Showing posts with label Brand Country. Show all posts
Showing posts with label Brand Country. Show all posts

MTV Guide to New Zealand

Tourism New Zealand is collaborating with MTV to run a series of four-minute documentaries following local musicians Scribe, Liam Finn, and the Mint Chicks. The Mint Chicks head to Queenstown and Wanaka to perform at the Rippon Music Festival at Rippon Vineyard. Liam Finn gives an intimate look at his favourite spots in and around Auckland, from the studio where he produces his music, to Piha Beach where he loves to surf and chill out. NZ rapper Scribe unearths his favourite inspirational locations, including music venues, untouched beaches, restaurants, bars and festivals. Each of the shorts ends with an invitation to book an airfare with Pacific Blue, an international line of Virgin Blue.
Mint Chicks Guide to New Zealand

Click on the image below to play the Mint Chicks video in YouTube (HD)
Click on the image below to play the Liam Finn video in YouTube (HD)
Click on the image below to play the Scribe video in YouTube (HD)


The Guide to NZ campaign was developed at MTV Brand Solutions by director Colin Blake, creative director Vanessa Zuppicich, senior creative Kate Davitt, creative Anna Snowman, talent and artist relations manager Simone Stopford.
Filming was shot by director Miki Magasiva, via Curious Film with producer Peter Grasse.

Egypt... Where it all begins

EgyptEgypt Logo, Before and After

 A new campaign for the Egyptian Tourist Authority developed by the Cairo office of JWT aims to establish Egypt as a place where there is more than really big tombs. And accompanying this campaign is a new logo.

The print and TV campaign perhaps does too good a job in touting other things to think about when we consider Egypt, and it starts to look more like a Caribbean island combined with a non-stop party place where you can golf and, by the way, you can catch some pyramids in between all of that. But maybe after all that, Egypt just starts to feel like a generic destination.


Ireland Innovation Comes Naturally

IDA Ireland, Ireland’s Industrial Development Agency, is running “Innovation Comes Naturally”, an international advertising campaign in television, print, online and out-of-home media, online at

Ireland Clean Energy

“Clean energy. Green technology. And fresh thinking. Why businesses are putting down roots in Ireland.”

The television advertisements emphasise the sometimes spontaneous nature of innovation. It depicts the lines left by a piece of chalk as it sketches out an idea on a blackboard. As we watch, the chalk doodles and dashes about the board. Finally it comes to a successful conclusion, as we see a chalk representation of fireworks above a doodled map of Ireland.

Actor Stanley Townsend provides the voiceover. “Innovation. What it isn’t is something that happens step-by-predictable-step. It doesn’t always stop at the lights. Sometimes it goes backwards to go forwards. It goes up blind alleys. It zigs and it zags. It wiggles. And then… And then it lets rip. Your job is simple. Just give it the right environment. Ireland. Where innovation comes naturally”

“New thinking is not about the dollars you invest,” one ad asserts. “It’s about the people you invest in.”

Ireland New Thinking Ireland Finance

“See how your business can benefit when a nation thinks laterally.” “Step by step logic will only take your business so far.”

Ireland Think Laterally Ireland Step by Step

“Facebook found a space for people who think in a certain way,” the headline of one ad proclaims. It’s called Ireland.” “Google googled the planet for the perfect location for their business. They came up with Ireland.”

Ireland Facebook Ireland Facebook

“We’ve created clusters of expertise in many different technologies”. “New thinking is not about the dollars you invest”.

Ireland Clusters Ireland New Thinking

Mudie told the New York Times about the inspiration for the campaign coming from stencil maps of Ireland that came out as whie on black, looking as though they were drawn on a black board. That led to thoughts about the famous picture of Einstein at a blackboard, which triggered images of a group of people, trying to think of something, using a chalkboard because you can stand back and take a look at what is written. All that inspired the concept of a green board.

The TV commercials are appearing on the Bloomberg and CNBC cable channels. The print and online ads are running in business magazines and newspapers, and their related Web sites, like The Economist, Fortune, The New York Times and The Wall Street Journal.


