# data[].attributes.attachment_link.title
Group 6 presentation 2 marking sheet.doc

# data[].attributes.attachment_link.title
Group 5 presentation 2 marking sheet.doc

# data[].attributes.attachment_link.title
Group 4 presentation 2 marking sheet.doc

# data[].attributes.attachment_link.title
Group 3 presentation 2 marking sheet.doc

# data[].attributes.attachment_link.title
Group 2 presentation 2 marking sheet.doc

# data[].attributes.attachment_link.title
Group 1 presentation 2 marking sheet.doc

# data[].attributes.headline
KHAN Mohammad MEHran - 177004002- Group 4

# data[].attributes.subject
KHAN Mohammad MEHran - 177004002- Group 4

# data[].attributes.body
Knowing about brand logo and symbol that how it create and what's the main vision behind its promotion.

# data[].attributes.attachment_link.readable_text
The Walt Disney Company started out as tiny little company created by an enterprising man by the name of Walt Disney. Today, of course, Walt Disney Co. is a multi-billion dollar corporation with theme parks in many countries, a faithful fan base and many hit movies to their name. Walt Disney makes their money from many different sources from movies to park admissions and they are a power to be reckoned with in the entertainment world. Due to their great success, they have created their own company whose sole purpose it is to handle their film productions.

One factor that has always worked in the favor of this company is the fantastical look of their famous logo. People around the world are able to identify the Walt Disney logo and this brand recognition has helped propel the company to the lofty heights it occupies. A mother looking for a movie for her young children to see is quite likely to seek out the Disney brand and millions of others do the same. Anyone wanting to create a branding empire of their own should consider the lessons of this famous company.

Logo#1 The Revolving Mickey

One of the first logo shown on the popular Disney movies showed a revolving color-changing profile of Mickey Mouse. This logo served two purposes. First it took advantage of Disney's most famous creation, Mickey Mouse. It also showcased the technological leaps and bounds that the Disney Co was making in entertainment.

Logo#2 The Castle

In 1995 the Walt Disney Co. introduced its most well-known logo, the famous Cinderella castle with an arcing line overhead. This logo is meant to evoke a sense of fantasy and imagination. The castle conjures up dreams of excitement and romance and is an irresistible draw to children all over the world. The new image is also more pleasing to the eye both online and offline meaning that it's available to a wider audience.

Logo#3 A Stunning Castle

The earlier versions of the famous castle were interesting but had no real distinguishing features besides the tower. The current logo of Walt Disney Pictures aimed to change that. The castle is given incredible detail such as balconies, windows and even a moat. This picture serves to be even more eye-catching to the average viewer and, like the original logo, serves as an example of the technological abilities of the company.

Why the Logo Works

There can be no denying that the Walt Disney Co. logo is incredibly effective. Millions of people across the world can recognize the Disney logo at a glance and that kind of brand recognition is what has helped to make Disney the successful company that it is. The logo is probably so successful because it adapts to a changing audience. A new generation calls for a new logo and Disney seems up to the challenge.

# data[].attributes.attachment_link.description
The Walt Disney Company started out as tiny little company created by an enterprising man by the name of Walt Disney. Today, of course, Walt Disney Co. is a multi-billion dollar corporation with theme parks in many countries, a faithful fan base and many hit movies to their name.

# data[].attributes.body
Knowing about the Disneyland celebrity's affect on Disney. How they promote through them.

# data[].attributes.attachment_link.title
Celebrity Visits at Disney Parks and Resorts

# data[].attributes.attachment_link.description
See the latest celebrity visits to Walt Disney Parks and Resorts on the Disney Parks Blog.

# data[].attributes.body
View about Brand name and idea and how to unify brand name and elnlarge it scale.

# data[].attributes.attachment_link.readable_text
When someone asks me what it takes for brand success, I tell them, "go back to the future." The fact is, success today calls for the same framework that was required to build brands in the olden days (olden being pre-hashtag life). You need to establish a differentiated meaning for your brand that the consumers you want to really care about, and you need to be able to deliver on this idea brilliantly and consistently. In other words, you must do what it takes to keep your promise, keep it relevant, and meet consumer expectations wherever they touch your brand.

While establishing a differentiated meaning for a brand is tough, perhaps the greater challenge facing marketers today is the growing number of places consumers touch a brand. It's become incredibly more complicated to execute a brand promise. This is what we call bringing the brand to life. Consumers are interacting with brands in myriad new ways, but brand organizations have to move much faster, with greater agility and responsiveness to consumer actions and reactions, which can be at warp-speed in this rapidly changing environment.

Obviously, the greater the number of ways it's possible for a consumer to interact with any given brand, the greater the challenge for the organization to keep its promise consistently. So, when I heard "11.2 billion possible combinations of how you can experience the product," I was all ears. Mouse ears, as it were. For this was the number stated by Tom Boyles, Senior Vice President, Global Customer Managed Relationships at Disney Parks and Resorts, who was among the speakers at the recent Hub Brand Experience Symposium. And, no, he wasn't referring to the entire Disney brand relative to these "11.2 billion ways." He was referring only (only?) to the ways a guest can interact with the Disney brand at its Walt Disney World Resort in Orlando, be it through major attractions, restaurants, characters, hotels or transportation, just to name a few points of touch. I wanted to hear what this iconic company has been doing to stay differentiated and relevant in an increasingly complex, fast-moving market. And, how they ensure all experiences reflect its promise.

Now, Disney's core promise, the simple idea on which it was launched, hasn't changed since Walt Disney made clear that it was to create happiness through magical experiences. As Boyles told his audience, "Disney Parks and Resorts exist to make magical experiences come alive." It was what he said next, though, that was the key to this on-going success story. "A good part of doing this is knowing your guest well enough to be relevant to them. In 2010, we set the goal to be relevant to every guest, every day, every time they interacted with our brand. We wanted to stay the most trusted provider in the space."

As Boyles went on to explain, understanding what is relevant to a guest can only be achieved if you listen to these guests. That's why, among the first things the Disney organization did to meet its goal was to make the switch from what is commonly known as Customer Relationship Management, to Customer Managed Relationships. It put into place initiatives that put the guests in control of telling Disney what was important in a Disney experience. Doing so made it possible for the company to create solutions that would enable guests to optimize their personal Disney experience across multiple points of touch. Disney promoted customer engagement with an emphasis on meeting a customer's needs at a time and in a manner preferred by the customer. What's more, in answer to a question raised by one of Walt Disney World's 75,000 employees, "Who owns the guest?" it was communicated that no one owns the guest. However, someone, in every case, "owns the moment." Boyles explained that the Customer Managed Relationship way of doing business generated energy and enthusiasm with employees. "We knew that it was each one's role to connect the moments."

A critical element in this umbrella effort was not magic, but the magic of technology. Everyone knows Disney has always focused on innovation in entertainment. In this case, it's been a focus on innovative technology and a maximum utilization of this technology to enhance the customer experience. Or as Boyles put it, "the next generation guest experience." Among the tools and resources now available to guests as a result is a vacation-planning system called MyMagic+, which was introduced in 2013. Part of this inventive system includes MagicBands, which are equipped with radio frequency identification chips that interact with scanners throughout the park. These MagicBands allow guests to gain access to everything from their hotel rooms to rides and attractions. In addition, MyMagic+ makes it easier to book an appointment with Cinderella, book and order dinner at the park's restaurants, and preselect FastPasses before you leave home for V.I.P. seating at parades, fireworks, and character met-and-greets. These, and many more guest-friendly tools, are all part of MyDisneyExperience.com, an online resource created to help visitors have more fun with the greatest of ease.

No waiting in line. No stressing about what to see when. No worries about whether the kids will get to have breakfast with Goofy or get onto Space Mountain before the end of the day. This is not Fantasyland, but Disney's real world result of engaging with consumers to determine what matters most and to keep the experience consistent, whether it's made up of 100 or 10,000 interactions. While many companies are struggling to keep up with three years ago, Disney is making the kind of investments that will enable it to continue to keep its brand promise. Anyone can say they want to deliver magic. What makes Disney such a powerhouse brand is that they can see what's required to get to infinity and beyond. Or as mere mortal, Tom Boyles, says, "to ensure that the most magical place on Earth, remains that way."

# data[].attributes.attachment_link.title
Disney Knows It's Not Just Magic That Keeps a Brand on Top

# data[].attributes.attachment_link.description
When someone asks me what it takes for brand success, I tell them, "go back to the future." The fact is, success today calls for the same framework that was required to build brands in the olden days (olden being pre-hashtag life). You need to establish a differentiated meaning for [...]

# data[].attributes.body
Analysis of the Disney Brand

# data[].attributes.attachment_link.description
Brand Strategy:Lauren Peters  |  SERV 724  |  October 9, 2012  |  Assignment 4  |  Prof. Robert Bau 1

# data[].attributes.body
Learning about marketing strategies of Disneyland

# data[].attributes.attachment_link.readable_text
by Priti Ramjee

The Walt Disney Company claims to do intensive research to learn about its target market, enabling it to seize growth opportunities on a global level. Disney's corporate officials say they are committed to staying current with technologies children use, with shows they are watching, and how they incorporate technology in their lives. For example, Disney offers advertising discounts on Twitter and games on Facebook. It makes sure that its licensed characters like Mickey Mouse and Spider-Man are advancing to new platforms.

Target Marketing

Demonstrating its leadership in marketing to reach kids and families, Disney unveiled the first national wireless phone service in 2006, known as Disney MobileSM. The phone used GPS capabilities to allow parents to control who their children communicate with and to monitor where they are. This is part of Disney's strategy to be relevant to contemporary family lifestyles. Disney also continues to appeal to teens and their parents by staying current with digital gaming and social media opportunities, as by its acquisition of online social gaming leader Playdom Inc.

International Outreach

According to small-business strategist DEMC, Disney recognizes that many people do not have the opportunity to travel to the United States to visit Walt Disney World or Disneyland. As a result, Disney developed theme parks around the globe to capture the market, adapting them to local cultures. They include Disneyland Paris, Tokyo Disney, and Hong Kong Disneyland. With worldwide expansion, Disney aims to increase its marketplace and expand its brand.

Advertising and Promotions

Disney's ownership of media networks such as ABC, Disney Channel and ESPN is a strategy the company is using to market its brand to Americans. This includes a systematic approach to television advertising, as well as radio commercials, print, outdoor advertising and mobile initiatives, promoting discounts on resorts, and family packages. To reach teenagers, Disney launched advergaming, which puts ad messages in online and video games. The goal is to reach kids directly and encourage them to urge their parents to visit a Disney park for a family experience.

Innovation

As part of its marketing strategy, Disney believes in innovation to stay ahead of the competition and build business. With rapid advances in technology, the traditional passive television audience is in transition, no longer captive to prime-time scheduling on major networks. Disney's strategy is to connect with kids directly via storytelling utilizing multiple technologies.

Photo Credits

Paul A. Hebert/Getty Images Entertainment/Getty Images

Copyright © Leaf Group Ltd. / Leaf Group Media, all rights reserved.

# data[].attributes.attachment_link.description
The Walt Disney Company claims to do intensive research to learn about its target market, enabling it to seize growth opportunities on a global level. Disney's corporate officials say they are committed to staying current with technologies children use, with shows they are watching, and how they incorporate ...

# data[].attributes.headline
KHAN Mohammad Mehran - 177004002  Group 4

# data[].attributes.subject
KHAN Mohammad Mehran - 177004002  Group 4

# data[].attributes.body
Learning about disney Target customer, how they influence kids, tween and teens member of family through various options

# data[].attributes.attachment_link.readable_text
How Disney Understood Its Target Market And Became Successful

When you think of some of the most successful companies in the world, there are many that come to mind, but there is no doubt that among the top of the list would be the Walt Disney Company, having some of the most popular movies and TV shows as well as multiple theme parks. There have been many factors that have played into the success of Disney since Walt Disney started it. One factor, of course, was Walt's ability, from the beginning, to convince people into buying into his visions. This skill of his translates into one of the company's key factors to its success - understanding its target market.

Walt Disney was a smart man who understood who he was trying to reach with his films and his parks. A few of his quotes that illustrate this include: "Animation offers a medium of storytelling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world"; "You're dead if you aim only for kids. Adults are only kids grown up, anyway"; "We believed in our idea - a family park where parents and children could have fun together"; "Movies can and do have tremendous influence in shaping young lives in the realm of entertainment towards the ideals and objectives of normal adulthood."

As these quotes illustrate, Disney aimed not only for children with his cartoons and movies but also adults who were still children at heart and could appreciate his films and learn from their stories. That has continued to be the driving force behind Disney - appeal to children and adults alike with family-friendly entertainment that both will enjoy. And they have had some great success with that.

Things began to lag for the company a bit after the turn of the millennium, however, as Pixar began to make strides. But rather than try to bolster the company from within, they decided to buy Pixar instead and followed that up a few years later by buying Marvel. These were some bold moves, but it shows some thought and is still in keeping with the idea of appealing to the young since Pixar is an animation studio and Marvel is a comic book company. The same can be said of their acquisition of LucasFilm.

One of Disney's most recent successful animated movies was Frozen. Everyone is familiar with the Elsa and the song "Let It Go." The success of the movie is an illustration of what has made Disney movies so popular from the beginning: strong female protagonists, great stories, and wonderful songs. All the ingredients needed to catch a young girl's heart and a parent's wallet. But with the movies Tangled and Brave, they realized you can't just leave out the boys from the equation or you lose a good piece of the pie, and so marketing trailers for Frozen included the snowman Olaf with humorous lines and no music in an effort to appeal to boys. They also managed to use the songs and soundtrack from the Frozen movie to reach varying demographics in the market and made plans to expand on the movie with a Broadway play and an "On Ice" show.

With a recent hit like Frozen, and the acquisition of Pixar, Marvel, and LucasFilm, Disney has the staying power to reach out to both the young and young at heart for a long time to come with movies and shows certain to be box office hits.
Stand out from the crowd and aggressively grow your business with Aggressive Growth Marketing. The Growth Marketing Agency that provides Growth Hacking Marketing, Social Media, Guest Blogging, Email Marketing and growth focused Digital Marketing Agency services. Call 020 7692 8960 to discuss your needs today.

# data[].attributes.attachment_link.title
How Disney Understood Its Target Market And Became Successful - Aggressive Growth Marketing

# data[].attributes.attachment_link.description
When you think of some of the most successful companies in the world, there are many that come to mind, but there is no doubt that among the top of the list would be the Walt Disney Company, having some of the most popular movies and TV shows as well as multiple theme parks.

# data[].attributes.body
Gernal knowledge on Disney . Getting idea on Disney product

# data[].attributes.attachment_link.title
香港迪士尼樂園度假區 | 官方網站 | 香港迪士尼樂園酒店

# data[].attributes.attachment_link.description
前往香港迪士尼樂園官方網站購買門票、查看與訂購酒店特別優惠，採索香港迪士尼樂園的遊樂設施、娛樂表演，以及更多精彩活動。

# data[].attributes.headline
Liang Mingjian 17041494 (Group5: Gillette)

# data[].attributes.subject
Liang Mingjian 17041494 (Group5: Gillette)

# data[].attributes.body
Gillette pre2. ppt

# data[].attributes.body
Disney ppt

# data[].attributes.headline
Chan Yan Yan Valirie 177003969                        Group 2: Nike Presentation (Updated Ver. 2)

# data[].attributes.subject
Chan Yan Yan Valirie 177003969                        Group 2: Nike Presentation (Updated Ver. 2)

# data[].attributes.body
Latest update from (Updated ver.)

# data[].attributes.attachment_link.readable_text
BURBANK, Calif.-The Walt Disney Company (NYSE: DIS) today reported earnings for its fourth quarter and fiscal year ended September 30, 2017. Diluted earnings per share (EPS) for the fourth quarter increased 3% from $1.10 in the prior-year quarter to $1.13 in the current quarter. Excluding certain items affecting comparability⁽¹⁾, EPS for the quarter decreased 3% from $1.10 in the prior-year quarter to $1.07. Diluted EPS for the year decreased from $5.73 in the prior year to $5.69. Excluding certain items affecting comparability⁽¹⁾, EPS for the year decreased from $5.72 in the prior year to $5.70.

"No other entertainment company is better equipped to navigate the ever-evolving media landscape, thanks to our unparalleled collection of brands and franchises and our ability to leverage IP across our entire company," said Robert A. Iger, Chairman and Chief Executive Officer, The Walt Disney Company. "We look forward to launching our first direct-to-consumer streaming service in the new year, and we will continue to invest for the future and take the smart risks required to deliver shareholder value."

The following table summarizes the fourth quarter and full year results for fiscal 2017 and 2016 (in millions, except per share amounts):

⁽¹⁾ EPS excluding certain items affecting comparability, segment operating income and free cash flow are non-GAAP financial measures. Certain items affecting comparability during the fourth quarter of fiscal 2017 included a non-cash net gain in connection with the acquisition of a controlling interest in BAMTech LLC ($255 million) and restructuring and impairment charges ($98 million).
⁽²⁾ Reflects amounts attributable to shareholders of The Walt Disney Company, i.e. after deduction of noncontrolling interests.
⁽³⁾ Includes an income tax benefit related to the adoption of new accounting rules for the tax effects of employee share-based awards, which requires that excess tax benefits or tax deficiencies on employee share-based awards be included in "Income taxes" in the Condensed Consolidated Statement of Income. These amounts were previously recorded in "Common stock" in the Condensed Consolidated Balance Sheet. An excess tax benefit arises when the value of an employee share-based award on the exercise or vesting date is higher than the fair value on the grant date. A tax deficiency arises when the value on the exercise or vesting date is lower than the grant date fair value.

SEGMENT RESULTS

The following table summarizes the fourth quarter and full year segment operating results for fiscal 2017 and 2016 (in millions):

DISCUSSION OF FULL YEAR CONSOLIDATED RESULTS

For the year, the decrease in diluted EPS was due to lower segment operating income and higher net interest expense. These decreases were partially offset by a decrease in weighted average shares outstanding as a result of our share repurchase program and a lower effective income tax rate due to a lower rate on foreign earnings and a favorable impact from the adoption of a new accounting pronouncement for the tax effects of employee share-based awards ($125 million). The increase in net interest expense was due to higher average debt balances, lower capitalized interest and higher average interest rates.

Lower segment operating income was due to decreases at Media Networks, Studio Entertainment and Consumer Products & Interactive Media, partially offset by growth at Parks and Resorts. The decrease at Media Networks was due to contractual rate increases for sports programming, lower advertising revenue and higher losses from our equity investments in BAMTech LLC (BAMTech) and Hulu LLC (Hulu), partially offset by higher affiliate revenue. Lower Studio Entertainment and Consumer Products & Interactive Media results were due to the exceptional performance of the Star Wars franchise in the prior year, which benefited all of our key distribution channels. Growth at Parks and Resorts was due to increases at our international and domestic operations. Internationally, we benefited from a full year of operations at Shanghai Disney Resort and higher attendance and guest spending at Disneyland Paris driven by the 25th Anniversary celebration in the current year. The increase at our domestic operations was due to higher guest spending for admissions to our theme parks and sailings on our cruise ships and higher attendance, partially offset by cost inflation and higher expenses for operations support and new guest offerings. Growth at our domestic operations was adversely impacted by Hurricane Irma and Hurricane Matthew in the current year.

