A2 milk is just a marketing gimmick

das marketingjournal This is how your summer smells multisensory marketing


1 das marketingjournal issue 3:, 00 EUR This is how your summer smells multisensory marketing

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3 Editorial 3: 2016 Marketing for the senses Multi-sensory marketing is not a nostalgic gimmick that is more likely to be ridiculed in times of big data and cloud business. But on the contrary. The sterility of the digital world in particular creates a certain longing for sensual experience and real emotion among digital natives. Those who appeal to the senses with their advertising sell better. For example, scents in the brain affect the limbic system in which people process emotions and memories. According to Prof. Dr. Andreas Herrmann and Dipl.-Psych. Friederike Haberland, Institute for Customer Insight at the University of St.Gallen, HSG, uses fragrance as a means of communication to convey emotions and acts as the invisible personality of the product (page 14). Therefore, it should be used as an integral part of the marketing mix. David Hüser, Director Brand & Strategy at designaffairs Munich, states that in an increasingly digital and virtual age, our deepest needs remain the same (page 20). They have to be tangible, tangible and real. That is why strong brands have learned to use all the communication channels available to them and to offer the consumer an unforgettable, holistic brand and product experience at the individually relevant touchpoints. Have fun while reading. Friedrich M. Kirn, Editor-in-Chief of Marke 41 E-Journal This symbol in the print edition refers to further content in the E-Journal. Become a mark41 fan on facebook! mark41 e-journal free of charge under 3: 2016 mark 41 3

4 BRAND Content 3: Multi-sensory marketing Marketing for all the senses: feel, see, smell, hear whoever charges his advertising message emotionally, sells better. Marketing forum University of St.Gallen 08 A video says more than a thousand pictures Prof. Dr. Marcus Schögel, Director of the Institute for Marketing, University of St.Gallen. Jasmin Farouq, Research Associate, University of St.Gallen. Insights from a Small Island 12 From brexit to EUXIT? Jamie Priestley, correspondent London. Brand 14 Great idea Marketing with all your senses Friedrich M. Kirn, brand online versus offline? Love Brands rely on symbiosis. David Hüser, Director Brand & Strategy at designaffairs. 24 The power of sound or 5 language patterns for brand success Michael Brandtner, Associate at Ries & Ries. Laura Ries, Managing Director Ries & Ries. 32 Radio advertising is underestimated Interview with Volkmar Amedick, Managing Director of pilot München GmbH. 38 Music marketing larger than life The Jägermeister top dog after four years at the Gasthof Zum rohrenden Hirschen. 40 Not ready for digitization Achim Himmelreich, Vice President of the Bundesverband Digitale Wirtschaft (BVDW) e.v .. 4 3: 2016 Marke 41

5 Marke41 authors of this issue Prof. Dr. Marcus Schögel, Director of the Institute for Marketing, University of St.Gallen. Page 08 Jasmin Farouq, Research Associate, University of St.Gallen. Page 08 Jamie Priestley, correspondent London. Moving image page Interplay of creation, technology and targeting. 44 TV on demand Watch good, sophisticated television anytime. David Hüser, Director Brand & Strategy at designaffairs. Page Television with format and class Miriam Petzold, PR and online marketer, ad modum GmbH. Michael Brandtner, Ries & Ries Associate. Page Brave New World: Strong Trademark, Attractive Licensed Brands! Günther Nessel, G.N.Gesch. Shareholder in the taste! Group; Dr. Uwe Lebok, demographer and brand consultant, board member at K&A BrandResearch. research 36 Listening to the radio a constant in everyday life MA 2016 Radio II with the ranges of 102 radio stations and 102 marketing combinations. 66 Generation Y Sales. Recommendations for action for medium-sized companies Prof. Dr. Marco Schmäh, Chair of Marketing and Sales Management, ESB Business School Reutlingen; Patrick Schilling, student in German-American Course of study at the ESB Business School Reutlingen. Laura Ries, Managing Director Ries & Ries Page 24 Volkmar Amedick, Managing Director pilot Munich. Page 32 Achim Himmelreich, Vice President of the Federal Association of the Digital Economy (BVDW) e.v. Page 40 Miriam Petzold, PR and online marketer, ad modum GmbH. Page 44 3: 2016 brand 41 5

6 BRAND Contents 3: 2016 Marke41 authors of this issue Rasmus Giese, CEO of United Internet Media. Page 50 Stefan Meyer, Senior Sales Manager at SevenOne AdFactory. Page 54 Günther Nessel, G.N.Gesch. Shareholder of the taste! Group. Page Multi Screen The advertising market has to adapt to parallel use. media 54 Content Marketing Telekom ensures high virality with Coldplay in the HD stream. Dr. Uwe Lebok, demographer and brand consultant, board member at K&A BrandResearch. Page 58 Prof. Dr. Marco Schmäh, holder of the chair for marketing and sales management, ESB Business School in Reutlingen. Page campaigns are getting more complicated, but also more efficient Rasmus Giese, CEO at United Internet Media. 54 At The Voice of Germany, Telekom makes the best network tangible with content marketing Stefan Meyer, Senior Sales Manager at SevenOne AdFactory. Patrick Schilling, student in German-American Course of study at the ESB Business School in Reutlingen. Page 66 Sections Editorial 03, Books 23, Imprint 23, Directory of service providers 71 Read Marke41 on the iPad Simply download the keosk app, and read Marke41 the marketing journal on the iPad. 6 3: 2016 brand 41