The Ireland campaign was developed at McConnells, Dublin, by creative director/copywriter Laurence Keogh and creative director/art director Tim Mudie. Media planning and buying in the United States are being handled by BCA Marketing Communications in New York.

The" Israel" Brand

The Israeli Brand
The public relations (PR) industry has made exceptional use of the communications revolution. But for all the globalizing effects of multinational campaigns, many brands seem inextricably tied to their home country. Injecting products into foreign markets has, to a certain extent, acted as a driving force in the way nation-states are perceived internationally. Coke, Marlboro and Starbucks are inseparable from their provenance, and Brand America is intimately tied to its products. But consumerism alone doesn’t tell the story of how America is perceived in the world; military adventurism and moral exceptionalism undermine the feel-good aspects of consuming Americana. A nation’s brand is inextricably tied to its actions in the world.
Nations, like products, are perpetually re-branded for the international market. Israel’s Ministry of Foreign Affairs (MFA), for example, spends millions on targeted PR campaigns in a number of Western cities designed to shift associations away from war and occupation.
In March 2009 New York-based GfK Custom Research and British “place branding” consultant Simon Anholt released the global Nation Brands Index (NBI). It rates countries based on international perception of various categories, including tourism, investment, and immigration and governance. Germany ranked 1st overall, the UK 3rd, Canada 4th, the US 7th and China 28th. Iran placed 50th and Israel failed to make the top 50. While it’s tempting to dismiss nation branding as an example of the PR industry’s cynical commodification of the world, its assumptions can shed some light on Israel’s self-inflicted inability to re-brand.
Nation branding reveals the inherent contrivance of the concept of “nation” – a European invention born of a disastrous period of 15th-century religious warfare, leading to a centralization of violent power in the hands of a sovereign. Nationalism is a product of 18th- and 19th-century Romanticism, and every bit a human artifice. It helped radically reconfigure Western political identity toward our seemingly immutable system of nation-states. Israel came late to the game and has, from its beginnings, undertaken a conscious and very public project of constructing a national identity of godly strength. The pre-state Zionists dreamed of constructing the masculine “new Hebrew” of Palestine in contrast to the anemic “Galut Jew” of the diaspora – all at the price of creating the Palestinian refugee diaspora. Israel’s brand has suffered since.
Nation branding is also premised on the fact that no single actor can simply dictate political perception. People have to agree on, or be convinced of, political facts in order for them to become reality. Conscription and astronomical military spending project Israel’s tough guy identity to the world, leading to a dominant perception of violence and aggression. Go figure.
As Anholt admits, “Places can’t construct or manipulate their images with advertising or PR, slogans or logos … Places can only change their image by changing the way they behave.” Nation branding is doomed to failure unless action substantiates pomp.
• • •
In August 2008 the Israeli consulate in Toronto launched a one-year test market for a re-branding campaign. Roundly derided by human rights and peace groups, the campaign idealized Israel as a hub of high-tech research and development, cultural history and glitzy beach life. When asked directly about the goals of the campaign, Consul General Amir Gissin stated, “Israel’s branding process is first and foremost an internal process aimed at answering the question: Who are we as Israelis when we are at our best? The [Toronto] pilot was therefore not a PR campaign but rather an attempt to test the public opinion response to Israeli answers to this question.” While Mr. Gissin dodged questions about the impetus for the campaign, his public remarks are infinitely more candid. In September 2008 he told a group of supporters: “It’s not that our audience is ignorant. They feel they know too much … The Western media narrative is the poor Palestinians, Israeli tanks and Israeli guns. We’ve been portrayed that way for years.” He continued, “I offer you a framework for winning the public relations war.”
