp
p
 c

p
This became clearly evident from the sales figures right from 1982 till today. Over
the years, not only have volume sales improved year by year, but the brand share
has also improved continuously. Today, Dettol Soap is the number 2 brand (after
Liril) in the premium soap market, notching up a 10 per cent share of this segment.
That, in' fact, is quite a volume, since the bath soap market is a huge one 80,000
tons valued at Rs. 1400 crores.
In fact, during the same period, almost all the major brands have lost their share of
the market. Dettol Soap has won this share of the market, with a comparatively
lesser share of the voice! That's what a strong Brand Equity does for your business.
#

One other market the company looked at was medicated plaster. This was a Rs. 55
crore market, and Band-Aid was the brand leader, with 60% of the market,
although Handyplast was also a major player with a 20% share. However,
Handyplast appeared to have achieved their share mainly through below-the-line
activities. At present Dettol Plaster has 12 per cent of the market. The company
realises that although the concept of 'Dettol protection' does fit in very nicely with
this product, in order to dislodge the brand leader Band-Aid, it would require a fair
amount of investment both in terms of money and effort. Also, since the product
was contract manufactured, the company has been experiencing supply constraints.
For the time being therefore they would rather concentrate on brands which give
them bigger volumes, and come back to this brand at a later stage.

#)
$

p
One other product that the company launched,
piggy-backing on the Dettol Brand Equity is
Dettol Shaving Cream, in 1998. It was
mentioned earlier that Dettol liquid has often
been used in shaving water. The introduction of
this product is really an extension of that
concept. The shaving cream market is
relatively small, approximately Rs. 80 crores.
Within a short period, this product has notched
up a brand share of 6.5%.

p p
uccessfulpc
ppranpp
udurp
p
 c

p

&(#&".)||.(|(%
-.-&|(x|&.|


!
 
Until the early '80s, particularly in the Eastern region, the hair oil market was
dominated by brands like Jabakusum, 0ahabringaraj and coconut based oils. These
were thick hair oils, which were promoted as ideal for the nourishment and
maintenance of strong, beautiful hair. At that time the fashion, particularly for
women, was to have long, thick, beautiful hair.
Dey's 0edical, a pharmaceutical house in Calcutta, decided to make an entry into
this market in 1985, with their hair oil Keo Karpin. They found that the thick hair
oil market was stagnating with the changing fashion trends which advocated the use
of less sticky oil. Besides, all the brands were sold on the generic platform of nour-
ishment and cooling with no clear positioning, and advertising was restricted to
only a few stray press ads.
Keo Karpin took advantage of the situation and repositioned itself as the light, non-
sticky hair oil that aided styling. It breathed freshness into an increasingly mundane
category and, supported by sleek advertising and high visibility (in the newly
introduced popular TV medium), carved out a distinctive category for itself that
of light hair oils. As luck would have it, the hair style fashion scenario also changed

p  p
p uccessfulpc
ppranpp
udurp
 c

p
at about the same time. Women now preferred, what could be called 'fluffy hair',
and sometimes short hair, which meant that they needed non-sticky hair oils.
As a result, Keo Karpin fitted the bill of current hair style requirements with its
need for light hair oil. Through 1985-88 'me-toos' like Tata Green and Dabur
Special joined the fray but without much success, as Keo Karpin exploited a phe-
nomenal growth rate to consolidate its position in the North and the East.
Table Keo Karpin
growth rate (%)
1985 57.7
1986 23.7
1987 24.2
1988 24.7
1989 18.6


$
During 1989-90, 0arico came out with a two-pronged attack on Keo Karpin
(Parachute and Hair & Care). It relaunched Parachute as a light and contemporary
coconut oil, attempted to refocus users towards a time-tested natural hair oil. Other
coconut oil manufacturers followed suit, modernising their own brands and together
they started eating into the Keo Karpin user base. Launch of Hair & Care, a value-
added modern option (lightness + nourishment of vitamin E, modern packaging and
aggressive advertising) appealed to young consumers.
Keo Karpin was now under pressure to retain its market share. As a result, primary
sales stagnated in 1990-91. Further, in 1992-93, primary sales declined. This
prompted a total rethinking of the brand.
( )


In 1993-94 therefore, the primary task was to bring the brand onstream once again
and to stop erosion. To help understand both the market and the users, qualitative
research was undertaken.
This qualitative research unearthed some valuable insights, such as:
p Keo Karpin was, no longer, a modern brand.
p Lightness was not Keo Karpin's exclusive property anymore.
p No physical value addition had been done to the brand vis-a-vis the competitive
trend of having extra value proposition.
p Yet the brand commanded 67 per cent of the market in the light hair oil category.