7 Small capsule, big impact. Scented varnishes for your advertising. FOLCO SCENT Printable Scents Microencapsulation of numerous scented oils Beguiling scents More emotions for your print advertising with our scented varnishes from the FOLCO SCENT brand. Because the strongest seller is the right fragrance! The creative possibilities are unlimited: from scented packaging that immediately influences the purchase decision at the point of sale to scented magazine pages that awaken the desire for your new product! Fragrance works! Inspired by nature! Follmann The Follmann company is an internationally expanding family company in the chemical industry. Key competencies are the development, manufacture and sale of specialty chemicals for the processing industry. These include water-based printing inks for paper and packaging, plastisols for wallpapers and technical textiles, wood and paper adhesives, microencapsulation of fragrances and active ingredients, and scented varnishes. Follmann GmbH & Co. KG Phone:

8 Marketing Forum University of St.Gallen A video says more than a thousand images Design dimensions in moving image communication: digital advertising is in the midst of a major rethinking process and traditional advertising is increasingly being replaced by moving image content. Successful moving images are created through the interplay of creation, technology and targeting. 8 3: 2016 brand 41

9 E-Journal Prof. Dr. Marcus Schögel, Director of the Institute for Marketing at the University of St.Gallen. Jasmin Farouq, research assistant at the University of St.Gallen. We are entering the golden age of video says Mark Zuckerberg. The development in the moving image segment is being driven from all sides - live video, virtual reality, 360-degree videos and digital out of home. While the explosion of data and information has been a topic of great interest in recent years, another phenomenon has received comparatively less attention: the explosion of moving image content. In addition to Facebook and Google, many other media companies devote themselves intensively to digital moving images. Many of the successful youngest participants in the social media space, such as Snapchat, Vine, Periscope, and Beme, emphasize social videos. Platforms that were not originally visual are therefore currently changing their focus. Consumers adapt the new technologies and possibilities extremely quickly and change their media behavior massively. Smartphones and tablets enable flexible consumption - the viewer decides when, where and for how long he wants to use the medium. But not only media use has become an individual matter. Thanks to the simple content generation and information and data processing, video concepts can be created with just a few settings and common qua- Photos: Artur Marciniec / Fotolia.com, Company 3: 2016 Marke 41 9

10 Marketing Forum University of St.Gallen can be quickly picked up by every customer and shared with their own community. The From Prime Time to My Time generation selfie uses the technology for self-portrayal and thus also shapes the cultural context of the medium. Companies across all industries use moving image communication to activate customers and employees. The potential of this medium can be seen in different areas of application. Moving image formats are used specifically for the various phases of the customer journey in order to inform and support customers in their I-want-to-do moments. User-generated media popularity is skillfully used to reach the target groups that have already been activated. Design dimensions of moving images Purpose Decisions on the purpose of the video include: Targeting group: External (customers), internal (employees), or both? Aim: Inspire, entertain, educate, inform, influence, or selling? Commerciality: How much brand in branded content? Anchor Decisions on the anchor within the video include: Outsourcing: Create (MGC), cooperate (paid UGC), or curate (UGC)? If MGC: Testimonials, employees, or the management board? If UGC: Compensation? Influencer or customer? Appeareance Decisions on the appearance of the video include: Sophistication: Authentic (real life) or professional (ad-quality)? Broadcast: Live (e.g., Meerkat) or recorded (e.g., YouTube)? Cross Media: Specific videos for specific channels? Narrative Decisions on the narrative style of the video include: Style Type of message: Storytelling, documenting, or reporting? Type of content: Commercials, sponsored ads, or v-logging? Frequency and independence: How often? Series or independent videos? Platform Decisions on the platform to host the video include: Channel: YouTube, Snapchat, Facebook, Instagram, Periscope, Meerkat, Microsites Access: For everyone (open access) or for a specific audience (restricted)? Time limit: Limited (e.g., snapchat) or unlimited availability (e.g., YouTube)? Source: Institute for Marketing / University of St.Gallen, more than 50 percent of marketing experts name moving images as the type of communication with the best return on investment. Moving images arouse great expectations and represent The Next Big Thing for many companies. 400 hours of videos are uploaded to YouTube every minute, Facebook generates 8 billion video views per day, but no corporate channel is represented in the top 500 YouTube channels. Countless recommendations, instructions and tips are offered by various agencies, but a comprehensive discussion of online moving images has not yet taken place. Due to the increasing number of moving images, visibility for companies is becoming more and more difficult. It has not yet been clarified which dimensions companies have to deal with in order to be able to use online moving images in a targeted manner and which competencies are necessary. The mechanisms that explain the effectiveness of moving images are unclear and new challenges arise. In a pilot study, the Institute for Marketing has now identified and analyzed the design dimensions of moving images: 2016 Marke 41