When Israel, with its influence on the North American media, complains of an overemphasis on its negative aspects, it proves the difficulty of reconstituting a national brand without real action. While portraying Israel as a single-issue country would betray a lack of knowledge, the fact is that in 2008 Israel spent $2,300 per person on its military – the highest in the world. When asked about this, Mr. Gissin rebutted, “[The] question reflects a school of thought that assumes that Israel is not allowed to be viewed outside the framework of the conflict. It is absurd. The conflict is a major part of Israel’s brand, and we are not hiding it. We believe, however, that Israel is more than the conflict, and we will continue to share information about that.” Perhaps.
Other than destroying southern Lebanon in the 1980s, clashing with Hezbollah and bombing Syria, Israel hasn’t fought anything close to a state army since 1973. So the world’s highest per capita military budget is arrayed toward the world’s longest-running occupation of an often indigent and defenseless population. The December 2008/January 2009 assault on the civilian infrastructure of Gaza was perhaps the clearest possible message Israel could have sent to the world.
It was easy enough to sell the assault to a society instilled with the belief that intergenerational war and occupation are normal. A Tel Aviv University poll showed almost 90% support for the slaughter, so Mr. Gissin’s worries about Israeli self-esteem seem misplaced. External perception, of course, has fared much worse. Spurred by international outrage, the United Nations has launched an investigation into war crimes and illegal use of weapons: the independent press and human rights groups (both Israeli and international) have brought serious allegations against Israel; soldiers who took part in the war are speaking out; and even the American State Department is beginning to understand the occupation as a detriment to Israel’s, and consequently its own, national brand. Bikini models and one of the world’s most accomplished high-tech sectors can’t grab the spotlight long enough to distract the world’s attention from the brutality of the occupation.
This hasn’t stopped the MFA from trying. In terms of Anholt’s branding criteria, human rights abuses cannot be taken completely out of the realm of international perception, but they might be superseded by generically sexier issues. Israel’s latest stunt to woo the Canadian audience – a Jewish hockey tournament in northern Israel – was dutifully covered in the mainstream press. That same week Amnesty International released Operation Cast Lead: 22 Days of Death and Destruction, a detailed and gruesome report of the various war crimes and crimes against humanity perpetrated by the Israeli state against Gaza’s civilian population. It received virtually no mainstream media attention, but grassroots media, civil society and academia have refused to let the issue go.
The offensive on Gaza will continue to affect Israel’s brand. As the American political scientist and coauthor of The Israel Lobby Stephen Walt wrote after Gaza: “The way a country regains the world’s admiration in the aftermath of misconduct is to stop doing it, admit it was wrong, express regret and make it clear that it won’t happen again. Restoring Israel’s image in the West isn’t a matter of spin or PR or ‘re-branding’; it’s a matter of abandoning the policies that have cost it the sympathy it once enjoyed. It’s really just about that simple.” The dissonance between Israel’s re-branding campaign and its consistently negative image shows that contemporary reality matters. Mr. Gissin isn’t convinced. When pressed on Anholt and Walt’s emphasis on concrete action, he referred to Israel’s negative brand not as a reflection of reality but as the result of propaganda: “Israel is not a regular brand in the sense that there is an active and powerful worldwide campaign aimed at hurting Israel’s image. Few countries or places need to cope with such an environment, and taking [these] statements at face value in regard to Israel is missing the bigger picture.” Given Israel’s place behind Iran on the NBI, it would seem that the bigger picture of the world’s largest, most enduring refugee population and a destructive 42-year occupation is exactly what shapes the Israeli brand.
Our political opinion may now be the target of the same sophisticated marketing techniques that produced corn-fueled obesity and SUVs, but the difference is that nation-states are irreducible past their human components: our perception matters. Sixty-plus years of co-opting social and behavioral psychology to ram products down our collective throat have yet to overwhelm our political or moral compasses. We are still able to judge nation-states by their deeds rather than by their spin.