DISCUSSION OF FOURTH QUARTER SEGMENT RESULTS

Media Networks revenues for the quarter decreased 3% to $5.5 billion, and segment operating income decreased 12% to $1.5 billion. The following table provides further detail of the Media Networks results (in millions):

Cable Networks

Operating income at Cable Networks decreased $15 million to $1.2 billion for the quarter due to a decrease at Freeform, partially offset by growth at the Disney Channels due to higher program sales.

The decrease at Freeform was driven by lower advertising revenue primarily due to a decrease in average viewership.

Results at ESPN were comparable to the prior-year quarter as higher programming costs and lower advertising revenue were offset by higher affiliate revenue. The programming cost increase was driven by contractual rate increases for NFL, college sports and MLB, partially offset by the absence of costs for Olympics programming internationally and the World Cup of Hockey. Lower advertising revenue was due to a decrease in average viewership and lower units delivered, partially offset by higher rates. Affiliate revenue growth resulted from contractual rate increases, partially offset by a decline in subscribers.

Broadcasting

Operating income at Broadcasting decreased $42 million to $229 million for the quarter driven by lower advertising revenue and a decrease in program sales, partially offset by an increase in affiliate revenue, due to rate increases, and lower programming costs.

The decrease in advertising revenue reflected lower network impressions, lower political advertising at our owned television stations and the absence of the Emmy Awards show, partially offset by higher network rates. Lower network impressions were driven by a decrease in average viewership, partially offset by an increase in units delivered. The decrease in program sales was primarily due to fewer significant titles in the current quarter compared to the prior-year quarter. The current quarter included sales of The Punisher and Designated Survivor, whereas the prior-year quarter included sales of Luke Cage, Castle, Golden Girls and Quantico. Programming costs reflected the benefit of one less week of new programming due to the timing of our fall season launch and the absence of costs for the Emmy Awards, partially offset by higher write-downs.

Equity in the Income of Investees

Equity in the income of investees decreased to $10 million from $150 million due to higher losses from BAMTech and Hulu and lower income at A+E Television Networks (A+E). The BAMTech results reflected a valuation adjustment to sports programming rights that were prepaid prior to our acquisition of BAMTech and increased costs for technology platform investments. The higher loss at Hulu was due to higher labor, marketing and distribution costs, partially offset by growth in subscription and advertising revenue. The decrease at A +E was due to higher marketing costs, lower program sales and lower advertising revenue.

Parks and Resorts revenues for the quarter increased 6% to $4.7 billion, and segment operating income increased 7% to $746 million. Operating income growth for the quarter was due to an increase at our international operations, partially offset by a decrease at our domestic operations, which were unfavorably impacted by Hurricane Irma. As a result of the hurricane, Walt Disney World Resort was closed for two days, and we canceled three cruise itineraries and shortened two others.

Results at our international operations were due to growth at Disneyland Paris and Shanghai Disney Resort. The improvement at Disneyland Paris reflected increases in attendance, guest spending and occupied room nights, partially offset by higher costs, driven by the 25th Anniversary celebration, and a loss from its 50% joint venture interest in Villages Nature. Guest spending growth was primarily due to higher average ticket prices and food and beverage spending. The increase at Shanghai Disney Resort was due to attendance growth and lower marketing costs, partially offset by lower average ticket prices. The decrease in marketing costs reflected costs associated with the grand opening of Shanghai Disney Resort in the prior year.

The decrease in operating income at our domestic operations was driven by lower results at Walt Disney World Resort, partially offset by an increase at our cruise line, growth at Disneyland Resort and higher sales of vacation club units.

Lower results at Walt Disney World Resort were driven by higher costs and fewer occupied room nights, partially offset by growth in guest spending and attendance, although both were negatively impacted by Hurricane Irma. Higher costs were primarily due to increases in labor and employee benefits, depreciation and marketing. Guest spending growth was due to increased food and beverage spending and higher average daily hotel room rates. Available hotel room nights were lower due to refurbishments and conversions to vacation club units.

Growth at our cruise line resulted from higher average ticket prices.

Higher results at Disneyland Resort were due to increases in guest spending and attendance, partially offset by higher costs for new guest offerings and marketing. The increase in guest spending was primarily due to higher average ticket prices.

Studio Entertainment revenues for the quarter decreased 21% to $1.4 billion and segment operating income decreased $163 million to $218 million. The decrease in operating income was due to higher film cost impairments, lower TV/ SVOD distribution results and a lower revenue share from the Consumer Products & Interactive Media segment. Home entertainment and theatrical distribution results were comparable to the prior-year quarter. However, theatrical distribution revenues declined primarily due to the performance of Cars 3 in the current quarter compared to Finding Dory in the prior-year quarter.

The increase in film cost impairments resulted from a write-off in the current quarter of an animated title that was in development, which we do not plan to release.

Lower TV/SVOD distribution results were due to a domestic sale of Star Wars Classic titles in the prior-year quarter.

The decrease in revenue share with the Consumer Products & Interactive Media segment was primarily due to stronger performance of merchandise based on Star Wars, Frozen and Finding Dory in the prior-year quarter, partially offset by Cars merchandise in the current quarter.

Home entertainment results in the current quarter included the release of Guardians of the Galaxy Vol. 2 and the continuing performances of Beauty and the Beast and Moana, whereas the prior-year quarter included the release of Captain America: Civil War and The Jungle Book and the continuing performance of Zootopia.

Theatrical distribution results were comparable to the prior-year quarter as the continuing performance of Pirates of the Caribbean: Dead Men Tell No Tales and Cars 3 in the current quarter were offset by the continuing performance Finding Dory and the release of Pete's Dragon in the prior-year quarter.

Consumer Products & Interactive Media

Consumer Products & Interactive Media revenues for the quarter decreased 6% to $1.2 billion, and segment operating income decreased 12% to $373 million due to a decrease at our merchandise licensing business.

Lower results at our merchandise licensing business were primarily due to a decrease in earned licensing revenues, higher third-party royalty expense and an unfavorable impact from foreign currency translation. Lower earned licensing revenues were due to decreased sales of merchandise based on Star Wars, Frozen and Finding Dory, partially offset by increases from merchandise based on Cars and Spider-Man.

OTHER QUARTERLY FINANCIAL INFORMATION

Corporate and Unallocated Shared Expenses

Corporate and unallocated shared expenses increased $7 million to $190 million for the quarter due to higher charitable contributions including contributions to disaster relief efforts.

Interest expense, net was as follows (in millions):

The increase in interest expense for the quarter was due to higher average debt balances and an increase in average interest rates.

The increase in interest and investment income for the quarter was due to gains on investments in the current quarter.

The effective income tax rate was as follows:

The decrease in the effective income tax rate for the quarter was due to the impact of a change in our full year effective tax rate. The estimated full year effective rate is used to determine the quarterly income tax provision and is adjusted each quarter based on information available at the end of that quarter. The impact was favorable in the current quarter whereas it was unfavorable in the prior-year quarter. The change in our full year effective tax rate in both years was driven by a change in the estimated rate on foreign earnings. The decrease was partially offset by a benefit in the prior-year quarter from the favorable resolution of certain tax matters.

FULL YEAR CASH FLOW STATEMENT INFORMATION

Cash provided by operations and free cash flow were as follows (in millions):

⁽¹⁾ Free cash flow is not a financial measure defined by GAAP. See the discussion on pages 8 through 10.

Cash provided by operations for fiscal 2017 decreased 6% or $0.8 billion to $12.3 billion compared to fiscal 2016. The decrease in cash provided by operations was due to higher film and television production spending, lower segment operating results and higher pension plan contributions, partially offset by lower tax payments.

Cash flow information for fiscal 2016 has been restated to reflect the adoption of two new accounting standards during fiscal 2017. One standard requires cash paid for shares withheld to satisfy employee payroll tax obligations related to equity based compensation vestings to be classified as a financing activity instead of as an operating activity. The other standard requires restricted cash to be reported as part of cash and cash equivalents in the Consolidated Statement of Cash Flows, and thus the change in restricted cash will no longer be reported as an activity in the statement of cash flows. As a result of adopting these standards, fiscal 2016 cash provided by operations was reduced by $77 million.

Capital Expenditures and Depreciation Expense

Investments in parks, resorts and other property were as follows (in millions):

Capital expenditures decreased from $4.8 billion to $3.6 billion driven by lower spending at Shanghai Disney Resort and Hong Kong Disneyland Resort, partially offset by higher spending at our domestic parks.

Depreciation expense was as follows (in millions):

Non-GAAP Financial Measures

This earnings release presents EPS excluding the impact of certain items affecting comparability, free cash flow and aggregate segment operating income, all of which are important financial measures for the Company but are not financial measures defined by GAAP.

These measures should be reviewed in conjunction with the relevant GAAP financial measures and are not presented as alternative measures of EPS, cash flow or net income as determined in accordance with GAAP. EPS excluding certain items affecting comparability, free cash flow and aggregate segment operating income as we have calculated them may not be comparable to similarly titled measures reported by other companies.

EPS excluding certain items affecting comparability - The Company uses EPS excluding certain items to evaluate the performance of the Company's operations exclusive of certain items affecting comparability of results from period to period. The Company believes that information about EPS exclusive of these items is useful to investors, particularly where the impact of the excluded items is significant in relation to reported earnings, because the measure allows for comparability between periods of the operating performance of the Company's business and allows investors to evaluate the impact of these items separately from the impact of the operations of the business.

The following table reconciles reported EPS to EPS excluding certain items affecting comparability for the fourth quarter:

⁽¹⁾ Tax benefit/expense adjustments are determined using the tax rate applicable to the individual item affecting comparability.
⁽²⁾ Before noncontrolling interest share.
⁽³⁾ Net of noncontrolling interest share, where applicable. Total may not equal the sum of the column due to rounding.
⁽⁴⁾ Items affecting comparability during the fourth quarter of fiscal 2017 include a non-cash net gain in connection with the acquisition of a controlling interest in BAMTech ($255 million), which was recorded in "Other income, net" in the Condensed Consolidated Statements of Income, and restructuring and impairment charges ($98 million). In the prior-year fourth quarter, the Company recorded a favorable adjustment to charges taken in the second quarter of the prior year in connection with the discontinuation of our Infinity console game business (Infinity Charge) ($18 million) and restructuring and impairment charges ($31 million).

The following table reconciles reported EPS to EPS excluding certain items affecting comparability for the year:

⁽¹⁾ Tax benefit/expense adjustments are determined using the tax rate applicable to the individual item affecting comparability.
⁽²⁾ Before noncontrolling interest share.
⁽³⁾ Net of noncontrolling interest share, where applicable. Total may not equal the sum of the column due to rounding.
⁽⁴⁾ For the year ended September 30, 2017, items affecting comparability included a charge, net of committed insurance recoveries, in connection with the settlement of litigation ($177 million), restructuring and impairment charges ($98 million) and a non-cash net gain in connection with the acquisition of a controlling interest in BAMTech ($255 million), which was recorded in "Other income, net" in the Condensed Consolidated Statements of Income. In the prior year, the Company recorded the Company's share of a net gain recognized by A+E in connection with their acquisition of an interest in Vice Group Holding, Inc. (Vice Gain) ($332 million), the Infinity Charge ($129 million) and restructuring and impairment charges ($156 million).

Free cash flow - The Company uses free cash flow (cash provided by operations less investments in parks, resorts and other property), among other measures, to evaluate the ability of its operations to generate cash that is available for purposes other than capital expenditures. Management believes that information about free cash flow provides investors with an important perspective on the cash available to service debt obligations, make strategic acquisitions and investments and pay dividends or repurchase shares.

Aggregate segment operating income - The Company evaluates the performance of its operating segments based on segment operating income, and management uses aggregate segment operating income as a measure of the performance of operating businesses separate from non-operating factors. The Company believes that information about aggregate segment operating income assists investors by allowing them to evaluate changes in the operating results of the Company's portfolio of businesses separate from non-operational factors that affect net income, thus providing separate insight into both operations and the other factors that affect reported results.

A reconciliation of segment operating income to net income is as follows (in millions):

CONFERENCE CALL INFORMATION

In conjunction with this release, The Walt Disney Company will host a conference call today, November 9, 2017, at 4:30 PM EST/1:30 PM PST via a live webcast. To access the webcast go to www.disney.com/investors . The discussion will be archived.

FORWARD-LOOKING STATEMENTS

Management believes certain statements in this earnings release may constitute "forward-looking statements" within the meaning of the Private Securities Litigation Reform Act of 1995. These statements are made on the basis of management's views and assumptions regarding future events and business performance as of the time the statements are made. Management does not undertake any obligation to update these statements.

Actual results may differ materially from those expressed or implied. Such differences may result from actions taken by the Company, including restructuring or strategic initiatives (including capital investments or asset acquisitions or dispositions), as well as from developments beyond the Company's control, including:

changes in domestic and global economic conditions, competitive conditions and consumer preferences;

adverse weather conditions or natural disasters;

health concerns;

international, political, or military developments; and

technological developments.

Such developments may affect entertainment, travel and leisure businesses generally and may, among other things, affect:

the performance of the Company's theatrical and home entertainment releases;

the advertising market for broadcast and cable television programming;

demand for our products and services;

expenses of providing medical and pension benefits;

income tax expense; and

performance of some or all company businesses either directly or through their impact on those who distribute our products.

Additional factors are set forth in the Company's Annual Report on Form 10-K for the year ended October 1, 2016 under Item 1A, "Risk Factors," and subsequent reports.

Contacts:
Zenia Mucha
Corporate Communications
818-560-5300

Lowell Singer
Investor Relations
818-560-6601

# data[].attributes.attachment_link.title
The Walt Disney Company Reports Fourth Quarter And Full Year Earnings For Fiscal 2017 - The Walt Disney Company

# data[].attributes.attachment_link.description
BURBANK, Calif.-The Walt Disney Company (NYSE: DIS) today reported earnings for its fourth quarter and fiscal year ended September 30, 2017. Diluted earnings per share (EPS) for the fourth quarter increased 3% from $1.10 in the prior-year quarter to $1.13 in the current quarter.

# data[].attributes.body
Disney Target

# data[].attributes.attachment_link.readable_text
How Disney Understood Its Target Market And Became Successful

When you think of some of the most successful companies in the world, there are many that come to mind, but there is no doubt that among the top of the list would be the Walt Disney Company, having some of the most popular movies and TV shows as well as multiple theme parks. There have been many factors that have played into the success of Disney since Walt Disney started it. One factor, of course, was Walt's ability, from the beginning, to convince people into buying into his visions. This skill of his translates into one of the company's key factors to its success - understanding its target market.

Walt Disney was a smart man who understood who he was trying to reach with his films and his parks. A few of his quotes that illustrate this include: "Animation offers a medium of storytelling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world"; "You're dead if you aim only for kids. Adults are only kids grown up, anyway"; "We believed in our idea - a family park where parents and children could have fun together"; "Movies can and do have tremendous influence in shaping young lives in the realm of entertainment towards the ideals and objectives of normal adulthood."

As these quotes illustrate, Disney aimed not only for children with his cartoons and movies but also adults who were still children at heart and could appreciate his films and learn from their stories. That has continued to be the driving force behind Disney - appeal to children and adults alike with family-friendly entertainment that both will enjoy. And they have had some great success with that.

Things began to lag for the company a bit after the turn of the millennium, however, as Pixar began to make strides. But rather than try to bolster the company from within, they decided to buy Pixar instead and followed that up a few years later by buying Marvel. These were some bold moves, but it shows some thought and is still in keeping with the idea of appealing to the young since Pixar is an animation studio and Marvel is a comic book company. The same can be said of their acquisition of LucasFilm.

One of Disney's most recent successful animated movies was Frozen. Everyone is familiar with the Elsa and the song "Let It Go." The success of the movie is an illustration of what has made Disney movies so popular from the beginning: strong female protagonists, great stories, and wonderful songs. All the ingredients needed to catch a young girl's heart and a parent's wallet. But with the movies Tangled and Brave, they realized you can't just leave out the boys from the equation or you lose a good piece of the pie, and so marketing trailers for Frozen included the snowman Olaf with humorous lines and no music in an effort to appeal to boys. They also managed to use the songs and soundtrack from the Frozen movie to reach varying demographics in the market and made plans to expand on the movie with a Broadway play and an "On Ice" show.

With a recent hit like Frozen, and the acquisition of Pixar, Marvel, and LucasFilm, Disney has the staying power to reach out to both the young and young at heart for a long time to come with movies and shows certain to be box office hits.
Stand out from the crowd and aggressively grow your business with Aggressive Growth Marketing. The Growth Marketing Agency that provides Growth Hacking Marketing, Social Media, Guest Blogging, Email Marketing and growth focused Digital Marketing Agency services. Call 020 7692 8960 to discuss your needs today.

# data[].attributes.attachment_link.title
How Disney Understood Its Target Market And Became Successful - Aggressive Growth Marketing

# data[].attributes.attachment_link.description
When you think of some of the most successful companies in the world, there are many that come to mind, but there is no doubt that among the top of the list would be the Walt Disney Company, having some of the most popular movies and TV shows as well as multiple theme parks.

# data[].attributes.body
Group 3: Nintendo
about the broadcast media

# data[].attributes.attachment_link.readable_text
Nintendo: to air players' in-game Mario Kart footage in TV spots

The company has partnered with Channel 4 for the deal that aims to promote the launch of the game next month, with the ad spots featuring the in-game footage appearing each night during the first week of June.

Players will be invited to use the 'Mario Kart TV' feature, which allows the recording of gameplay, to upload race highlights onto MiiVerse and YouTube to enter the competition.

Roger Langford, Mario brand manager at Nintendo UK, said the company had chosen to partner with E4 because it was the "perfect vehicle for highlighting this feature to a young and engaged audience."

The ads with the in-game footage will also include the player's name and each ad will be broadcast at 8.10pm.

Nintendo will raise awareness of the competition with ad spots on E4 running from today until Sunday 1 June.

The gaming industry has a history of attempting to innovate with TV spots by integrating its players gaming into ads.

Microsoft-owned Xbox used Facebook information in live TV ads, as part of the relaunch campaign for its 'Halo' video-game franchise. The 60-second TV spot features the names and pictures of randomly selected gaming fans who have opted in to the venture via Facebook.

# data[].attributes.attachment_link.title
Nintendo to air players' in-game Mario Kart footage in TV spots

# data[].attributes.attachment_link.description
The company has partnered with Channel 4 for the deal that aims to promote the launch of the game next month, with the ad spots featuring the in-game footage appearing each night during the first week of June.

# data[].attributes.headline
Yau Hiu Ching 177020524 Group 3 : Nintendo

# data[].attributes.subject
Yau Hiu Ching 177020524 Group 3 : Nintendo

# data[].attributes.body
RE: Cheng Mei Ling
this is about the Nintendo logo information

# data[].attributes.attachment_link.readable_text
Nintendo is a brand that is loved all over the world. Today, almost everyone in the world knows what Nintendo means, and many people have Nintendo systems in their home. Nintendo has come a very long way since the company was founded, and so has the logo. In this article, we are going to go into some of the logos that have appeared throughout the long history of the Nintendo Company.

Many people know Nintendo, but they don't necessarily know where Nintendo came from. Nintendo is actually much older than many people think, even older than the existence of video games. The original Nintendo Company was actually started in the 1800's. Nintendo started by manufacturing popular playing card games in Japan, and they actually still build some types of playing cards today.

The Nintendo that everyone knows and loves came about in 1974, when they first began manufacturing gaming systems. Nintendo is now one of the most profitable companies in the world, and their logo reflects a very long and interesting history.