11 The Institute for Marketing at the University of St.Gallen (HSG) With around 35 employees, the Institute for Marketing at the University of St.Gallen (HSG) researches current topics in the areas of marketing, communication and sales management. Topics such as customer centricity, business-to-business marketing, account management, multichannel management, digital marketing and marketing performance are among our focal points (in current practical programs with companies, we promote the exchange of best practices in marketing, real customer behavior and real marketing or the challenges of a sales-driven company. The aim of the institute is to combine its own research and development with leading companies and executives. In all areas, the transfer is also ensured through cross-company and internal training courses as well as the St.Gallen Marketing Review (MIM brands Institut München GmbH) The management team includes: Prof. Dr. Sven Reinecke (Managing Director), Prof. Dr. Christian Belz and Prof. Dr. Marcus Schögel. The University of St.Gallen (HSG) is one of the leading business universities Europe and enjoys a very good reputation worldwide with seals of quality that include auc h award Harvard University. The University of St.Gallen (HSG) always ranks first in renowned rankings and offers the best management training in German-speaking countries. As part of the University of St.Gallen (HSG), the Institute for Marketing contributes to this success in research and transfer. Purpose describes the decision about the purpose of the moving image. This includes questions about goal setting, target group and commercialization. Anchor covers the problems related to the moderation and creation of the content. Thereby, marketing-generated, paid user-generated and user focus groups for moving image communication are differentiated. In order to be able to capture the subject of moving images across the board, we cordially invite you to participate in the focus group for moving image communication at the University of St. September 2016 a. The aim of the event is to outline the most important practical challenges and to define the research goals to be worked on. The focus group serves the participating companies as an exclusive community and platform for the exchange of current developments in the field of moving image communication. differentiated generated content. Depending on the definition, different speakers can stand for the content. Appearance is aimed at the appearance of the video. Decisions have to be made here with regard to the processing quality, broadcast and orchestration across all channels. Narrative style means a definition with regard to the rendering style (e.g. storytelling vs. documentation), the type of content (e.g. commercial vs. V-logging) as well as the frequency and independence of the moving image content. Platform implies the choice of channel, access and a time limit for the content. Identifying the design dimensions is the first step in a detailed study on moving image communication. In addition to the orchestration of moving images, the drivers of branded entertainment and the influence of the concept of visual tainment are examined. by Prof. Dr. Marcus Schögel and Jasmin Farouq 3: 2016 brand 41 11

12 S ince 24 June we have been watching the Brexit Show with a mixture of horror and fascination. Nobody looks good, but as entertainment, it is irresistible. First Mr Cameron falls on his sword. Then Michael Gove (also Conservative party) kills Boris Johnson and, in the process, kills himself. Nigel Farage (UK Independence Party) decides that nothing will ever compare to the shuddering climax which was the referendum, and resigns. Not wanting to be left out, the new presenter of Top Gear, Chris Evans, resigns after 99% of viewers vote Leave (= leave their TV off). Labor MPs denounce their leader Jeremy Corbyn for taking English understatement so far that nobody actually noticed his support for Remain. But he refuses to kill himself and tells them all to go to hell. After waiting until everyone else falls over, Theresa May ve the promise of independence to be bogus and illusory. Leave voters feel more British, are breezily optimistic about the future, and call Remain voters sleepy or cowardly. I voted against Brexit and fear its consequences. My wife voted reluctantly to stay in (head over heart, she said) and now thinks Brexit will be positive for the United Kingdom and perhaps for the EU also. By contrast, the EU's official position is one of unity. Sadness and disappointment, yes, but its leaders show few signs that they will grant any favors to the country that rejected it. The reasons behind Brexit are complex and not yet fully understood. One factor should make EU leaders worry, because it is not uniquely British. Wigan is a gritty town in the northwest of England. George Orwell s novel The Road to Wigan Pier immortalises the hard lives lived there in the From to EUXIT? Commentary on Insights from a Small Island foundations of Europe. They attract the worst bigots and scumbags, it's true, but they also represent more general doubts which Europe s leaders are unwilling to discuss openly. The two major questions seem to be: (i) for how long must the stronger economies like Germany pay for the rest? And (ii) how will the EU control its borders? The 64% vote says that Wigan has not yet seen the benefits of the EU. Perhaps above all it says that they judged political leaders to be out of touch with their lives. And not just in Wigan or the United Kingdom. Euroscepticism is on the agenda of eve- Boris Johnson: author, mayor, clown, Leave campaign mascot, Foreign Secretary. scare stories in part because it struggled to make a positive argument about the free movement of people. In any case, the most basic rule of public relations is to admit that you see a problem when most of your audience sees it. And then you set about finding solutions which remedy the problem. The EU s leaders need to talk to the corporate communications people at VW, BP and any number of troubled firms who have learned this lesson the hard way. The dreaded Article 50 is not yet active so nothing official has happened. Perhaps Brexit means the UK will sail off into the Atlantic.Perhaps this small island will become a little smaller than Scotland leaves to join Europe. Or maybe, just maybe, a newer and slightly more pragmatic version of Europe will emerge which brings back the doubters and makes it stronger than it looks today. by Jamie Priestley correspondent London. Jamie Priestley,

