by: Geoff Ficke

The Pedestrian Umbrella Becomes a Prized Luxury Accessory When Made by Swaine Adeney Brigg 

People of a certain age will well remember the classic British television series “The Avengers”. The shows main character Steed was as famous for the umbrella he wielded as for the daring skirmishes undertaken to save Britain from sinister evil do-er’s. Steed’s formidable sidekick, the gorgeous Emma Peel quipped, “I’d like you to listen to this umbrella”. The Whangee umbrella that was utilized so memorably as a prop in the show actually possesses quite an interesting history. 

For over 250 years the venerable London store of Swaine Adeney Brigg has supplied British gentlemen with equestrian and country clothing, leather goods and umbrellas. Located in the St. James area, one of London’s most exclusive, and home to the most influential gentlemen’s clubs, the store has supplied the elite of British society virtually since opening in 1750. 

The umbrella for which Swaine Adeney Brigg is famous is the Brigg umbrella, the same umbrella used by Steed, business tycoons, actors, politicians and discerning British gentlemen for generations. Designed originally by Thomas Brigg, the Brigg Umbrella has served Queen and country for most of the past 250 years. England’s famously damp and dreary climate makes the umbrella a vital accessory, and no British gentleman would be caught carrying anything but a Brigg umbrella.  

Swaine Adeney Brigg enjoys a Royal Warrant from the Prince of Wales for the Brigg umbrella. They have kept the Royal Family dry for generations. A Brigg umbrella can cost from $500 to $2,000 per piece. The store creates units to order and will customize assembly and detail as per client requirements. This level of service and luxury is emblematic of the British bespoke tradition. The Brigg umbrella enjoys added fame for its eccentric appearance, including gold and silver

Collar’s which can be engraved. 

The Whangee style of Brigg umbrella is the most popular. Whangee is a type of bamboo which is grown in very specific soil on a steep gradient. This exposes the bamboo to the elements more fully. After harvesting on bamboo plantations in Asia it is then shipped to England. At the Company’s factory the shoots are bleached, boiled and then straightened. It is then worked into the artesian designed handles that are attached to the proprietary Briggs shaft and frame. 

Swaine Adeney Brigg has created a unique niche for all of their product offerings. In addition to Brigg umbrellas the Company has maintained Royal Warrants for other products and is most proud of its long relationship with the House of Windsor. 

Any visit to London is enhanced by a walk through the grand St. James area and time spent at Swaine Adeney Brigg. This most British emporium is a throwback to a time when product construction was paramount and personal. Modern Marketing Strategies required to commercialize Brigg umbrella’s and the Company’s other Luxury Goods is unnecessary. History, referrals, word of mouth and the never changing desirability for the acquisition of the “best” insures this famous store’s continued success. Do not miss it if you travel to great Britain.

by: Geoff Ficke

An Old Mustard Brand Teaches the Power of Marketing Exclusivity 

The practice of Brand Exclusivity is one that consumers associate with Luxury Goods categories such as Cosmetics, Perfumery, Jewelry, Fashion or Automobiles. The Marketing Strategy utilized to keep product distribution limited, pricing levels maintained and supply levels tightly controlled is synonymous with Brands such as Estee Lauder Cosmetics and Fragrances, Bentley Automobiles, Gilbert Albert Jewelry and Balenciaga Haute Couture. The cost and rarity of these products contributes mightily to their desirability. 

My Product Development and Branding Consulting firm works with new clients to develop customized strategies for consumer product launches. More and more we are utilizing campaigns that employ key elements of Exclusivity. This strategy works, even for seemingly mundane products. Here is a famous example that has been applied to an item found in every household pantry: mustard. 

Most consumers would consider mustard to be a basic condiment. Sure, there are various styles, textures and colors of mustards. Most, however, would not think to apply an Exclusivity Strategy to Marketing a relatively common Food product such as Mustard. 

