Soap

Ana lys i s o f Soap Adver t i sements

INTRODUCTION OF ADVERTISING

1.1 HISTORY OF ADVERTISING:

In order to understand what the advert is ing industry is today, i t i s helpfu l to apprec iate where i t has come from. Advert is ing as a d iscrete form is general ly agreed to have begun with newspapers, in the seventeenth century , which inc luded l ine or c lass i f ied advert is ing. S imple descr ipt ions, p lus pr ices, of products served their purpose unt i l the late nineteenth century , when technologica l advances meant that i l lustrat ions could be added to advert is ing, and color was a lso an opt ion.

However, i t was not unt i l the emergence of advert is ing agencies in the latter part of the n ineteenth century that advert is ing became a fu l ly f ledged inst i tut ion, wi th i ts own ways of work ing, and with i ts own creat ive values. These agencies were a response to an increas ingly crowded marketplace, where manufacturers were real is ing that promot ion of thei r products was v i ta l i f they were to surv ive. They so ld themselves as experts in communicat ion to thei r c l ients - who were then lef t to get on with the bus iness of manufactur ing.

Wor ld War I saw some important advances in advert is ing as governments on a l l s ides used ads as propaganda. The Br i t ish used advert is ing as propaganda to convince i ts own c i t izens to f ight , and a lso to persuade the Americans to jo in . One of the other consequences of Wor ld War I was the increased mechanisat ion of industry - and hence increased costs which had to

be paid for somehow:

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Hence the des i re to create need in the consumer which begins to dominate advert is ing f rom the 1920s onward.

Advert is ing quick ly took advantage of the new mass media of the f i rst part of the twent ieth century, us ing c inema, and to a much greater extent , radio, to t ransmit commercia l messages. You can l is ten to some ear ly radio advert is ing. This was beginning to show s igns of work ing ef fect ive ly in the 1920s.

But the Wal l St crash put an end to widespread af f luence, and the Great Depress ion and Wor ld War Two meant that i t was not real ly unt i l the 1950s that consumers had enough d isposable income to real ly respond to the need creat ion message of advert isers . Unhappy with the eth ica l compromise of the s ingle-sponsor show, NBC execut ive Sylvester Weaver came up with the idea of se l l ing not whole shows to advert isers , but separate, smal l b locks of broadcast t ime. Several d i f ferent advert isers could buy t ime with in one show, and therefore the content of the show would move out of the contro l of a s ingle advert iser - rather l ike a pr int magazine. This became known as the magazine concept , or participation advertising , as i t a l lowed a whole var iety of advert isers to access the audience of a s ingle TV show. Thus the 'commercial break' as we know i t was born.

Definition :

“Advert is ing, a form of commercia l mass communicat ion des igned to promote the sa le of a product or serv ice, or a message on behal f of an inst i tut ion, organizat ion, or candidate for pol i t ica l of f ice.”

Advert is ing can be looked at f rom var ious perspect ives. As the quote above states, i ts purpose is to increase the number of art ic les or products so ld. These are not only th ings we can buy in d i f ferent stores, for example c loth ing or suppl ies for our dai ly l i fe , but a lso such s imple th ings as a message p laced by an inst i tut ion or organizat ion asking for attent ion of the publ ic to ra ise money or to make them aware of a problem, such as ant i -smoking ads.



Even pol i t ica l part ies use advert isements and commercia ls to state the opin ion of thei r candidate. I th ink we have a l l exper ienced that qui te extens ively dur ing the pres ident ia l campaign in a l l countr ies .

In the 19th century new technologies were developed and brand-new methods invented. As a resul t a surplus of product ion was formed. Warehouses of many factor ies were overf lowing. In th is way i t was necessary to create usefu l advert isements, which would cover a l l large spaces, ut i l i z ing a large var iety of mass media sources. The f irst advertising agent who created such a network was Volney Palmer in 1841 . About 20% of the commiss ion for media brokers was paid to the publ ishers . Texts of ads were of fered by the head of the company or i ts representat ive. People who wanted to put thei r ads in the newspaper paid agent a commiss ion. Such act iv i t ies became very popular dur ing the second part of 19 t h century in a l l countr ies .

S igni f icant advances in advert is ing development

were made by brokers . In the early 1850’s, John Wanamaker caused a revolution in the retai l trade. He created a pr ice l is ts for a var iety of goods and returned the money i f the commodity was not of the promised qual i ty . As a resul t , he gained a lot of prof i t by us ing th is strategy and he then opened a network of consumer goods shops. The reason of such great success was profess ional advert is ing.

Advert is ing became big bus iness in the 20 t h century, of fer ing many d i f ferent jobs in advert is ing agencies and the market ing sect ion. The use of the media, l ike newspapers, te lev is ion, d i rect mai l , radio , magazines, outdoor s igns and of course the Internet made th is growth poss ib le . I t i s a form of t ransport ing informat ion to the consumer, but which does not only have pos i t ive s ides. There are many cr i t ica l aspects about i t , l ike persuading people to doing unhealthy th ings, l ike smoking, or producing specia l s tereotypes everybody tr ies to fo l low. Nevertheless, advert is ing has become internat ional , s ince producers and companies t ry to se l l thei r products on a g lobal ized market in a lmost every corner of the wor ld .

1.2 CLASSIFICATION OF ADVERTISING:



Advertising to Consumer market:-Advertising to Consumer market:-

National Advertising :-

Advert is ing done by large companies on a nat ionwide bas is or in most regions of the country. Most of the ads for wel l -known companies and brands that are seen on pr ime t ime TV or in other major nat ional or regional media are examples of nat ional advert is ing. The goals of nat ional advert isers are to inform or remind consumers of the company or brand and i ts features, benef i ts , advantages, or uses and to create or re inforce i ts image so that consumers wi l l be predisposed to purchase i t .

Retail/ Local Advertising:-

Advert is ing done by reta i lers or local merchants to encourage customers to shop at speci f ic store, use a local serv ice, or patronize a part icu lar establ ishment. Reta i l or local advert is ing tends to emphasize speci f ic patronage mot ives such as pr ice, hours of operat ion, serv ice, atmosphere, image or merchandise assortment. Reta i lers are concerned with bui ld ing store t raf f ic , so thei r promot ion often take the form of d i rect -act ion advert is ing des igned to produce immediate store t raf f ic and sa les.

Primary versus Selective demand Advertising:-

Pr imary demand advert is ing is des igned to st imulate the demand for the general product c lass or ent i re industry. Select ive demand advert is ing focuses on the demand for a speci f ic company’s brands. Most advert is ing for products and serv ices is concerned with st imulat ing se lect ive demand and emphasizes reasons for purchasing a part icu lar brand.

An advert iser might concentrate on st imulat ing pr imary demand when, for example, i ts brand



dominates a market and wi l l benef i t the most f rom overal l market growth. Pr imary-demand advert is ing is of ten used as a part of promot ional strategy to help new product gain market acceptance, s ince the chal lenge is to se l l customers on the product concept as much as to se l l a part icu lar brand. Industry t rade associat ions a lso t ry to st imulate pr imary demand for thei r members’ products , among them cotton, mi lk , orange, ju ice, pork, and beef .

Advertising to Business and Professional MarketAdvertising to Business and Professional Market

Business to Business Advertising:-

Advert is ing targeted at indiv iduals who buy or inf luence the purchase of industr ia l goods or serv ices for thei r companies. Industr ia l goods are products that e i ther become a phys ica l part of another product(raw mater ia l or component parts) , are used in manufactur ing other goods(machinery) , or are used to help a company conduct i ts bus iness (e.g. , o f f ice suppl ies , computers) . Bus iness serv ices such as insurance, t ravel serv ices, and heal th care are a lso inc luded in th is category.

Professional Advertising:-

Advert is ing targeted to profess ionals such as doctors , lawyers, dent ists , engineers , or professors to encourage them to use a company’s product in thei r bus iness operat ions. I t might a lso be used to encourage profess ionals to recommend or speci fy the use of a company’s product by end-users .

Trade Advertising:-

Advert is ing targeted to market ing channel members such as wholesalers , d istr ibutors , and reta i lers . The goal is to encourage channel members to stock, promote, and resel l the manufacturer ’s branded products to thei r customers.



1.3 METHODS OF ADVERTISING:

Television Newspapers Direct Mail Radio Yellow Pages Magazines Internet Outdoor Advertising

Television has attracted about 23.4 % of the money spent on advert is ing in the India in 1999. I t i s avai lable in broadcast or cable form and generates a b ig p lat form for advert is ing. To run commercia ls on TV, advert isers have to buy uni ts of t ime which range f rom 15 over 30 and up to 60 seconds in length. These spots are the most expensive ads and can cost up to mi l l ions of dol lars depending on what t ime they are a i red. I f we just th ink about the ads shown at the major sports events in the India, l ike the Cr icket Match or the Olympic Games. Only very economical ly powerfu l companies can af ford th is . In the 1950s te lev is ion was introduced and quick ly developed into “The advertising-media” . In the 1950’s common income from the advert is ing industry rose to $ 10 b i l l ion a year . In 1980’s th is index was $ 100 b i l l ion! Now advert isers could demonstrate the use of thei r products and present wel l -known f igures to pra ise i t . They could a lso af fect emot ions through te lev is ion. The combinat ion of s ight , sound and mot ion creates a more dramat ic form of advert is ing which is cons idered to bui ld a product ’s brand image or to create an exc i tement around a specia l event such as a one-t ime sa le. These ads are not intense enough to provide the v iewer with a lot of in format ion and are therefore only usefu l for products which are a l ready fami l iar to the costumers. Newspapers are an important media as wel l . Their advantage is to reach readers of d i f ferent age groups, ethnic backgrounds and income levels . They d isp lay photographs and i l lustrat ions, g iv ing expl ic i t and deta i led informat ion about a product , new invent ions and product improvements.



Their d isadvantage is that they can’t create such an emot ional ly strong image as the TV ads, but the opportuni ty to present coupons for specia l products shows a great popular i ty amongst customers, and is of ten used. Direct mail i s another k ind of advert is ing, sending the ads v ia mai l system to the future customers. This system is a lso used through e-mai ls and of fers graphics and l inks to more informat ion. In order to do th is k ind of advert is ing, the advert isers have to buy so-cal led mai l ing l is ts , which conta in the addresses of people with certa in wanted character ist ics . Many advert isers cons ider th is system the most ef fect ive, because i t i s much cheaper than mai l ing the advert isements and i t i s launched r ight at the target group. Radio usual ly reaches a smal ler group of people, most ly f rom one speci f ic area. This g ives local bus inesses the chance to broadcast thei r very specia l ized ads. Most people l is ten to these ads when they are dr iv ing in thei r car , so they wi l l be informed of any k ind of sa les in stores in thei r region. They wi l l hear them before they go shopping and might be tempted to buy these products . These ads have to be very s imple and easy to be understood, s ince people are usual ly doing something, l ike dr iv ing, when l is tening to them.