13 1930s. The town strongly supports the Labor Party and last voted Conservative in In spite of Labor s official support for Remain, Wigan chose Brexit by 64%, far above the national vote of 52%. Unemployment there is a modest 5%, yet many have seen their income fall because of zero hours contracts which give employers flexibility and cheaper labor. Immigration around Wigan is a modest 2.9% of the population compared to 11.5% nationwide, yet locals (including resident immigrants) believe it is a threat. A few are motivated by racist ideas. Most are simply worried about future opportunities for their children. This could be dismissed as a purely British problem if Wigan were not repeated across Europe. From Mr Hofer to Marine Le Pen to Thierry Baudet, eurosceptic leaders have given voice to a mood which seems to threaten the The EU will no doubt learn from the Remain campaign and tell a more positive story. But it is hard to justify porous borders to a Eurosceptic. emerges from the shadows and takes up residence in 10 Downing Street. In a further plot-twist, Boris Johnson is brought back from the dead to become the international face of the British government. Author, mayor, clown, mascot for the Leave campaign and now Foreign Secretary. And all this 400 years after the death of Shakespeare. If only he were here now to turn our tragicomedy into fiction. The referendum has divided the country, straining friendships and family relations almost everywhere. A wildly romantic movement is finally starting to abandon its dream of reversing the referendum result. This is an undemocratic fantasy based on the assumption that many Leave voters did not know what they were doing. Remain voters are ashamed to be British, accuse Brexiteers of stupidity and xenophobia, and beliery European leader. Wigan shows that the facts have nothing to do with it any more. The EU brand is now at the mercy of raw emotions. So its leaders have a dilemma: do they defend the EU s original ideals, or do they acknowledge popular resistance and engineer something new? They of course believe strongly in the ideals which have been central to the European project and its treaties. And they worry that forgiving the UK will only encourage more exits. Yet they must also have nightmares about a European disintegration which they are powerless to stop: a disintegration which the historians may attribute to their idealism. The EU will no doubt learn from the Remain campaign and tell a more positive story. But it is hard to justify porous borders to a Eurosceptic. The UK s pro- Europe campaign relied on economic EU member states Net contribution per capita 2014 in Netherlands Sweden Germany Denmark Finland Austria France UK Italy Ireland Spain Croatia Cyprus Belgium Slovakia Romania Bulgaria Czech Republic Portugal Poland Estonia Slovenia Latvia Malta Greece Lithuania Hungary Source: House of Commons library. Photos: Photocreo Bednarek / Fotolia.com, company

14 BRAND Multi-sensory marketing A fragrant idea Marketing with all the senses The digital transformation and the associated flood of data open up new worlds for those responsible for marketing. But people cannot be addressed efficiently as a sensual being using bits and bytes alone. On the contrary. Digital natives in particular like real emotions and multi-sensory marketing. Numerous studies show that information that smells good can significantly increase the effectiveness of the advertising message: 2016 brand 41

15 E-Journal What does scent mean to us, and how does smell enrich our lives? We love the smell of our partners, like Al Pacino in his prime role as a blind Lt. Col. Frank Slade in the classic film The Scent of Women Says. On the other hand, we cannot smell some people. Seasons, landscapes, cities, bodies of water, markets, rooms, dishes or flowers develop scents that arouse very different associations. In short, the sense of smell opens up our own emotional world. We can be reached in our innermost being through smell. So it's no wonder that scent is one of the most important elements in multi-sensory marketing alongside haptics. In view of the fact that brand loyalty increases significantly depending on the number of senses addressed, the possibilities of multi-sensory marketing are not used enough, Daniel Bröking, Sales Manager at Follmann, draws attention to the potential. The Follmann group of companies is owner-managed, growing internationally and, with its subsidiaries Follmann and Triflex, sustainably successful. Key competencies are the development, manufacture and sale of specialty chemicals for the processing industry. Follmann offers innovative problem solutions, products and customer-specific services and is therefore a major player in the European market in the field of specialty chemicals. What does marketing bring with all the senses? As experienced specialists, we brought oil-based scented varnishes onto the market in 2015 because we are convinced of the effect of multi-sensory marketing, says Daniel Bröking. The feedback from the market and the return on marketing investment from our customers confirms us. The mechanisms that play a role in the sensual approach to customers are very simple. In principle, providers and branded goods companies only have a short period of time to communicate with the buyer at the touchpoint. It has been proven that photos: LianeM / Fotolia.com, Thinkstockphoto, company 3: 2016 Marke 41 15