Visit Denmark Tourist Board:::a Danish woman looking for he baby's daddy

A viral stunt for Visit Denmark Tourist Board.

This is a
viral stunt made by Visit Denmark. However, cleverly crafted it has caused a rhetorical battle between journalists and marketing people concerning the right interpretation of the video. Is this way of branding unfair as its based on lying in order to make people aware on Denmark, or is it a success story due to the explosive amount of viewings it has received in a very short time?

A Youtube video purporting to represent a pretty young Danish single mother looking for the foreign father of her son, may have garnered Denmarks national tourist agency VisitDenmark some 800,000 clicks but the story behind the video is a lie.

According to confirmed reports, the national tourist agency VisitDenmark generated the story of a one night stand with a foreign man producing a son, to get more people to visit the home of Shakespeare's 'To be or not to be'.

The video, however, is definitely 'Not to be' the young woman in the video is a Danish actress and the baby is not hers.

I dont understand the advertising agency that has produced this story. What do they think people will think, says Roskilde University Sociologist and Womens Affairs Researcher Karen Sjørup.

Theyre obviously trying to sell a type of promiscuous Danish woman and exploit the idea that you can lure quick, blonde Danish women home without a condom, Sjørup says, adding however that foreigners who come to Denmark with that idea will be very disappointed.

VisitDenmark disagrees.

Karens story shows that Denmark is a broad-minded country where you can do what you want. The film is a good example of independent, dignified, Danish women who dare to make their own choices, says VisitDenmark CEO Dorte Kiilerich.

Why have you chosen to market Denmark as a country with drunken women who have unsafe sex with casual acquaintances?

That is not a story that I recognise. We tell a good and sweet story about a mature, responsible woman who lives in a free society and shoulders the responsibilty of her actions. And she uses a modern social medium, Kiilerich says.

Ad agency
The Grey advertising agency that produced the video says it is a major success.

It is the most successful viral advert ever. We have got through the media noise and it cost the same as a 30-second spot shown a couple of times on TV2, says Peter Helstrup from Greys.

Since last Thursday, the video has notched up 1.9 million Google searches, 773,000 YouTube viewings and is linked to 83,000 websites.

No reproach
In the video, the young woman, claiming to be called Karen says: I dont reproach you, but I think you should know that (a young boy called) August is here.

Karen, however, is the actress Ditte Arnth Jørgsensen, the baby is not hers, and the viral advert was produced using taxpayers money.

The fabricated story behind the video is that the young woman met a tourist by chance in the Nyhavn area of Copenhagen, introduced him to the Danish concept of hygge or cosiness. The next morning his side of the bed was empty when she woke up, and nine months later the now one-and-a-half-year-old August appeared on the scene.

Johannesburg::: Luv Jozi fake campaign

Word of mouth marketing works!

Brand 'Love Jozi' (after the nickname for Johannesburg) created a range of iconic t-shirts with the idea of getting people to think differently about South Africa's ...and to make the range go beyond the minority that shop in designer clothes stores, they created their own cheap Chinese style fakes that they called 'Luv Jozi', the name obviously being a nod to the ridiculous rip-offs you sometimes see along the lines of 'Kelvin Klein' and the like.

They sold the cheap stuff at flea markets and 'robots' (traffic light junctions) - at a third of the price of the original stuff - and built a fake website. Love Jozi designer Bradley Kirshenbaum intends to do exactly that, creating a range of "cheaper and more accessible Love Jozi products."

Amazingly, Love Jozi actually kept up the sideline business in cheap rip-offs for two years.



Case study vedio:

Small Country, Big Brands

August 24, 2009 issue

small country, big brands

In a February 2009 ranking of Swiss brands by Interbrand, the top five brands were, in order of brand value, Nescafé, UBS, Nestlé, Credit Suisse and Zurich. Other globally recognized brands in the top 20 included Rolex, Omega, Lindt, Swatch and Longines.

How did a tiny country largely known for keeping to itself become such a branding powerhouse? It starts with Switzerland’s view of its own brand.

The inherent value of “Swiss made” brands is so

In a February 2009 ranking of Swiss brands by Interbrand, the top five brands were, in order of brand value, Nescafé, UBS, Nestlé, Credit Suisse and Zurich. Other globally recognized brands in the top 20 included Rolex, Omega, Lindt, Swatch and Longines.

How did a tiny country largely known for keeping to itself become such a branding powerhouse? It starts with Switzerland’s view of its own brand.