The f i rst radio-advert isement was broadcast in 1922 in New York on the WEAF radio stat ion. Thus in the 1920s advert isers and their agents had come to real ize radio 's poss ib i l i t ies . With i ts drama and immediacy, radio could convey their message d i rect ly to the consumer who would not need to purchase a publ icat ion or even need to be l i terate.

Radio has been with us for ages. Everyone loves music and some t ime or other l i s ten to the radio. However radio does not stand out as a strong medium of advert is ing as against the other modes. But i t i s re lat ive ly cheaper. I t can used sensib ly to can make product sa les soar h igh.

The t ime s lot to a i r your product is important . Radio can be broadly d iv ided into a) morning, b) mid-day, c) evening and d) late n ight .



Morning and evening is pr ime t ime as people dr iv ing down to work and commuting to and f ro f rom work l is ten to the radio. In the morning people are more recept ive as they want to know the news of the day, what are the new products that have entered the market . Or i f they real ly need the product you are se l l ing.

You could t ie-up with the radio broadcast to announce your product on a i r at var ious t ime schedules. Thus i f the radio jockey announces your product i t can have a profound ef fect on h is audience. Some radio stat ions are af f i l iated to nat ional broadcasts . They are a b i t expensive but g ive wider coverage.

The Yellow Pages are th ick d i rector ies of te lephone l is t ings and d isp lays of advert isements, most ly of local use, but nevertheless very ef fect ive. Magazines on ly ranked s ixth in the tota l spending on advert is ing in the India in 1999. They are very specia l ized and target the reader of such magazines who usual ly have very s imi lar interests . I f you th ink about the h ighly specia l ized women magazines, d isp lay ing make up and other cosmet ic products reaching for teenage g i r ls to o lder women. These magazines are very prest ig ious because they show beaut i fu l co lor photographs of the celebr i t ies of today’s pop-cul ture. Advert is ing on the Internet i s becoming more and more popular among companies, s ince the major i ty of young consumers have onl ine access at home. They range f rom banners, buttons, pop-ups to sponsorships of homepages, which we have been d iscussed in our course. This form of advert is ing g ives the opportuni ty to check out the g iven informat ion r ight away and most of the t ime a l lows the customer to order the product onl ine without even leaving h is or her home. And you thought that the internet was only to surf and chat . In the past few years i t has grown far beyond is maiden image. To become a resource for advert is ing.

Banners on var ious homepages push you to c l ick on i t on ly to d iscover an ent i re new websi te. Interest ing and creat ive are the under ly ing aspects .

A l l to grope the reader so that he is mot ivated to go out of the way and c l ick on a banner or show any interest



in pop-ups. Some s i tes are so vaguely named that people do not hear or know about them. Internet advert isers t ry to make their web pages known but i t gets d i f f icu l t for smal l t imers to publ ic ize overseas. To so lve th is , pay-per-c l ick is the buzzword.

The cost of advert is ing on the internet is extremely economical . I t i s not yet cons idered as a strong advert is ing medium. The mega p layers in the market spend only 1% of thei r ent i re budget on th is method. I t has not yet compel led them to spend their b ig bucks, as the resul ts have not been very welcoming.

But advert isers are now looking at internet advert is ing not only as a sa les booster but to inv i te customers back to the s i te again. To increase repeated purchase and bui ld loyal ty through regular v is i ts is i ts new purpose. Some s i tes are a l ready prepared in that fashion. So appeal ing is the f ront page i t induces you to learn deeper about i t . I t a lso inc i tes you to come back for more. S imply the wonders of internet advert is ing.

The last group of advert is ing I want to ta lk about is Outdoor Advertising which is launched v ia huge bil lboards to a h ighly mobi le audience which is on the road very often. In c i t ies l ike New York and the wor ld ’s metropol ises, these b ig boards are part of the appearance of the c i ty . People commuting to and f rom work wi l l pass them, and subconscious ly take them into account . This type of advert is ing has the lowest cost per exposure of any k ind of advert isement. The boards are co lor fu l , b ig and s imply hard to ignore, and that ’s what makes them ef fect ive.

Large outdoor s ignboards d isp lay ing a product are ca l led b i l lboards. B i l lboards or hoardings are usual ly made of large wooden f rames. They are avai lable with l ight ing or wi thout l ight ing. The cost depends on the l ight ing and the space contracted.

B i l lboards are normal ly 20 feet and above. I t var ies f rom place to p lace. They are b igger at h ighway locat ions than at the ra i lways s i tes .

The b i l lboard comes to l i fe with i ts des ign. You can recru i t an ad agency to des ign your b i l lboard. Even b i l lboard companies have their own in-house agency.



However i t i s more economical to employ the b i l lboard company for your hoarding.

With modern technology d ig i ta l b i l lboards and tr i -faced b i l lboards are moving the market . Dig i ta l b i l lboards a l low long messages to run cont inuously across the screen. In Europe innovat ions are on to make d ig i ta l hoardings interact ive. Tr i - faced b i l lboards are t r iangular panels that can d isp lay three ads consecut ively . V iny l str ips are cut and p laced on these panels to make one ad d isp lay at one t ime. Thus when the panels rotate and pause you can see three d i f ferent ads. Their rotat ing movement attracts the pass ing crowd.

Some bi l lboards consume some more space than what is a l lot ted. Undoubtedly i t comes at an extra cost but the end look is extremely attract ive. For instance the Ar ie l hoarding used the c lothes c l ip above the hoarding. The red c l ips above the white hoarding were certa in ly attract ive.

A b i l lboard is v iewed most ly by those who are dr iv ing or walk ing by. Thus the hoarding has only a few seconds to make the product not iceable. Hence very few words are used on a b i l lboard or hoarding. For instance: Santro Xing - The sunshine car, Pepsi - yeah di l maange more, etc.

Placement of your hoarding too is very important . As i t g ives maximum coverage to every passer-by your target audience is lost . Hence you have to f ind which best p lace can g ive you maximum reach to your target audience bes ides the other c lasses.

Mobile Advertising

Although the personal mobi le phone is becoming very attract ive as an important advert is ing media to the network operators , i t i s re lat ive ly unproven and therefore st i l l remains in the media buyers ' s idel ines.

1.4 ADVERTISING APPEAL:

The advert is ing appeal refers to the approach used to attract the attent ion of consumers and/or to inf luence



thei r feel ings towards the product , serv ice, or cause. An advert is ing appeal can a lso be v iewed as “something that moves people, speaks to thei r wants or needs, and exci tes thei r interest .” The creat ive execut ion sty le is the way a part icu lar appeal is turned into an advert is ing message presented to the consumer.

Advert is ing appeal and execut ion are usual ly independent of each other; that is , a part icu lar appeal can be executed in var iety of ways and a part icu lar means of execut ion can be appl ied to var iety of advert is ing appeals . Advert is ing appeals tend to adapt themselves to a l l media, whereas some k inds of execut ion devices are more adaptable to some media than others .

ADVERTISING APPROACHES

Advert is ing approaches are general ly broken into two categor ies; 1. Informational/rational appeals, 2. Emotional appeal

INFORMATIONAL/RATIONAL APPEALS

In format ional / rat ional appeals focus on the consumer’s pract ica l , funct ional , or ut i l i tar ian need for the product or serv ice and emphasize features of product or serv ice and/or the benef i ts or reasons for owing or us ing a part icu lar brand. The content of these messages emphasizes facts , learn ing, and the logic of persuas ion.

Many rat ional mot ives can be used as the bas is for advert is ing appeals , inc luding comfort, convenience, economy, health, and sensory benefits such as touch, taste, and smell .

Other rat ional mot ives or purchase cr i ter ia commonly used in advert is ing inc lude quality, dependabil ity, durabil ity, eff iciency, eff icacy, and performance.

TYPES OF ADVERTISING APPEAL THAT FALL UNDER THE CATEGORY OF RATIONAL APPROACHES



1. Feature2. Competit ive advantage3. Favorable price 4. News5. Product/service popularity appeals.

1. Feature Appeal

I t focuses on the dominant t ra i ts of the product or serv ice. This ads tends to be h ighly informat ive and present the customer with a number of important product attr ibutes of features that wi l l lead to favorable att i tudes and can be used as the bas is for rat ional purchase decis ion. Technica l and h igh- involvement products such as automobi les of ten use th is type of advert is ing appeal .

2. Competit ive Advantage

When i t is used, the advert iser makes e i ther d i rect or and indi rect compar ison to another brand and usual ly c la ims super ior i ty on one or more attr ibutes.

3. Favorable Price Appeal

I t makes the pr ice of fer the dominant point of the message. Pr ice appeal advert is ing is used most of ten by reta i lers to announce sa les, specia l of fers , or low everyday pr ices. Pr ice appeal ads are often used by nat ional advert isers dur ing recess ionary t imes.

4. News Appeal

These are those in which some type of news or announcement about the product , serv ice, or company dominates the ad. This type of appeal can be used for a new product or serv ice or to inform consumers of s igni f icant modi f icat ions or improvements. This appeal works best when a company has important news i t wants to communicate to i ts target market .

5. Product/service popularity Appeal



I t s t resses the popular i ty of a product or serv ice by point ing out the number of consumers who use the brand, the number who have switched to i t , the number of experts who recommend i t , or i ts leadership pos i t ion in the market . The main point of th is advert is ing appeal is that the wide use of the brand proves i ts qual i ty or va lue and other customer should cons ider us ing i t .

EMOTIONAL APPEAL

I t re lates to the customers’ soc ia l and/or psychologica l needs for purchasing a product or serv ice. Many consumers’ mot ives for thei r purchase decis ions are emot ional , and their feel ings about a brand can be more important than knowledge of i ts features or attr ibutes.

Many advert isers bel ieve appeals to consumers’ emot ions work better at se l l ing brands that do not d i f fer markedly f rom compet ing brands, s ince rat ional d i f ferent iat ion of them is d i f f icu l t .