16 BRAND Multi-sensory marketing Oil-based scented varnishes With the newly developed oil-based Folco Scent scented varnishes from Follmann, printing scented varnishes is much easier. The highlight: The scented varnish can be used universally for both sheet-fed offset and web offset printing. When used in sheetfed offset, no additional drying agent is necessary. The lacquer has particularly good machine running properties, which require fewer washing intervals for the rollers, especially for large-volume print runs. That makes the paint particularly efficient. The Folco Scent scented varnishes are based on microcapsules specially developed by Follmann. In the process, the fragrances to be encapsulated are packed in microscopic spheres, hermetically preserved and printed as a scented varnish directly on mailings, flyers, postcards and magazine pages. The microencapsulation can be used to determine when and how the fragrance should be released. For example, the microcapsules are destroyed by mechanical action such as rubbing at the designated area and the scent is released. What use is the use of fragrance for you? Scent increases the recall of your advertisement / product significantly: Vernel Cerutti Pernod postcard with scent Postcard without scent Booklet with scent Booklet without scent Postcard with scent Postcard without scent 57 percent of consumers who take a closer look at advertising that is exciting or creatively designed. At least 42 percent perceive advertising as more interesting when an interaction such as opening or scratching takes place (action and reaction 5, special forms of advertising in magazines, Bauer Media KG, December 2008). Multi-sensory marketing leads to faster and more emotional 15% 30% 40% Source: Follmann January Cf. Wist, B., Synergie% 85% 100% Adoption of the advertising message by addressing different senses. The decisive factor here is that a positive sensory experience is essential. The sense of smell opens up our own emotional world for us. Scent Marketing Best Practice Nivea The Nivea House in Hamburg and Berlin. The lily of the valley scent of the Nivea cream, which has been known for generations, is sprayed here. The fragrance reminds many consumers of their own childhood and the memories associated with it. With the Nivea house, the company would like to create a space of experience in which the brand can be felt. Subsequent surveys have shown that attitudes towards the Nivea brand improved after visiting the Nivea store. TUI AG opening of the first multi-sensory travel agency in Berlin. The travel offers are presented visually by means of multimedia testimonials using short films, acoustically accompanied by music typical of the country, and the audience is occasionally scented. In order to activate the sense of taste, a bar has been integrated where country-specific drinks are served: 2016 brand 41

17 increases brand image and thus the attractiveness of the products. The emotional customer approach promotes the USP, differentiates the product and ultimately increases the probability of repurchase. As a consequence, brand loyalty increases. Brand loyalty Number of senses addressed 59% 43% 28% Did you know that ... brand loyalty increases depending on the number of senses addressed? Source: Follmann January 2015 Cf. sensory-branding / Febreze (P&G) Use of scented postcards, scented labels and value coupons on product packaging or in magazines. The spontaneous purchase rate was significantly increased by the multisensual approach to the scented product packaging. Singapore Airlines One of the few brands that completely use the whole multisensory program. The branded scent Stefan Floridian Waters has been sprayed in the flight area since 1990, all stewardesses wear this scent as a uniform perfume and the scent is sprayed into the cabins via air dispensers. The hot towels that are distributed in the aircraft are also provided with a coordinated fragrance. Bugatti In 2001, the Bugatti company developed fabrics and textiles that were given a built-in freshness. It would therefore be conceivable to scent sofas, carpets, etc. in the future. 3: 2016 brand 41 17