The inherent value of “Swiss made” brands is so high that the country’s government is currently considering new laws to protect it: “The government wants to replace vague laws with concrete rules to crack down on abuses of ‘made in Switzerland’ and Swiss cross labels” (“Protecting ‘Swiss made’ brand divides opinion,”, April 6, 2008). The movement is known in Switzerland as “the legislation project Swissness.”

Interestingly, the notion of “Swissness” is a cause for concern among some Swiss brands. New laws being considered would potentially make it legal to use the well-known Swiss cross (white on a red field) as a marketing tool but restrict the Swiss coat of arms to government use only. Victorinox, maker of the Swiss Army Knife, has used both the Swiss cross and the coat of arms for 100 years. Touring Club Switzerland has used the coat of arms since 1896. Their brands would be directly affected if this new rule were to be implemented.

The fact that the Swiss government is wrestling with revising its intellectual property laws says something: This is a country that clearly understands the value of branding. In fact, Switzerland’s Federal Department of Foreign Affairs (FDFA) publishes a comprehensive corporate identity manual for Brand Switzerland because “a focused and strong brand definition is necessary for successful positioning in the international market.” The FDFA sees Switzerland’s values and character as moving from the present characteristics, “reliable, precise, exclusive, rich, beautiful, and neutral,” to the future characteristics, “trustworthy, premium quality, and authentic.”

Switzerland’s reputation for high quality, precision and design is legendary, so it follows that the perception of Swiss brands and products is strongly positive. The “Swissness Worldwide Report,” presented at the Swiss Brands 08 conference in Zurich, surveyed some 8,000 foreign consumers. According to, “Respondents from 66 countries strongly associated Swiss products with high quality, reliability and luxury. An international comparison of goods and services saw Switzerland ranked highest of 12 countries, including Japan, Germany and the United States” (“Swiss brand still stands for quality,” June 19, 2008). However, consumers rated Swiss products poorly when it came to “price competitiveness” and “innovation.”

Despite an overall positive brand perception, Switzerland has not been untainted by recent controversy.

Perhaps the most damaging blow to Swiss brand credibility of late has been the country’s role in the world’s financial problems. UBS, Switzerland’s largest bank and a prominent global institution, was fined almost US$ 800 million in early 2009, charged with helping wealthy Americans evade income taxes. Credit Suisse, Switzerland’s second-largest bank, narrowly avoided the tax evasion scandal but suffered financially during the banking meltdown.

This has not been the only sticky issue swirling around Switzerland: “… Switzerland’s image has been battered abroad with accusations of xenophobia during the general election two years ago…This comes on top of negative press in the past decade over dormant Holocaust-era bank accounts and money laundering” (“‘Made in Switzerland’ brand retains its appeal,”, June 12, 2009).

It seems, though, that it would take a lot to undermine a Swiss brand. Many are steeped in a tradition that extends for more than a century, and most have represented stability, quality and dependability for decades, recent economic problems notwithstanding.

In the financial market, for example, UBS, Credit Suisse and Zurich are legitimate long-standing global brands. UBS originated as Union Bank of Switzerland in 1852. The distinct UBS logo, with three keys and the red letters “UBS,” is recognized in 50 countries. Credit Suisse was born in 1856 as SKA and didn’t become widely known by its current name until the 1970s. The company says it became an “integrated global bank” in 2006.

Zurich, a diversified insurance company founded in 1872, serves customers in 170 countries. The company recently launched a global brand campaign focused on Zurich HelpPoint, “the collective term for the many guidance, solution and service offerings we deliver that capture our commitment to putting customers at the heart of all we do,” the company says. Print ads and television spots featuring HelpPoint have been prominent in the US and Europe.

In consumer goods, Switzerland is home to the Nestlé Company, started by Henri Nestlé, a pharmacist who created an alternative to human breast milk in the 1860s. The product apparently saved the life of a premature infant and was subsequently marketed in Europe. In Henri’s German dialect, Nestlé means “little nest,” so Henri chose a bird’s nest, also his family’s coat of arms, as his trademark. A stylized version of the trademark is still used in the modern-day logo.

