Design Classic

Band-Aid®: How a Brand Became a Generic

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People have forgotten – or hadn’t considered it in the first place – that Band-Aid® is a trademarked brand registered by pharmaceutical and medical device giant Johnson & Johnson (J&J). For most of us, Band-Aid generically describes any kind of adhesive bandage with a gauze pad in the center. The term has even become part of our colloquial language –e.g., who hasn’t called a temporary fix a “band-aid solution.” Actually, Band-Aid was invented in 1920 by Earle Dickson for his wife, Josephine, who was a bit accident-prone around the house. Dickson, a New Jersey cotton buyer for J&J, noted that his wife often used tape to hold cotton balls over her nicks and burns, but the tape usually fell off as soon as she returned to her task. Dickson devised an easier method; he placed squares of surgical gauze at intervals on a strip of tape and used a length of crinoline to keep the tape from sticking to itself so it could be stored rolled up. All Josephine had to do was unroll the tape, cut off as much as she needed and dress her own wound. Dickson mentioned his little invention to colleagues at J&J and his boss thought it was so ingenious that Dickson’s idea was put into production. At first, Band-Aid Adhesive Bandages had to be made by hand and were an awkward 2 ½ inches wide by 18 inches long. In 1924, J@J moved Band-Aid into mass machine production and resized the product to ¾ inch wide and 3 inches long, with a thin red thread to pull off the paper wrapper. Targeted to young families, J&J promoted Band-Aid by donating the product to Boy Scout troops across the U.S. Sales took off. By World War II, Band-Aids were standard issue in soldiers’ mess kits. Band-Aid products became so ubiquitous, the brand was not only the market leader for this category of adhesive bandages, it became synonymous with all products in this category, much to the chagrin of Band-Aid’s competitors.

Illustration

Lufthansa Makes Advertising a Game

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Lufthansa Airlines came up with a fun way to get consumers to pay really close attention to their online “Passengers on Tour” promotional campaign. It turned each advertisement into a “Where’s Waldo” – like game, inviting viewers to find the Lufthansa tourist(s) in each picture for the chance to be entered into a raffle for daily and grand prizes. Lufthansa’s Munich-based online marketing agency, Plan Net, commissioned 14 illustrators from around the world to capture the attractions and excitement of 14 specific destinations that the airline serves. With so much to see and so much going on, each picture begs to be explored from edge to edge. The campaign took its inspiration from German “wimmelbilder” (hidden object) books, children’s picture books teeming with details, people, animals, and things. Each image features dozens of vignettes of everyday scenes that are connected by the shared environment. The Lufthansa ads took the meaning of hidden objects literally by inviting viewers to click on the Lufthansa tourist in the picture. Choose right and you’re in the daily raffle. The more often you play, the greater your chances in the grand raffle – incentive to keep coming back to look at all 14 ads.

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Interviews

Business Strategy Behind Newell Rubbermaid’s New Design Center

Newell Rubbermaid’s new Design Center in Kalamazoo, Michigan, marks a monumental shift in the company’s design thinking and practices. This consolidation of design functions in a single location addresses how design in the 21st century has become a team activity that pulls in disciplines beyond design.

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In 2012, after Newell Rubbermaid adopted its Growth Game Plan strategy focused on four winning capabilities, including design and R&D, it brought in acclaimed designer Chuck Jones as its first Chief Design and Research & Development Officer to make the company more agile and responsive to consumers through design. Jones’ reputation preceded him, having successfully built global design and development teams that boosted sales and won awards for innovation at companies including Whirlpool and Xerox. Here, Jones talks about how Newell Rubbermaid is creating a brand-and-innovation-led company that is famous for design and product performance.
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Advertising

Pizza Cats – Lost in Translation or Just Lost; Editor’s Mea Culpa Revisions

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Editor’s excuse: Let me be frank; mistakes were made. In my defense I think that the misunderstanding proves my main point — i.e., this Pizza Hut ad campaign is very much aimed at consumers in Japan. However, according to my Japanese authority whose credentials are that she grew up in Tokyo and is Japanese, the concept is based on a well-known Japanese idiom, “I’m so busy there are not enough hours in a day. I’d even ask a cat to lend me a hand.” Neko no te mo karetai. Of course, cats are notorious for not doing your bidding. You know the American saying: “Dogs have owners; cats have staff.” Another translation error is that “Pizza Boss” Tencho was born on a riverbank, not under a bridge, and he wasn’t adopted by a poor loving family, but is now part of a poor but loving family. My authority also advised me that as a rule, advertising marketing messages in Japan are less direct than in the U.S., and the Pizza Cat-o commercials are very well conceived, very funny, and everyone in Japan gets it. Below is the post as I first wrote it:

“Aim global, market local” is probably this Japanese Pizza Hut campaign’s takeaway lesson to ad creatives everywhere. Those of us outside of Japan find that not only is the text in a foreign language, so is the humor. Cats dressed in Pizza Hut uniforms are cute, but the link to pizza is baffling. The cats in the commercials were not given people-like traits nor were their movements animated with motion graphics. They just did catlike things, and mostly seemed bored and oblivious to being in a pizza kitchen.

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