Logo #1: Nin Ten Do

This was the first Nintendo logo, and it is actually the combination of three different Japanese sounds that form the final sound Nintendo. This is why Nintendo is actually pronounced the same in Japanese as it is in any other language. Nintendo kept this logo for many years while they were selling playing cards in Japan. Nintendo had many other logos after this, but we are going to focus on the ones that they began to develop after they had become a video game company.

The next logo that we're going to show you should be more recognizable. After all, it's the logo that represented Nintendo while they were becoming one of the most famous brands in the world.

Logo #2: A Sign of Things to Come

This is the logo Nintendo used while developing some of its first video game systems. Fans of Nintendo should recognize the familiar block lettering, and the way that the words are enclosed within a red border. This logo was far easier to recognize than many of their previous logos, and the classic styling that was invented in this logo would still be the standard for the logos that would be developed after it. This logo really set the stage for the logo that followed, and became known all around the world.

Logo #3: The Modern Nintendo Logo

This logo is the one that everyone recognizes. It features all the parts that make the Nintendo logo so recognizable. The words are less blocky than they first appeared, bus still retain a similar look. They also kept the bright red color. The most noticeable change is in the look of the border between this logo and the last one.

There were actually several short-lived logos that existed between this one and the last one, but they didn't last very long. This logo has lived many years without serious changes. It's a great logo, and it can be hard to improve on perfection.

# data[].attributes.attachment_link.description
Nintendo is a brand that is loved all over the world. Today, almost everyone in the world knows what Nintendo means, and many people have Nintendo systems in their home. Nintendo has come a very long way since the company was founded, and so has the logo.

# data[].attributes.headline
Cheng Mei Ling 177014529 Group 3: Nintendo

# data[].attributes.subject
Cheng Mei Ling 177014529 Group 3: Nintendo

# data[].attributes.body
RE:  Yau Hiu Ching
Do you have any more information about the nintendo image or logo explain?

# data[].attributes.headline
Lo Yiu Shun 177019795 Group 3 : Nintendo

# data[].attributes.subject
Lo Yiu Shun 177019795 Group 3 : Nintendo

# data[].attributes.body
RE: Cheng Mei Ling
your brand strategy material are useful for me, and i have some material to you. I think it will be useful for you!

# data[].attributes.attachment_link.readable_text
It's official: the Nintendo Switch is the fastest-selling console in US history. We don't know if it'll be able to keep up this momentum throughout 2018 and beyond, but it's clear that for the moment, this little console is a sensation. What makes it so popular, though? Why is it selling like crazy? There are a few reasons for this success, and they all came together to blow everyone's expectations out of the water.

1. Nintendo is supporting it with excellent games

When a new console launches, we're used to seeing game droughts that can last for most of its first year of availability. That wasn't the case with the Switch, which had The Legend of Zelda: Breath of the Wild from launch day and then Mario Kart 8 Deluxe the very next month. Those two releases were followed by ARMS and Splatoon 2 over the summer, then Super Mario Odyssey and Xenoblade Chronicles 2 to round out the year.

Two of these games - Super Mario Odyssey and Breath of the Wild - rank among the best-reviewed video games of 2017, with Breath of the Wild being my personal game of the year. From a first-party standpoint, Nintendo has been doing an excellent job of supporting the Switch, which makes people feel like the console is a safe buy even at this early stage in its life.

2. Marketing has been focused and well done

Nintendo, as many of you probably remember, had a marketing nightmare on its hands in the Wii U. Many people who bought the original Wii were confused by the Wii U and left wondering just what it was. Was it a brand new console or was it just a new version of the Wii? Nintendo never really marketed the Wii U clearly, and that's reflected in its low lifetime sales. By contrast, take at look at this ad for the Switch, which was the very first piece of marketing released for the console:

From the start, Switch marketing has been on point and focused. The commercial above is our introduction to the Switch, and it makes its function very clear. Sure, there were a few questions after we all saw the debut, but we all understood the core concept with the Switch. Add to that a name that is in no way related to the Wii, and we have a marketing campaign that is clear and accessible for mainstream audiences who may not be seeking out specific gaming information on their own.

3. Nintendo's core has been starved for something exciting

On the other side of the spectrum, we have Nintendo's group of core fans. These are the people that will buy most anything Nintendo launches, whether that's down to trying to recapture fond childhood memories or excitement in the moment. Let's face it: it's been a rough few years for people in this group. I know because I count myself among them.

The Wii was a fine console, but motion controls rubbed a lot of people the wrong way and it lagged behind the competition in terms of power. This is easy enough to forgive, as the Wii offered a lot of great games by the time everything was said and done, but the Wii U is a different story entirely. It didn't take very long for it to feel like Nintendo had lost interest in the Wii U, and even though I played some awesome games on it, the console itself ended up being generally unexciting.

However, the Switch is something that Nintendo's core can get excited about. While the Wii U felt like an uninspired grab for mobile gamers with its bulky and unnecessary gamepad, the Switch is a fresh idea that actually adds value to the end user. You can't top genuine excitement, and after years of consoles that felt like they meant for some other group, Nintendo's core can finally get hyped about something (along with everyone else).

4. Portability lends to word of mouth

While this is more speculation on my part, it isn't hard to imagine the Switch's portability lending to its popularity in a word of mouth sense. I can talk to my friends about how great my Xbox One or my PlayStation 4 are all day long, but if they're not at my house, they simply have to rely on what I'm telling them.

With the Switch, however, I can show them how cool it is. I can put my Switch in their hands and let them try it for themselves. If word of mouth is the best marketing tool, Nintendo has it in spades by making a console that can be handed to anyone who might be on the fence about buying it.

5. It really is the best of both worlds

Perhaps the biggest reason why the Switch has been so successful is that it simply offers the best of both worlds. With the Switch, you can have console-quality games in a portable machine. You can transition from your TV to anywhere else seamlessly, and that's more important than a lot of people probably realized at the start.

Don't misunderstand: I'm not trying to claim that the Switch is as powerful as its competitors, nor am I saying that there isn't a place for the kind of graphics fidelity that consoles like the Xbox One X and the PlayStation 4 bring to the table. What I am saying is that the Switch offers a lot more than tablets and phones for someone who wants to play portable games, and being able to hook it up to your TV and play games on the big screen without much effort just makes the whole thing that much sweeter.

Wrap-Up

The Switch had an excellent 2017, but now the real work begins. Nintendo needs to keep interest in the Switch high if it wants to make the most of this excellent start, and the best way to do that is to attract more third-party devs to the platform and continue this rapid-fire strategy for first-party releases. It'll be exciting to see what 2018 holds for the console, but for now, head down to the comments section and tell us what attracted you to the Switch!

# data[].attributes.attachment_link.description
It's official: the Nintendo Switch is the fastest-selling console in US history. We don't know if it'll be able to keep up this momentum throughout 2018 and beyond, but it's clear that for the moment, this little console is a sensation. What makes it so popular, though? Why is it selling like crazy?

# data[].attributes.headline
Lo Yiu Shun 177019795 Group 3 : Nintendo

# data[].attributes.subject
Lo Yiu Shun 177019795 Group 3 : Nintendo

# data[].attributes.body
Event Marketing before product launching

# data[].attributes.attachment_link.readable_text
Nintendo switches up experiences

A tour ahead of the brand's newest gaming console launch shows it at work in different settings.

Nintendo has begun the buzz for its new console - the Nintendo Switch - with "the Nintendo Switch Preview Tour," hoping to educate gamers about its range of gameplay possibilities through its familiar and iconic franchises.

The tour began in New York on Jan. 13 and came to Toronto last weekend. Fans, press and influencers who visited the 10,000 square foot space were able to play the console's from brand new launch titles for dedicated fans to party games and retro-style remakes for casual or nostalgic gamers.

At the core of the Switch is its many different gameplay formats that attempt to create a seamless experience between home and mobile gaming, and the different settings at the event were meant to show them off. An area featuring the new Legend of Zelda: Breath of the Wild had players start by playing with a traditional video game controller, before taking the tablet-sized console unit out of its dock and experiencing the exact same gaming experience in a handheld format.

A mock airplane seat, meanwhile, showed how the two "Joy-Con" controllers can be detached from the console and play games like Mario Kart wirelessly while the portable high-definition screen sits on the tray table. A cafe setting allowed players to connect their consoles for multiplayer gaming. A living room showed how the two Joy-Con controllers - usually paired together - could be used as individual controllers to play retro-style games like Ultra Street Fighter II and Sonic Mania.

"Because of [the Nintendo Switch's] uniqueness, we knew that we needed to give consumers an opportunity to experience the system first-hand," says John Azevedo, head of marketing for Nintendo Canada, adding that further experiential events are being planned for other cities. "Although we as a company don't focus on communicating technical specs, there is work to be done to communicate the unique capabilities of the system. With Nintendo Switch, that means showing all the different ways and places you can play."

The tour event was handled by experiential agency Inventa alongside public relations agencies Craft PR (in English Canada) and Julie Gagnon Communications (in Quebec). As the March 3 release date for the Switch gets closer, Nintendo will launch a national campaign in TV, digital and OOH with a local PR push. ZenithOptimedia is handling the media buy and Vancouver's We The Collective is handling local digital and creative executions.

Nintendo will also air a Super Bowl spot that focuses on The Legend of Zelda: Breath of the Wild created by Leo Burnett Chicago in Quebec on RDS this Sunday. Another marketing push will come late in 2017, heading into the holiday season. Azevedo says one of the main differences when it comes to Canadian consumers is that they appreciate local, unique content, and the company is looking for more local programs to pursue.

The tour event also featured photo booth-style settings where fans could take photos with iconic things from Nintendo games. While previous consoles like the Wii saw the company corner the market on more casual, family-friendly group video game experiences, core franchises it develops itself like Mario and The Legend of Zelda are still a big part of the Nintendo brand and keep up the appeal for more dedicated gaming enthusiasts.

"That offers an interesting challenge for us," Azevedo says. "Telling the story of this system to these two distinct audiences who are interested in different experiences, and make their entertainment decisions in very different ways." That's part of the reason why the tour was equally focused on these established video game franchises, using them to exemplify the many ways people could play with friends and family.

# data[].attributes.attachment_link.description
A tour ahead of the brand's newest gaming console launch shows it at work in different settings. Nintendo has begun the buzz for its new console - the Nintendo Switch - with "the Nintendo Switch Preview Tour," hoping to educate gamers about its range of gameplay possibilities through its familiar and iconic franchises.

# data[].attributes.attachment_link.readable_text
Nintendo switches up experiences

A tour ahead of the brand's newest gaming console launch shows it at work in different settings.

Nintendo has begun the buzz for its new console - the Nintendo Switch - with "the Nintendo Switch Preview Tour," hoping to educate gamers about its range of gameplay possibilities through its familiar and iconic franchises.

The tour began in New York on Jan. 13 and came to Toronto last weekend. Fans, press and influencers who visited the 10,000 square foot space were able to play the console's from brand new launch titles for dedicated fans to party games and retro-style remakes for casual or nostalgic gamers.

At the core of the Switch is its many different gameplay formats that attempt to create a seamless experience between home and mobile gaming, and the different settings at the event were meant to show them off. An area featuring the new Legend of Zelda: Breath of the Wild had players start by playing with a traditional video game controller, before taking the tablet-sized console unit out of its dock and experiencing the exact same gaming experience in a handheld format.

A mock airplane seat, meanwhile, showed how the two "Joy-Con" controllers can be detached from the console and play games like Mario Kart wirelessly while the portable high-definition screen sits on the tray table. A cafe setting allowed players to connect their consoles for multiplayer gaming. A living room showed how the two Joy-Con controllers - usually paired together - could be used as individual controllers to play retro-style games like Ultra Street Fighter II and Sonic Mania.

"Because of [the Nintendo Switch's] uniqueness, we knew that we needed to give consumers an opportunity to experience the system first-hand," says John Azevedo, head of marketing for Nintendo Canada, adding that further experiential events are being planned for other cities. "Although we as a company don't focus on communicating technical specs, there is work to be done to communicate the unique capabilities of the system. With Nintendo Switch, that means showing all the different ways and places you can play."

The tour event was handled by experiential agency Inventa alongside public relations agencies Craft PR (in English Canada) and Julie Gagnon Communications (in Quebec). As the March 3 release date for the Switch gets closer, Nintendo will launch a national campaign in TV, digital and OOH with a local PR push. ZenithOptimedia is handling the media buy and Vancouver's We The Collective is handling local digital and creative executions.

Nintendo will also air a Super Bowl spot that focuses on The Legend of Zelda: Breath of the Wild created by Leo Burnett Chicago in Quebec on RDS this Sunday. Another marketing push will come late in 2017, heading into the holiday season. Azevedo says one of the main differences when it comes to Canadian consumers is that they appreciate local, unique content, and the company is looking for more local programs to pursue.

The tour event also featured photo booth-style settings where fans could take photos with iconic things from Nintendo games. While previous consoles like the Wii saw the company corner the market on more casual, family-friendly group video game experiences, core franchises it develops itself like Mario and The Legend of Zelda are still a big part of the Nintendo brand and keep up the appeal for more dedicated gaming enthusiasts.

"That offers an interesting challenge for us," Azevedo says. "Telling the story of this system to these two distinct audiences who are interested in different experiences, and make their entertainment decisions in very different ways." That's part of the reason why the tour was equally focused on these established video game franchises, using them to exemplify the many ways people could play with friends and family.

# data[].attributes.attachment_link.description
A tour ahead of the brand's newest gaming console launch shows it at work in different settings. Nintendo has begun the buzz for its new console - the Nintendo Switch - with "the Nintendo Switch Preview Tour," hoping to educate gamers about its range of gameplay possibilities through its familiar and iconic franchises.

# data[].attributes.headline
Liang Mingjian 17041494 (Group5: Gillette)

# data[].attributes.subject
Liang Mingjian 17041494 (Group5: Gillette)

# data[].attributes.attachment_link.title
Glocalization: Think Globally, Act Locally

# data[].attributes.attachment_link.description
Everyday we read, hear even write about globalization, liberalization of economies & their effects. These measures saved India in 1991. Many companies took advantage of these policy shifts be it Pharmaceutical or IT. It opened avenues for investments in India in different sectors. Many global companies marked their presence.

# data[].attributes.headline
Cheng Mei Ling 177014529 Group 3: Nintendo

# data[].attributes.subject
Cheng Mei Ling 177014529 Group 3: Nintendo

# data[].attributes.body
Nintendo brand stratgy

# data[].attributes.attachment_link.readable_text
Nintendo recently unveiled their new console, Nintendo Switch. It's a new hybrid console previously code-named NX and so far, it's living up to the hype. At a glance, the Switch looks like a cross between a traditional home console and a handheld. And even now, gamers across different platforms are quite excited not only because of the new and unique features of the Switch, but also for the abundance of third party game developer support.

The Japanese company is no stranger to unique and innovative strategies. Starting from their playing cards origins, through the SNES 8-bit and 16-bit era, to the DS and 3DS handhelds, and now to the Switch, the Nintendo business model has captivated the attention of even the big companies in the West.

As a fan of Nintendo ever since grade school, I have observed the strategies of the company for every gaming generation. Here are some of the things that small businesses can learn from the Nintendo business model.

1. Save some cash for a rainy day.

The Nintendo business model has always been about conservative practices. One such strategy can be seen in the amount of cash reserves they have in the bank. According to their latest financial report, Nintendo has 558,433,000,000 Yen in just "Cash and Deposits" equivalent to over $4.6 billion. You would think that is a lot of money but it is actually lower than previously reported, when Nintendo had more than $10 billion in their reserves. This alone makes them one of the powerhouses in the gaming industry.

The cash reserves of Nintendo has enabled the company to stay afloat, even during the troubling times of GameCube and their current home console Wii U. They can actually have a deficit for more than 30 years and still remain afloat. Even if their games would fail to meet their quota, they would still be able to try again. This gives them the opportunity to innovate over and over again.

2. Simplicity can be a disruptive innovation.

In a way, Nintendo's business model is disruptive to the whole gaming industry because of its simplicity. Literal simplicity. Sony's PlayStation and Microsoft's Xbox primary demographic are the hardcore gamers. They are typically in their mid to late twenties, single and predominantly male. Nintendo Wii console, on the other hand, focused on people not currently consumers of the game market. Nintendo described a portion of their target market for Wii as alpha mothers, pre-teen girls, senior citizens, and it's observable in their advertising.

This Nintendo strategy which started on the Wii was one of the most successful consumer base diversification strategies. During that generation, Nintendo outsold Microsoft and Sony, tripled its share price, and rose to the second-most valuable Japanese company, only behind Toyota.

The success of the Wii in capturing the seemingly uncapturable non-consumers of the gaming industry, is largely due to its user-friendly features. While the selection of games on Nintendo Wii's library still resonated to the core users, the intuitive controls allowed the non-core users to take part. Games such as Wii Sports, Mario Party, and other family-oriented ones enabled them to enjoy gaming as much as the hardcore users.

3. Look beyond your product specs.

In each year's Electronic Entertainment Expo (E3) event, Microsoft and Sony have consistently featured the technical specifications of their consoles. The resolution for instance, is one of the most important considerations for hardcore gamers, as it affects the vividness of the visuals of their games. Both companies try to outplay each other in order to capture a greater part of the market.

Nintendo has a different philosophy. They wanted to use a blue ocean strategy.

In an interview during E3 2016, Nintendo of America president Reggie Fils-Aime talked about how their then-named console NX would compete against Sony's PlayStation 4 NEO and Microsoft's Xbox One Scorpio. He said "For us, it's not about specs, it's not about teraflops, it's not about the horsepower of a particular system. For us, it's about the content."

"We're focused on bringing our best entertainment to both the Wii U as well as the NX in the future. So for us, whatever Microsoft and Sony are doing in terms of talking about new systems, that's for them to fight out in that red ocean," he added.

And true enough, the Nintendo Switch that they recently unveiled did not focus on the specs (although it does have a significant level of improvement on its visuals) but rather on the connectivity of their games to support multiple players as well as their partnership with numerous third party game developers.

4. Your customer should be your focus.

If you looked at the advertising for the Switch as well as the other Nintendo consoles and games, you would notice a common trend. They all focus on the customer instead of the console and games themselves.

Indeed, the Nintendo business model's focus on their customer experience has given them a superior advantage over their competitors. Nintendo opted to innovate on gameplay and immersive interaction instead of specs in order to differentiate themselves. As a result, the Wii has sold over 101 million units units in its lifetime compared to the XBox 360's and PS3's 84 and 83 million units respectively.

While the competitors sold each console at a loss, Nintendo made a hefty profit due to lower cost of production. Harvard Business Review's Peter Merholz described this strategy perfectly "[Delivering] a superior experience at a lower price demonstrates that customer experience is not something you buy, but a mindset you adopt. And when adopted, I've seen again and again that taking a customer experience-based approach allows you to get more out of what you already have."
What do you think is the Nintendo business model's best feature? Tell us your thoughts below.

# data[].attributes.attachment_link.title
4 Takeaways From the Nintendo Business Model

# data[].attributes.attachment_link.description
Nintendo recently unveiled their new console, Nintendo Switch. It's a new hybrid console previously code-named NX and so far, it's living up to the hype. At a glance, the Switch looks like a cross between a traditional home console and a handheld.

# data[].attributes.body
(Group5: Gillette)

# data[].attributes.attachment_link.readable_text
Case study provided by Superbrands.

Market

The male blades and razors category is now worth £205 million in the UK alone, an increase of 48% since 1995, making it one of the fastest growing sectors within the toiletries market. Furthermore, the male grooming market is predicted to experience even higher growth over the next five years.