In 1747 Antoine Maille opened a store in Paris, France to sell his personally blended Mustard. The taste of Maille Mustard was so unique, the shop so successful that the store became a mainstay for French gourmands. In 1845 a second store was opened in Dijon. This is not exactly rapid expansion, but the limited production and availability of Maille Mustard products served to increase the Brand’s desirability for consumers. 

Maille Mustards are only available in original recipes from the two French eponymous stores. Owing to the potency of flavor, these Mustards are never over 10 days old when sold and must be consumed within 3 months for maximum taste. The original three styles of Maille Mustard, Chablis, Grape Juice and Honey, are still sold in the shops. Free tasting is encouraged. Batches of fresh pretzels are provided to make the sampling a most enjoyable experience. After the consumer selects their preferred style the Mustard is scooped and taken to packaging. The purchased quantity is placed inside special Maille crockery jars, corked for closure and wrapped in tissue. 

A milder, mass produced version of Maille Mustard is sold in the United States. Though slightly different from the original in taste, this style regularly wins taste competitions when placed against other mustards. 

The Company seeks to keep Maille Mustard unique, exclusive and highly desirable. This strict Marketing Discipline has enabled the firm to prosper. In keeping with modern technology and Brand Support the Company maintains a beautiful web-site, however, they have never allowed translation to any language beside French. 

This is an elegantly simple example of a 250 year old business that has taken a condiment and built a great Brand and interesting History by executing a classic Exclusivity Strategy. The two French shops are now tourist destinations. The small batch production is unique in an impersonal world of mass production. The customized assembly of the fill and packaging of the mustard in full view of consumers only adds to the products mystique. 

This strategy, employing Marketing Exclusivity, customized production and personalized attention to detail can be utilized by many artesian producers on a wide variety of products. It affords small businesses and Entrepreneurs the opportunity to compete and win against much larger competitors. This Marketing Strategy works and should be considered by more start-up businesses.

by: Geoff Ficke

French furrier and tanner Jean Patou moved from Normandy to Paris in 1910 intent on building an eponymous fashion house. He opened Maison Parry and sold his entire collection in 1914 to a single American client. Just as his fame was obtaining traction with the fashionable haute couture clientele of Paris World War I intruded. 

After serving as an officer in the war he returned to Paris and re-opened the fashion house. The “Flapper” style was popular after the war. This greatly offended the sensibilities of Mr. Patou. He countered the short skirts popular at the time and parried with a longer, more elegant line in his creations. He employed a French fashion sense to counter what he considered the gauche styles that swept in from America after World War I. The French tennis sensation Suzanne Lenglen became as famous for her Jean Patou designed tennis dresses, as for her scintillating game. 

Jean Patou developed the classic cardigan and won new fans for creating comfortable and natural fashions. In the 1920’s his fame grew even more with the creation of the first designer tie for men. 1928 saw the House of Patou introduce the first sun tan oil, Huile de Chaldee. The product became a sensation with many clients buying the oil solely for the sublime scent it offered. 

When the stock market crashed in 1929 the market for couture clothing also crashed. The House of Patou survived by being among the first to market and distribute internationally perfumes and scented luxury bath products. The most famous was one of Jean Patou’s first, Joy. Created in 1935 by master perfumer Henri Almeras, the perfume was offered initially to Patou’s former clients who could no longer afford his clothing. 

Joy was an immediate sensation. The perfume was packaged in a collectible art-deco box and included a beautiful Jean Patou silk scarf that matched each season’s carton graphics. Joy is the world’s most expensive fragrance. 

Dozens of other fragrances followed after the death of Jean Patou in 1936. Homme de Patou became a popular men’s fragrance brand. Jean Patou’s sister Madeline took over the business upon the death of her brother.

Famous fashion designers continued to be associated with the House of Jean Patou, including Karl Lagerfeld and Jean Kerleo. The family maintained control of the business until 2001 when it was sold to the giant beauty products Company Proctor & Gamble. 