p 
p
uccessfulpc
ppranpp
udurp
p
 c

p

$+
To illustrate how "Keo Karpin is a part of me" Creative took
three important stages in a woman's life, namely, college,
marriage and motherhood.
* Three contact points were chosen (shop, home and beauty
parlour).
* And the two were blended together in a contemporary
setting giving aspirational vibes and indirectly giving support
to nourishment (attractive hair, hair styles and specialist
recommendation). This led to the "0era Hardin Keo Karpin"
campaign.
Communication worked and the brand started recovering,
leading to a growth of 11 per cent in primary sales during
1995-96. Emotional appeal still remained the strongest hook in brand
communication only the context had changed.
During 1996-97 it focussed on mother's care "Keo Karpin ek mamta bhari
dekhbhal" thus successfully countering the high pro-file campaigning of the
competition using the theme of nourishment. During 1997-98 it focussed on the
theme, 'yearning for romance', as-sociating it with the contemporary housewives'
desire for their husbands' attention. Thus, even in a strong competitive market Keo
Karpin managed to hold on to its core consumers and registered a growth trend.
Table gives the latest position
alep
 
 
p
p

V
 p 

p
V  p  
p
V  
p 
p


 +
Taking advantage of the brand equity of the Keo Karpin brand, the company
decided to extend its activities into allied categories, such as:
(a) Hair problem solver category, with Keo Karpin Hair Vitalizer;
(b) Skincare, through launch of body oil leveraging the non-sticky property of
the oil (the inherent USP of the Keo Karpin brand).

p p
p uccessfulpc
ppranpp
udurp
 c

p
  $
--

x

/

!
 
Product formulation: 5 internationally accepted proteins and vita-mins, Keratin,
Biotin, Panthenol, Resorchinol and Nicotinic Acid in alcohol base.

 


* Sold as a medicinal hair tonic under medical prescription
* Launched in 1983 as an OTC product
* Offering solutions to hair fall and dandruff
* Advt. Testimonial in nature
* Brand steadily grew till 1989
* Post-1989 influx of competition: Anoop / Oasis / Vaseline Hair Tonic / Pantene
/ Arnica Plus Triofer.
* Category slumped and sales stagnated Research indicated that the reasons were:
* Overclaim leading to over expectation
* Problem solver nature of the category automatically restricts it to
a certain extent of volume growth.
Action taken
Keo Karpin utilized communication as the problem solver, which boosted sales but
could not hold on to the consumers, except for those who were very concerned
with their problem.
This product category has an inherent drawback. If it solves the problem of 'falling
hair', the customer stops using it after sometime. If it fails to solve the problem, the
user stops using it anyway, it therefore has a credibility problem. All in all, it is a
small and shifting market.

p p
uccessfulpc
ppranpp
udurp
p
 c

p
Smart Skincare
KEO KARPIN BODY OIL

!
 
Keo Karpin Body Oil was launched in 1990 in the Eastern, Northern and Western
Indian markets. After initial success the brand sales stagnated, from '93 onwards.
After in-depth discussion within the company, as well as with the advertising
agency, it was agreed that the main problems affecting the brand were:
(a) Growth not commensurate with the potential of the product.
(b) The product retention is very high among the loyal users but there are very
few new recruits.
(c) The image of Body Oil is dominated by the equity of Keo Karpin Hair Oil
which is an all-India brand leading the light hair oil category.
Communication Objective therefore for Keo Karpin Body Oil was:
(a) Rejuvenate the category (oil in relation to skincare)
(b) Create a sustainable competitive advantage.
And the issues in brand building were: positioning the brand; and defining brand
values.

  
 
Targetted at the young, socially active and confident woman to whom Keo Karpin
Body Oil is a smart and sensible non-sticky skin nourisher that keeps the skin soft
and healthy through its herbal ingredients.
Therefore, Core Brand values are: (1) Trusted (2) Natural (3) Traditional, yet
contemporary.
 

(a) Though oils are considered to be nourishing and essential, con-venient and
modern products for skincare are being adopted.
Creative task
(a) Bring Keo Karpin Body Oil out of the traditional realm by chang-ing the
perception that oils are sticky / messy.



p  p
p uccessfulpc
ppranpp
udurp
 c

p

$


(a) 0ake the consumer believe that with Keo Karpin Body Oil she's getting
time-tested and trusted herbal nourishment for her skin.
(b) The consumer should feel convinced that this was the intelligent way to
make herself look young and attractive.