18 BRAND Multi-sensory marketing How your brand becomes a fragrance brand Who is capsule technology for? Our customers are the major cosmetics manufacturers such as Avon, L Oréal or Yves Rocher. Scent samples can be applied easily and inexpensively to product advertisements, in catalogs and on packaging. Our customer Yankee Candle specializes in the production of scented candles and brings a catalog with the new products onto the market every month. Consumers can get to know the individual scent of the product by rubbing the surfaces provided with scented varnish. Studies have shown that this form of multi-sensory marketing can significantly increase sales. How exactly does it work with the encapsulation of fragrances? That depends on whether the customer has their own scent or wants to make their brand smell first. If necessary, we support our long-term partners in the creation of very individual scented oils. The customer gives input on the target group and the general direction of the fragrance, and we work out suggestions. We did this, for example, for print shops and companies that want a corporate identity scent. Cosmetics manufacturers naturally have their own fragrances, which we encapsulate in our tried and tested special process. These are our main customers. For the production of the scented varnish, the scented oils are slightly modified by the producers according to our specifications. This process has no negative effects on the specific smell. Scented capsules are created in Daniel Bröking, Sales Manager, Follmann Processing, which are then incorporated into water-based varnishes for the flexo factory or screen printing. Oil-based scented varnishes, on the other hand, are used in the free inking unit in web offset and sheet-fed offset. In the meantime, the scented capsules are so stable in the manufacturing process that the printing machines and production halls only smell slightly and for a short time. Can the scented varnish be applied over the entire surface or selectively? Correct. In addition, the application has become much more consumer-friendly. In the past, real scratching on the scented surfaces was necessary for so-called scratch and sniff. Today, the touch of a touch is enough and the capsules release the fragrances. At the same time, the fragrances are emitted in a controlled manner, for a brief and pleasant fragrance release. What about the costs? The process is inexpensive and the return on marketing investment is right. This is because the use of samples would be much more costly and the scent stimulates buyers. In addition, fragrance samples that are attached to or on products increase product safety. In other words, customers no longer open packaging at the PoS to smell inside. Sense of smell the unconsciously strongest sense While sight and touch are used heavily in advertising, scent marketing is less consistent. The sense of smell is unconsciously the strongest sense, explains Daniel Bröking. People breathe once a day and 75 percent of our daily emotions are influenced by what we smell. The sense of smell is the most immediate of the human senses and we can distinguish between smells, for example. Scents in the brain affect the limbic system in which people process emotions and memories. This way, pictures stay in the memory longer when we Multi-sensory marketing touches all of our senses and arouses memories, perceptions and emotions: 2016 brand 41

19 2 1 3 Scent marketing 1 The scented tag makes you want popcorn. 2 Yankee Candle delivers the latest fragrance notes in the monthly brochure. 3 La mer lets customers smell the scent of the wide world with its competition. 4 Yves Rocher advertises the current spring fragrance. 4 perceive them coupled with scents. The so-called Proust effect means that a new scent is absorbed and the associated situation is stored in the brain. If we perceive this scent again in the course of life, all memories of the situation become present again in a matter of seconds. Scent marketing works Study by the University of St.Gallen That and how scent marketing works is underpinned by the scent marketing project by Prof. Dr. Andreas Herrmann and Dipl.-Psych. Friederike Haberland at the Institut for Customer request free of charge: Follmann Fragrance Book Fragrance varnishes for printing and packaging Beguiling scents More emotions for your print advertising with Follmann scent varnishes from the Folco Scent brand, because scented varnishes reinforce the advertising message and increase sales. Request your free sample copy now and test the effect of the scented varnishes on your senses. Order under Insight at the University of St.Gallen (HSG). According to the results of the field study, fragrances should not only be pleasant, but also match the product category as much as possible. When we see, hear, taste, touch, we immediately analyze the information. When we smell a feeling or an association is immediately initiated. Investing in the emotionality of the shopping experience is extremely effective, according to the researchers. Crucial: the fragrance as a communication medium conveys emotions and acts as the invisible personality of the product and should be used as an integral part of the marketing mix. by Friedrich M. Kirn 3: 2016 brand 41 19

20 BRAND Multi-sensor technology online versus offline? Love Brands rely on symbiosis. Why strong brands use analog and digital communication channels to create unforgettable brand and product experiences for their target groups. TOUCH, EXPERIENCE, BUY For many generations, this has been the common and literally only tangible basis for decision-making when buying a brand and its products. In our increasingly digital world, however, attracting a target group for your own brand has become much more complex. A winning team But even in the age of digitization, brands and their products have to offer more than just being digitally active on websites, in online shops or social networks such as Facebook and Co. Today's consumers, and especially those of tomorrow, expect more! The rapidly developing technologies are the enablers to connect digital and haptic worlds innovatively in a new way. Because neither of the two sides could win the media competition for customer hearts alone. The creators of the consumer dream worlds have understood that today's proactive, self-determined prosumer expects more than 20 3: 2016 mark 41