The main catalyst for spectacular growth has been a fundamental change in men's attitudes to the grooming process over the last decade. The rise in popularity of 'lad mags' and influential sportsmen evolving into 'model-esque' icons, have made it acceptable for men to care about their appearance. Today 68% of men use aftershaves and out of the 73% of men who wet shave, 84% are using a shaving prep (excluding soap).

This trend has resulted in a massive influx of male grooming products onto store shelves, dramatically increasing choice for the male grooming regime. Moving into the new millennium, the male bathroom cabinet now rivals the females, both in size and choice.

Female grooming is also maturing into a very important part of the health and beauty category. It now equates to 19% of the total blades and razors sector and delivers retail sales of more than £47 million - up 152% since 1995. Women view the process of hair removal as very important in their beauty routine, with more than 46% removing hair at the slightest re-growth (twice a week or more). Wet shaving continues to be by far the most popular amongst 78% of women (Source: IRI Infoscan 52w/e January 2004 All outlets).

History

The Gillette Company was founded in Boston, USA in 1901 by travelling salesman King C Gillette. Frustrated with traditional cut-throat shaving, he started work on a model razor that was to revolutionise the shaving market. The Safety Razor.

It was at this time that Gillette's strong technological foundations were established. The 1903 launch of the Safety Razor was ground breaking, as new processes for tempering and hardening mass-produced steel were discovered. This resulted in the 'wafer thin' metal needed to create the razor, something that had previously been dubbed a 'technical impossibility' by Thomas Edison.

The success of the Safety Razor made Gillette a household name, with more than 90,000 Americans possessing one by the end of the second year of trading. The safety razor was a hit and was deemed to have changed the face of a nation. In order to keep up with the rapid growth, a factory was established in South Boston in 1905 under the new name of the Gillette Safety Razor Company.

Strong domestic growth prompted international expansion. Overseas operations commenced in 1905, with a manufacturing plant just outside Paris and a sales office in London. Annual blade sales had risen to more than 40 million units before the outbreak of World War I.

The next true innovation was the Techmatic razor, launched in 1967. This was the first system razor with a 'continuous band' meaning consumers would no longer have to touch the blade. The pace of innovation increased from 1971 onwards and Gillette saw a series of world firsts, including the release of GII, the first twin bladed razor in 1971. This was followed soon after in 1976 by the first twin bladed disposable razor and in 1977 the revolutionary pivot headed razor, Contour, was released.

While developments in the 1960s and 1970s focused mainly on blades, the 1980s and 1990s saw improved features for a smoother, more comfortable shave. Contour Plus, in 1985, heralded the first lubrastrip and 1990 saw the company's first ever Pan-Atlantic launch, with the introduction of Sensor in sixteen countries. Sensor featured the first spring mounted blades and shell-bearing pivot. Three years later SensorExcel was launched with soft, flexible microfins designed to sweep hair up, allowing the blade to cut closer. However, the true landmark year was 1998, with the launch of Mach3. Today over 90 million men worldwide use a Mach3 family razor. This revolutionary triple bladed shaving system was followed in January 2003 by Mach3Turbo, which presented a whole host of advancements to the Mach3 design, primarily, improved blade technology. Today, the company continues to be at the forefront of new innovation with 2004 set to see the male shaving category expand into a whole new segment - power wet shaving - with the launch of the M3Power razor.

Gillette also has a strong history of innovation in the female market, introducing the first ever razor for women 'Milady Decollete' in 1915 and the first disposable for women, Gillette Daisy, 60 years later in 1975. The 1990s heralded a period of huge change in female shaving with Gillette releasing Sensor for women in 1992, which was then surpassed by the new and very much improved SensorExcel for women. In 2000 Gillette unveiled Venus - a triple bladed razor, designed specifically for women. In 2002 Passion Venus was introduced, broadening the appeal of the product even further by offering Venus in a vibrant pink colour. The brand will be given a boost in performance with the launch of Venus Divine in 2004.

Gillette's portfolio has expanded significantly since the release of the original safety razor. Today the company's diverse grooming range has a product to meet the needs of all consumers, at all price points.

Gillette provides a fully integrated grooming solution for men with the shaving range extending from entry level disposables such as BlueII the basic twin blade razor, right through to Gillette's most advanced technology - Mach3Turbo. Gillette Series also provides shave gel and foam to enhance razor performance, along with after-shave cooling gel, after-shave balm and splash, anti-perspirants, deodorants and shower gels.

Despite this broad offering, the foundation of the male portfolio is the Mach3 shaving system, which proved to be not only the company's biggest technological breakthrough in recent years, but also its most successful product.

Mach3 is the world's first triple bladed razor - a concept made possible by the DLC coating, allowing blades to be thinner and stronger than ever before. The premise is that the three progressively aligned blades allow you to shave close, closer, closest, with the Advanced Indicator Lubricating strip, fading away to indicate less than optimal performance. Five rubber Microfins assist the blades by stretching the skin and lifting the hairs, while single point docking ensures blades are loaded without error. This ground-breaking technology has set the standard for shaving as we know it today, with three bladed razors now setting the precedent.

Gillette's female products range from BlueII disposables for women, Sensor and SensorExcel system razors, and Satin Care shave gels, right through to the most premium female system - Venus. This product combined pioneering innovation and proven technology to offer a far superior shave, significantly out-performing even SensorExcel for Women by a 3-to-1 margin. Furthermore, Venus has revolutionised the female shaving experience, ensuring skin stays smoother for longer.

Recent Developments

2003 saw the launch of Mach3Turbo, which built on the heritage of its predecessor, Mach3, giving an even further boost in shaving performance with new anti friction blades. In 2004 the Mach3 family was extended even further to include Mach3Turbo Champion, a vibrant red colour variant.

Four key innovations and improvements were made to the Mach3 design to produce the Mach3Turbo razor.

The most notable is the introduction of anti-friction, comfort coated blades, which reduce the force required to cut through hair, therefore reducing irritation and allowing men to shave against the grain. A true test of shaving performance. The Indicator Lubricating Strip has also been reformulated to release more lubrication over a greater number of shaves, resulting in improved razor glide. The number of Microfins has been increased to ten - twice as many as Mach3 - allowing the skin to be stretched more effectively, so the blades can shave evenly and effortlessly. Finally, the razor handle was redesigned to include textured rubber grips and metal grooves, for improving sureness of grip and providing better handling and control throughout the shave.

2004 also sees a wave of new innovation in the women's shaving market, with the Venus brand being enhanced with the launch of Venus Divine. Gillette have addressed female shaving concerns across the globe, and improved on the original Venus design by providing women with not only a close and safe shave, but also soft, moisturised skin.

Divine retains the distinctive elements of Venus, but also features significant improvements. Comfort coated blades have been enhanced with two new coating layers ensuring a more comfortable glide, and for the first time Venus Divine features a Lubrastrip before the blades, to prepare the skin and soften the hair. Two Lubrastips follow the shave to moisturise and replenish the skin, while elastomeric cushions now surround the blades, gently stretching the skin and lifting the hair.

Promotion

The Gillette brand has an incredibly high recognition rate, in no small part due to a strong investment in advertising. The hugely successful 'Best A Man Can Get' campaign of the 1980s had a massive influence on this, with today's consumers still recalling the catchy song. Despite this popularity, the launch of Mach3 founded a new wave of advertising for Gillette, focusing heavily on the brand values of innovation and cutting edge technology. The aim is to educate the consumer on product advancements and improved shaving performance.

However, 2004 is set to see a strategic shift back towards the original, emotive 'The Best A Man Can Get' advertising, with the campaign set to return with a new and enhanced look. Strong black and white imagery and an updated song, combine to create a far more emotional connection between the consumer and the Gillette brand. Product specific advertising will continue to run alongside this campaign, communicating the technological superiority of the products themselves.

Historically, Gillette has used sport as a major promotional vehicle and embarked on its first sponsorship deal with a radio broadcast of the US World Series back in 1939. Today this association remains strong, with sponsorship continuing to play a large part in Gillette's integrated communications strategy. In 2004 sponsorship of premiership football on Sky Sports' 'Gillette Soccer Saturday' will continue, as will that of the World Cup, making Gillette the longest running sponsor of the event.

Promotion

The Gillette brand has an incredibly high recognition rate, in no small part due to a strong investment in advertising. The hugely successful 'Best A Man Can Get' campaign of the 1980s had a massive influence on this, with today's consumers still recalling the catchy song. Despite this popularity, the launch of Mach3 founded a new wave of advertising for Gillette, focusing heavily on the brand values of innovation and cutting edge technology. The aim is to educate the consumer on product advancements and improved shaving performance.

However, 2004 is set to see a strategic shift back towards the original, emotive 'The Best A Man Can Get' advertising, with the campaign set to return with a new and enhanced look. Strong black and white imagery and an updated song, combine to create a far more emotional connection between the consumer and the Gillette brand. Product specific advertising will continue to run alongside this campaign, communicating the technological superiority of the products themselves.

Historically, Gillette has used sport as a major promotional vehicle and embarked on its first sponsorship deal with a radio broadcast of the US World Series back in 1939. Today this association remains strong, with sponsorship continuing to play a large part in Gillette's integrated communications strategy. In 2004 sponsorship of premiership football on Sky Sports' 'Gillette Soccer Saturday' will continue, as will that of the World Cup, making Gillette the longest running sponsor of the event.

Brand values

Gillette is dedicated to driving innovative technology that will develop and produce hair removal products that deliver a superior shave performance, both in closeness and comfort. Its male image is masculine, confident and well groomed, while the female image is fun, youthful and energetic. Gillette is positioned at the premium end of the market, offering superior quality products that set the grooming industry standard.

In essence, the Gillette Company celebrates world class products, world class brands and world class people. It is committed to growth through innovation to maintain the company's position as a world leader in the consumer products marketplace.

Things that you didn't know

In 1910 popular major league baseballers endorsed the Gillette razor, beginning a relationship between Gillette and sport that has lasted over 90 years.

Facial hair is 70% easier to cut if it has been soaked in warm water for 2-3 minutes before shaving.

In the UK, more than 1.6 billion men aged fifteen years and over remove facial hair.

The US government ordered 3.5 million Gillette razors and 36 million Gillette blades to supply the entire US armed forces during Word War 1.

The average man spends 3,500 hours of his life shaving. In this time, he removes about 30ft of whiskers from his face.
© 2004 Superbrands Ltd

# data[].attributes.attachment_link.description
Case study provided by Superbrands. Market The male blades and razors category is now worth £205 million in the UK alone, an increase of 48% since 1995, making it one of the fastest growing sectors within the toiletries market. Furthermore, the male grooming market is predicted to experience even higher growth over the next five years.

# data[].attributes.headline
Liang Mingjian 17041494 (Group5: Gillette)

# data[].attributes.subject
Liang Mingjian 17041494 (Group5: Gillette)

# data[].attributes.attachment_link.readable_text
If you shaved today, either in the U.S. or in India, you probably used a Gillette razor. Gillette (now a brand of P&G), reportedly has had a U.S. market share of more than 80%, with Schick a distant second. Even more remarkably, they achieved this without resorting to price competition. The blade cartridges for its latest-and-greatest razor, the top-selling Fusion ProGlide, retail for around $4 each, leaving Gillette with what must be incredibly lucrative gross margins.

But that is not the story in developing markets, where these top-of-the-line products don't fare nearly as well. So how is it that Gillette has over 50% market share in India - the world's largest shaving blade market by volume? And with a product that costs less than 3% of the Fusion ProGlide? This is an excellent story of reverse innovation in action...but the story has only just begun.

It starts as most such stories do - with a Western-based company trying to sell their cheapest products in emerging markets. In India, Gillette historically focused on selling their lower- and mid-tier American razors such as the Mach 3 in new packaging. But the vast majority of men below the pinnacle of the social pyramid, an estimated 400 million, still shaved with double-edge razors, a century-old technology that tends to cause far more cuts and bleeding. The fact that Gillette's global products failed to address billions of emerging markets' low-income consumers wasn't seen as a major problem at Gillette, so long as growth in its core markets was robust. But dominant market share creates its own growth challenges.

Recently, P&G has completely reversed the innovation approach at Gillette. First, it sent a team (PDF) to India to do ethnographic research - to observe customers, and do shop-alongs and home visits. This clean-slate needs assessment yielded keen insights about how the Indian male shaver differed from his American counterpart. He was typically far more price-sensitive, to be sure, but also shaved himself in a completely different way - likely seated on the floor, with perhaps a small amount of still water, balancing a hand-held mirror in low light, and experiencing frequent nicks and cuts from his double-edged razor.

Second, P&G leveraged these insights - and its world-class design capabilities - to develop, from a blank sheet, a new shaving tool to meet the specific needs of this consumer. The result was the Gillette Guard, perhaps the most significant departure from its traditional product development in Gillette's history. The Guard uses 80% fewer parts, a plastic housing, and a single blade to minimize cost while preserving "good-enough" shaving performance. It also has a large safety comb to reduce nicks and cuts, easy-rinse cartridges for better cleaning without running water, and several other key features designed specifically for the Indian shaver.

Third, P&G didn't stop at an India-tailored product, but built an India-tailored business model. All manufacturing is done locally to further control production and supply chain costs, resulting in razors and blade cartridges selling for 15 and 5 rupees, respectively (or about $0.30 and $0.10) - less than 3% of the Fusion ProGlide's prices. To distribute the product, rather than forming strong relationships with a handful of powerful retailers as in the U.S. or Europe, P&G had to strengthen its network of millions of Indian kiranas, or local shops. Finally, unlike developed markets where the focus is increasingly on digital marketing, P&G invested instead in traditional ads featuring Bollywood actors.

The result has been transformative for P&G's Gillette business in India. Only about six months after launching in October 2010, the Guard crossed 50% of razor market share by volume. Clearly, P&G has successfully transitioned its razor business to the third phase of global strategy: from U.S.-centric "glocalization" to India-centric local innovation.

However, it has not yet completed the reverse innovation cycle. To do that, P&G must first use the clean-slate Guard as a platform from which to adapt low-cost razors for other emerging markets, such as China and Africa. The potential market opportunity is dwarfed only by the social benefits of providing affordable, useful consumer goods for billions of the world's consumers. Following this, it could even eventually be introduced to developed markets like the United States, disrupting the existing razor business and completing the reverse innovation process.

This may sound unlikely - why would P&G cannibalize Gillette's core business? The stomach to do so requires accepting a hard truth: that Gillette will someday be disrupted - and there's a good chance that the disruptor will be an off-the-radar competitor from an emerging market, playing by completely different rules. Only by pre-empting those eventual rivals and reversing its own innovation process can P&G's Gillette hope to secure another century of market leadership.

This blog is co-authored with John R. Moran. He is a consultant at L.E.K. Consulting and can be followed on Twitter at <a href="https://twitter.com/#!/johnrmoran ">@JohnRMoran.

# data[].attributes.attachment_link.description
If you shaved today, either in the U.S. or in India, you probably used a Gillette razor. Gillette (now a brand of P&G), reportedly has had a U.S. market share of more than 80%, with Schick a distant second. Even more remarkably, they achieved this without resorting to price competition.

# data[].attributes.headline
Liang Mingjian 17041494 (Group5: Gillette)

# data[].attributes.subject
Liang Mingjian 17041494 (Group5: Gillette)

# data[].attributes.headline
Cheng Chi Hong 17041479 (Group 5: Gillette)

# data[].attributes.subject
Cheng Chi Hong 17041479 (Group 5: Gillette)

# data[].attributes.body
charity events of Gillette

# data[].attributes.attachment_link.readable_text
We're not sure if this is awesome or kind of gross, but we're leaning toward gross.

After celebrating their World Series championship, David Ortiz and Shane Victorino visited the Gillette headquarters to chop off the scruff that had accumulated on their faces throughout the season. That facial hair was not just thrown away, however.

Pieces of Ortiz's and Victorino's beards are now up for sale on eBay, along with the razors that were used to shave them off. They're fetching a pretty penny, too. As of 2:30 p.m. ET on Thursday, the top bid on Ortiz's was $670.00, while Victorino's came in $405.00.

Here's how the listing for Ortiz's beard ball reads:

"Up for auction is this one-of-a-kind, 100% authentic, David Ortiz 2013 Championship Beard Ball. Not only is this real championship beard hair, it is real championship MVP beard hair. David Ortiz's beard ball was obtained on November 4th at Gillette's World Shaving Headquarters in Boston as part of a charity shave-off. Included with the beard ball is the actual Fusion ProGlide Styler used in the shave and a card of authenticity signed by Big Papi himself.
"All proceeds go to Movember, the global charity that gets men to grow, and women to support, the moustache for the 30 days of November while raising funds and awareness for men's health to combat prostate and testicular cancer. For more information, please visit Movember.com.
"Act now and get a piece of Boston baseball history."

The seller also makes a point to note that the hair has been "treated and sterilized," which is always good.

Check out both in the photos below (Ortiz's on top, Victorino's below).

Photos via eBay

# data[].attributes.attachment_link.title
David Ortiz's, Shane Victorino's Beard Clippings Hit eBay With Proceeds Going to Charity (Photos)

# data[].attributes.attachment_link.description
We're not sure if this is awesome or kind of gross, but we're leaning toward gross. After celebrating their World Series championship, David Ortiz and Shane Victorino visited the Gillette headquarters to chop off the scruff that had accumulated on their faces throughout the season.

# data[].attributes.headline
Cheng Chi Hong 17041479 (Group 5: Gillette)

# data[].attributes.subject
Cheng Chi Hong 17041479 (Group 5: Gillette)

# data[].attributes.body
Disney-"content marketing"

# data[].attributes.attachment_link.readable_text
Marketers are often told that storytelling is the key to branding. That your brand needs a story in order to give your products context, meaning, and emotion. The concept of "content marketing" often gets thrown into the argument since it's such a good instrument for storytelling. Some marketers buy it, others don't. Well, I had an epiphany today that I believe proves that a compelling brand story increases revenue. And it was inspired by Disney.
Disney tells stories first, develops and sells products second.
As you may have read recently, Disney has refocused on its core movie franchises under the leadership of CEO Robert Iger. The company has created business groups each focusing on a different franchise - e.g. "Frozen," "Star Wars," and "Marvel." These business groups are responsible for extending the movies into merchandising and experiential opportunities to maximize revenue. From theme park rides to action figures to pajamas to everything in-between.

Disney profits are up 22% in 2014 YOY, revenue up 8%, and Michael Nathanson, senior research analyst at MoffettNathanson LLC, even said:

Some on Wall Street no longer see Disney as a media company and see it more as a global consumer-products company like Nike.

And that's when it hit me.

Disney's "content marketing" strategy goes in reverse compared to most brands. Meaning, where most brands start with a physical product and then build a story around it in the form of "content marketing," companies like Disney do exactly the opposite. They create a brand story - a movie - and then build products around that story.

The concept of "content marketing" may even be the wrong way to think about it.
Is the Elsa doll any less "Frozen" than "Frozen"?
When we see an Elsa doll on the toy store shelf, how should we as marketers define it? Is it a product? A brand experience? Proof of a brand idea? Just a way for the company to make more money?

Yes to all four. But this product/experience/profit center in the shape of a doll came after the content, or the brand story, not before.

Imagine if "Frozen," the movie, never existed. And a toy maker came up with the idea of an ice princess doll named Elsa. What would most marketers and ad agencies recommend that the toy maker do to increase sales?

We'd build awareness through advertising (she comes with a wand!). We'd get the doll integrated into some children's TV shows. We'd have a web site where kids could talk to her maybe and see where she lives. We might even recommend some "content marketing" in the form of a few short films about her posted to her own YouTube Channel.