$


The unoily oil
A single press ad in colour was developed which explained,
in a very intimate one-to-one manner, how Keo Karpin
Body Oil had successfully bottled all the benefits of oil,
minus its negative qualities. This ad was released in major
English and vernacular dailies and women's magazines
between October to December '96.
&
The result surpassed all expectations. The company had
initially taken a stiff target for 96-97 (30% increase in
sales) for a brand whose sales had remained stagnant for
the past 3 years. Within two months of the release the
brand sale surpassed its target and forced management to
set a fresh target for 96-97, i.e., 500,000 bottles. The
company expected to meet its target of 900,000 bottles in
1999-2000. The company believes that this product has
tremendous potential. Although the product is pitched at
women, there is nothing stopping men from also using it.
Unfortunately there is no data on the total market, and
therefore its market share as well, although it is evident that
Keo Karpin Body Oil dominates the market. However, this
brand's sale is expected to exceed 2 million bottles in 3 to 4
years time double its present sale! Another striking
example, where brand extension has proved the power of
brand equity!

p p
uccessfulpc
ppranpp
udurp
p
 c

p

)

" '
!

%

 

In 1998, South Korea's leading consumer electronics major, Samsung Electronics

Corporation (Samsung), entered into an agreement with the International Olympic
Association to sponsor the 1998 Seoul Olympics. According to company sources,
Samsung wanted to sponsor Olympics to establish itself as a global brand.

Analysts felt that by associating itself with the Olympics, Samsung would increase
its brand visibility and brand recall among its consumers worldwide. They also
pointed out that to become the next Sony of the consumer electronics market,
Samsung would have to invest heavily in marketing.
In the late 1990s, Samsung entered into various marketing alliances with
companies worldwide and sponsored events to enhance its brand awareness. Due
to its marketing efforts, its brand value appreciated by 200% from $3.1 billion in
1999 to $8.3 billion in 2002.
Consequently, in 2002, Samsung emerged as the only non-Japanese brand from
Asia to be listed in the global top 100 brands valued by Interbrand Inc. The
company was ranked 34th in Interbrand's list of the world's top 100 brands.
In spite of the worldwide downturn in 2002, Samsung posted a net profit of 1.7
trillion won for the third quarter of 2002-03, which was much higher than its net
profit of 425 million won in 2001 for the same period. In 2002-03, Samsung
emerged as the number three player in the global cell phone market after 0otorola
and Nokia. It also emerged as the world leader in the $24.9 billion memory chip
market. According to industry sources, Samsung's innovative advertising
strategies, improvements in product design and focus on global markets helped it
achieve an increase in earnings over the years.

ttp://www.icmrindia.rg/casestudies/
ase_ tudies.asp?cat=arketingp p p

p
 c

p


!
 (

Samsung was established in 1969 as the flagship company of Samsung

Corporation (Refer Exhibit II). It was the third largest player in the Korean
electronics market after Lucky Goldstar (LG) and Daewoo.pSamsung achieved fast
growth through exports, which constituted around 70% of its total production.

0ost of the exports were to the USA on Original Equipment 0anufacturer (OE0)
basis. It supplied components for high tech industries in the USA. In the early
1970s, Samsung decided to venture into the television market, and in 1972 it
started production of black & white television sets for the local market.

 '
!

%

 

In 1993, as a first step in its globalization drive, Samsung acquired a new corporate
identity. It changed its logo and that of the group. In the new logo, the words
Samsung Electronics were written in white color on a blue color background to
represent stability, reliability and warmth.

The words Samsung Electronics were written in English so that they would be easy
to read and remember worldwide. The logo was shaped elliptical representing a
moving world - symbolizing advancement and change.

 |
$

Samsung realized that to become a global brand, it had to change the perceptions
of consumers who felt that it was an OE0 player and associated its products with
low technology. Generally, consumers in developed markets (such as the US)
opted for Samsung when they could not afford brands such as Sony and Panasonic.
To change consumer perceptions, Samsung decided to focus on product design and
launch innovative products.

p p
ttp://www.icmrindia.rg/casestudies/
ase_ tudies.asp?cat=arketingp
p
 c

p



#'
!
To change its brand image, Samsung decided to associate itself with global sport
events. In 1998, when Seoul hosted the Olympics, Samsung became the official
sponsor of the wireless technology to the games. This move helped it boost its
image worldwide. In 1999, Erick Kim (Kim), a Korean American working with
IB0, took over as the marketing head of Samsung. He focused on capturing the
US retail market for consumer electronic goods, such as TVs, washing machines
and microwave ovens, through partnerships with US retailing giants. Samsung
entered into a partnership with Best Buy one of the top US retailers. Best Buy
executives conducted customer research to analyze consumer-buying behavior.