21 E-Journal David Hüser is Director Brand & Strategy at designaffairs GmbH in Munich. The strategic design consulting agency creates holistic design strategies as well as product and service solutions for the most successful brands worldwide. Photos: shutterstock, companies just exchanging blows between online advertising banners, print belly pork advertising and free samples at the point of sale. Slowly they begin not only to mix a gray out of black and white, but also to spread a whole range of colors in front of the consumer with the strategic use of all communication channels. Welcome to the marketing paradise. Origin of everything: the satisfaction of needs But let's take a step back: In the 1950s, the US psychologist Harry Harlow carried out experiments with newborn rhesus monkeys. He divided the animals into four groups after they were born. One grew up with their mothers, the other three were separated from them immediately after birth. As a substitute, one of these groups was provided with milk by a zookeeper on a daily basis, the second received a cuddly doll and a milk-donating wire mother, whereas the last group grew up completely isolated with only the wire frame that supplied them with milk. Except for the first group, all monkeys developed behavioral disorders. These were all the more massive, the fewer substitute sources for physical contact were available. As ethically questionable as this experiment seems today, Harlow was able to prove clearly how important physical proximity and the satisfaction of our elementary basic needs with all of the senses is. Perhaps the reference to this experiment from neuropsychology seems a bit far-fetched at first.However, there is exactly the same principle behind the consumption of brands and products: the satisfaction of our basic human needs, far beyond the range of pure consumer goods. It's about interaction and building relationships. Classical conditioning with all the senses In an age that is becoming more and more digital and virtual, our deepest basic needs therefore remain the old ones. They have to be tangible, tangible and real. After all, what attraction would a photo of a coke covered in fresh pearls have without the complementary live experience of someone handing us the cool, fluted glass bottle with the easily recognizable, curved lettering on a hot summer's day, and thus quenching our thirst? The more senses a brand experience appeals, the more emotional and therefore more sustainable it becomes anchored in our brain. If these sensory experiences are also combined with positive feelings, a new favorite brand has established itself in us. Or at least the first synapses for such a development have formed. Thanks to this classic conditioning and here, too, there was a significant experiment with Pavlov's dogs, the Fresh Pearl Cola pop-up on Facebook is enough to make us want a cola even if we are not even thirsty at that moment. Because we know: we can trust this brand, we know what we're getting, how it feels when we touch, smell, taste, consume and, above all, we know: this product satisfies my needs. 3: 2016 brand 41 21

22 BRAND Multi-sensor technology The more senses a brand experience appeals, the more emotional and sustainable it is anchored in our brain. The brain of the point of sale Strong brands have therefore learned to use all communication channels available to them in order not to support the consumer with his final decision at the point of sale. Much earlier, they conjure up an unforgettable, holistic brand and product experience for him at as many different and individually relevant touchpoints as possible. Digital media in particular make it possible to create completely new, unimagined desires in the consumer. Because stories and personally relevant content often create brand preferences long before the product can be experienced live. The purchase decision is also made. At the actual point of sale: our brain. BUT: Never change a winning team Digital and haptic brand worlds are not mutually exclusive, but rather stimulate each other. The skilful interaction of the various touchpoints makes products holistically tangible and therefore desirable in the long term, especially when the brand values ​​are communicated authentically and consistently. As a strategic design consulting agency, designaffairs works daily on the brand-compliant translation of corporate values ​​into design, and, more importantly, with the people behind them: with their creators and employees, with their current customers and potential consumers of tomorrow. Three service areas are essential: the brand with its values, differentiating features and its positioning. The products with their design, their quality and usability. As well as people with their needs and expectations. The experts at designaffairs do not proceed purely theoretically, but rather strongly empirically and leave the field of individual taste. The use of agency's own, scientifically validated tools such as SimuPro and DSO (Design Style Observation) enable the definition of an individual brand positioning and a unique design style that are based on the individual brand DNA and are therefore authentically convincing. In the Color Material & User Interface Lab, the designers from designaffairs are also experimenting with analog materials and digital media. Here you will find examples such as the Ambient Display, which interprets interactions between people and technology in a new and emotional way. Love Brands There are more than enough current examples of successful brand staging, as the annual ranking from the market research institute Millward Brown and Interbrand shows: Apple, Google, Coca-Cola are strong brands that appeal to their target groups on all relevant online and offline channels and generate strong desires and, above all, relevance for their brands and products through personalized content. Analog and digital, virtual and haptic. Two worlds that have learned that together they can create something much larger and more valuable for people than the plain one-way communication of yesterday could ever have been able to do, namely to make the values ​​of a brand and its products tangible in a target group-relevant manner and ultimately to create love brands that are really meaningful for people in their everyday lives. by David Hüser 22 3: 2016 brand 41