The YouTube channel would be the extent of our "content marketing" strategy. And it might work pretty well.

But it would be no Elsa as we now know her from the movie "Frozen."
'Content marketing' sounds like a spoke in the branding wheel. This is bigger.
Isn't it incredible just how "integrated" most movie franchises' brands are? I mean, the brand manifestations are laser focused, very creative, and always help their audiences experience the "brand story" in a fresh new way. Roller coasters, video games, bed spreads, action figures, TV shows, it goes on and on. Tight as a drum.

What Disney and most other movie companies are unintentionally demonstrating to us is that "content" should not be thought of as a spoke in the branding wheel. Content is what happens when you have a brand story. And in that brand story is the brand's idea, the brand's attitude, and the brand's point of view of the world.

When a brand has a powerful storyline - in the case of Disney it's in the form of a literal storyline, a movie - products beg to be invented, experiences naturally want to happen, and the right employees for the brand suddenly appear. Like the "merchandising" of a movie, everything just falls into place.

No, it's not a small "content marketing" strategy. It's simply a powerful brand story expressing itself in many different ways that are natural to that brand.
Why should Disney have all the fun?
If Disney can create an epic storyline and then express it with corresponding products and experiences, why can't our products and experiences be expressions of our own epic storyline?

Think about it. Your products could be central characters. Your employees would live and work to propel the storyline. Your advertising campaigns would be overt representations of the story. Everything that is your company would be rethought using the filter of your brand's epic story.

I'm not saying every brand needs a movie. But I am saying every brand needs a story.

Nike's story is one about determination and drive in the sports arena. UPS is a story about efficiency, and their obsession with it. Coke's story is about happiness and its small role in perpetuating that emotion around the world.

When it occurred to me that movie companies like Disney start with a story and reverse engineer products out of that story, I was inspired. As marketers perhaps without compelling stories, we have to do the reverse: look at everything our company is today and reverse engineer a compelling brand story around it. Maybe even kill off some "characters" that no longer move our brand story forward.

This kind of reverse engineering is what the best advertising agencies do for a living. They build stories for brands that rationalize all past company behavior. Because it's more than just advertising, it's everything your company believes, makes, does, and says.

I'll leave you with a test. If your brand story were, in fact, a Disney movie, would you go see it?

# data[].attributes.attachment_link.title
Disney Proves That Profitable Marketing Is About Brand Stories

# data[].attributes.attachment_link.description
Marketers are often told that storytelling is the key to branding. That your brand needs a story in order to give your products context, meaning, and emotion. The concept of "content marketing" often gets thrown into the argument since it's such a good instrument for storytelling. Some marketers buy it, others don't.

# data[].attributes.body
re: Ho Yuk Tong

it is the effective way to identify the company is which strategy from its business history.

# data[].attributes.headline
Kwan Ho Fai 17041488 (Group 5: Gillette)

# data[].attributes.subject
Kwan Ho Fai 17041488 (Group 5: Gillette)

# data[].attributes.attachment_link.description
Gillette has been at the heart of men's grooming for over 100 years. Each day, more than 800 million men around the world trust their faces and skin to Gillette's innovative razors and shaving products. This commitment to giving men the very best is carried into our line of personal care products, including deodorant and body wash.

# data[].attributes.headline
Kwan Ho Fai 17041488 (Group 5: Gillette)

# data[].attributes.subject
Kwan Ho Fai 17041488 (Group 5: Gillette)

# data[].attributes.attachment_link.readable_text
This feature first appeared in the July 2010 issue of Marketing magazine.
On masculinity, celebrities and the power of brand loyalty, Matty Soccio faces facts and admits that he's a slave of the shave - an area Gillette has dominated for over a century.
Wake up. Fumble with alarm. Schlep out of bed while everyone else still sleeps. Stumble to the bathroom in the dark. Stub toe on bookshelf. Turn on bathroom light and jump in the shower, feeling some life and consciousness beginning to wake in your body. Get out, dry off and look into the mirror.

This little performance occurs every day in every guy's bathroom - the moment when you realise you have to shave. For many, it's unavoidable. The hair on your face will grow to a point where a) your parents will complain about it, b) your girlfriend/wife/boyfriend will complain about your sandpaper face, or c) it will become long enough for small children or animals to swing from it, making you wonder why you've been cursed with such an affliction.

Then again, you could just shave - a minor ritual that when completed instils a degree of pride in your appearance. It's a wonder that such a mundane daily task of such insignificant importance could be the driver behind one of the most successful superbrands in the world.

For a brand to feature the prefix 'super', it needs to display a few set characteristics: power, awareness, wealth and influence. Over the years we've covered a lot of superbrands at Marketing, with varying degrees of response from our readers. Shell, IKEA, Disney, Google etc have all appealed because their characteristics matched our definition of which brands deserve this somewhat overused prefix.

Why this vague introduction? Because Gillette is the first brand that I've come across where, during the course of my research, I've had a brand researcher excitedly babble about how 'super' it is. His excitement (which will be revisited later in this feature) was over a collection of numbers suggesting that (according to his scale) Gillette was highest point-scoring brand he'd ever seen.

Why? Because, if its marketing campaigns are to be believed, at various times in its existence Gillette has been responsible for men getting their jobs, getting the girl, having the life and, most importantly, being men.

From his office in Singapore, Emre Olcer, marketing director, Gillette Male Grooming (AAIKJ), indicates that the male hygiene sector, or 'male grooming' as it's referred to within the industry, has evolved in recent years, allowing men to not feel uncomfortable when approaching the subject.

"There is a phenomenon of what I call 'genderisation', whereby on the one hand, men today have a greater variety of specialised grooming products available to them and, on the other hand, men who were using female grooming products are switching to male grooming ones.

"In this latter phenomenon, we all see that there have been many male grooming products entering the market in the past one to two years, thus ensuring that there is now a greater variety of grooming products available to feed the changing needs and increasing demands of the modern 21st century man," adds Olcer.
Marketing the masculine
I don't remember learning to shave or when I started even having to entertain the thought. But once I realised the attention that well-sculpted facial art could bring, it was like a revelation. I have since dabbled in everything: the goatee, the chin strap (also known as the 'Abe Lincoln'), the hobo growth - you name it, I've worn it. These days I keep a 'salt and pepper', neat, closely trimmed beard, bereft of the experimentation of my early days (though I am known to let loose come the Movember period, of which more later).

The stereotype of the 'girly man', the stigma attached to the legend of Narcissus (a man so enamoured with himself that he fell in love with his own reflection, culminating in his death by drowning) can still rear its ugly head when men are accused of excessive 'manscaping'. The challenge for marketers such as Olcer has been to break down these misconceptions that prevent men from taking notice of their appearance and, more importantly, their hygiene.

"I used to work for a multinational company that specialises in female beauty before I moved to Gillette. Having managed only female beauty brands previously, I was interested to find out more about male consumers - then Gillette came into the picture. It is a multinational company with a global brand name that I think has the most innovative range of male grooming products out there. These factors are what attracted me to move on from managing female beauty brands to Gillette," Olcer explains.

"Marketing to men is very different from marketing to women. The manner with which a male consumer searches for a product, shops for it and makes a decision to purchase it is very different from that of a female consumer."

But how do you make such a regular daily function seem not only attractive and cool, but a part of weekly shopping purchases? Gillette has, over time, presented itself as a daily 'need', rather than being about self-indulgence. It tells its consumers that Gillette will get you the job, not just because it wants to infiltrate your daily lives, but because it wants to state the obvious - if you shave to look good, you will feel good.

Marketing masculinity in this way is what Gillette does best, and has done for the better part of 115 years. By providing men with the Gillette Grooming Guide, which gives consumers shaving directions (starting with how to perform the first shave, going right through to perceivably more difficult endeavours such as how to shave your groin) and linking to sports, the whole lifestyle of the consumer is considered when planning new products and the supporting campaigns.

"I think our commitment to product innovation and research and development is another hallmark of the Gillette heritage that remains with us today," says Mike Abbott, marketing director of Gillette for its parent company, Proctor & Gamble. "Our goal is to deliver the ideal shave - one characterised by great closeness, combined with optimal comfort and no skin irritation. That has driven us since day one.

"In 1958 this meant producing the first adjustable razor. This allowed for an adjustment of the blade to increase the closeness of the shave. In 1971 this meant working with our R&D team to develop the world's first two-bladed razor, the Trac II, which cut the number of strokes required and reduced skin irritation. Our R&D team studied the shaving habits of more than 10,000 men to develop Gillette's Fusion, the world's first five-bladed razor."

The benchmark for the brand's existence has been the importance placed on a solid R&D-based strategy... but it's also its Achilles heel when it comes to the brand's image.

Like any superbrand, Gillette isn't immune. But rather than criticism, Gillette has been the butt of jokes related to its multiple-blade technology. Programs like The Late Show and Saturday Night Live in the US have poked fun about the gradual adding of blades to the brand's products. Satirical magazine The Onion even printed a mock ad after Wilkinson/Schick introduced its Quattro razor in 2004 entitled 'F**k Everything, We're Doing Five Blades'(which, incidentally, the brand actually did with the aforementioned Fusion three years later). These evolutions in the brand's products have been the centre of its successful branding - but, in the end, do consumers really need five razors to shave? Absolutely, says Abbott.

"A misconception some people have is around whether five blades actually make a difference. Well, they do. The benefits of multi-blade razors were discovered in the late 1960s.

"When cutting a hair using a multi-blade razor, the hair undergoes a process called 'hysteresis', in which the first blade extends the hair out of the hair follicle and allows the subsequent blade to cut further down the hair shaft before the hair has fully retracted back into the hair follicle. This provides a closer, longer-lasting shave. As more blades are added to the razor, the probability of this process is increased," asserts Abbott.

Other criticisms range from the profit margin gained by the company versus its products' actual manufacturing costs, through to accusations of tracking consumers through its use of tiny cameras via RFID technology in its packaging (yes, seriously).

Something that Gillette's marketing department does very well when facing such criticism is refer back to the science to showcase a product's ability and popularity, even if the explanation sounds like a defence. But there's a good reason for this - Gillette has been fighting off rivals and critics for the best part of a century, meaning it's very good at taking on the competition.
Man behind the brand
King C Gillette wasn't your average inventor. He spent much of the 1880s as a travelling businessman, attempting to pull together a living for a family whose interests had been wiped in out the 1871 'Great Chicago Fire'. During this period of renewal and industrialisation in the US, the emphasis on having disposable products for consumers was coming to a head, a concept not lost on the enterprising Gillette. In essence, he was able to identify a need for a product in the market that was easy to access and cheap enough to buy - in this case, a disposable razor.

Despite the fact that the idea of the disposable safety razor had been in development for some years, Gillette was able to commercialise and progress it further.

In 1903, after establishing the Gillette Safety Razor Company, Gillette sold just 51 razors and 168 blades. Thanks to low prices, good manufacturing and smart marketing, the next year that number rose to 90,884 razors and 123,648 blades.

How did he achieve these numbers you ask? Gillette was a clever guy - he realised the benefits of giving away his product or selling it at an extremely low price to introduce consumers to its ease and usefulness. He knew that once they had a razor they would continue to purchase replacement disposable blades for years, even decades - and thus 'freebie marketing' was born.

When I query Abbott on this, he is coy in his response ("Procter & Gamble does not share detailed information about its marketing strategies" was his response), but it doesn't subtract from the success that has been documented about this brand of marketing.

For King Gillette, it gave birth to the concept that investing money in the company's R&D would mean the brand would grow with its consumers. It would make sure that it didn't become stale and always had something new to offer - a concept that has worked for the company all over the world.

Its early advertising reflects this - a man saying he didn't get a job because of his shabby appearance, a little boy being taught by his father to shave and so on, the full 'cause and effect' style of advertising.

"When King C Gillette introduced his revolutionary Safety Razor in 1903, he founded a company on the time-honoured credo, 'There is a better way to shave and we will find it'," says Olcer, when quizzed about the brand's heritage.

According to Olcer, the brand's success globally is inextricably linked to the ideals its founder preached in the early part of the 20 th century.

"Gillette has remained true to this spirit for the past century and continues to deliver on that promise with ground-breaking razors featuring innovative technologies from the Sensor to the Mach3, Mach3 Turbo and, of course, our latest and best razor ever, the Fusion - currently the bestselling razor in the world. Each and every one of these razor innovations was inspired by ever-changing and evolving consumer needs. The continual emphasis on consumer needs driven innovation to keep on finding a better way to shave is probably the reason why Gillette has been the leading force in male grooming for more than a hundred years."

A big test for the company came when it succumbed to the progress that is globalisation, and was bought by Proctor & Gamble (P&G) in 2005. The question was asked: could it continue its dominance if it answered to the board of a new owner?
How big?
On a busy Friday morning, I have what is arguably the fastest coffee meeting in history, lasting no more than seven minutes. The meeting is with David Evans, head of BrandAsset Consulting, who meets me to hand over some stats about how Gillette has travelled in past five years.

"In a word, this is a true 'superbrand'. I haven't seen statistics like this with any other brand post the GFC," gushes Evans.

As I ponder if Evans has secretly been paid off by the brand to deliver this glowing assessment, he turns his laptop toward me and shows me why.

According to Evans, not only has the company maintained its leader position in an otherwise eroding category, it has actually gained strength and, shock horror, grown during the GFC.

Following its purchase by P&G, the company outperformed its closest (and I use that term loosely) competitors, Bic and Wilkinson (which owns Schick Razors) by around 23 percent and 61 percent respectively. The fact that Wilkinson is best known by the 35-plus age group, and very little below that, goes to show that Gillette, despite letting its guard down in the late 1980s, has dominated to the point that, generally, people under 35 have barely heard of the competition.

In fact, after going through the multiple graphs and tables, it would seem that Evans' stats show that Gillette leads in every area of its category. And by a lot.

These statistics don't surprise Olcer. He points out that Gillette is the only male grooming brand ranked in the top 30 of the BrandZ 'Top 100 Most Valuable Global Brands' list.

"With over 600 million men globally trusting their faces to Gillette every day, it is clear that we know and understand men! We know what men want: a close and comfortable shave. We are always focused on finding a better way for men to shave. It is this spirit in innovation that led the founder to develop the world's first safety razor slightly more than a century ago. This same pioneering spirit of innovation continues to be the cornerstone of every Gillette success that we have seen over the years - from the invention of the first twin-blade razor and then the three-bladed Mach3, followed by various breakthrough shaving systems in the past decade, such as the enhanced Mach3 Turbo blades, the M3 Power and the world's first five-bladed Fusion."

Campaign strategy and marketing techniques is, as mentioned earlier, a sore point with Abbott and Olcer. Gillette has never rested on its laurels - being at the top for so long doesn't mean you'll stay there, even if it means being reserved in revealing marketing techniques.

What Abbott does share is that the brand has made sure that its accessibility to consumers matches its investment in R&D.

"In January, we introduced a new addition to the successful Fusion range - Gillette Fusion Gamer. Available in manual and power, the Gillette Fusion Gamer is designed to provide total comfort, even against the grain. Both shaving systems feature five blades, with each blade spaced 30 percent closer together than Mach 3 blades, providing Gillette's most comfortable shave ever. The razor has been designed with style in mind and has a cool, fresh look that exudes a high-tech feel. The colours and materials used have been inspired by the latest white trend used in many high-tech gadgets such as iPods and Macs. Again, our local 'Champion' Michael Clarke featured in this TVC and all consumer touch points.

"The reaction from consumers to both of these campaigns has been extremely positive, with the Fusion brand now bigger than our nearest competitor's total male shaving business in only three to four years."

When visiting the company's online properties, it's clear that every scenario has been covered - extending to online tutorials on head shaving, dealing with oil/acne/tight/sensitive skin, and how to shave a coarse beard. But, despite being owned by a big pharmaceutical megalith, Gillette's marketers can have some fun.

The brand released a video on YouTube entitled 'How to shave your groin', which has been viewed by over 2.3 million potential consumers.

"Online is an important touch point for us," explains Abbott. "As we all know media is becoming more fragmented and no longer are consumers just watching free-to-air TV. Having an online presence is important to us to ensure we are connecting with our consumers in the right environments at the right times. This is especially true of our younger consumers. Engaging with consumers via social media is also an important tool for us. We look at social media in terms of the opportunities that exist both above the line and below the line."

An initiative on which Gillette may have missed the boat is the incredibly popular Movember, a charity set up to encourage awareness of men's issues and health, and which is supported by Gillette's rival Schick (owned by Wilkinson Sword). But neither Olcer nor Abbott are interested in commenting on what competitors are doing - their interest, again, is in their direct consumers.

"In the past 10 years, while remaining true to our brand heritage, we have made a conscious effort to ensure the brand still remains relevant to our current users, as well as new consumers coming into the marketplace for the first time. This means subtle changes, from the way we communicate to the mediums we use," explains Abbott.
Brand by celebrity
There's almost nothing that screams Gillette more than its legendary support of sporting events and, therefore, sportsmen. The celebrity role call is outstanding - the 'Gillette Champions' program boasts the likes of Roger Federer, Thierry Henry, Shoaib Malik, Derek Jeter, Kenan Sofuoglu, Ji-Sung Park and Rahul Dravid, all suited to their specific markets.

In Australia, budding Australian cricket captain Michael Clarke is the face of the brand. A recent promotion attracted consumers by promising those who entered a branded competition a chance of a training session with the cricketer.

"Gillette is one of the earliest brands, if not the very first, to venture into the area of sports marketing. Gillette had been involved with top-tier athletes and sports back in the first few decades of its existence. Over the years, Gillette's participation in sports marketing grew from its ventures in North America to involvement in global sporting activities and events. Most recently, we launched the global Gillette Champions program, which continued the pioneering element of sports marketing in the brand's heritage from its early days close to a century back," explains Olcer.

But, as all marketers are aware, the celebrity track is one strewn with the dead of its PR disasters. For Gillette, choosing the right sporting ambassador isn't as easy as it may seem, exemplified by its recent experience with golfer Tiger Woods.

The decision to rely so heavily on celebrity endorsement is wrought with danger - it's akin to high stakes gambling where anything that ambassador does wrong could potentially damage the brand, but the projective pay-off is so big that it's hard to resist. M&C Saatchi Cape Town chief executive partner Mike Abel pleaded in an article for Marketing (February 2010), for brands to ask themselves more questions than simply slap a celebrity face on their products.

"We're in a world where content is about consumer engagement, but 'fun' doesn't have to mean 'tacky' and 'memorable' doesn't have to mean 'in your face'... brands must play a role in getting us to notice and understand what's meaningful about a product or service offering."

But Abbott insists that a lot of what Gillette does today is based on what has worked for it on a historical basis.

"For example, Gillette has been associated with top athletes and sport since the early 1900s, when the company had the vision to see the value in connecting the brand with top-tier sports and athletes. We believe this was one of the key strategic elements that helped the company grow into a world leader in the male grooming category - and that is why we continue that tradition today," explains Abbott.

"Appointing a celebrity as a brand ambassador isn't a short-term strategy and it isn't right for every brand. It has to be the right fit. It also has to be supported with a long-term strategy that works across a range of touch points to ensure relevancy and currency.

"Many of our campaigns are developed on a global basis; however, we do ensure we remain relevant to Australian consumers with the most recent example being Michael Clarke appointed as Gillette's local 'Champion' building off our Global Champions program."

To Olcer, celebrity endorsement is just one of the elements in a marketing campaign, no different to the consideration given to other facets such as TVCs or direct mail.