The Nestlé Company has grown into a global behemoth, with over 280,000 employees worldwide and 2008 sales of close to CHF 110 billion (one CHF—Swiss franc—is worth about US 92 cents). The Nestlé brand family spans the food category—examples include Perrier and Poland Spring in bottled water, Cerelac and Gerber in baby cereal, Cheerios and Estrelitas in cereal, Butterfinger and Kit Kat in chocolate, Edy’s and Häagen-Dazs in ice cream, Stouffer’s and Lean Cuisine in convenience foods, and Alpo and Purina in pet food. The brand name Nescafé is a combination of Nestlé, the brand owner, and the word café, representing coffee. Nescafé is an instant coffee that was introduced in Switzerland in 1938.

For most consumers, the two brand categories most associated with Switzerland are probably watches and chocolate—with good reason, since Switzerland excels in both.

The Swatch Group (the word “Swatch” was formed from the words “Swiss” and “watch”) is the world’s largest watchmaking group, including not just the Swatch brand, but also the brands Breguet, Hamilton, Longines, Omega and Tissot. Other renowned Swiss watch brands include Breitling, Rolex and TAG Heuer.

There are several prominent Swiss chocolate brands, among them the 160-year-old brand Lindt, which is marketed in more than 100 countries. The Ghirardelli chocolate brand is part of the Lindt & Sprüngli Group. One of the more distinctive chocolate brands is Toblerone, a unique blend of Swiss chocolate, honey and almond nougat produced in an unusual triangular shaped bar. It was first created in 1908 by Theodor Tobler and Emil Baumann.

While Swiss brands are not recession proof, they have an appeal and a cachet that transcends economic conditions. “Swiss products stand for top quality at higher prices, but not for luxury,” says Dominique von Matt of the Swiss advertising consultancy Jung von Matt/Limmat. “The Swiss reputation for reliability, quality and precision has even more value now than before the recession” (“‘Made in Switzerland’ brand retains its appeal,”, June 12, 2009).

As a country that has a big stake in big brands, Switzerland will undoubtedly work hard to keep it that way.

Barry Silverstein is a freelance writer/marketing consultant and co-author of the McGraw-Hill book, The Breakaway Brand