Many feel ings or needs can serve as the bas is for advert is ing appeals des igned to inf luence consumers on an emot ional level , as: -

Personal States or Feelings

Social Based Feelings

Safety & secur i ty Recognit ionFear StatusLove, Af fect ion RespectHappiness, Joy InvolvementNosta lg ia EmbarrassmentAchievement Aff i l iat ionSel f -esteem Reject ionActual izat ion, P leasure AcceptanceAmbit ion, Comfort Approval

Marketers use emot ional appeals in hopes that the pos i t ive feel ing they evoke wi l l t ransfer to the brand and company. Research shows that pos i t ive mood states and feel ing created by advert is ing can have a favorable



effect on consumers’ evaluat ion of brand. Studies a lso show that emot ional advert is ing is better remembered than non-emot ional messages.

TRANSFORMATIONAL ADS

Another reason for us ing emot ional appeals is to inf luence consumers’ interpretat ions of thei r product usage exper ience.

One way of doing th is is through what is known as t ransformat ional advert is ing. A t ransformat ional ad is def ined as “one which associates the exper ience of us ing the advert ised brand with a unique set of psychologica l character ist ics which would not typica l ly be associated with the brand exper ience to the same degree without exposure to the advert isement.

Transformat ional ads create feel ings, images, meanings, and bel iefs about the product or serv ice that may be act ivated when consumers use i t , t ransforming their interpretat ion of the usage exper ience. Chr istopher Puto and Wi l l iam Wel ls note that a t ransformat ional ad has two character ist ics : -

1. I t must make the exper ience of us ing the product r icher , warmer, more exc i t ing, and more enjoyable than that obta ined so le ly f rom an object ive descr ipt ion of the advert ised brand.

2. I t must connect the exper ience of the advert isement so t ight ly with the exper ience of us ing the brand that consumers cannot remember the brand without recal l ing the exper ience generated by the advert isement.

HUMOR APPEAL

Humorous ads are often the best known and best remembered of a l l advert is ing messages. Humor is general ly presented through radio and TV commercia ls as these media lend themselves to the execut ion of humorous messages. However, humor is occas ional ly used in pr int ads as wel l .



Advertisers use humor for many reasons:-

Humorous messages attract and hold consumers’ attent ion.

They enhance ef fect iveness by putt ing consumers in a pos i t ive mood, increas ing their l ik ing of the ad i tse l f and their feel ing toward the product or serv ice.

And humor can d istract the receiver f rom counter-arguing against the message. Cr i t ics argue that funny ads draw people to the humorous s i tuat ion but d istract them from the brand and i ts attr ibutes.

Also, ef fect ive humor can be d i f f icu l t to produce and some attempts are too subt le for mass audiences.

1.5 ADVERTISING AGENCY:

The h istory of advert is ing agencies in India can be traced f rom the 18th century . The f i rst advert isements appeared in the Hickely 's Bengal Gazette, India 's f i rst newspaper, a weekly magazine.

Advert is ing in the beginning was main ly for informat ive purposes rather than promot ional reasons. Today the trend is h ighl ight ing the purpose with maximum creat iv i ty . Studios were in i t iated by newspapers to enhance appearances. The studio comprises of the v isual izes, i l lustrators and a copy experts who could f ine tune the avai lable informat ion and make i t interest ing.

B. Dattaram & Co. has claimed to be the oldest agency in the advertising circuit in India establishing in 1905. In 1912 ITC, the g iant tobacco company launched Gold F lake. In the 20s fore ign advert is ing agencies entered the Indian market . Mergers and acquis i t ion were seen to g ive r ise to Ogi lvy and Mather , C lar ion etc . In 1929 J . Walter Thompson ( JWT) was establ ished to serv ice General Motors Bus iness.



Commercia l te lev is ion advert isements began in 1976. But i t was only in 1982 that Bombay Dying a i red i ts f i rst co lor TV commercia l . Between 1985 and 86 a whooping 915 brands and serv ices were v is ib le in the Indian market . Surely suggest ing the h igh r ise of the advert is ing industry.

Awards then came into being. Abbey is the award name chr istened by the advert is ing c lub. Cannes in France has become the b iggest advert is ing award. Advert is ing on the whole becomes an interest ing career . Many students now profess ional ize in th is f ie ld . These profess ionals are in demand as profess ional inputs to the industry only t ranscend i t into the next level .

Advert is ing agencies are the l ink between the product and the market . They cannot be c lass i f ied as just one serv ice provider . As they provide a bundle of serv ices to make and bui ld a brand.

Advert is ing agencies f i rst began as space sel l ing agencies. They would buy space in bulk , then sel l i t and l ive on the commiss ion gained. S lowly they began to g ive the c l ient more than just one serv ice. Media began to creep in . And s lowly the creat ive personnel too were made the p i l lars of the organizat ion. Today advert is ing agencies g ive the c l ients a 3600 v iew of thei r product .

How does an ad agency funct ion? F i rst the br ief is provided by the c l ient that is brought into the company by the c l ient serv ic ing personnel . The br ief is about what the c l ient needs to communicate to h is target audience. Target audience is categor ized according to thei r income, consumption, purchasing power etc . Once the target audience for a part icu lar product is ident i f ied the strategy to communicate the product is taken on.

The strategies are carefu l ly p lanned by strategic p lanners and then communicated to the creat ive. The creat ive team then takes on the task on how best to communicate the necessary to the common people. Smart headl ines, attract ive v isuals are then bra instormed among the creat ive personnel . F inal ized ideas are g iven b i r th to on paper, which are then presented to the c l ient .



Del iberat ions, presentat ions fo l low in the conference room and the f ina l ad to be re leased is sett led upon. Somet imes rework is demanded, somet imes correct ions are g iven unt i l the ad is f ina l ized. The est imate for media re leases as requested is p laced before the c l ient .

In-depth p lanning is undertaken for co lossal product re leases. The media too works on the est imate for days to f ina l ly sum up on the re lease p lan that wi l l g ive the product and the c l ient maximum reach.

On re lease of the ads, feedback f rom the c l ient 's end is anxious ly awaited by the agency. A good response to the ad only e levates the re lat ionship between the c l ient and the agency and stands as a mot ivator for some more good work.

Advert is ing agencies today are h ighly specia l ized companies which employ a large number of people in a var iety of bus iness and creat ive sk i l l s , inc luding advert is ing and market ing specia l is ts , des igners , copy wr i ters , art is ts , economists , psychologists , researchers , media analysts , product testers , l ibrar ians, accountants , bookkeepers, and mathemat ic ians. This bus iness sector makes b i l l ions of dol lars each year , depending on the economical growth and development of a country but a lso enhancing exact ly th is .

The agencies make money in d i f ferent ways, buying t ime for an ad on radio or te lev is ion for a customer or space for an ad in a newspaper of magazine.

They a lways keep up to 15% of the cost as a commiss ion, which has become a standard in the advert is ing industry and covers a huge part of the agency’s income. Of course, the range of of fers of an agency is much b igger than s imply provid ing space or t ime for ads on TV, radio, newspapers or magazines. They of fer thei r customers whole packages of approaches for a speci f ic populat ion group.

1.6 CONTEMPRORY ADVERTISING:

With the changing media used by advert isers ,



advert isement i tse l f changed qui te a b i t . So far the ads t r ied to present a product and make the consumer bel ieve in the b ig advantages of i t . Today, advert isers t ry to create certa in images around their products , which draw a greater attent ion to the customers and make them st ick th is speci f ic product . Th is so-ca l led “creat ive revolut ion” had i ts or ig in in the 1950s and 1960s when prominent advert is ing agencies stated that good advert is ing has to begin with the respect for the publ ic ’s inte l l igence and therefore have to be understated, sophist icated and wit ty .

Th is statement is even more important for today’s commercia ls on TV, s ince the technology has made i t poss ib le for the v iewer to use the remote contro l to change the channel whi le the commercia ls are on. I f i t i s not interest ing to the v iewer he wi l l s imply f l ip to another channel avoid ing the commercia l .

New dig i ta l devices make i t even poss ib le to edi t out commercia ls in order to watch a “commercial free” movie or show.

1.7 IMPACT OF ADVERTISING :

The advert is ing bus iness has become such an important factor in the economy in many countr ies , especia l ly in the United States, that i t a lso changes the economy i tse l f , soc iety, cu l ture, and the pol i t ica l system. The st imulat ion for the demand of products and serv ices helps the economy grow stronger and stronger. New invent ions become known much faster and can establ ish their spot in the sa les f igures of the economy. I f there are more people buying these products the overa l l costs wi l l drop and the product wi l l become cheaper for the customer which ra ises h is wi l l ingness to buy even more. On the other hand advert isements are very expensive and some economists bel ieve that these costs are put on top of the actual pr ice paid by the customer.

In th is sense, the growth and development of

advert is ing performs two major economic funct ions with in



the process of Tran nat ional izat ion of Thi rd Wor ld economies:

1. The consumption of l ight consumer goods which tend to be those associated with high levels of advertising and high profit levels; and2. The raising of barriers to entry in many industries which obstructs competit ion and promotes concentration.

Whi le , theoret ica l ly , advert is ing informs the populat ion about a broad range of goods and serv ices, a c loser look reveals that only certa in speci f ic types of product are advert ised.

This narrow range of product types is even more l imited in the case of te lev is ion where even fewer f i rms are represented. In v i r tual ly a l l parts of the non-soc ia l is t wor ld , those products most widely advert ised tend to be soaps, detergents , tobacco, over- the-counter drugs and remedies, perfumes, deodorants , toothpaste, prepared foods, beer and soft dr inks.

Cr i t ics argue that advert is ing can a lso have a huge inf luence on society . I t te l ls the consumers that only purchasing products makes you happy and therefore people compare each other on their belongings. Women a lso compare themselves with the beaut i fu l and very sk inny models they see on commercia ls and ads.

Th is somet imes resul ts in eat ing d isorders and a low sel f -esteem of women who don’t look l ike these models . Another bad ef fect is , that minor i ty groups, especia l ly in the United States are portra i t in a subordinate pos i t ion, which sett les in the minds of people. Commercia ls are a lso an important part of the income of a TV stat ion which leads to the suspic ion that a news channel might not report on an inc ident about a company they depend on.