"Celebrities are enablers in the process - they personify what the brand stands for to the consumers. But, this is not the only important factor in the consumer's relationship with the brand. Equally important is the consumer's experience of the brand promise and product benefit - it is absolutely necessary for the brand that the product delivers on its promise without fail.

"Gillette has marketed its wares to men for over a century pretty successfully, thanks in part to the mix of factors like our deeply rooted understanding of men, sports celebrity endorsements and innovative products that deliver superior performance."

In the end the success of Gillette's strategy can be seen in the increasing revenue it consistently brings in - as the saying goes, if it ain't broke, why fix it?

Olcer points to his personal favourite campaign, Gillette's iconic slogan 'The Best a Man Can Get', as proof of this, though he insists that those with the cut-through to elicit consumer response, such as the Mach3 campaign with jet fighters and the Gillette Fusion razor launch TVC, are equally worth their weight.

"These are memorable campaigns that still remain on top of consumers' minds even many years after their debuts!"
How the mighty hath grown
After 100 years, Gillette still relies on the same sales principles that King Gillette believed would create brand loyalty. This becomes clear when I ask Abbott what drew him to work for the brand.

"My father was a huge Gillette advocate and taught me to shave with Gillette Sensor 25 years ago and I have always loved performance, design and technology. The 'Best a Man Can Get' motto just resonated with me and when combined with the sports association it was a perfect fit - I've never looked back."

Abbott indicates that part of the reason the Gillette brand has been so enduring is because it stands by its product - everything else is secondary.

"Our products, and in particular our systems' blades and razors, are the result of years of extensive research. At Gillette, the entire innovation process is based on a deep understanding of men. We continually study men's shaving needs, their shaving habits and their skin in great detail."

Olcer points to Gillette's ethos of standing for innovation, first and foremost. Its 'new-to-the-world' blades and razor technologies are the cornerstone of the company's success over the past century.

"Each of these breakthrough razor technologies provides for superior product performance to men out there and this image is reinforced, partly thanks to the brand's long-term association with top-notch sportsmen and athletes. Our most recent sports marketing campaign, the Champions program, for instance saw the personification of the brand as one for champions," Olcer explains.

"Gillette does not innovate for the sake of innovation: every product innovation is designed to meet the needs of men out there. We believe in leveraging breakthrough technologies in our products to make a difference in consumers' lives. And the integration of Gillette into Procter & Gamble has enabled us to touch and improve more lives, more completely, in more parts of the world."

One could argue that the brand lost an ideal opportunity to engage with a whole new crop of young shavers by not jumping on-board the Movember charity phenomenon as Schick did, but that would be losing sight of the work it has done in talking to consumers directly about their daily lives.

Initiatives such as the Grooming Guide and 'First Timers' are aimed at being more honest with consumers, rather than needing to attach a gimmick to making men feel manly.

"For this reason up to 80 men come and have their daily shave with us every morning at the Gillette Technical Centre in the UK. These consumer learnings are combined with scientific insights into how blades interact with skin and hair and are continually translated into new product ideas and working prototypes via advanced engineering and high-precision manufacturing processes," asserts Abbott.

"New product developments are always assessed on whether they provide a better shave than razors currently on the market. Gillette will only ever launch a new razor when these improvements are significant, and truly meaningful to men."

It's a hard formula to knock: have a product that works, that at least half the population needs and provide it to them in a way that is easy for them. Make your presence known through their interests and engage with them when they need it. This simple relationship has been the cornerstone of Gillette's current success. Its challenge? Keep reminding everyone why it has dominated its market for so long and how much it has done to liberate men from the stereotype of former hygiene expectations... or lack thereof.

# data[].attributes.attachment_link.title
Cream of the crop - Gillette brand profile | Marketing Magazine

# data[].attributes.attachment_link.description
This feature first appeared in the July 2010 issue of Marketing magazine. On masculinity, celebrities and the power of brand loyalty, Matty Soccio faces facts and admits that he's a slave of the shave - an area Gillette has dominated for over a century. Wake up. Fumble with alarm.

# data[].attributes.headline
Chan Yan Yan Valirie 177003969                        Group 2: Nike

# data[].attributes.subject
Chan Yan Yan Valirie 177003969                        Group 2: Nike

# data[].attributes.body
Brand Strategy: Attributes and Elements

# data[].attributes.headline
Group 2: Nike Presentation (Updated Ver.)

# data[].attributes.subject
Group 2: Nike Presentation (Updated Ver.)

# data[].attributes.headline
Kwan Ho Fai 17041488 (Group 5: Gillette)

# data[].attributes.subject
Kwan Ho Fai 17041488 (Group 5: Gillette)

# data[].attributes.body
Media Strategy

# data[].attributes.headline
Yiu Hoi Kam Joyce 177016363 (Group 6: Nivea) 

# data[].attributes.subject
Yiu Hoi Kam Joyce 177016363 (Group 6: Nivea) 

# data[].attributes.body
Sponsorship - Nivea

# data[].attributes.body
sales channel

# data[].attributes.attachment_link.title
Place - The use of the marketing mix in product launch - NIVEA | NIVEA case studies and information | Business Case Studies

# data[].attributes.attachment_link.description
NIVEA VISAGE Young aims to use as many relevant distribution channels as possible to ensure the widest reach of its products to its target market. The main channels for the product are retail outlets where consumers expect to find skin care ranges.

# data[].attributes.body
Brand position

# data[].attributes.attachment_link.readable_text
Nivea said the Feel Closer line, devised by DraftFCB London, aims to emphasise the positive impact Nivea products have on female relationships by helping them to "feel good in their own skin".
Nicolo Pome, UK marketing director for Nivea's parent company Beiersdorf, said: "We wanted to find a more relevant role for the Nivea brand in our target markets' minds. The awareness of the Nivea brand is vast but we needed to find a way to engage with the audience to a greater degree.

"The DraftFCB strategy and the creative execution by both our agencies give a clear role for the brand showcasing our extensive product range and celebrating our expertise in skin care."

Three new TV campaigns use the new tagline, including an ad for Nivea's new female deodorant Calm & Care, by DraftFCB London.
Two recently released ads for Nivea's Visage and Body brands, both by TBWA London and using US artist Kaki King's version of The Cure's 'Close To Me' as the soundtrack, also end with the 'Feel Closer' line.

Nivea repositions male grooming category to grab larger market share

Nivea is on a high these days. One of the world's largest skincare brand has decided to up the ante in the highly cluttered Indian market. In the process, the company has rebranded and repositioned its offering for men.

Nivea had its presence in the men's grooming market with the brand 'Nivea for men' in 2007. The men's range was promoted with the tagline " What men want ". The brand started its serious foray into men's category with an Advanced Whitening range.

This year, the brand has gone for a makeover. Nivea had rebranded its men's range with the new brand name " Nivea Men". Along with the new name is the new positioning. The Nivea Men is positioned on the user .The typical brand user is profiled as the one who tackles things on their own. The brand has the new tagline " It starts with you ".

Besides the new name and the positioning, Nivea Men has roped in the Bollywood actor Arjun Rampal as the brand ambassador. The brand is on a high decibel campaign featuring the brand ambassador.

I like this campaign for two reasons. First is that the brand has resisted itself from taking the " Attraction " route taken my most men's grooming brand. Second is the fit that the brand established between the brand and its celebrity endorser. I feel that Arjun Rampal was used very smartly by the brand . There is a personal touch and authenticity to the message delivered by the celebrity.

Nivea has been able to convey its message very smartly in the new campaigns. This has been backed by research done by the brand before venturing into the men's category. According to various newsreports, research revealed that

a. Men are not satisfied with the efficacy of the existing skincare products which are targeting women.

b. Men are also not interested in visiting products displayed in the women's isles in the stores.

c. While grooming is the end result for women, men view grooming as a tool to get what they want in life.

d.84% of men use products borrowed from the women of their life.

e. Most of the men's grooming issues arise out of excessive oily skin and hyper-pigmentation

Based on these insights, the brand carefully crafted the brand's strategy. It adopted a narrative where the brand talked to the men like men do. This is evident from the way the celebrity endorser has conveyed the message through the ads .

Another good thing the brand did was it clearly and rationally identified the brand's USPs. For example, in the skincare range, the brand talked about dark spots, for deodorant the brand talked about freshness etc.

Nivea has clearly got its communication right this time. It has a convincing message and a right brand ambassador. Nivea is also the only brand in the men's category to have a range of products ranging from skincare to deodorants which also adds more punch to the brand's visibility in the retail outlets as well as the scope.

Swapnil Deshpande, says giving the agency and fabricator details for the campaign, "We have done the fabrication and execution from our regional vendors - Elite Design, S P Display, Reego Display System, Impex Retail & Chummu Enterprises. Most of them are well equipped with automated machines which give the perfect finish to the FSU's. For general trade visibility all the paper POS was printed by our vendor - Siddhikrupa Arts."
On similar lines Swapnil Deshpande adds, "Our objective for Nivea Men is to become the global No. 1 male grooming brand by penetrating the male face care category and pushing cross-category purchase."
He further added that the POS plays a leading role in achieving their strategic brand objectives, which is reflected in their priorities at POS. These include, in his words, "implementing a common POS design language that reflects our brand positioning and ensures a consistent brand look and feel globally, increasing the presence of Nivea Men cross-category activations and focusing on Men Zones to influence the overall category".

In 1980, men around the world were introduced to a new concept in skincare: an alcohol-free aftershave balm from NIVEA that did not irritate skin. Proving to be popular with consumers, NIVEA FOR MEN included a full range of skincare products by 1993.
By 2008, more and more men were investing in skincare and grooming products, prompting the NIVEA FOR MEN brand to decide to claim more market share in the growing category. To do this, NIVEA deployed a sophisticated marketing planning process to relaunch and reorganize.
Here's how one brand responded to changes in customer expectations, external influences and business goals - and you can, too.
Assess the Market
In a case study published by The Times 100, NIVEA revealed that its first marketing planning step was to conduct an evaluation of the business, its brands and products. This included an assessment of the brand's position and the state of the market. A SWOT (strengths, weaknesses, threats and opportunities) analysis revealed some surprising facts, including that women are an important target market for NIVEA FOR MEN because they often buy male grooming products for their partners as well as help them choose which products to buy.
Set the Objectives
Armed with real data from the SWOT analysis, the integrated marketers at NIVEA FOR MEN moved on to the next stage of marketing planning: setting objectives. Using research data to forecast trends, the marketing team set SMART (Specific, Measurable, Achievable, Realistic) objectives for the NIVEA FOR MEN relaunch. This helped them set specific targets for increasing sales, growing market share and improving its brand image.
Market the Brand
Then the fun began, as the NIVEA FOR MEN team advanced to the next stage of marketing planning and began to devise and carry out integrated marketing tactics. According to The Times 100, promotion served as one cornerstone of the campaign:
"NIVEA sought to build on and develop the approach it had used in the past. In the 1980s, advertising in men's style and fashion magazines along with product sampling was a major promotional tool. In the 1990s, the company used radio, television and press advertising together with sampling. Since 2000, there has been a greater emphasis on consumer needs and an increasing use of experiential activities in the promotional mix. Experiential marketing is about engaging consumers through two-way communications that bring brand personalities to life and add value to the target audience. This helps build an emotional connection between the brand and the consumers."
Measure the Results
No marketing planning process is complete without evaluation or measuring the outcomes of the marketing activities against the original objectives and targets. The NIVEA marketers say continuous evaluation helps them focus on modifying or introducing new activities to achieve objectives.
NIVEA FOR MEN adopted a range of key performance indicators to assess the success of the NIVEA FOR MEN relaunch in the UK. It looked at:

Market share - NIVEA FOR MEN is market leader in many countries and is consistently gaining additional market share.

Overall sales - Internationally, NIVEA FOR MEN skincare products grew by almost 20 percent.

Brand image - The line was named the Best Skincare Range winner in the FHM Grooming Award, as voted for by consumers.

Product innovation - NIVEA FOR MEN listened to customer feedback and added products to its line and reformulated existing products.

Through marketing planning, NIVEA FOR MEN continues to take advantage of evolving male attitudes toward using skincare products

# data[].attributes.attachment_link.description
Nivea said the Feel Closer line, devised by DraftFCB London, aims to emphasise the positive impact Nivea products have on female relationships by helping them to "feel good in their own skin". Nicolo Pome, UK marketing director for Nivea's parent company Beiersdorf, said: "We wanted to find a more relevant role for the Nivea brand in our target markets' minds.

# data[].attributes.body
Customer  Insights

# data[].attributes.attachment_link.keywords[]
nivea touch of happiness body wash 16.9floz

# data[].attributes.attachment_link.title
Nivea Consumer Insights and Demographics | InfoScout.co

# data[].attributes.attachment_link.description
Nivea consumers are generally very low income, African American, and young adult age. Nivea consumers are more likely to purchase Nivea during larger pantry stocking trips. Brands such as Olay, Softsoap, and Neutrogena also tend to be purchased in the same trip. Sample consumer insights data below.

# data[].attributes.body
(Group 3 Nintendo)
The switch logo explain

# data[].attributes.attachment_link.readable_text
About

" Nintendo Switch is an upcoming home/portable video game console hybrid developed by Nintendo. Officially unveiled in October 2016, it is currently scheduled for release worldwide in March 2017, 6 years after the launch of the Nintendo 3DS and 5 years after the launch of the Wii U. Nintendo Switch is a hybrid device; the Switch console is a tablet-like portable console, which can be inserted into a docking station connected to a television to use it as a home console. Despite this characteristic, Nintendo still markets the Switch as primarily being a home console rather than a portable. The Switch features two detachable wireless controllers, called Joy-Cons, which can be used individually or attached to a grip to provide a traditional gamepad form." ( Wikipedia)

Design by

N/A

Related links

Nintendo press release

Images (opinion after)

Logo.

Console.

First look at the Nintendo Switch. (In that first segment, that dog's owner? What a dick.)

Opinion

The icon references the new controllers pretty directly, mimicking their shape and the position of the sticks but it also has a bit of a yin yang composition that metaphorically speaks to the power of the two controllers to work for one player or two. Perhaps it also looks like a face... a face that has been playing Nintendo for 7 hours with one eye melting below the nose. It also reminds me of Pong somehow, which is not a bad thing. The icon is not the most imaginative but it's representative and it will work nicely as a quick device to show whether a game is compatible with the Switch. The typography is fairly nondescript, neither great nor bad, although the "NINTENDO" part might be a tad over-spaced. Overall, it's a decent logo but more than that it's a nicely positioned contrast to Xbox's more elaborate and flashy logo and aesthetics.

Thanks to Diane Faye for the tip.

# data[].attributes.attachment_link.description
About " Nintendo Switch is an upcoming home/portable video game console hybrid developed by Nintendo. Officially unveiled in October 2016, it is currently scheduled for release worldwide in March 2017, 6 years after the launch of the Nintendo 3DS and 5 years after the launch of the Wii U.

# data[].attributes.body
(Group 6: Nivea) : Nivea Brand symbol

# data[].attributes.body
Why Disney Logo is Well-Known?

# data[].attributes.attachment_link.title
这 7 个图案，是设计师眼里最伟大的Logo_设计_好奇心日报

# data[].attributes.attachment_link.description
那句滥俗的话怎么说来着？一个公司光有好 Logo 没有好产品是不行的，不过如果有好产品但没有好 Logo 肯定是不行的。这句话虽然有几分不确信，但从设计流程的角度看，甲方如果能对自己的 Logo 需求阐述非常精准，乙方（哪怕是公司内部...

# data[].attributes.body
Re: Wai
Corrected

# data[].attributes.headline
Kwan Kui Man,Toby 177017593 (Group: Gillette

# data[].attributes.subject
Kwan Kui Man,Toby 177017593 (Group: Gillette

# data[].attributes.body
(Group 2: Nike )
Re: Daniel
the 2nd slide has too much figures and they are quite small.

# data[].attributes.body
Re: Man
Young women

Re: Yee
I mean that Nike convey its brand represented  "fitness"  to customer by print marketing. when everyone receive this advertising and they will know that Nike and fitness is related.

# data[].attributes.attachment_link.readable_text
The bitten Apple is one of the world's most notable and recognizable logos. The logo of well-known computer manufacturer Apple Inc., this logo has been used and changed in its over 3-decade tenure.
Here is a bite out of Apple's history. (Scroll down for quick bites)

The "bitten apple" is the logo of the well-known computer manufacturer Apple Inc. It is one of the easily recognizable logos in the whole wide world, a fitting symbol to the name of the company behind the picture. Here is one bite out of the apple's history, to enlighten readers on how the logo sprang into existence.

Newton; Apple's First Image

The Apple logo was not always the same, or even remotely similar. Apple's first logo was created by Apple Computer Co co-founder, Ronald Wayne, during the company's incorporation in the 1970s. The logo was as different as could be from its current look, although still related to the Apple.

The first image to represent the computer company was Isaac Newton, the man who revolutionized science with his discoveries on gravity. How did he figure it out? An apple fell on his head!

Apple's first logo was a depiction of this event, with Newton sitting under an Apple tree.

The Logo included a quote from William Wordsworth, a romantic English poet; "Newton... a mind forever voyaging through strange seas of thought." The poem was written on the frame of the logo.

The Apple Gets Its Turn

The Newton logo was short lived, as Steve Jobs reportedly believed that it was too old-fashioned, or arcane.

The famous CEO soon hired graphic designer Rob Janoff, who then created the now classic and world-renowned logo of the bitten apple. Jobs quickly threw out the old Newton logo, and Apple's logo was fully established and used by the end of the company's first year.

Janoff's original apple logo contained a rainbow spectrum, a nod towards Apple's computer Apple II which was the world's first computer with color display. The logo debuted a little before the computer's launch. Janoff has said that there was no rhyme or reason behind the placement of the colors themselves, noting that Jobs wanted to have green at the top "because that's where the leaf was."

There have been many rumors and speculations about the new logo. Some people think that the shift to the apple design was to make it more appropriate for the company name. There are also people who think that the apple symbolizes Alan Turning, the father of modern computing, who took a bite out of an apple poisoned with cyanide that ultimately took his life.

Jean-Louis Gassée, former Apple executive and founder of BeOS, quipped about the logo:

One of the deep mysteries to me is our logo, the symbol of lust and knowledge, bitten into, all crossed with the colors of the rainbow in the wrong order. You couldn't dream a more appropriate logo: lust, knowledge, hope and anarchy.

There have been so many rumors that the designer actually spoke out to calm the buzz. "It is a wonderful urban legend, somebody starts it, and then people go 'oh, that must be it.'"

The multi-colored Apple logo was in use for 22 years before it was axed by Steve Jobs less than a year after his return to Apple in 1997. In its place was a new logo that did away with the colorful stripes and replaced it with a more modern monochromatic look that has taken on a variety of sizes and colors over the past few years. The overall shape of the logo, however, remains unchanged from its original inception 33 years ago.

The bitten apple logo may have had quite a history, a history whose parts remain unknown to people. However, it has not stopped the logo from being recognized all over the world. In fact, the company does not even have to print its name alongside the logo. The logo itself already tells it all.

The Newton Crest: 1976-1976:

The first Apple logo was designed in 1976 by Ronald Wayne, sometimes referred to as the third co-founder of Apple. The logo depicts Isaac Newton sitting under a tree, an apple dangling precipitously above his head. The phrase on the outside border reads, "Newton... A Mind Forever Voyaging Through Strange Seas of Thought ... Alone."

