It is frequently said that a brand is ageing, shows signs of ageing or seems aged. This impression may be felt by customers, noncustomers, suppliers, distributors or employees themselves, who acknowledge a difference between them and their competitors. Ballantines, Martini, Black & White, Club Med, Yves Saint Laurent and Guy Laroche have all been described as ageing.
The concept of ageing has in fact two different meanings:
What is it that produces these impressions of ageing? Most of the time these impressions are well founded: the brand no longer seems to belong to its time and has lost its inner energy.
Many brands allow themselves to be associated with the products of another age. With the acceleration of time, the notion of another era now refers to a close past. In all markets dominated by technology, obsolescence can occur very rapidly. Little can be done for brands linked to a dated technology, or those which seem not to have kept up to date with progress or with the internet.
A brand can be 18 years old and threatened with ageing. The challenge for the eau de toilette Eau Jeune (ie Young Water), launched by l’Oréal for supermarket distribution, is to be still considered Eau Jeune by the next generation of 18- to 25-year-olds, but who are so different. If this brand had remained a single product, it would have disappeared. What symbolised youth in 1987 no longer symbolises it in 1997.
The point of view expressed by the brand on its market can also sometimes seem to be suddenly behind the new dominant values. As long as decisions regarding Playtex in Europe were taken in the United States, the brand never seemed to take into consideration the role of femininity in women’s choices. Even though the products were of high quality, they were purely functional, that is based on the tangible problem of breast support. What was relevant in the United States was totally opposite to the way European women related to their bodies. In its tone and inflexibility, Playtex seemed to be addressing the mothers, not the daughters.
Although it was still the world’s leading brand for shoes and ski bindings, Salomon recently realised that it was in great danger of ageing within a few years. In fact, Salomon, in the same way as Rossignol does, has represented the values of alpine skiing for half a century: effort, order, competition, gaining one hundredth of a second, beating all others by a microsecond.
The new generations no longer subscribe to these values: a counterculture, originating in the surf, is dominant on the slopes, bringing with it new sports and new values. What has been called the ‘glide generation’ has not learnt alpine skiing and probably never will. They instinctively practise snowboarding on the slopes in winter and roller-skating or rollerblading in the streets. They put as paramount values friendship and emotion: they eschew competition and the brands associated with yesteryear. They have elected their own gods: Burton, Airwalk, Quiksilver, Oxbow. All these brands are new and symbolise another vision of sport.
The lack of evolution in a brand’s outward signs indicates its present lack of interest in attracting new customers.
Certain brands also come to a standstill because they remain associated with the same images. The fact that Yves Saint Laurent seems more dated than Dior or Chanel is connected with the omnipresence of the ageing creator himself and association with Catherine Deneuve. Lancôme was sensible enough to bring in younger and international stars.
As for the clientele, the loss of direct contact with young people is the surest symptom of ageing. This is what differentiates Johnnie Walker from Jack Daniel’s or Martini from Bacardi.
Without necessarily having to appeal to young people between the ages of 20 and 25, the brand should always be attractive to tomorrow’s consumers. The buyers who are today in their forties will modify their functional expectations when they reach their fifties. But they will also like to show that they have not changed by staying with their usual brands. They will refuse to support the ghetto brands which signal their entry into old age.
This is why Damart’s future depends on its image among 45-year-old men and women even if its marketing is rather targeted at the 55-year-old senior consumer. Damart has to work on the evolution of its image, not of its target clientele. To do so, they must improve their image so as not to appear a last-frontier brand. This is why, besides the modernization of their main product, underwear, they have left behind their old methods of distribution: some department stores now have a Damart lingerie department next to Playtex, Rosy or Warner. Damart also advertises products that cross the generation barrier, allowing them to dissociate their image from one based merely on age: thick and coloured tights are just as appropriate for a young girl in a short skirt riding a motorbike as they are for skiers and autumn hikers.
Through these significant actions, they address their future customers and put an end to the stagnation of their clientele, for in 1990 Damart was attracting hardly any new buyers, but was selling more and more to loyal customers.
As has been noted, keeping in touch with young people implies a cultural revolution among management. The efforts to be made may seem huge to an older internal team who often do not appreciate the danger they are facing as their own reference points always seem secure. Finally, with consumers living longer, the effects of the clientele’s ageing may pass unnoticed. The decline is slow and never spectacular. But unfortunately, as with a cancer, without an obvious sign of decline to react rapidly to, it may sometimes be too late.
To make the radical internal changes required to energise an organisation which has aged with its own reference points, there should be no hesitation in rejuvenating the entire management with younger people. The revitalisation of brands always starts with a major work of internal rejuvenation.
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