Brandinavia: Why Nordic Brands Rule

How did this small geographic area in northern Europe, comprised of countries with little political capital, become such a branding powerhouse? The story starts around AD 900, according to the book The Viking Manifesto: The Scandinavian Approach to Business and Blasphemy by Steve Strid and Claes Andreasson (Marshall Cavendish, 2008). The authors point to the Vikings as the admittedly barbaric forerunners of contemporary Vikings: “The Viking is more soft spoken, but alive and well. Without any army to speak of, they still invade with a better idea and a new approach to marketing, advertising, culture and corporate culture.” The book’s premise is interesting: that the Viking philosophy survived and has been updated, resulting in modern business success.
With this concept in mind, it is useful to take a look at modern Scandinavia. Each country has a unique culture, of course, but they are all bound by their Nordic roots and their belief in socialist democracy. Scandinavian countries support their citizens from cradle to grave. A high standard of living, free health care, free higher education and government-supported retraining in the event of job loss are all components of the social system. It comes at a steep price, however: personal tax rates can reach 50 percent or 60 percent.
What does this have to do with brands? Since people are essentially taken care of, the countries can focus on commercial issues. Corporate tax rates are low, and Scandinavian governments encourage investment and foster business growth. Scandinavian companies aggressively export their products, and that means they need to compete effectively on the world stage.
Having the ability to compete is one thing, but the real question is, can you make something the world wants to buy? Here, Nordic brands have excelled. As a region, Scandinavia has become known as a center of good design. As early as the 1950s, “Scandinavian design” emerged as a defined style. While the term primarily applies to furniture, Scandinavian design represents a larger movement reflected in simplicity and elegance of design along with a focus on affordable functionality. Outstanding design remains a cornerstone of Scandinavian brands today, whether it is the clean cleverness of the Absolut vodka advertising campaign, the brilliant interconnectivity of LEGO pieces or the streamlined beauty of IKEA furniture.
Just as important, makers of Scandinavian brands have been exceptionally innovative.
The Swedish vodka Absolut entered a marketplace dominated by Russian vodkas, not by creating a superior product, but by introducing breakthrough packaging. Absolut produced upwards of 1,400 individual ads focusing on the clear bottle itself in a campaign that won more than 350 awards worldwide, catapulting the vodka to its position as the third largest premium spirit in the world.
The Finnish company Nokia, which resulted from the merger of a rubber and cable company in 1967, created the first car phones in 1982, designed to run on the world’s first international cellular network, Nordic Mobile Telephone. By 1998, Nokia was the world leader in mobile phones. Nokia was ranked fifth in the 2008 Best Global Brands list.
Pharmaceutical company Novo Nordisk, created through a 1989 merger of two Danish companies, is a relatively small, niche-focused company on the world stage. But the company, known for its social and environmental responsibility, created the world’s first insulin preparation identical to human insulin and now does business in 80 countries worldwide.
The Norwegian cheese brand Jarlsberg began modern production in 1956, based on a recipe from 1830. This distinctively flavored, medium-fat cheese with holes has become a major export success story. Jarlsberg is now exported to Australia, Canada, the EU and the United States, where it has become the number-one brand of specialty cheese.
Arguably, the most prolific producer of word-class Nordic brands is Sweden. Swedish brands include Absolut, Astra (which merged to become AstraZeneca), Brio, Ericsson, H&M, IKEA, Saab, Scania and Volvo. And let’s not forget the renowned band brand ABBA, recently rejuvenated by the hit movie Mama Mia!
One reason there are so many well-known Swedish brands is that Sweden is simply more aggressive than its Nordic brethren, according to Nicholas Ind, author of the book Living the Brand (Third Edition, Kogan Page, 2007). In a 2002 article comparing Norwegian and Swedish brands, Ind says, “…as soon as they have a good business base within Sweden they look to capitalize on the growing power of their brands. In many cases this is surprising, because internationally there have been no historic associations with Swedish vodka or clothing. Rather these brands, often in their own idiosyncratic way, have established markets that no one knew existed.”
But don’t count out the other Scandinavian countries. “In Finland, we love brands,” says Alexander Stubb, a member of the European Parliament, in a December 2007 interview withBlue Wings magazine. He says Finnish brands, regardless of industry, have three things in common: “They are good products. They have an interesting story to tell. They know how to market their products.” Stubb sees “a bright international future for many Finnish brands” because traditional brands such as Marimekko “are in the middle of a generational shift in their management. The 30- and 40-somethings have been brought up in an open, international market. They have studied and worked abroad before taking over major companies in Finland.”
Scandinavian brands occasionally compete with one another on the world stage, but it seems as if their common heritage and close geographic proximity keep these countries well-grounded and cooperative. After World War II, for example, the national airlines of Denmark, Norway and Sweden agreed to form a uniquely regional carrier called Scandinavian Airlines, which later became SAS. While SAS was for decades a major international carrier, it has had its share of economic troubles in recent years. Still, it remains the largest airline and travel group in the Nordic countries and owns four airlines.
Scandinavia itself has not been unaffected by the world’s economic ills either. In fact, while the United States has dominated headlines, Iceland had its own version of a banking meltdown recently. The other four Nordic countries came to their brethren’s aid with a US$ 2.5 billion loan, which was added to a US$ 2 billion loan from the International Monetary Fund. Iceland got some much-needed relief. It is apparent that even in the face of a catastrophic crisis, Vikings stick together.

Nova Scotia ::: "Come to Life": Pomegranate NS08

Advertising Agency:
Bristol Group - Halifax, Nova Scotia, Canada
Creative Directors: Albert Ianni, Mike Whitelaw
Art Director: Daniel Couto
Copywriter: Albert Ianni
Designers: Daniel Couto, Michael Gatto, Jake Owens
Production (Video/Animation): Egg Films / Hatch
PostProduction (Web): Breathe Media
Video Director: Evan Kelly
Released: September 2008