The Rainbow Logo: 1976-1998

Not surprisingly, the above logo only lasted a year before Steve Jobs commissioned graphic designer Rob Janoff to come up with something more modern. Janoff's eventual design would go on to become one of the most iconic and recognizable corporate logos in history.

According to Janoff, the "bite" in the Apple logo was originally implemented so that people would know that it represented an apple, and not a cherry tomato. It also lent itself to a nerdy play on words (bite/byte), a fitting reference for a tech company.
Quick side note: Corporate design sure was a lot simpler in the 70′s. Nowadays, companies like Pepsi spend millions of dollars on logo re-designs that are based on complete BS and new age mumbo jumbo.
As for the rainbow stripes of the logo, Steve Jobs is rumored to have insisted on using a colorful logo as a means to "humanize" the company. It also could be because it was launched right before Apple's newest computer, Apple II which was the world's first PC with colored display.

The Monochrome Logo: 1998 - Present

The current logo, the one everyone knows, wasn't made simply because Steve Jobs is always looking to change things up. When Jobs returned to Apple in 1997, the company was bleeding money, and Jobs and Co. realized that the Apple logo could be leveraged to their advantage.

If the shape of the Apple logo was universally recognizable, why not put it where people could see it?

When Apple released their first ever iMac, the Bondi Blue, the logo was changed and its rainbow colors disregarded. The rainbow-colored logo would have looked silly, childish and out of place on the sky-blue computer.

The logo then took on a metallic look with embossing, which was applied on many of their products.

The "Glass" themed logo was the next evolution for the logo.

Today, the company uses a more modernized flat "Millennial" Apple logo. The logo comes mainly in 3 colors; silver, white and black.

The millennial apple logo is now one of the sleekest and famous logos in the world, just as famous or even more than McDonalds's yellow arches. Steve Jobs's decision to hire Janoff, and go for a minimal styled logo (which is currently in fashion and may have started the "flat" logo craze) was another genius choice by the enigmatic founder.

# data[].attributes.attachment_link.title
Apple Logo Evolution Story | Think Marketing

# data[].attributes.attachment_link.description
The bitten Apple is one of the world's most notable and recognizable logos. The logo of well-known computer manufacturer Apple Inc., this logo has been used and changed in its over 3-decade tenure. Here is a bite out of Apple's history. (Scroll down for quick bites) The "bitten apple" is the logo of the well-known computer manufacturer Apple Inc.

# data[].attributes.body
Lau Ho Kan 177006474 (Group 1)

# data[].attributes.body
(NIKE)
Comments for Group 2

Re : Wan Che Wai
For the brand strategy of sponsorship as you mentioned, does any different or same in NIKE's sponsorship between different country? so, is the sponsorship globalised/ localised/ Glocalised?

Re: Wong Wing Yip
What the message or image that NIKE wants to convey to young and women market by "Print"? Similarly, is any different between varying country?

# data[].attributes.body
ppt

# data[].attributes.body
About the viral video of Nike - Nothing beats a Londoner (UK)

# data[].attributes.attachment_link.readable_text
Neatly synchronised to the arrival of the Winter Olympic games in Korea, sporting brand Nike have released their Winter/Spring 2018 digital advert, amassing over 2 million online views in the first 24 hours after publication. Featuring a montage of sports stars and competitors travelling throughout London, continuing a cross-Zone debate over who has the toughest sporting journey in the city, the advert showcased over 258 athletes and 14 different London locations in its 3 minute run time.

The advert itself, entitled 'Nothing Beats A Londoner' has been cited by critics and reviews as one of the best online campaigns in history, and set to the tune of MC Skepta's 'Shutdown', the vibrant sporting youth demographic of London has been accurately targeted and represented. So what exactly made this advert so significant in contrast to other, similar productions released in the sporting world, and where does technology come into it?

Diversity In Numbers

London's vast and diverse demographic was unquestioningly represented in the Nike advert, with sports players of all genders, backgrounds and cultures being spotlighted across the production. But one of the reasons the advert made such an impact was not because of their inclusion in the ad, but also because of the way in which the individual struggles of both the player and the sport were highlighted too. The unsteady public interest in female football, for example, was flagged, with the notion that women have to pull off amazing feats of sport just to be noticed. Ice hockey was another sport referenced, as the activity is notably unpopular in cities, making it hard for those who enjoy it to engage with it fully.

Examples of diversity were also found in the celebrity sports stars featuring in the advert, with a real mix of sports and groups being included. Big names such as Harry Kane, Iwobi, Steph Haughton, Mo Farah and Leanne Cowen all had large roles, and played significant parts, helping to encourage the messages of diversity in sport, as well as raising the profiles of younger sports players with potential.

One criticism found in the media response to the advert, however, was that a significant portion of the London inhabitants was missing from the representation. Taken from an article in The Independent, the lack of Asian athletes in the production failed to accurately portray sport in London, as they make up the largest minority group in the city. The advert was accused of 'perpetuating the stereotype that Asians don't sport'.

Political and Social Commentary

Adding a sense of satirical humour to the already light-hearted advert, one clip in particular appeared to take a shot at one of once London Mayor Boris Johnson's 'innovative' policies to introduce communal sports areas in council funded spaces. Showing a young sports player battling for dominance amongst a crowd of other players all engaging in different sports on the pitch, the message was clear and direct.

But interestingly, the celebration of London took precedence in the production as it highlighted so many different areas of the city, and the voices of its residents from an inside perspective. With jokes about Zone 6, Peckham, black taxis, council estates, the Underground tube and many other London cultural areas, the city was both affectionately degraded and applauded by sporting personalities of all classes and backgrounds. Even the title of the advert, 'Nothing Beats A Londoner', shared the sentiment of the capital city, symbolising the greatness of the city inhabitants, as well as their unbreakable sporting spirit.

Brand and Technological Collaboration

One of the most interesting aspects of the production was actually in the re-framing of the Nike brand, and it's integration of technology into the advert. With the slow evolution of the Nike tick turning into more of a fashion brand than a sporting brand, as consumers united over the casual wear of the gear, this advert sought to strip back their marketing to its original purpose. By showcasing only athletes and sporting stars wearing the Nike trainers and sports kit, the unique purpose of Nike was evident, and intended to drive more niche traffic towards their already popular brand.

But this advert also highlighted a big change in terms of the technological skill used in the production. From 360 degree cameras, to high budget shooting angles, to quicktime editing frames, the finished product of the advert was an impressive technological feat, and, although Nike was reluctant to share their exact budget on the project, this was a really positive move towards highly publicized sports and technical collaborations in future.

The use of smartphones was also capitalised on in the advert, with one portion of the montage featuring the viral capacity for sporting highlights through sharing on social media - using celebrities such as Harry Kane, Steph Houghton and Eden Hazard to celebrate the power of the internet. Sporting moments and sporting icons combined really helped to support the combination of technology and fitness, continuing shifts from products such as the Fitbit to overlap these two immense sectors.

Nike as a brand has grown from strength to strength in terms of its global marketing and social campaigns over the past couple of years, and their new messages of diversity, inclusivity and community are likely to set them apart from the crowd as one of the most successful sports brands in history.

# data[].attributes.attachment_link.title
Nike: A New Approach To Sports Technology | Roller Agency

# data[].attributes.attachment_link.description
Neatly synchronised to the arrival of the Winter Olympic games in Korea, sporting brand Nike have released their Winter/Spring 2018 digital advert, amassing over 2 million online views in the first 24 hours after publication.

# data[].attributes.body
(NIKE)
comments for Group 2

Re: Sam
add customer preference

Re: Daniel
the 2nd slide( target audience) you mean young people & women or young women?

Re: Chloe
the information is quite comprehensive.

# data[].attributes.body
branding symbol and image

# data[].attributes.attachment_link.description
The NIVEA logo has become a widely-recognized symbol for the body care brand. Read this article to learn about the design elements and meaning of its logo.

# data[].attributes.body
4Ps of NIVEA

# data[].attributes.attachment_link.title
Introduction - The use of the marketing mix in product launch - NIVEA | NIVEA case studies and information | Business Case Studies

# data[].attributes.attachment_link.description
The market can be developed by creating a good product/range and introducing it to the market (product-orientated approach) or by finding a gap in the market and developing a product to fill it (market-orientated approach). Having identified a gap in the market, Beiersdorf launched NIVEA VISAGE Young using an effective balance of the right product, price, promotion and place.

# data[].attributes.headline
Yiu Hoi Kam Joyce 177016363 (Group 6: Nivea)

# data[].attributes.subject
Yiu Hoi Kam Joyce 177016363 (Group 6: Nivea)

# data[].attributes.body
How does a brand distinguish itself from the competition?

# data[].attributes.body
branding strategy

# data[].attributes.attachment_link.description
Its a Brand Building Strategy for Nivea; A Strategic Brand Management Project

# data[].attributes.attachment_link.description
Did the NIVEA inventor know that he was mixing the most successful cream of all time in 1911? Well, he knew one thing: the snow-white cream was going to revolutionize skin care.

# data[].attributes.body
Nivea global introduction

# data[].attributes.body
Pls give me some comment, my teammates.

# data[].attributes.body
(Group 2:NIKE)

# data[].attributes.body
Re: Wong Wing Yip
Daniel, it is just the initial research with some detail information, but I will choose the main point to talk in the presentation, no worry.

# data[].attributes.body
Wing Yee, this clearly bring out a message. but, is it too long if present it??

# data[].attributes.headline
Source from: Global Brand Management - Nike's Global BrandLarson, Deanne. The ISM Journal of International Business; New York Vol. 1, Iss. 3,  (Dec 2011): 

# data[].attributes.subject
Source from: Global Brand Management - Nike's Global BrandLarson, Deanne. The ISM Journal of International Business; New York Vol. 1, Iss. 3,  (Dec 2011): 

# data[].attributes.body
Wong Wing Yip 177007852 Group 2 Nike

# data[].attributes.headline
KHAN Mohammad Mebran 177004002 (Group 4)

# data[].attributes.subject
KHAN Mohammad Mebran 177004002 (Group 4)

# data[].attributes.body
Company Overview

# data[].attributes.attachment_link.description
You may also download our Annual Business Review for the Fiscal Year 2016, Annual Business Review for the Fiscal Year 2015, Annual Business Review for the Fiscal Year 2014, Annual Business Review for the Fiscal Year 2013, Annual Business Review for the Fiscal Year 2012, Annual Business Review for the Fiscal Year 2011, Annual Business Review for the Fiscal Year 2010 or Annual Business Review for the Fiscal Year 2009 .

# data[].attributes.body
2017 Annual Report, Interactive Annual Report and Form

# data[].attributes.body
Apple - iPhone 7  concept introduction video

# data[].attributes.body
Finally

# data[].attributes.body
DISNEYLAND MONOPOLY, INTERLINKAGE AND USURIOUS INTEREST RATES

# data[].attributes.headline
LIANG Mingjian 17041494 (Group 5: Gillette )

# data[].attributes.subject
LIANG Mingjian 17041494 (Group 5: Gillette )

# data[].attributes.body
PESTEL analysis
Economic aspect

The brand value of Gillette, as of May 2015, according to Forbes, is $20.4 billion. It currently occupies 26th spot on the Fortune 500 companies. Europe has the highest global market for shaving products, accounting for more than 30% share of the global market. The US is the third largest region, after Asia-Pacific. Asia is the second largest and the fastest growing market for shaving products globally, and is expected to grow at an annual growth rate of more than 8.0% during the next few years.

As for the Social
aspect

Most of male interest in grooming increases globally, Their growing interest in their personal appearance and the fashion for full beards is shaping trends within the men’s grooming market. So they want a quality products for convenience and better shave.

Also, Boom in the service industry globally, Rise of the middle-class,Rapid urbanisation globally and the appearance of  Metrosexual and ubersexual.so that they pay more attention to personal image, these mature consumers are more susceptible to the image of the impact of consciousness. They express their sense of style and identity through appearance and dress. So shaving is an essential lifestyle.

However, there are also different shaving habits in different regions:

Some of mature regions like Western Europe and North America, People who prefer wet shaving rather than using electric shavers, there is a  growing trend for an unshaved look (three-day will beard). They stick to system razors rather than disposable ones.

Some of Emerging Regions like Latin America, Disposable razors dominant the market in. It changes male attitudes to grooming.

Eastern Europeans have a quite traditional attitude. Men's grooming has become a focus in the media. The great focus on shaving products and they slow to accept newer product types.

In Asia, Japanese is an early adopter and they strong acceptance of men's grooming. China may be the only market in the world where dry shaving is the dominant market. The growth of white collar jobs in India then they begin shaving to keep their image.

In The Middle East and Africa, Highly traditional attitudes make many men keep a beard but the younger generation is more influenced by Western lifestyle.

# data[].attributes.headline
Cheng Chi Hong 17041479 (Group 5: Gillette)

# data[].attributes.subject
Cheng Chi Hong 17041479 (Group 5: Gillette)

# data[].attributes.headline
Cheng Chi Hong 17041479 (Group 5: Gillette)

# data[].attributes.subject
Cheng Chi Hong 17041479 (Group 5: Gillette)

# data[].attributes.attachment_link.readable_text
Foreign Direct Investment (FDI) means investment by non-resident entity/person outside India in the capital of an Indian company under Schedule 1 of Foreign Exchange Management (Transfer or Issue of Security by a Person Resident outside India) Regulations, 2000.

FDI is one of the important drivers of economic development. It is a major non-debt financial source for India. That is the reason why the Government of India (GOI) tries to maintain a favourable FDI policy to ensure that foreign capital keeps flowing into the country and contributes to the national economic development.

Foreign (Direct) investment was introduced under Foreign Exchange Management Act (FEMA) 1991. The Department of Industrial Policy and Promotion (DIPP), Ministry of Commerce & Industry, Government of India makes policy pronouncements on FDI. Since 1991, the GOI is gradually opening Indian economy for FDI to supplement the domestic capital, technology and skill requirements to accelerate economic growth. As of now FDI is allowed in almost all the major sectors of India economy. However, the sectors that attract higher inflows are services, telecommunication, construction activities and computer software and hardware.

As per the information available, the FDI inflow has been continuously increasing in India. In last one-and-half decade it has increased from USD 4 billion in 2000-01 to USD 44 billion in 2015-16. In the year 2016 itself, the total FDI investments received during April -September rose by 30% year-on-year (YoY).

FDI is allowed in India under the two routes: i) Automatic Route where FDI is allowed without prior approval either of the Government or the Reserve Bank of India in all activities/sectors as specified in the consolidated FDI Policy, issued by the Government of India from time to time. ii) Government Route where FDI in activities not covered under the automatic route requires prior approval of the Government which is considered by the Foreign Investment Promotion Board (FIPB), Department of Economic Affairs, and Ministry of Finance.

The objective of the current write up is to understand the direction of the GOI on FDI policies. It also gives a brief insight into the various steps taken by the UPA and NDA governments in this area and their strategies. It is to be noted that the governing period for UPA-I is 2004-09 and UPA-II is 2009-14. Similarly governing period for NDA-II is from 2014- to as on date.

To understand the direction of GOI on FDI policies, the FDI policies announced by the GOI between 2011 and 2016 have been studied. This study is also supported by the empirical data on FDI inflow during 2001 to 2016 which reflects the FDI trend in India. The information required for the study has been accessed from Foreign Investment Promotion Board (FIPB) and Reserve Bank of India websites.
Review of FDI Policies:
The review of FDI policies can be done on various parameters. But to make it simple for readers only a few selected parameters have been considered for current study. The parameters are the three major aspects on which every new FDI policy will have an impact. They are:

1. Status of the List of the Sectors in which FDI is allowed

2. Limitation or Ceiling of FDI including related conditions.

3. Rout through which FDI is allowed and its specific ceilings for routs.

Usually, a new FDI policy may include new sectors in the list, continue existing sectors without any change and exclude any of the sectors from the existing list. In terms of limitation or ceiling on FDI funds, the new policy may increase the limit; continue the same limit as per current policy and decrease the limit. It may also change the investment related conditions. Towards the route, the new FDI policy may change the route from automatic to government and vice-versa and change the sharing limit (ceiling) for the automatic and government routes. Apart from these three major aspects there will also be some changes in other conditions applicable to specific sector. Such changes have not been considered in the present article. Hence, the in present article we have briefly analysed the FDI policies on these three major aspects considering the FDI policy of 2011 as the base.

The different FDI policies announced during 2011 to 2016 are comprehensively presented in the seven 'Consolidated Circulars on FDI Policies' published by FDPI on their website.

As per the consolidated FDI policy circular dated October 2011, in comparison to the previous policy of April 2011, the FDI limit for Broadcasting - Terrestrial FM Radio is increased from 20% to 26% (FDI, NRI and Portfolio investment). The FDI route for Mining and exploration of metals and non-metal ores is revised to government route from automatic route. During the same period the FDI route for Petroleum & Natural Gas refining by the PSU is revised to automatic route from the government route.

The Private Security Agencies are included in the list of sectors in which FDI was allowed with a FDI limit of 49% and through only government route. There are five major changes in the FDI policy announced through the consolidated FDI circular of October 2011. Out of these five changes only one change makes FDI policy stringent and other four changes make the policy more flexible.

As per the FDI policy announced during 2012, the FDI route for Petroleum & Natural Gas refining by the PSU is revised to government route from the automatic route. Through the same circular the FDI limit in Single Brand Retail Trading is increased from 51% to 100%. The Pharmaceutical existing companies and green field were included in the list of the sectors in which FDI was allowed. The FDI limit for both Pharmaceutical Existing Companies and Green-field Companies is 100%. But in case of Pharmaceutical Existing Companies FDI is allowed through only government route whereas in case of Pharmaceutical Green-field Companies it is allowed through the automatic rout.

There are six major changes in the FDI policy announced through the consolidated FDI circular of April 2012. Out of these six changes only one change has made FDI policy stringent and other five changes make the policy more flexible.

Through the FDI policy announced during 2013, the FDI limit for Cable Network (MSOs at National and State Level) industry, Broadcasting DTH industry, Asset Reconstruction Companies, Up-linking HUB / Teleports is increased from 49% to 74%. In all the cases, except Asset Reconstruction Companies, the FDI up to 49% is allowed through automatic route and FDI above 49% up to 74% is allowed through Government route. In case of ARCs, the FDI up to 74% is allowed through government route only. In addition, Cable Network (Other MSOs at Local level) industry, Pharmaceutical Brownfield Companies, Power Exchanges, Multi-brand Retail Trading are included in FDI sectors list. The FDI limit for Cable Network (Other MSOs at Local level) industry is 49% and through automatic route. The FDI limit for Pharmaceutical Brownfield Companies is 100% and through only government route. The FDI limit for Power Exchanges is 49 (including FDI & FII) and through government rout. The FDI limit for Multi-brand Retail Trading is 51 (including FDI & FII) and through government rout.

There are fifteen major changes brought in the FDI policy announced through the consolidated FDI policy circular of April 2013. All the changes have been to make the policy more flexible.

In the FDI Policy announced during 2014, Mobile TV industry has been included in the list of industries in which FDI is allowed. In the case the FDI limit is kept at 74% and FDI up to 49% is allowed through automatic route and above 49% up to 74% is allowed through government route. During 2014 one of the most important changes brought in FDI policy is related to the defence sector. Keeping the FDI limit of 26% in the defence sector untouched, the GOI has created a provision to allow FDI above 26%. But the permission for FDI more than 26% in defence sector will be subjected to the approval of Cabinet Committee on Security (CCS) on case to case basis, wherever it is likely to result in access to modern and 'state-of-art' technology in the country.