23 E-Journal books service The marketing journal mark41 continues in the tradition of Wolfgang K. A. Disch and the marketing journal he founded, the author publications after the 40th year. Storytelling as the basis for modern content marketing Miriam Rupp: Storytelling for companies mitp Verlag, 1st edition 2016 Softcover, 288 pages ISBN:, 24.99 For marketing departments, storytelling is the new foundation in customer communication via old and new channels such as PR and content marketing and social media. Brands like Red Bull, Apple, Coca-Cola, Dove or airbnb are on everyone's lips these days when it comes to brand storytelling. But what exactly do they do differently from what we know from traditional corporate communication? What can you learn from them? Using specific examples, this book will show you how storytelling can be used successfully in marketing and corporate management. In the first part of the book, you will learn in detail which components a good story should contain, and you will learn how to find heroes, conflicts, a happy ending and ultimately your own role in a story for your company that fits your corporate strategy and vision. The second part of the book explains how you can best get your stories to your audience. In the third part of the book, the author shows that storytelling is not just a topic for lifestyle products such as energy drinks or smartphones. Stories offer enormous potential, especially for technical or niche topics or in the B-to-B area, which is usually easier to implement than assumed. The way to the optimal online marketing concept Erwin Lammenett: Online marketing concept CreateSpace Independent Publishing Platform 1st edition May 2016 Paperback, 206 pages ISBN:, 26.75 Online marketing is complex and multi-layered. It is subject to constant change processes. At the same time, the cycles in which innovations call established procedures into question are becoming shorter and shorter. It is therefore difficult to use online marketing in a targeted and profitable manner. There are many risks and pitfalls. This is why a well thought-out and structured online marketing concept is a key success factor, especially in today's world. There are many recent examples that have shown that blind actionism in online marketing produces unfortunate results (to put it diplomatically). In this book the reader receives many suggestions and examples for a structured approach to the planning and control of online marketing activities. A structured, conceptually well thought-out approach has great economic advantages over ad hoc actions and less structured approaches. Imprint MIM Marken Institut München GmbH Ridlerstraße 35a, Munich District Court Munich HRB Editor: Communication Network Media Ridlerstraße 35a, Munich Editor Tel .: 089 / Editor Fax: 089 / Homepage: Advertising Manager: Kornelia Lugert An der Bahn 4, Lamerdingen Tel .: 08241 / Editor-in-chief: Friedrich M. Kirn Art Director: Deivis Aronaitis Editor: Thomas Bode, Detlev Brechtel, Manfred Haar, Börries Alexander Kirn, Carlo Levis Editorial assistant: Zeno Hagemann Design: Alexandra Budik, Nadine Schmidt Final editor: Wolfgang Mettmann Annual subscription price for domestic mail sales Euro 90 incl . Shipping. Responsible for editing under press law: Friedrich M. Kirn Printing: Kessler Druck + Medien GmbH & Co. KG, Michael-Schäffer-Straße 1, Bobingen Data protection notice: Articles marked with the name of the author do not represent the opinion of the editors Reviews are considered a publication proposal under the conditions of the publisher; the publisher assumes no liability for the return. Neither the author nor the publisher are liable for any disadvantages or damage that may result from the information and instructions given in this booklet. Copyright: MIM Brand Institute Munich GmbH. All rights reserved. No part of this magazine may be reproduced or distributed without the written permission of the publisher. This prohibition includes, in particular, commercial copying as well as recording in electronic databases or on CD-ROM. AGB under ISSN brand 41 the marketingjournal appears in the ninth year. Marke 41 goes to all members of the G E M Society for Research into Branding e.v. Published 6 times a year, circulation 5100 ZKZ media 41 is the cross-media communication platform for media planners in agencies and companies and appears as a print edition and as an e-journal with an open online archive. media 41 the journal for media & marketing appears in the sixth year. 3: 2016 brand 41 23

24 BRAND Battlecry The power of sound or 5 language patterns for brand success Management today lives in a world of words. It works in a world of words. It thinks in a world of words. Above all, however, the management lives in a world of the written word, from tweets to mostly extremely text-heavy PowerPoint presentations. This is exactly what seduces many decision-makers to judge brand names and slogans from the point of view of the font or, better, the typeface. Only: that is a serious mistake. Because in our brain there are no words, only sounds. Observe children as they learn to read. In many cases, they move the lips in the process. The reason for this: the child translates the writing, or rather the typeface, into sounds that they, or, to put it better, the brain, can understand. Of course, adults no longer move their lips when reading. Nevertheless, they too have to translate the typeface into sounds in order to understand the written letters. This is why our brains take longer to process what is written. Because the written word is first of all an image for our brain, which is decoded by the right half of the brain and then sent to the left half of the brain so that it then sets the image to music. This dubbing process takes about 40 milliseconds. But it also means that sound is more important for our memory than the typeface. Wrong brand world Only when, as mentioned above, the development of brand names, and especially slogans, are these still in many cases judged by their appearance. Then arguments like this come up quickly: This slogan is 24 3: 2016 mark 41

25 E-Journal Michael Brandtner is a specialist in strategic brand and company positioning and an associate of Ries & Ries. His blog: Laura Ries is one of the world's leading marketing thought leaders and is the managing director of the brand and marketing consultancy Ries & Ries (your blog: in combination with our brand name too long. It doesn't look particularly good either on the business card or in our advertising. So risky However, one thing is that the selected brand names and, above all, the selected slogans can never achieve the desired success because they often do not sound good Slogans could massively increase. Worse still: Often slogans that would have been perfect due to the sound are replaced by shorter slogans that look better from the management's point of view. So the current Milka slogan Dare to be tender never becomes the one Speech melody and with it the meaning of the slogan The most tender temptation since chocolate has existed, from children's books and comics s learn Compare the title of Didi Hallervorden's earlier television series Nonstop Nonsens with the current Lufthansa slogan Nonstop you! From the point of view of the typeface, Nonstop you is shorter. From a sound point of view, nonstop nonsense is far better and, above all, much more memorable due to the alliteration used. Photos: Sergey Nivens / Fotolia.com, mark.f / Fotolia.com, Matthias Enter / Fotolia.com, Company 3: 2016 Marke 41 25