A lot of TV shows are a lso based on these commercia ls , and i f the rat ings aren’t good enough the show wi l l be stopped. Only those shows which attract a lot of v iewers wi l l be shown, which is not very d i f ferent iated and put minor i t ies l ike o lder people at a d isadvantage. Advert is ing can a lso have an impact in polit ics . $ 467



mil l ion were spent on advert isements and TV commercia ls in the e lect ions of 1998. I t g ives the opponents the chance to respond to charges very quick ly reaching a few mi l l ion v iewers. But s ince th is is very expensive only very r ich people have to chance to run for a pol i t ica l pos i t ion or at least depend on the donat ion of wealth ier people who could have a huge impact on democracy th is way. The pol i t ica l issues ta lked about in an e lect ion are a lso very much s impl i f ied because the spots are only about 30 seconds long, and you can’t real ly d iscuss a lot in such a short per iod of t ime.

There is f ina l ly the impact advert is ing can have on the culture o f a country. The g lobal ized economy uses the same commercia ls in a lot of d i f ferent countr ies , which leads to a break down in the d i f ferences of these soc iet ies . Chi ldren wi l l grow up not knowing how their cu l ture has been before in thei r country. I t can a lso lead to a lot of d iscuss ion about moral va lues.

The patterns of product ion determine, to a s igni f icant degree, the patterns of consumption. S ince product ion is increas ingly determined by transnat ional f i rms, i t fo l lows that these same f i rms must increas ingly determine consumption habi ts compat ib le with thei r product ion wherever thei r products are manufactured and d istr ibuted. This sh i f t of consumption habi ts and the associated cul tura l changes brought about by advert is ing is recognized not only by the cr i t ics of advert is ing but by the advert is ing industry i tse l f .

The industry, however, stresses the educat ional va lue of advert is ing as a mechanism for br inging backward peoples into the modern wor ld .

However, the process of t ransnat ional izat ion of consumption and the creat ion of a new consumer cul ture is not a harmonious process. The local cu l turesdo not a lways pass ively accept new customs and new products .

Most d iscuss ions of advert is ing's d i rect impact have concentrated on the more immediate forms of in f luence. Advert isers themselves have tended to regard ef fects as more or less synonymous with the ef fect iveness of speci f ic campaigns. They have been interested in



whether people have been persuaded to switch brands, been encouraged to t ry a new product , or become more favorably d isposed towards a company as a resul t of ef forts to improve i ts corporate image.

1.8 ADVERTISING INDUSTRY IN INDIA

Ind ia has been among the fastest growing economies in the wor ld , wi th a nominal GDP CAGR of 9.94% over the last 10 years (1995-2005) . The nominal GDP for f isca l 2005 was Rs. 30,636 b i l l ion. According to CSO est imates, nominal GDP growth for f isca l 2006 is est imated at 10.9%. There is a corre lat ion between the economic growth rates of a country i .e . the nominal GDP growth rate, and growth rates of the advert is ing industry.

Indian Advertising Industry

The Indian advert is ing spends, as a percentage of GDP, is 0 .34%, which lags behind other developed and developing countr ies .

Graph 1.9.1

During f isca l 2005, the gross advert is ing spend in India is est imated at Rs 111 b i l l ion, and is expected to grow at 14.2% to reach Rs. 127 b i l l ion by f isca l 2006.



Graph 1.9.2

The key factors which have contributed to growth of the Indian advertising industry include:

Rapid economic growth of the country on the back of economic l ibera l izat ion and deregulat ion

Increase in consumer prosper i ty Entry of g lobal consumer companies with large

advert is ing budgets Higher degree of compet i t ive intens i ty among

consumer companies; and Growth in media vehic les leading to increase in

media penetrat ion

Segmentation of Advertising Spends

The f ive key industry segments comprise pr int , te lev is ion, radio, c inema, and outdoor . These d i f ferent segments with in the industry are at vary ing stages of growth and corporat izat ion.



Media Spends as % of Total Ad SpendYear Print TV Radio Cinema Outdoor Internet2000 49.0% 39.3% 2.5% 0.5% 8.4% 0.3%2001 48.4% 40.6% 2.7% 0.4% 7.5% 0.4%2002 47.2% 41.9% 2.9% 0.7% 7.0% 0.4%2003 46.6% 43.0% 2.9% 0.7% 6.5% 0.4%2004 46.3% 43.7% 2.9% 0.6% 6.0% 0.3%

Table 1.9.1The Indian te lev is ion industry has grown rapid ly ,

especia l ly s ince 1991, which saw the beginning of sate l l i te broadcast ing in India . This growth was a lso a ided by the economic l ibera l izat ion program of the Government. The growth of the sate l l i te te lev is ion audience saw pro l i ferat ion of a number of sate l l i te te lev is ion channels of fer ing more choices to media buyers and consumers of enterta inment. Thus, the te lev is ion broadcast ing bus iness, which started of f as a s ingle government contro l led te lev is ion channel , now has over 300 channels cover ing the Indian footpr int , resul t ing in growing ad spends on th is medium. Reforms and pro l i ferat ion of pr ivate p layers were the key reasons for th is rapid growth of the share of te lev is ion in the advert is ing industry.

S imi lar ly , sectora l reforms and increased number of p layers could dr ive market expansion for emerging media segments inc luding radio, outdoor , c inema and internet .



INTRODUCTION OF SOAP INDUSTRY

Soap Industry cons ists of more than 2,000 factor ies , 150 in organized sector and the rest are cottage industr ies meet ing the needs of consumer in lower economic c lass , manufactur ing one of the most essent ia l i tem “Soap” used by every person, every home, every day. A l though soap is general ly known as a c leaning agent and most of the soap today produced is for c leaning purposes, i t f inds extens ive use in many d ivers i f ied f ie lds such as process ing of text i le , paper industry etc . The important character ist ics of soap is i ts abi l i ty to act as an emuls i f ier by removing d i r t , penetrat ing porous mater ia ls d ispersal of so l id part ic les removal of o i l and grease and product ion of foam when shaken or st i r red.

2.1 WHAT IS SOAP?

Soap is made by combining ta l low (or other hard animal fat) or vegetable or f ish o i l wi th an a lka l ine so lut ion. The two most important a lka l is in use are caust ic soda and caust ic potash. Soap can be d ist inguished f rom Non-soapy detergents (NSDs) by their composi t ion where NSDs are largely made f rom petro leum by-products . Both soaps and the NSDs can be formulated as bars , powders, f lakes or l iqu ids.



Formulation and uses of soaps & non-soapy detergents:

Table 2.1.1In general , the more evolved the market , the more

species of soap products wi l l be found in a consumers’ household. Hence, in a developed country specia l soaps or NSDs may be used for washing: co lored c lothes; white c lothes; del icate c lothes; d ishes; hands; windows; f loors; to i lets ; k i tchen surfaces; carpets; for bath ing, shower ing and shampooing of ch i ldren, babies, adul ts and teenagers’ (and teenage faces) . In emerging markets one or two types of soap may serve a l l o f these purposes. More recent ly new soap- l ike c leansing bars made of NSDs have appeared on the market . These overcome the problem of soap not performing wel l in areas of hard water and can have a less dry ing ef fect on the sk in (e .g. Dove ) .

Fats & Oils in main commercial use for soap making

Table 2.1.2



2.2 SOAP-A BRIEF HISTORY:

Soap was probably d iscovered by Stone Age woman who saw that the combined res idues of ash and fat found in a f i re af ter roast ing a beast made a usefu l c leaning compound. In 600 BC the soap made by the Phoenic ians f rom ta l low and beech ashes was probably used as hair pomade, rather than for washing. The use of soap in personal hygiene is f i rst recorded in the second century AD when the phys ic ian Galen (130–200AD) ment ions i ts use for washing the body Soap making in Europe was establ ished by the end of the f i rst mi l lennium, with important centres at Marsei l les and Savona, where o l ive o i l was used instead of ta l low.

2.3 MARKET FOR SOAP:

Soap is general ly c lass i f ied as a staple commodity a longside detergents . I t a lso f igures in the personal wash and personal care markets . Only rare ly are stat ist ics for soap d i rect ly separable f rom those for detergents or f rom to i letr ies . Recent market analys is by Euromonitor (2000) shows that in 1999 soaps and detergents together represented around 12.4 % of consumer expenditure on household goods in industr ia l ized countr ies and between 2.6 % to 5 % in the developing wor ld .

For the developed economies th is ref lects the growing matur i ty of the market and intense pr ice compet i t ion in the market p lace. The report however suggests that there is much greater scope for marketers to induce consumers in the emerging markets to ra ise consumption levels . The same analys is showed that bar and l iqu id soaps accounted for around 40% of the personal wash sector and around 7% of the tota l personal care market wor ldwide in 1999.

2.4 GLOBAL SOAP INDUSTRY:

The g lobal soap market is dominated by a smal l number of mult inat ional companies. Soap is only one



sector of thei r product ranges. In mult inat ional companies such as Uni lever and Procter & Gamble, soap and detergent ranges typica l ly account for less than 20% of group turnover ( in 1999) . Major costs such as research and development, and advert is ing can be spread across the whole company structure. In the developed wor ld , these mult inat ionals face compet i t ion f rom the major supermarkets who are increas ingly introducing own brand products .

In the developing wor ld , the compet i t ion to the mult inat ionals comes f rom local companies, and f rom smal l , art isan producers , who sel l in markets or house to house. The largest to i let soaps and detergents only company, by volume sales, is the Uni lever Group, which has strong presence in a l l regional markets in the wor ld .

The top ten leading manufacturers and d istr ibutors of soap wor ldwide account for more than 55% of tota l sa les by value in 1999, tota l l ing in excess of US$80 b i l l ion.

TOP 10 LEADING GLOBAL PLAYER IN SOAP INDUSTRY 1

The major p layers in the internat ional market contro l the major brands in thei r respect ive market sectors , and have the f inancia l and market ing muscle to combat the ever- increas ing threat of compet i t ion. These manufacturers tend to house fami l ies of products , not necessar i ly in the same sector , under a general brand ident i ty .

For example, Colgate Palmol ive produces bar soap, l iqu id soap, shower gel , and shampoo, a l l under the brand name: Palmol ive, for the Afr ican/Middle Eastern market .

1 Here we have taken top10 companies in 1999 because of unavailability of current data. So, do consider it.



Table 2.4.1

For the As ian market , the brand is extended to inc lude Palmol ive Botanica ls , Pa lmol ive Natura ls and Palmol ive Opt ima. This is done to maximize the impact of advert is ing and promot ion act iv i ty , as wel l as to promote brand loyal ty . General ly , the b ig f i rms operate strong indiv idual brand ident i t ies for thei r core products .