For most of the last 75 years Joy by Jean Patou was the most expensive and the second best selling fragrance brand in the world. Only Chanel No. 5 was more popular with perfume customers around the world. For years a 15 ml (1/2 ounce) flacon on Joy perfume sold for the equivalent of $250 United States dollars. 

The success of the Jean Patou brand for most of the past century is testament to the staying power of products that are exclusive, artisan crafted and perceived as a thing to aspire too. Fragrances that inspire the consumer create a unique loyalty. Hundreds of perfumes and scented lines of bath and body products come. Most go quickly. In order to stand the test of time the scent must evoke a uniqueness that involves luscious aural notes, classic flacon design, subtle packaging and exclusivity.

by: Geoff Ficke

The Great Department Store Visionaries Created Much More Than Vast Retail Palaces

Before the middle of the 19^th century retailing was a disorganized, semi-professional business. Small general merchandise stores carried minimal stock levels and were often limited to local goods and produce. Mass production created by the industrial age was just beginning, so quality and availability of product was uneven at best. Brand names were rarely seen on store shelves in different towns, and never in different countries. 

This began to change in the middle of the 19^th century. As production increased and quality became uniform there was an increasing demand for goods that could make life a bit easier, more enjoyable. For the first time in history, industrial workers had a small amount of extra income. Life was not solely agrarian and so centered around subsistence farming. The opportunity to gather merchandise assortments under one roof, purchase goods in volume and offer a value proposition to consumers was becoming a real option for retailing entrepreneurs.

This void was filled by merchant princes in France, England and the United States initially. La Samaritaine (Paris), Selfridges (London), Marshall Field’s (Chicago), J.L. Hudson (Detroit), Macy’s (New York), Clery’s (Dublin) and John Wannamaker (Philadelphia) were only a few of the vast emporiums that evolved at that time. This led to their replication in major cities in every civilized country in the world. The age of the department stores had dawned, and with it, major adjustments in the economic and social fabric of every country in which they operated.

The department store made it possible and essential to buy in bulk. This created the need for mass production of a wide variety of products. The result was the evolution of whole new industries to fill the new demand. This in turn resulted in fresh economies of scale and lowering of price points for many goods.

The department stores began to search the world for new sources and types of merchandise. Many established international buying offices. This greatly encouraged the development of the international trade in consumer goods. For the first time, brands could be sold to consumers in all corners of the world. 

The department store could organize the widest possible selection of goods and services in dedicated store areas. Shoes, clothing, men’s shops, cosmetics, designer dress boutiques, hosiery, lingerie, millinery, appliances, food and bakery goods, pharmacies, travel agents and more were conveniently organized under one convenient roof. 

For the first time in history shopping became a leisure past time. Weather was neutralized. The term “window shopping” was born. The department store democratized the shopping experience. Entry was free. You could walk, look, and browse as you wished. Clerks were trained and available to answer questions about goods on offer in their departments. You were required to purchase nothing as you walked the shopping aisles. There was entertainment on display in these stores. 

The sheer size of department stores by the late 19^th century and early 20^th century created the knowledge of construction techniques and architecture that enabled the coming era of the skyscraper to be possible. Department stores pioneered elements that we have forgotten. One such innovation was regular store hours. Another was restrooms. Tea rooms and restaurants became wildly popular features of every department store. Many had a signature dish or dessert that became a key component of the stores identity. 

Gift wrap, home delivery and special orders were introduced by department stores. Reading rooms appeared in a number of stores. One of the great innovations, one that we take for granted today, was the introduction of store consumer credit. This form of credit exponentially increased sales and expanded consumer purchasing power.

In store demonstrations of new products and services were ubiquitous. Every buyer was constantly looking to feature new items through these product performance auditions. What little girl didn’t experience her first contact with skin care products and fragrance at the cosmetic counter? The offer of samples began in department stores. Buyers knew and recognized the unique tastes and preferences of their clientele and stocked their departments accordingly. 

The commercial growth that department stores fomented was spectacular. The social changes were just as profound. Before the rise of the department store women were almost invisible in society. There were few places that a woman could tastefully appear in public. Department stores changed this forever. The popularity and growth of this type of shopping venue laid the ground for early feminism.