 $

  
)



In 1997, Samsung launched its first corporate advertising campaign - Nobel Prize
Series. This ad was aired in nine languages across Europe, the 0iddle East, South
America and CIS countries. The advertisement showed a man (representing a
Nobel Prize Laureate) passing from one scene to another. As the man passes
through different scenes, Samsung products transform into more advanced models.
According to company sources, the idea was to convey the message that Samsung
uses Nobel Prize Laureates' ideas for making its products.



)

In 2001, Samsung declared that it would beat Sony in the consumer electronics
market by 2005. Kim said, "We want to beat Sony. Sony has the strongest brand
awareness; we want to be stronger than Sony by 2005." However, analysts felt that
it would be difficult for Samsung to beat Sony so soon as Samsung was regarded
as an OE0 player till the mid-1990s.

In 2002, while Samsung was ranked 34th with a brand value of $8.1 billion, Sony
was ranked 21st with an estimated brand value of $13.90 billion. However, while
Samsung's rank had moved up from 42 in 2001, Sony's had slipped down from
20thpin 2001. In the third quarter of 2002, Samsung emerged as the world's number
three player in the mobile market, beating Siemens and Ericsson, with a
marketshare of 36.4%.

p p
ttp://www.icmrindia.rg/casestudies/
ase_ tudies.asp?cat=arketingp
p
 c

p


 +0( /


Nimbooz by 7UP is an authentic drink thats made with real lemon juice squeezed
from the best of lemons.It has No Fizz & no added Artificial Flavours. It is tasty
and 100% hygienic and is available in trendy and convenient packs, so that you
can enjoy natural delicious, lemony refreshment anytime, anywhere Nimbooz by
7UP. Refreshing Nimbu pani with Real lemon Juice.

|

Our culture is rich and deep rooted. No matter how much we migrate to a modern
lifestyle, its only when we enjoy truly familiar & authentic experiences that we
can relish being our true selves.

 

  
   
 
p p p
p
 c

p

1*
')2

pp
The ASLI Indian Refresher
GetbusyIndian men and women who have adopted a modern lifestyle but still
love their (Indian) tradition.To try Nimbooz, the real nimbu paani with real lemon
juice.By telling them Nimbooz is the cool way to enjoy a traditional favourite
The objective of the film was to communicate the launch of the brand Nimbooz
with the proposition Ekdum Asli Indian (Absolutely Real Indian). which is a
refreshing Nimbu Paani (Lemonade) with Asli (Real) Lemon Juice.Launched in
Delhi, U.P., Haryana, Punjab, 0aharashtra and Gujrat on 18th 0arch 08.
Launched in the above cities with TV, Radio, OOH, Press and BTL.


  -
3|*
!


The brands proposition of Ekdum Asli Indian (Absolutely Real Indian)

was brought alive on outdoors in some very interesting ways.

 

  
   
 
p p p
p
 c

p

Here are some examples.

 

  
   
 
p p
p
p
 c

p

The brands proposition of Ekdum Asli Indian (Absolutely Real Indian) was
brought alive on outdoors in some very interesting ways.

Here are some examples.

 

  
   
 
p p p
p
 c

p

$


! 
  

|#






Dp In India, people dont have access to their Icons

Dp Every 0umbai Indian player was given an Idea mobile number

Dp For the first time, Fans were invited to call these numbers and express their
thoughts, feelings and opinions to their favourite cricketers !

Dp Campaign activated across all media TV, Print, Outdoor, Radio,

Activation, Retail, Web and PR

Dp Innovations brought in Print, Outdoor, Activations & Web to build interest

and to get cut through

Dp TV Campaign planned in 4 phases (14 TVCs over 35 days)

Dp 7000+ Radio spots on Air. (5 stations in 36 cities with aprox 10-14 number
of spots in each city over 2.5 weeks.)

Dp Over 1.5 lakh visits on www.talktoyourmumbaiindians.com web site



 

  
   
 
pp p p
pp
 c

p


|$
 


Activations on digital screens across 20 cities at Caf Coffee Day & 0cDonalds.

| 
 
 
|

p p
p
 

  
   
 
pp
p
 c

p

 

  
   
 
pp p p
p p
 c

p



x
)
 4'




 &
 0

!5'%

|

 
 

p Despite competition spending more, Idea got equal executional & branded
cut through.

p Brand Idea recorded one of the strongest associations with the team, in a
comparative survey of telecom brand associations with various IPL teams.

 

  
   
 
pp p p
p p
 c

p

Bibliography

phttp://www.icmrindia.org
phttp://www.tapanpanda.com
phttp://www.indianmba.com
phttp://www.brandcapita.com

p
p
p