ANALYSIS OF ADVERTISEMENTS

3.1 LUX:

Lux stands for the promise of beauty and g lamour as one of India 's most t rusted personal care



brands. Lux cont inues to be a favor i te with generat ions of users for the exper ience of a sensuous and luxur ious bath.

S ince i ts launch in India in the year 1929, Lux has of fered a range of soaps in d i f ferent sensuous co lors and wor ld c lass f ragrances. 2003 saw one of the b iggest mi lestones in the h istory of Lux. From being just a beauty soap of f i lm stars , Lux recognized the need for a compel l ing message about beauty that would resonate with women of today.

Lux is avai lable in four d i f ferent var iants – Exot ic f lower peta ls and Jo joba Oi l , A lmond Oi l and Mi lk Cream, Fru i t Extracts and Honey in Mi lk Cream and Sandal Saf f ron in Mi lk Cream.

Television Advertisements:

3.1.1 LUX ORCHID WITH JOJOBA OIL:

Analysis of Advertisement

PRODUCT NAME Lux Orchid with rose & jo joba o i l

COMPANY NAME Hindustan Uni leverSLOGAN “Naya Lux orchid,mujme Star

jagaye”PUNCH LINE “Mer i tarah j iyoge?”MEDIA Televis ion



CELEBRITY Aishwarya RaiSEGMENTATION Gir ls , WomenTARGET AUDIENCE Gir ls , Women, Husbands etc .POSIT IONING STRATEGY Posi t ion ing By Product UsersAPPEAL Emot ional appeal , Sel f -esteemTIME OF ADVERTISEMENT

Pr ime-t ime shows on popular channels l ike star p lus, Sony etc .

FREQUENCY Dai ly 15 to 20 t imes

3.1.2 LUX CELEBRETION OF 75 T H ANNIVERSIRY

C


PRODUCT NAME Lux COMPANY NAME Hindustan Uni leverSLOGAN “Ab Bataye Apka Favour i te Lux

Star Kaun?”PUNCH LINE “Brand need super star” for

that “Main Hoon Na”MEDIA Televis ionCELEBRITY Shahrukh Khan, Hema mal in i ,

Shr idevi , Kareena Kapoor, Juhi Chavla.

SEGMENTATION Gir ls , WomenTARGET AUDIENCE Gir ls , Women, Shahrukh khan’s

fans etc .POSIT IONING STRATEGY

Posi t ion ing By Product Users

APPEAL



TIME OF ADVERTISEMENT



3.1.3 LUX NEW RANGE


PRODUCT NAME Lux Almond, jo joba o i l , orchid touch, white g low etc .

COMPANY NAME Hindustan Uni leverSLOGAN “Kya India main sub Aishwarya

ja isa lagta hai?”PUNCH LINE “”MEDIA Televis ionCELEBRITY AishwaryaSEGMENTATION Gir ls , WomenTARGET AUDIENCE Gir ls , Women, A ishwarya’s fan

who want be l ike her .POSIT IONING STRATEGY


APPEAL Status, Fantasy execut ionTIME OF ADVERTISEMENT



Print Advertisement:

3.1.11 LUX ORCHID WITH JOJOBA OIL:



(Famina Magazine)

Analysis Of advertisement

PRODUCT NAME Lux orchid with Jo joba o i lCOMPANY NAME Hindustan Uni leverSLOGAN “Mer i tarah j iyoge?”PUNCH LINE “Br ing out the star in me”MEDIA News paper, magazine, outdoorCELEBRITY AishwaryaSEGMENTATION Gir ls , WomenTARGET AUDIENCE Gir ls , Women, A ishwarya’s fan


Posi t ion ing By Product Users , By Pr ice of fer

APPEAL Status, Favorable Pr iceTIME/MEDIUM OF ADVERTISEMENT

Famina & Gruhshobha Magazine, Local news paper l ike “Gujarat Samachar”

FREQUENCY In dai ly news paper & in Magazine Monthly once



(Gujarat Samachar)

3.1.12 LUX INTERNATIONAL CREAMY WHITE:


PRODUCT NAME Lux internat ional creamy whiteCOMPANY NAME Hindustan Uni leverSLOGAN “Now your favor i te cream soap is

even more i r res ist ib le”PUNCH LINE “Thirst ing for cream?”MEDIA News paper, magazine, outdoorCELEBRITY Aishwarya



SEGMENTATION Gir ls & Women with dry sceneTARGET AUDIENCE Gir ls , Women, A ishwarya’s fan


Posi t ion ing By Product Users , By Pr ice of fer

APPEAL Favorable Pr iceTIME/MEDIUM OF ADVERTISEMENT

Women magazines l ike Famina & Gruhshobha Magazine, ch i t re lekha Local news paper l ike “Gujarat Samachar”, Nat ional paper l ike ET & TOI

FREQUENCY In dai ly news paper & in Magazine Monthly once or fortn ight

3.1.13 LUX CHOCOLATE


PRODUCT NAME Lux Chocolate Seduct ionCOMPANY NAME Hindustan Uni leverSLOGAN -- - - - - - -PUNCH LINE “Skindulgence”MEDIA News paper, magazine, outdoorCELEBRITY Kareena KapoorSEGMENTATION Gir ls & WomenTARGET AUDIENCE Gir ls , Women, Kareena’s fan

who want be l ike her .



POSITIONING STRATEGY

Posi t ion ing By Product Users , By product attr ibutes

APPEAL Feature Appeal , Exc i tementTIME/MEDIUM OF ADVERTISEMENT



3.1.14 LUX WHITE SPA BODY WASH:

Analysis of advertisement

PRODUCT NAME Lux SPA Body washCOMPANY NAME Hindustan Uni leverSLOGAN “I f you have got i t f launt i t”PUNCH LINE “* * X Appeal”MEDIA News paper, magazine, outdoorCELEBRITY Kareena KapoorSEGMENTATION Gir ls & WomenTARGET AUDIENCE Gir ls , Women, Kareena’s fan who

want be l ike her .POSIT IONING STRATEGY

Posi t ion ing By Product Users , By product attr ibutes, Product C lass



APPEAL Feature Appeal , Exc i tement, Pr ide appeal

T IME/MEDIUM OF ADVERTISEMENT



3.2 FAIR & LOVELY:

A woman's pass ion for beauty is universal and cater ing to th is strong need is Fa i r & Lovely . Based on a revolut ionary breakthrough in sk in l ightening technology, Fa i r & Lovely was launched in 1978.

The formulat ion is patented. I ts formulat ion acts safe ly and gent ly with the natura l renewal process of the sk in, making complexion fa i rer over a per iod of s ix weeks.

The brand today of fers a substant ive range of products , inc luding Ayurvedic Fa i r & Lovely Fa i rness cream, Fai r & Lovely Ant i -Marks cream, Fai r & Lovely Oi l contro l Fa i rness Gel , Fa i r & Lovely for Deep Skin and Fai r & Lovely Fa i rness Soap. The latest has been the Perfect Radiance, a complete range of 12 premium skincare so lut ions f rom Fair & Lovely .

Television Advertisement:

3.2.1 FAIR & LOVELY SOAP


PRODUCT NAME Fair & Lovely SoapCOMPANY NAME Hindustan Uni leverSLOGAN Jo chaandni sa n ikhar banaaye



rakhe. Saabun nahin. Ek tukda chaand ka . "

PUNCH LINE Pesh hai ek tukda chaand ka. Naya Fa i r & Lovely fa i rness soap

MEDIA Televis ionCELEBRITY Bhumika ChawlaSEGMENTATION Gir ls & WomenTARGET AUDIENCE Gir ls , WomenPOSITIONING STRATEGY

Posi t ion ing By Product Users , By product attr ibutes

APPEAL Fantasy, Pr ide appeal , P leasureTIME/MEDIUM OF ADVERTISEMENT

Pr ime t ime show at noon t ime & a lso at n ight on popular commercia l channels l ike star p lus etc .

FREQUENCY By observ ing proper ly on f requency of HUL products ads is more on “Durdarshan”. So general f requency was around 15 to 20 t imes. But now i t is around 5 t imes a day on “Durdarshan”

3.3 BREEZE:

Breeze Scent Magic is the soap which fu l f i l l s the aspirat ions of women of rura l India . Breeze has of fered them 'beauty at an af fordable pr ice ' , making them look and feel beaut i fu l .

Breeze comes in 4 exot ic f ragrances – Rose, Sandal , L ime and Rajn igandha. A l l th is at a very af fordable pr ice for the masses.

Print Advertisement

3.3.1 BREEZE




PRODUCT NAME BreezeCOMPANY NAME Hindustan Uni leverSLOGAN -- - - - - - - - - - - - - -PUNCH LINE “Magic Of Scent” , “Scent Ka

Kamal Sabbun Main”MEDIA Bi l l Boards, news Paper,

MagazinesCELEBRITY - - - - - - - - - - - - - - - -SEGMENTATION Gir ls & WomenTARGET AUDIENCE Gir ls , WomenPOSITIONING STRATEGY

By product attr ibutes & Benef i ts

APPEAL -- - - - - - - - - -T IME/MEDIUM OF ADVERTISEMENT

News Papers , Magazines L ike Famina, Stardust & a lso by b i l lboard

FREQUENCY In dai ly news paper & in Magazine Monthly once or fortn ight .

3.4 LIFE BUOY:

Li febuoy’s v is ion is , “Making a b i l l ion Indians feel safe and secure by meet ing a l l thei r heal th and hygiene needs”.

True to i ts v is ion, the wor ld 's largest se l l ing soap, of fers a compel l ing heal th benef i t to the ent i re fami ly . Launched in 1895, L i febuoy, for over 100 years , has been synonymous with heal th and value. The honest & hard work ing soap, wi th i ts d ist inct ive perfume and popular j ing le, has carr ied the L i febuoy



message of heal th across the length and breadth of the country.

The re launch of the soap in 2002, 2004 & again in 2006 have been turn ing points in i ts h istory. The new mix inc ludes a new formulat ion and a reposi t ion ing to make i t more re levant to both new and exist ing consumers.

L i febuoy is now in a super ior formulat ion of fer ing a new heal th f ragrance and a contemporary shape. The new formulat ion of fers a s igni f icant ly super ior bath ing exper ience and sk in feel .

Apart f rom L i febuoy tota l , i t has a lso strongly bui l t i ts other core var iants l ike L i febuoy deofresh – targeted at f reshness, L i febuoy nature – contain ing a l l the goodness of nature and L i febuoy care – for sens i t ive sk in.

