BY KATIE MULDOON
Sometimes it seems as though virtually every product line has become a commodity. Catalogs arrive but, with too few exceptions, have little memorable impact. Those that do pretty obviously have smart, strong positioning behind them. Positioning, rightfully so, has received great coverage in the last few years.
What hasn't been talked about is what happens after you get that great positioning. This is when creative strategy comes into play.
Creative strategy is a reflection and amplification of positioning. Every catalog, big or small, should have a written creative strategy. Writing down the creative game plan makes you actually think it through and change it from a cool idea into a concise and consistent execution. Having it presented in a logical, written manner also means the entire marketing team will be focused on how each part of the creative equation ties into the target market.
One key part of the creative strategy is the value proposition, which explains how the copy and layout will instantly make the target audience understand why this product offers value for the money, no matter what the price.
Other questions that need to be answered as part of the creative strategy are: What aspects will your design and layout encompass? Will the overall style be upscale or downscale? Cutting-edge or mainstream? Will it have an analytical or “down home” feel? Just the facts or lots of editorial? What are the key words, phrases, symbols, characteristics and attributes that set your book apart from the competition?
For example, Blissout presents its catalog in something of a newsletter format, going so far as to call it a “spring beauty report.” The tag line, “The most researched resource for smart beauty buying,” gives immediate credibility to the products offered and a reason to read the copy-heavy contents. Characteristics include lots of color tinting, simple straight-on photography, tons of reader editorials and tongue-in-cheek copy (“Give us your parched, your dry, your anti-oil obsessions. From fat-free to triple crèmes…we've got your moisture number.”
What about the photography? How often should an item be shown in use — or should it be shown at all? What does “in use” mean — a simple propping or a re-enactment of a particular situation? Photos of real customers and their printed testimonials offer depth and warmth, but could be entirely wrong if the positioning calls for a more high-tech treatment. Location shots add ambiance, but can distract from the product. Use them if they reinforce your catalog's positioning, not just as pretty filler.
Should the photos have flat lighting for a less sophisticated look or shadow-style lighting to appear more upscale? What about funky stuff, like pictures taken at angles or blurred models' images? Watch out, though. A famous catalog once experimented with odd-angle photos; perhaps some customers liked the new look, but most didn't appreciate having to position their heads just so to get a good look at the pictures. Needless to say, this format didn't last very long.
Doctors Foster & Smith's photography could be considered old-fashioned, as its flat lighting style shows products well but does not enhance the mood. For a catalog that relies more on its authority as a vet than on striking visuals, this is the right way to go. Plus, this catalog of “products for your pets” shows just about every item in use so that customers can identify with what they see in the photos.
You might think that copy should always go for clarity, but on rare occasions copy is just the background music for graphics that tell the story. Escada's luscious bronze-toned catalog has not one word of copy, but instead uses striking photographs to great effect. The images, no doubt, are intended to drive the reader into one of the stores listed on the mirror-coated back cover. Your creative strategy should clearly state what the creative thrust should be — copy or design.
What kind of tone should the copy have? Most catalogs take a rather indistinct approach, but others add a bit more flavor.
Under the Canopy demonstrates a bit of playfulness with lead-ins like “Let's face it: Everyone wants an outfit that looks great and feels fabulous anytime and every time.” This copy might be called friendly or warm and fuzzy. But FootSmart takes this style further, with copy that's even more conversational: “The problem is in the stride. With flat feet, the inside edge…” and so on. FootSmart not only talks directly to its customers, it also attempts to educate. So when determining copy tone, be specific.
How will all of this coordinate and enhance an overall branding statement? How will the concept grow? Can it be freshened without losing its impact?
Crate and Barrels' “simple is better” philosophy has stood the test of time. Letting the product be the hero, each layout and photo is almost stark in its simplicity. Products and backgrounds are paginated by color, allowing a spread of clear or white items to have a dramatic gray background and another spread to apply various color schemes, such as placing blue and white items on an all-blue background for an overall “blue mode.”
While Crate & Barrel used to be known for its offbeat, minimalist props, today the minimalism remains while the props have become a little less unique. But it all still works in conveying a consistent, effective creative strategy. As they say in the movie biz, make sure your creative strategy “has legs.”
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