In addition, through the same policy, the FDI limit in case of Asset Reconstruction Companies (ARCs) is increased from 74% to 100% of the paid up capital and the FDI up to 49% in ARCs is allowed through automatic route and FDI above 49% up to 100% is allowed through government route. The FDI route for Commodity Exchange, Credit Information Companies, Infrastructure Company in the Securities Market is revised from government to automatic route. Moreover, the FDI limit of 26% in insurance sector was caped limiting the investment from all the sources such as FDI, FII/FPI, and NRI to maximum limit of 26%. In the same policy the FDI route for Power Exchanges is revised from government route to automatic route. FDI limit for Teleservices is increased from 74% to 100% and FDI up to 49% in this sector is allowed through automatic route and above 49% and up to 100% is allowed through government route. The FDI route, in case of Single Brand Retail trading, is revised from 100% government route to 49% automatic route and above 49% through government route.

There are thirteen major changes brought in the FDI policy announced through the consolidated FDI circular of April 2014. Out of thirteen changes only one change has been done to make FDI policy stringent and other twelve changes have been brought to make the policy more flexible.

In FDI policy announced during 2015, the FDI limit in defence sector is increased from 26% to 49% with a condition that investments from all the sources such as FDI, FII/FPI, NRI and FVCI should not be more than the prescribed limit of 49% and that FDI will be allowed only through government route. Moreover, a provision to allow FDI more than 49% in defence sector is also created. But the permission for FDI more than 49% in defence sector will be subjected to the approval of Cabinet Committee on Security (CCS) on case to case basis, wherever it is likely to result in access to modern and 'state-of-art' technology in the country. The FDI limit for Credit Information Companies increased from 49% to 74% where investment from FII/FPI is limited to 24%. The FDI limit for Insurance sector is increased from 26% to 49% with a condition that the investment from all the sources such as FDI, FII/FPI, QFI, NRI, FVCI, and DR should not be more than the prescribed maximum limit of 49%. In this case the FDI up to 26% is allowed through automatic rout and above 26% up to 49% it is allowed through government rout. The FDI entry for Petroleum & Natural Gas refining by the PSU is revised from government route to the automatic route. One of the important changes in the FDI policy of 2015 is that in the list of the sectors in which FDI is allowed, Railway infrastructure sector is included. The FDI limit in this sector is 100% and FDI up to 49% is allowed through automatic rout and the FDI beyond 49%, in sensitive areas from security point of view, will be brought by the Ministry of Railways before the Cabinet Committee on Security (CCS) for consideration on a case to case basis.

There are eight major changes brought in the FDI policy announced through the consolidated FDI policy circular of April 2015 and all the changes make the policy more flexible.

Under FDI policy announced during 2016, the FDI limit for Cable Network (MSOs, at State and National Level), Cable Network (Other MSOs, at Local Level), Mobile TV, DTH and Hits increased to 100%. The FDI up to 49% is allowed through automatic route and above 49% up to 100% through government route. The FDI limit for Terrestrial FM Radio is increased from 26% to 49%. The FDI limit for Civil Aviation Ground Handling and Non-schedule Air Transport services is increased from 74% to 100% and allowed through automatic route. The condition that the investment in defence from all the sources such as FDI, FII/FPI, NRI and FVCI should not be more than the prescribed limit of 49%, is relaxed in 2016 FDI policy. Similarly, the conditions related to the sources of investment in the case of Private Sector Banking, ARCs, Public Sector Banking, Infrastructure Company in the Securities Market, Insurance, Power Exchanges have also been relaxed. Further, the FDI route in case of ARCs is revised to 100% through automatic route. Similarly in the case of Insurance the route is revised to 49% though automatic route. Pension, White Lable ATM Operations, Duty Free Shops are included in list of sectors in which FDI is allowed. The FDI limit in the respective sectors is 49%, 100% and 100% and allowed through automatic rout.

The condition for manufacturing sector which is "FDI in MSEs will be subject to the sectoral caps, entry routes and other relevant sectoral regulations. Any industrial undertaking which is not a Micro or Small Scale Enterprise, but manufactures items reserved for the MSE sector would require Government route where foreign investment is more than 24% in the capital " This condition is revised as "subject to the provisions of the FDI policy, foreign investment in 'manufacturing' sector is under automatic route. Further, a manufacturer is permitted to sell its products manufactured in India through wholesale and/or retail, including through e-commerce without Government approval".

The FDI rout for Plantation sector is also revised from government to automatic rout. The FDI limit for Satellite establishment and operations and Up-linking HUB / Teleports increased from 74% to 100%. In case of Satellite establishment and operations, the 100% FDI allowed through only government rout whereas the FDI in Up-linking HUB / Teleports up to 49% is allowed through automatic rout and above 49% through government rout. The FDI limit in Up-linking/Down-linking of News and Current Affairs' TV Channels is increased from 26% to 49%. The FDI rout for Up-linking/Down-linking of Non-news and Current Affairs' TV Channels is revised to automatic from government.

There are 33 major changes brought in the FDI policy announced through the consolidated FDI policy circular of April 2016 and all the changes are made to make the policy more flexible.

As per the available information, during 2011 to 2016 we have noted around 80 changes in the FDI policies of the GOI on the three major aspects discussed above. Out of the total number of changes noted in the current review, more than 40% are made in the year 2016. From the information discussed above, it is very much clear that during last five years the GOI of India has revised the FDI policies to make it more open, flexible and favourable for the foreign investors.

It is noteworthy to mention that in case of FDI policy, the NDA government led by the BJP which claims its policies to be more 'Swadeshi' has left behind the UPA government led by Congress which is said to have adopted pro-foreign-investor policies.

Please refer to the Table-1 and Graphs 1 & 2 below for a quick glance of government's FDI policy direction.
Table-1: Major FDI Policy Changes Made During April 2011 - April 2016
However, it can be easily seen that the GOI, irrespective of the parties in power, has kept a flexible and favorable FDI policy.
FDI Inflows- A Trend Analysis
Having reviewed the FDI policies of GOI announced during 2011 and 2016 let us find the FDI inflow trend in India for the period 2001-2016. As represented in the Table-2 below, the FDI inflow during 2000-01 is USD 4 billion. It increased to around 44 billion by 2015-16 and may even cross USD 45 billion by 2017-18.

There has been a ten times increase in FDI inflow in last one and half decade. Due to the favorable policies announced during the said period the FDI inflow has increased with an average rate of 22% p.a. and CAGR (compound annual growth rate) of 17.2% p.a. Please refer to the Table-2 and Graph-3 for a quick glance of the FDI inflow trend in India during 2000-01 to 2016-17.
Table-2: FDI Inflow for the period 2000-01 to 2016-17
Source: RBI 2016-17 provisional figures

It is apparent from the data presented in Graph-3 above that the overall FDI inflow trend has been positive since 2000-01. It does not have any impact on FDI inflow that which party has formed the government, the FDI inflow continued to be increasing.

In fact the attitude of the political parties like Congress and BJP on FDI policy seems to be changing only in relation to their position. They have different attitudes when they are in power as compared to when in opposition. For instance, in 2012, when the UPA government announced 51% FDI in retail, the BJP called for a nation-wide bandh opposing the supposedly anti-retail move. But now when in power BJP has announced 100% FDI in the same sector.

Moreover, FDI policies adopted by the previous government are left untouched by the present government.
Conclusion:
In the conclusion it can be said that in Indian context, neither FDI is fully harmful nor it is fully fruitful. However, a small miscalculation while deciding the foreign investment policy on the side of policy makers shall make FDI a burden on the Indian economy and upon the citizens of India. Therefore, the Government of India (GOI), while choosing the policy towards foreign investments should take necessary precautions, considering both economic and social factors, to avoid any potential negative effects of allowing FDI in India.
Website References: https://www.rbi.org.in/ http://dipp.nic.in/English/Default.aspx

# data[].attributes.attachment_link.title
A Critical Appraisal of FDI Policies of Government of India - The Companion

# data[].attributes.attachment_link.description
Foreign Direct Investment (FDI) means investment by non-resident entity/person outside India in the capital of an Indian company under Schedule 1 of Foreign Exchange Management (Transfer or Issue of Security by a Person Resident outside India) Regulations, 2000. FDI is one of the important drivers of economic development.

# data[].attributes.headline
Cheng Mei Ling 177014529 Group 3: Nintendo

# data[].attributes.subject
Cheng Mei Ling 177014529 Group 3: Nintendo

# data[].attributes.body
Product Life Cycle

# data[].attributes.headline
Cheng Mei Ling 177014529 Group 3: Nintendo

# data[].attributes.subject
Cheng Mei Ling 177014529 Group 3: Nintendo

# data[].attributes.body
Marco Environment

# data[].attributes.headline
LIANG Mingjian 17041494 (Group 5: Gillette)

# data[].attributes.subject
LIANG Mingjian 17041494 (Group 5: Gillette)

# data[].attributes.attachment_link.readable_text
Men's growing interest in their personal appearance and the fashion for full beards is shaping trends within the men's grooming market. At this year's in-cosmetics Marketing Trends presentations, Jamie Mills, Associate Analyst, Datamonitor, will reveal the latest data and insights on this evolving category.

The men's grooming category was traditionally treated by brands and retailers as an afterthought to women's beauty, but that has changed as men take more interest in their appearance. According to Datamonitor, not only do 52% of global male consumers consider their looks and appearance to be either important or very important, but 29% touch up their looks throughout the day. This percentage rises to 39% of teenage men aged 15-17, the future users of grooming products.

In 2014, Datamonitor valued the global market for male toiletries at $222,44.6m, which grew by 3.6% on the previous year. Growth has come across all the main categories, razors and blades, shaving preparations and shaving aftercare. However, in the US, Procter & Gamble reported razor and shaving accessories sales of $3.7bn in 2014, down 2% year on year, which coincides with the trend for facial hair, known as "hipster beard." Part of the reason for the decline in sales might also be attributed to high prices for razors and replacement blades. If men shave less often, or not at all, they can save considerable amounts of money, which can be a key consideration during times of austerity. The key to addressing this change in usage habits will be for manufacturers to focus on aftercare add-on products designed to avoid nicks, ingrown hairs and other skin-related issues associated with shaving.
New product launches are on the up
Despite worrying signs that the men's grooming category is suffering, manufacturers have, if anything, increased their commitment to innovation and new product launches. Over the past two years, the US was the most active in terms of new product launches, accounting for 21% of global new men's grooming products, according to Datamonitor Consumer's Product Launch Analytics tool. The UK is another buoyant market, which represented 17% of global new men's launches during the same period.

The range of products aimed at men is increasing all the time and reflects evolving consumer habits and a desire for more sophisticated products. According to Datamonitor, there are two key user groups: men who use toiletries to help maintain good personal hygiene, health and wellbeing, and a new breed of man who buys products with the sole intention of improving their physical appearance. This is giving rise to new categories, such as self-tan for men, including the first natural tanner that contours the body. Anti-aging products for men are also on the rise, mirroring this long-standing trend in the women's skincare category. A further sub-trend is for brands to launch several variants under the same brand, such as Nivea Men's Originals, Active Age, Cooling, Sensitive, Skin Energy and Extra Comfort shaving and skincare options.
Facial hair becomes the norm
The beard trend is not going unnoticed by men's grooming brands, although most new beard-specific products are being launched by niche players. Datamonitor has witnessed the increase of beard grooming products from just eight in 2011 to 42 in 2014, signifying a move away from the "metrosexual" towards a "lumberjack" look, dubbed "lumbersexual". Examples include the UK launches Billy Jealousy Beard Conditioner, The Bearded Man Co. Natural Beard Oil and Beardilizer Beard Nutritional Complex, which also sells in the US. Even private label brands are keeping up with the trend for beards, with the launch of Balea Men's 3 Day beard conditioning gel in Germany. Beard upkeep can be a simple task of finding a suitable oil to keep the beard moisturized and looking its best, but presents other opportunities: beard cleansers and conditioners for full beard wearers, as well as beard colourants for older men who want a beard but are embarrassed by the gray.

If the forecasters are to be believed, sporting a full beard has become rather passé as moustaches become the latest facial hair must-have. Murdock London, a chain of barber shops based in the hipster capital of Shoreditch, London, has been witnessing the rise of moustaches amongst British gentlemen for some time. The trend has received a fillip due to the popularity of the Movember campaign each November, when men are encouraged to grow a moustache for charity. This latest trend opens up further opportunities for moustache-specific care products, including balms and waxes, to help the user keep their moustache in shape, tame stray hairs or create different styles. Examples include Bounder Extra Firm Moustache Wax, made from beeswax with the addition of Caribbean navy rum and vanilla extracts, and Stache Bomb Stache Wax, handmade in Portland, Maine, that has a manly smell of a freshly cut pine trees and also relies on beeswax to provide a firm hold.

Datamonitor maintains that the next frontier in men's grooming products will be to target "menopausal" men in their 40s and 50s. Traditionally ignored due to their lack of interest in grooming products, these older consumers lead active lifestyles and are more conscious about their appearance and health than earlier generations. Some niche brands have been quick off the mark to recognise the potential spending power of this demographic, such as Urth Skin Solutions for Men, a UK anti-aging shaving cream and hydrating treatment containing Asian herbs, pure essential oils, vitamins and phyto-nutrients, which claims to offer a more youthful appearance by reducing surface lines and enhancing firmness. There is still much at stake for personal care brands to innovative with products that claim to reduce and combat the signs of aging, and to make men feel more youthful, energetic and "manly".
Datamonitor will contribute two trends-based presentations at this year's in-cosmetics Marketing Trends presentations in Barcelona, 14-16 April: Trends and innovations in male grooming Beauty devices: Trends to watch

# data[].attributes.attachment_link.authors[].name
Imogen Matthews, Market Researcher & Journalist

# data[].attributes.attachment_link.title
Trends in the global men's grooming market

# data[].attributes.attachment_link.description
Men's growing interest in their personal appearance and the fashion for full beards is shaping trends within the men's grooming market. At this year's in-cosmetics Marketing Trends presentations, Jamie Mills, Associate Analyst, Datamonitor, will reveal the latest data and insights on this evolving category.

# data[].attributes.body
Group 3： Nintendo
PESTEL ANALYSIS

# data[].attributes.attachment_link.title
MACRO AND MICRO ENVIRONMENT ANALYSIS FOR NINTENDO

# data[].attributes.attachment_link.description
Macro Environment Macro environment is said to be the most general layer of the environment. This consists of broad environmental factors...

# data[].attributes.attachment_link.readable_text
Co-founder of the company

Dr Isaac Lifschütz's patent certificate for Eucerin

Dermatologist and Beiersdorf consultant

Founder of the company in about 1885

Beiersdorf research laboratory in 1914

As early as 1914, NIVEA Creme is available on every continent. It is no longer produced only in Hamburg but also in Buenos Aires, Copenhagen, Mexico, Moscow, New York, Paris and Sydney.

NIVEA makes it their mission to develop products that are tailored to the skin care needs of people in different countries long before it becomes the norm. This is a 1970 NIVEA advertising poster for Arabic countries.

Most people in the countries where NIVEA products are sold believe NIVEA to be a local brand, which is probably the best compliment that your fans can give you. This is a 1970 NIVEA advertising poster from Morocco.

One of the first NIVEA advertisements for cream and soap from 1911/1912

NIVEA poster by graphic artist Hans Rudi Erdt from about 1912

Advertisement for NIVEA cream, powder and soap from 1913

NIVEA advertising poster for cream and oil for sunbathing from 1931

Even in wet and cold weather NIVEA protects against rough skin. Advertising poster from 1932

NIVEA advertising poster from 1933

International NIVEA English-language advertising poster from 1934

NIVEA advertising poster from 1935

<div style="text-align: center;">Advertising Poster for NIVEA Ultra Oil from the 1930s</div>

NIVEA advertising poster 1950

NIVEA advertising poster 1955

NIVEA Spray advertisement 1959

NIVEA Creme and Milk advertisement 1964

NIVEA Aftershave Balm advertisement from 1980

NIVEA advertisement Face 1982

Women are now doing the same jobs as their husbands, but that doesn't mean they have to neglect their beauty regime. With NIVEA Milk, introduced in 1963, NIVEA pampers the entire body - quickly and easily.

Originally invented in the 1930s as a 3-D version of the NIVEA Creme tin, the NIVEA ball becomes a huge hit in the 1960s. Take a look at an advertising poster from the 1960s.

In 2011, the innovative, 48-hour, invisible deodorant for protection and care is launched: NIVEA Invisible for Black & White. This product range protects fabrics against discolouration and also meets the highest quality standards for an effective deodorant.

In 2014, Beiersdorf researchers develop a new way to quickly and easily apply cream: the In-Shower Body Lotion. The revolutionary body care product for the shower is very well received. Soon after, an entire range comes into being: the NIVEA In-Shower Family.

In 2011, the innovative, 48-hour, invisible deodorant for protection and care is launched: NIVEA Invisible for Black & White. This product range protects fabrics against discolouration and also meets the highest quality standards for an effective deodorant.

In 2014, Beiersdorf researchers develop a new way to quickly and easily apply cream: the In-Shower Body Lotion. The revolutionary body care product for the shower is very well received. Soon after, an entire range comes into being: the NIVEA In-Shower Family.

NIVEA advertisement Nourishing shampoo 1985

NIVEA advertisement Creme Care 2015

NIVEA FOR MEN advertisement After Shave 1986

NIVEA Creme advertisement 1988

NIVEA advertisement Deodorant Launch Campaign 1991

NIVEA "Blue Harmony" advertisement from 1992

NIVEA advertisement Soft Creme Launch Campaign 1994

NIVEA Visage Q10 advertisement from 1998

NIVEA advertisement Body Lotion Q10 2002

NIVEA advertisement Creme 2005

NIVEA's research division is working on a new generation of ingredients. Because in the future, customers should be able to select high-quality, effective skin care products.

In the 1980s, NIVEA starts to develop numerous care products especially aimed at the needs of male skin - with great success.

NIVEA produces the first alcohol-free aftershave product that relaxes and soothes the skin after shaving instead of irritating it.

Gel, soap or cream? Adjustable electric trimmer or 3D blade system? Unlike today, men of the 1980s were not exactly spoilt for choice when it came to the perfect shave - but NIVEA shaving cream was a good start.

Q10 becomes a highlight in many product categories.

In 1998 the NIVEA researchers revolutionise anti-wrinkle care.

NIVEA develops a cream that contains the skin's own active ingredient Q10.

# data[].attributes.attachment_link.description
Co-founder of the company Dr Isaac Lifschütz's patent certificate for Eucerin Dermatologist and Beiersdorf consultant Founder of the company in about 1885 Beiersdorf research laboratory in 1914 As early as 1914, NIVEA Creme is available on every continent. It is no longer produced only in Hamburg but also in Buenos Aires, Copenhagen, Mexico, Moscow, New York, Paris and Sydney.

# data[].attributes.body
(Group 6: Nivea)

# data[].attributes.attachment_link.description
NIVEA Creme - Skin cream and moisturiser for all skin types is a beauty classic. Discover our unmatched moisturiser for every skin type, all year round.

# data[].attributes.attachment_link.title
This Is Not A Joke! Put Nivea Creme On Your Skin And See What Happens The Next Day!

# data[].attributes.attachment_link.description
NIVEA released their famous blue tin of cold creme over 100 years ago. It has been used by celebrities and grandmothers worldwide. Catherine, Duchess of Cambridge is also a fan of nivea creme. Even Kate Winslet admits that she uses Nivea Creme every single day!