L i febuoy a lso of fers speci f ic heal th benef i ts through specia l ised product formats l ike L i febuoy HandWash & L i febuoy Clearsk in, which provides t reatment and protect ion against acne.

Television Advertisement

3.4.1 LIFE BUOY




PRODUCT NAME Li fe BuoyCOMPANY NAME Hindustan Uni leverSLOGAN Li fe Buoy “Ki tanu se de 100%

behetar Surksha”PUNCH LINE "Koi dar nahin . "MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Chi ldrenTARGET AUDIENCE Chi ldren, MothersPOSITIONING STRATEGY

By product attr ibutes

APPEAL Dramat izat ion, Emot ional Appeal , Feature Appeal , Safety

TIME/MEDIUM OF ADVERTISEMENT

General ly on cartoon channels & k ids channels & k id shows a lso dur ing match & pr ime show on the popular channels

FREQUENCY These types of ads are having more f requency to attract ch i ldren. General f requency around 20 to 25 t imes

3.4.2 LIFE BUOY


PRODUCT NAME Li fe BuoyCOMPANY NAME Hindustan Uni leverSLOGAN Li fe Buoy “Baki sabbuno se 100%

behetar”PUNCH LINE “Proof Kya Hai”MEDIA Televis ion



CELEBRITY A Common Man, Chi ldSEGMENTATION Chi ldren & Human BeingTARGET AUDIENCE Chi ldren, MothersPOSITIONING STRATEGY


APPEAL Dramat izat ion, Fear Appeal , Feature Appeal , Safety, Sc ient i f ic Ev idence, compar ison appeal


General ly on cartoon channels & k ids channels & k id shows a lso dur ing match & pr ime show on the popular channels

FREQUENCY These types of ads are having more f requency to attract ch i ldren. General f requency around 20 to 25 t imes

3.4.3 LIFE BUOY NEW


PRODUCT NAME Li fe BuoyCOMPANY NAME Hindustan Uni leverSLOGAN "Haan. L i febuoy badal gaya hai .

Khushboo badal gayi hai . Taazgi badal gayi hai . "

PUNCH LINE "Naye L i febuoy se nahaaya kya?"MEDIA Televis ion



CELEBRITY A Common Man, Chi ldSEGMENTATION Chi ldren & Human BeingTARGET AUDIENCE Men, WorkersPOSITIONING STRATEGY


APPEAL Dramat izat ion, Feature Appeal .T IME/MEDIUM OF ADVERTISEMENT

Dur ing match & pr ime show on the popular channels , News Channels A lso

FREQUENCY 15 to 20 t imes a day.

3.4.4 LIFEBUOY INTERNATIONAL PLUS


PRODUCT NAME Li fe Buoy Internat ional P lusCOMPANY NAME Hindustan Uni leverSLOGAN Is mein hai ta lc jo paseene ko

sukhe aur deo boost jo ghanton bhar khushboo de."

PUNCH LINE "Tan k i durgand? Woh kya hota hai?"

MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Human Being, person have odour

problem TARGET AUDIENCE Men, Person have odour problemPOSITIONING STRATEGY

By product attr ibutes & benef i ts

APPEAL Dramat izat ion, Fear Appeal , s l ice of l i fe , embarrassment appeal .


Dur ing match & pr ime show on the popular channels .

FREQUENCY 15 to 20 t imes or more dur ing



cr icket a day

3.4.5 LIFE BUOY INTERANTIONAL GOLD


PRODUCT NAME Li fe Buoy Internat ional GoldCOMPANY NAME Hindustan Uni leverSLOGAN "Muhaase? Problem. Upaay,

L i febuoy Internat ional Gold, jo ch iknaayi hataaye aur k i tanuon ka safaaya kare.

PUNCH LINE "Muhaase? Woh kya hota hai?"MEDIA Televis ionCELEBRITY A common gir lSEGMENTATION Gir ls , Women, Specia l Gi r ls or

women who have P imple problemTARGET AUDIENCE Gir ls or women who have p imple

problemsPOSITIONING STRATEGY

By product attr ibutes & benef i ts

APPEAL Dramat izat ion, Fear Appeal , s l ice of l i fe .


Pr ime t ime shows dur ing noon & n ight

FREQUENCY 15 to 20 t imes a day.

3.5 LIRIL:

For 28 years , f reshness has been c lear ly ident i f ied with one name – L i r i l

Li r i l express ions have a lways set t rends whether i t i s a bath ing beauty in a waterfa l l or "Oof Yu Maa!" The

energy and exci tement levels assoc iated with the brand have to be exper ienced to be bel ieved with changing t imes. L i r i l



has donned many avatars; Present ly , L i r i l Soft A loe Vera & L ime, L i r i l Icy Cool and L i r i l Orange splash are making waves.


3.5.1 LIRIL SOAP


PRODUCT NAME Lir i lCOMPANY NAME Hindustan Uni leverSLOGAN J ingle “La I ra I la”PUNCH LINE "Naye L i r i l ka jadoo, A loe Vera

aur l ime ke saath.MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Human BeingTARGET AUDIENCE Men, women, CouplePOSITIONING STRATEGY

By Product Attr ibutes

APPEAL Affect ion, Emot ional Appeal , Recognit ion, Joy.


Dur ing match & pr ime show dur ing n ight & noon t ime on the



popular channels .FREQUENCY 15 to 20 t imes a day.

3.5.2 LIRIL SOAP


PRODUCT NAME Lir i lCOMPANY NAME Hindustan Uni leverSLOGAN -- - - - - - - - - -PUNCH LINE 'Taazgi mer i marz i . 'MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Gir ls , WomenTARGET AUDIENCE Gir ls , WomenPOSITIONING STRATEGY

By Product Benef i ts

APPEAL Dramat izat ion, JoyTIME/MEDIUM OF ADVERTISEMENT

Pr ime show dur ing n ight & noon t ime on the popular channels .

FREQUENCY 15 to 20 t imes a day & more Dur ing Summer

3.6 PEARS:

Introduced in India in 1902, Pears soap has no equal . I t i s gent le enough, even for baby's sk in .

Pears is manufactured l ike any other soap, but unl ike in convent ional soaps, the g lycer in is reta ined with in the soap. That is the cause i f i t ’s unique transparency.



After manufactur ing, the soap is mel lowed under contro l led condit ions over weeks. At the end of th is matur ing process, i t i s ind iv idual ly pol ished and packed in cartons.

Today Pears is avai lable in three var iants - the t radi t ional amber var iant , a green var iant for o i l contro l and a b lue var iant for germ protect ion.


3.6.1 PEARS


PRODUCT NAME PearsCOMPANY NAME Hindustan Uni leverSLOGAN "Ais i Pears twacha aur kahan?"PUNCH LINE “Shudh sparsh. Shudh Pears .”

“Pears . Pure & gent le .”MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Women, Gir ls .TARGET AUDIENCE Women, Chi ldrenPOSITIONING STRATEGY

By Product Attr ibutes

APPEAL Emot ional Appeal , Af fect ionTIME/MEDIUM OF ADVERTISEMENT

Dur ing Pr ime shows of n ight & noon t ime on the popular channels .

FREQUENCY 15 to 20 t imes a day & more in Winter season



3.6.2 PEARS OIL CLEAR


PRODUCT NAME Pears Oi l C learCOMPANY NAME Hindustan Uni leverSLOGAN "Naya Pears Oi l C lear . F izu l

ch iknayi hataaye. Zaroor i nami bachaaye. Twacha ko rakhe masoom."

PUNCH LINE "Naya Pears Oi l C lear . Yani no fear ."

MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Women, Gir ls .TARGET AUDIENCE Women, Gir ls specia l g i r ls or

women having o i ly scenePOSITIONING STRATEGY

By Product Attr ibute & benef i t

APPEAL Fear Appeal , re ject ionTIME/MEDIUM OF ADVERTISEMENT


FREQUENCY 15 to 20 t imes a days & specia l ly more in summer.



3.7 DOVE:

Dove soap, which was launched by Uni lever in 1957, has been avai lable in India s ince 1995.

I t provides a refreshingly real a l ternat ive for women who recognize that beauty is not s imply about how you look, i t i s about how you feel .

Whi le Dove soap bar is widely avai lable across the country, Dove Body Wash is avai lable in se lect out lets . Global ly , Dove has been extended to many other countr ies .

S ince the 1980s, for example, Uni lever has launched a moistur is ing body-wash, deodorants , body lot ions, fac ia l c leansers and shampoos and condit ioners , provid ing a comprehensive range of so lut ions to br ing out t rue inner beauty.


DOVE SOAP


PRODUCT NAME Dove Cream BarCOMPANY NAME Hindustan Uni leverSLOGAN - - - - - - - - - - - -PUNCH LINE - - - - - - - - - - -MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Women, Gir ls .TARGET AUDIENCE Women, Gir lsPOSITIONING STRATEGY

By Product Attr ibute & benef i t .

APPEAL Informat ional Appeal , Sc ient i f ic Ev idence





FREQUENCY 10 t imes a days

3.8 CINTHOL:

Today in the market , C inthol has three d ist inct var iants , borne out of market needs and consumer studies. C inthol Deodorant & Complexion soap cont inues to operate in the 'heal thy sk in ' category.

The soap of fers numerous 'do-good' benef i ts such as tota l and complete sk in protect ion.

C inthol L ime Fresh, C inthol Sk in Fresh & Cinthol Deo Soap are p layer in the ' f reshness ' category.


3.8.1 CINTHOL LIME FRESH


PRODUCT NAME Cinthol L ime FreshCOMPANY NAME Godrej Consumer ProductsSLOGAN "Naya Cinthol L ime Fresh. Isse

mi le n imboo k i gehr i safaayi , jo twacha KO swachh, u jwal banaaye."

PUNCH LINE 'Swacch u j jwal twacha, k i tn i aakarshak

MEDIA Televis ionCELEBRITY A Common Man



SEGMENTATION Women, Gir lsTARGET AUDIENCE Women, Gir ls , MenPOSITIONING STRATEGY


APPEAL Informat ional Appeal , Acceptance




3.8.2 CINTHOL SKIN FRESH


PRODUCT NAME Cinthol Sk in FreshCOMPANY NAME Godrej Consumer ProductsSLOGAN “Naya Cinthol Sk in f reshwith

orange extract achha Accha kyonki twacha mein daale anokhi jaan. Bura kyonki sabka d i l kare puker thei r l ips”

PUNCH LINE "Naya Cinthol Sk in Fresh with orange extracts .

MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Women, Gir lsTARGET AUDIENCE Women, Gir ls , MenPOSITIONING STRATEGY


APPEAL Fantasy, pr ide appealT IME/MEDIUM OF ADVERTISEMENT

Dur ing Pr ime shows of n ight & noon t ime on the popular



channels .FREQUENCY 10 t imes a daysPrint Advertisement

3.8.11 CINTHOL DEO SOAP


PRODUCT NAME Cinthol Deo soapCOMPANY NAME Godrej Consumer ProductsSLOGAN - - - - - - - - - - - - -PUNCH LINE “Get Ready Get Closure”MEDIA Magazines, B i l l boards, News

Paper general ly local news paper

CELEBRITY A Common ManSEGMENTATION Women, Gir ls , person with

odour problemTARGET AUDIENCE Women, Gir ls , Men, person

with odour problemPOSITIONING STRATEGY By Product Attr ibute &

benef i t .APPEAL Joy, Af fect ion appealT IME/MEDIUM OF ADVERTISEMENT

Magazines L ike Gruh Shobha, star dust , F i lm fare etc .& News papers l ike Divya Bhaskar , sandesh etc .

FREQUENCY Dai ly news paper more dur ing summer a lso on b i l l board maximum a week and in magazines once a month or quarter ly .



3.9 PONDS:Pond's has been synonymous with sk in care in India

s ince 1947.

The impress ive t rack record of Pond's began when Theron T Pond, a pharmacist f rom Ut ica New York, introduced 'Pond's Golden Treasure' in 1846, a witch-hazel based wonder product . In 1914, Pond's Cold Cream and Vanishing Cream marked the brand's evolut ion to a beauty icon. In 1955 Pond's Extract Company merged with Chesebrough Manufactur ing and in 1987 Uni lever purchased Chesebrough-Pond's . By th is t ime the Pond's brand had bui l t up a powerfu l internat ional presence.


PONDS DAILY FACE WASH


PRODUCT NAME Ponds Dai ly Face washCOMPANY NAME Hindustan Uni leverSLOGAN "Naya Pond's face wash. Iska

75% zyaada jhaag, sk in ko rakhe andar se saaf ."

PUNCH LINE “Gahar i Safa i Komlata Ke sath”MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Women, Gir ls specia l ly work ing

womenTARGET AUDIENCE Women, Gir ls , specia l ly work ing

women



POSITIONING STRATEGY

By Product Attr ibute & benef i t , By Product use or Appl icat ion

APPEAL Informat ional appeal , se l f –esteem, Respect




3.10 MARGO SOAP:Henkel Spic India has decided to invest between Rs

6 crore to Rs 7 crore in an ef fort to widen and broadbase the appeal of two of i ts f lagship brands, Margo and Neem.Television Advertisement

MARGO SOAP


PRODUCT NAME Margo Neem SoapCOMPANY NAME Henkel sp ic IndiaSLOGAN Naya Margo Or ig inal Neem, i sme

hai act ive neem formula jo twacha ko rakhe b i lku l c lear

PUNCH LINEMEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Women, Gir lsTARGET AUDIENCE Women, Gir lsPOSITIONING STRATEGY

By Product Attr ibute & benef i t ,

APPEAL Pr ide, respectTIME/MEDIUM OF ADVERTISEMENT





3.11 JO BEAUTY SOAP:

In May 2001 VVF Ltd. launched yet another brand ‘ Jo ’ , wi th a 100gm rose f ragranced var iant . A brand pos i t ioned at the to i let soap segment, Jo rose with i ts except ional perfume of real roses, h igh TFM (tota l fatty matter) and super ior qual i ty wi l l soon prove to be the newest sensat ion in the Indian soap market .


JO BEAUTY SOAP


PRODUCT NAME Jo Beauty SoapCOMPANY NAME VVF L imited BhujSLOGAN Paish hai Jo Beauty, manmohak

kushbu aur badam ke guno se bharpur , jo twacha par kare jadoo sa asar ."

PUNCH LINE " Jo Beauty, saundar ia ka jadoo."Super: 'Saundar iy ka jadoo. '

MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Women, Gir lsTARGET AUDIENCE Women, Gir lsPOSITIONING STRATEGY


APPEAL Pr ide, Acceptance






Print Advertisement

3.11.11 JO BEAUTY SOAP


PRODUCT NAME Jo Beauty SoapCOMPANY NAME VVF L imited, Bhuj .SLOGAN Paish hai Jo Beauty, manmohak

kushbu aur badam ke guno se bharpur , jo twacha par kare jadoo sa asar ."

PUNCH LINE "Akarshak paishkash , Jo Beauty, sau gram ke teen sabun s i r f untees rupey . "

MEDIA News Papers , B i l lboards, Magazines, Radio

CELEBRITY A Common ManSEGMENTATION Women, Gir lsTARGET AUDIENCE Women, Gir lsPOSITIONING STRATEGY

By Product Attr ibute & benef i t , By Pr ice

APPEAL Favorable Pr ice Appeal ,T IME/MEDIUM OF ADVERTISEMENT

In dai ly local news papers , magazines l ike “Chitre lekha”, “F i lm fare”, “Fashion P lanet”

FREQUENCY Dai ly news paper, in f i lm fare magazine monthly



3.12 FA SOAP:

Al l soaps have the typica l Fa f ragrances. They are f ree of preservat ives and d isp lay the Fa's wel l establ ished " through and through" marble izat ion that is v is ib ly mainta ined r ight through the end of the soap.

Fa L iquid Hand Soap, as i t 's luxur ious formula gent ly c leanses your hands, wi thout leaving a greasy feel ing. Fa L iquid Hand Soap helps you reta in your sk in 's natura l moisture, whi le provid ing ant ibacter ia l protect ion.


FA SOAP


PRODUCT NAME Fa SoapCOMPANY NAME Fa Cosmet icSLOGAN “Naya Fa sabu hai 1 anokha

sangam manmohak khushbuo ka,

jo aapko taro-taaza rakhe .aur



bharpoor jhag k i reshmi ehsaas ka aur jo aapki twacha ko mulaayam rakhe . . . "”

PUNCH LINE "Fa: Leheraat i umang bhar i taazgi .”

MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Women, Gir ls specia l ly work ingTARGET AUDIENCE Women, Gir ls specia l ly work ingPOSITIONING STRATEGY


APPEAL Joy, Exc i tementTIME/MEDIUM OF ADVERTISEMENT


FREQUENCY Maximum 10 t imes not more then that

3.13 JOHNSON’S BABY SOAP:

JOHNSON'S ® o f fers mi ld , gent le baby products conta in ing NO MORE TEARS ® formula just for babies, which are mi ld to the sk in and as gent le to the eyes as pure water .


JOHNSON’S BABY SOAP


PRODUCT NAME Johnson’s Baby soapCOMPANY NAME Johnson’s BabySLOGAN "Naar iya l te l ke gunon se bharpoor

Johnson's baby soap. . . Rakhe twacha ja is i kudrat ne chahi ."

PUNCH LINE - - - - - - - - - - -



MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Chi ldren age of 3 to 4 yearsTARGET AUDIENCE MothersPOSITIONING STRATEGY


APPEAL Emot ional appealT IME/MEDIUM OF ADVERTISEMENT


FREQUENCY Maximum 10 to 12 t imes not more then that

3.14 NIMA 2:

The remarkable and phenomenal market response received by Nima Rose soap with in just two months of i ts launch once again proved the mer i ts of Ni rma’s commitment towards i ts consumers. Nima Rose soap has got an except ional ly soft rose f ragrance – which remains around body for a long t ime even after bath.

Over the per iod, Indian to i let soap market has f ragmented & has seen emergence of prominent f lora l f ragrance segments as Sandal , Rose, Jasmine, etc . Nima Sandal is a one of such product in f lora l segment. I t promises benef i ts of Sandal o i l & Turmer ic powder. I t i s a premium product f rom Nima stable and is avai lable in 100g and 150g packs.


3.14.1 NIMAROSE


PRODUCT NAME Nima RoseCOMPANY NAME Nirma L imited

2 H e r e w e d i d n ’ t g e t a n y a d s o w e h a v e j u s t a n a l y z e i t .



SLOGAN - - - - - -PUNCH LINE - - - - - - - - - -MEDIA Televis ion & RadioCELEBRITY A Common ManSEGMENTATION Gir ls & womenTARGET AUDIENCE Gir ls & womenPOSITIONING STRATEGY By Product Attr ibute & benef i tAPPEAL Informat ional appealT IME/MEDIUM OF ADVERTISEMENT

Dur ing Pr ime shows of n ight & noon t ime on the popular channels . On radio 98.3 fm.

FREQUENCY Maximum 10 to 12 t imes not more then that , on radio 20 to 25 t imes

3.14.2 NIMA SANDAL


PRODUCT NAME Nima SandalCOMPANY NAME Nirma L imitedSLOGAN “Nima Gir l 25 century g i r l”PUNCH LINE “Nima hai star of the wor ld”MEDIA Televis ion, RadioCELEBRITY A Common ManSEGMENTATION Gir ls & womenTARGET AUDIENCE Gir ls Specia l ly ambit ious,

womenPOSITIONING STRATEGY


APPEAL Sel f actual izat ion, status appeal


Dur ing Pr ime shows of n ight & noon t ime on the popular channels & on radio 98.3 fm

FREQUENCY Maximum 10 to 12 t imes not



more then that , on radio 20 to 25 t imes

3.15 SANTOOR:

Santoor is the f lagship brand in the Wipro Consumer Care & L ight ing stable and the 2nd largest brand of Soap in India in the popular segment of the category.

The brand enjoys two decades of t rust s ince i ts launch in 1986 and has grown to be counted amongst the top brands in the Country in an intens ively compet i t ive market .

Mi l l ions of women across the country have d iscovered the secret of younger looking sk in with Santoor . I t i s a t ru ly unique Soap that combines the goodness of natura l ingredients - Sandal , Turmer ic and natura l Sk in Softeners .

Santoor is avai lable in three var iants – Santoor (Sandal & Turmer ic) , Santoor White (Sandal & Almond mi lk) and Santoor Chandan which is premium soap manufactured with extracts of Sandalwood o i l – a favor i te of d iscerning consumers.Television Advertisement

3.15.1 SANTOOR WHITE


PRODUCT NAME Santoor White SoapCOMPANY NAME Wipro l imitedSLOGAN “Badam aur Chandan ke gunon se



bharpoor naya Santoor White jo twacha ko rakhe jawaan saalo-saal .”

PUNCH LINE “Aage badna toh hai , par l i fe mein, umar mein nahin .”

MEDIA Televis ion, RadioCELEBRITY A Common ManSEGMENTATION Gir ls & womenTARGET AUDIENCE Gir ls Specia l ly ambit ious, womenPOSITIONING STRATEGY


APPEAL Sel f actual izat ion, status appealT IME/MEDIUM OF ADVERTISEMENT

Dur ing Pr ime shows of n ight & noon t ime on the popular channels & on radio 98.3 fm

FREQUENCY Maximum 10 to 12 t imes not more then that , on radio 20 to 25 t imes

Print Advertisement

3.15.11 SANTOOR CHANDAN & WHITE


PRODUCT NAME Santoor Chandan & White SoapCOMPANY NAME Wipro L imitedSLOGAN - - - - - - - - - -



PUNCH LINE “Mummy Ke Col lege Gir l”MEDIA Magazines, B i l l boards, News

Paper general ly local news paper, Radio

CELEBRITY A Common Man & Sai f A l i KhanSEGMENTATION Women, Gir ls , MothersTARGET AUDIENCE Women, Gir ls , Mothers , Chi ldrenPOSITIONING STRATEGY


APPEAL Informat ional AppealT IME/MEDIUM OF ADVERTISEMENT

Magazines L ike Gruh Shobha, F i lm fare, Indian womans hour etc .& News papers l ike Divya Bhaskar , sandesh On radio a lso

FREQUENCY Dai ly news paper more dur ing summer a lso on b i l l board maximum a week and in magazines once a month or quarter ly on radio 15 to 20 t imes.

3.16 NIVEA:


NIVEA SOAP


PRODUCT NAME Nivea soapCOMPANY NAME Nivea L imitedSLOGAN “Nivea moistur iz ing soap:Aap

rakhein i tna khayal . N ivea kare aapki dekhbhaal”

PUNCH LINE "Aapka komal sparsh aatma v ishwas jagaaye."

MEDIA Televis ionCELEBRITY A Common Man



SEGMENTATION Gir ls & womenTARGET AUDIENCE Gir ls , women, MothersPOSITIONING STRATEGY


APPEAL Respect , Af fect ion, Emot ional Appeal


Dur ing Pr ime shows of n ight & noon t ime on the popular channel .

FREQUENCY Maximum 10 to 12 t imes not more then that dur ing winter specia l ly

3.17 DABUR VATIKA SOAP:


DABUR VATIKA SAFFRON SOAP


PRODUCT NAME Dabur Vat ika Saf f ron SoapCOMPANY NAME Dabur India L imitedSLOGAN "Shehad k i damak, kesar ka

n ikhar ."PUNCH LINE “Vat ika Honey Saf f ron soap. De

a isa g low, soch mein daal de jo . "



MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION Gir ls & women & Esha ShervaniTARGET AUDIENCE Gir ls , women, BoysPOSITIONING STRATEGY


APPEAL Acceptance, Af fect ionTIME/MEDIUM OF ADVERTISEMENT

Dur ing Pr ime shows of n ight & noon t ime on the popular channel .

FREQUENCY Maximum 10 to 15 t imes

3.18 MYSORE SANDAL SOAP:With the o ldest known perfumery mater ia l

Sandalwood as i ts main ingredient , the Sandal soaps of KS&DL have a def in i te n iche in the soap market .

The o i l o f Sandalwood recommended in ancient ayurvedic texts for sk in care, has excel lent ant isept ic propert ies and soothes pr ick ly heat and other sk in rashes too. Mysore Sandal soap avai lable in 17gms, 75gms, 125gms, 150gms and 150gms x 3 packed in a set . This soap is made f rom pure vegetable ingredients and conta ins natura l Mysore Sandal o i l .

Print Advertisement

3.18.11 MYSORE SANDAL SOAP




PRODUCT NAME Mysore Sandal SoapCOMPANY NAME Karnataka soaps & Detergent

l imitedSLOGAN “Tradi t ional Care for

Contemporary woman”PUNCH LINE “Try Soap With pure sandal o i l”MEDIA Magazines, B i l l boards, News

Paper general ly local news paperCELEBRITY Diya MirzaSEGMENTATION Women, Gir lsTARGET AUDIENCE Women, Gir ls , Fens of d iya mirzaPOSITIONING STRATEGY

By Product Attr ibute & benef i t , By product user

APPEAL Informat ional AppealT IME/MEDIUM OF ADVERTISEMENT

Magazines L ike Gruh Shobha, F i lm fare, Glamoure etc .& News papers l ike Divya Bhaskar , sandesh.

FREQUENCY Dai ly news paper more dur ing summer a lso on b i l l board maximum a week and in magazines once a month or quarter ly .

3.19 DETTOL:


3.19.1 DETTOL NEW INTERNATIONAL PACK



Analysis of Advertisements

PRODUCT NAME Detto lCOMPANY NAME Recki t t BenckiserSLOGAN "Agar mein apna khayaal nahin

rakhoongi toh inka khayaal kaun rakhega?"

PUNCH LINE "Detto l . be 100% sure."MEDIA Televis ionCELEBRITY Rimi SenSEGMENTATION WomenTARGET AUDIENCE Housewives, Husbands, Heal th

Conscious People etc .POSIT IONING STRATEGY

Posi t ion ing By, Product Users

APPEAL Emot ional appeal , Sel f -esteemTIME OF ADVERTISEMENT

Noon Shows and Pr ime t ime shows on popular channels l ike star p lus, Sony etc .


3.19.2 DETTOL SOAP


PRODUCT NAME Detto lCOMPANY NAME Recki t t BenckiserSLOGAN “Tabhi toh mera pariwaar rahe swasth

aur jiye strong.”PUNCH LINE "Dettol. be 100% sure."MEDIA Televis ionCELEBRITYSEGMENTATION Women, Chi ldren



TARGET AUDIENCE Whole Fami ly Heal th Conscious People etc .

POSIT IONING STRATEGY



Noon Shows and Pr ime t ime shows on popular channels l ike star p lus, Sony etc .


3.19.3 DETTOL JUNIOR


PRODUCT NAME Detto l JuniorsCOMPANY NAME Recki t t BenckiserSLOGAN 'Dettol Juniors. Trusted by doctors.'PUNCH LINE "Dettol. be 100% sure."MEDIA Televis ionCELEBRITYSEGMENTATION Mothers , Chi ldrenTARGET AUDIENCE Whole Fami ly Heal th Conscious

People etc .POSIT IONING STRATEGY



Noon Shows and Pr ime t ime shows on popular channels l ike star p lus, Sony and on Chi ldren’s channels l ike Cartoon network, pogo etc .




3.20 RIN:


RIN SUPREME


PRODUCT NAME Rin SupremeCOMPANY NAME Hindustan Uni leverSLOGAN “Rin safedi sa safed? No chance!”PUNCH LINE “”MEDIA Televis ionCELEBRITYSEGMENTATION WomenTARGET AUDIENCE Housewives, Husbands etc .POSIT IONING STRATEGY



Noon Shows on popular channels l ike star p lus, Sony etc .




3.21 VIM BAR

Vim has brought a revolut ion in k i tchen management in Bangladeshi households. S ince i ts launch in 1987, V im has been synonymous with spark l ing c lean d ishes.

Effective cleaning

Offer ing a more hygienic and ef fect ive c leaning so lut ion for housewives depending on domest ica l ly made ash, the Vim dishwash powder was f i rst introduced in 1987. I t i s a tough abras ive, mult ipurpose c leaner in powder form that leaves k i tchenware beaut i fu l ly c lean and a lso works on a number of other surfaces.

Vim Bar challenge

The h ighly popular V im Bar chal lenge campaign created qui te hype in households a l l over the country. Housewives were chal lenged that they have never before exper ienced such a quick and ef f ic ient c leaning ef fect on their k i tchen utens i ls wi th any other product .


VIM BAR


PRODUCT NAME Vim BarCOMPANY NAME Hindustan Uni leverSLOGANPUNCH LINE “Khar-khar ka muh tod



jawab .”MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION House wi feTARGET AUDIENCE House WifePOSITIONING STRATEGY


APPEAL Humor AppealT IME/MEDIUM OF ADVERTISEMENT


FREQUENCY 20 to 25 t imes

3.22 WHEEL:Wheel is India 's number one detergent brand.

Launched in 1987, i t c leans ef fect ive ly with lesser ef fort , making a labor ious chore l ike washing l ight and easy. Moreover , wheel does not burn hands or harm c lothes l ike some other detergents , which conta in a h igh percentage of soda.

Ever s ince i ts re launch in 2001, wi th the new pos i t ion ing of 'best c lean with less ef fort ' , wheel has been growing strongly . Research showed that consumers seek a so lut ion to heavy duty laundry, l ike bed sheets and curta ins. Developing on th is ins ight , wheel sought to e l iminate the trouble of tough d i r t or heavy-duty laundry. Mass market consumers have welcomed the so lut ion, making i t the number one.


WHEEL LEMON FRESH




PRODUCT NAME Wheel Lemon FreshCOMPANY NAME Hindustan Uni leverSLOGAN “Aey rona band kar aur dhona

chaalu kar !”PUNCH LINE Sir f n imbu yukta Wheel Lemon

Fresh de ek mehakt i safa i . badbu , on ly khusbu .”

MEDIA Televis ionCELEBRITY A Common ManSEGMENTATION House wi fes , Men Specia l ly who

have odour problemTARGET AUDIENCE House Wife & men specia l ly who

have such odour problemPOSITIONING STRATEGY


APPEAL Fear Appeal , Reject ion, T IME/MEDIUM OF ADVERTISEMENT


FREQUENCY 20 to 25 t imes



KNOWLEDGE IMPROVEMENT

Management pro ject on Advert isement Analys is improves our knowledge in severa l aspects l ike, advert isement industry, soap industry, contemporary issue of advert isement industry as wel l as improve our analyt ica l sk i l l .

By doing th is pro ject work our way of watching towards advert isement tota l ly , change. Before doing th is pro ject , we were used to do z ipping when ad comes in between programme but know we are eager towards ad. Our analyt ica l sk i l l i s a lso improved.

As about soap industry then we came to know about d i f ferent products , manufacturers , and marketers more then that major p layers in soap industry. In addi t ion, we came to know about Indian advert is ing industry l ike t rend in i t , spending on d i f ferent media for advert isement.


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