Department stores required hordes of employees to operate the offices, operations and selling floors. Overwhelmingly this was accomplished by hiring women. At a time when there were virtually no women involved in management of industrial businesses, they were able to find their place in retail. Many women rose to buyers and department managers. 

Cities were built around the anchor points that department stores provided. Transportation grids were created to move shoppers and employees to these behemoth stores. The department store became the template for shopping centers. As the stores thrived, so did the cities that hosted them. 

Every city and its citizens identified with the local department store(s) and its unique design and specialties. Kaufmann’s was as much a part of Pittsburgh as the Pirates. Shillito’s in Cincinnati, Thalheimer’s in Richmond, Frost Brother in San Antonio, D. H. Holmes in New Orleans, and dozens of other locally owned department stores were woven into the fabric of their towns. 

Alas, the golden age of department stores is over. Until the latter part of the 20^th century department stores ruled their trading areas. The families that had founded these retailing empires had died off, entered other businesses or sold their interests to financial asset management houses. Real estate became more important than merchandise sales to many of the new owners. The asset play was more important than a century or more of community service and a history of corporate benevolence.

The Hudson, Field, Dayton, Wannamaker and Lazarus families that walked each day into stores with their names on the door are no longer retailers. The history and provenance that they provided to their cities and customers is gone but not forgotten. There has been a void created by the evolution of the impersonal, standardized 21^st century department store. Those of us who grew up with the vintage old line department stores as central to our shopping and lifestyle experience know what has been lost.

by: Geoff Ficke

In the 1970’s I enjoyed the great good fortune to begin my business career in the cosmetic industry. This was an electric time for the beauty industry with great entrepreneurs, amazing promotions, sizzling product launches and progressive retailers all combining to energize the business and drive unprecedented growth and excitement. As the decade unwound, I found myself in a fortunate place at a most fortunate moment: I became sales manager for Vidal Sassoon Hair Care Products. It was an invaluable learning experience.

Vidal Sassoon is the very definition of a “renaissance man”. Born into poverty in London during the depression, he apprenticed in the beauty salon of the famous Raymond of Mayfair. In 1948 he fought as a “sabra” in the Israeli war for independence. This experience triggered a lifelong devotion to philanthropy, education and activism that would benefit the Israeli nation and people everywhere and continues to this day.

The emergence of the 1960’s counter-culture, inspired in large part by the international popularity of the Beatles music and fashion, was a boon to Mr. Sassoon. His first salon on London’s Bond Street became a Mecca for hip, young trend setters seeking to replicate the bob-cut, geometric hair styles popularized by the “Fab Four” and perfected by Sassoon. Along with fashion designer Mary Quant, and Yardley Cosmetics, Vidal Sassoon became part of the beauty and style tour that accompanied Beatles concert tours. This greatly enhanced the consuming public’s awareness of the new techniques in hair design being crafted by this visionary talent.

The Vidal Sassoon salon concept was very different from the typical beauty salon of that time. The architecture, music, modernistic uniforms and styling techniques utilized in the “Sassoon Way” were standardized and taught in the new international chain of Vidal Sassoon Training Schools. The initial London salon was soon expanded into a vast group of Vida Sassoon upscale salons sprinkled around the globe. New York, Tokyo, Beverly Hills and Frankfurt were only a few of the cities that came to host Mr. Sassoon’s eponymous shops. These salons always occupied the best addresses, such as Rodeo Drive in Beverly Hills and The Water Tower in Chicago.

This visibility lead to the introduction of a line of hair care products principally sold in beauty salons. The professional products enjoyed great initial success, but Mr. Sassoon, and the executives that had been brought in to manage the rapid expansion of the Vidal Sassoon brand recognized a much larger opportunity: there was no consumer hair care line that offered a professional, designer provenance and Sassoon had the opportunity to seize this market space.

Always a visionary, the Vidal Sassoon Hair Care brand broke molds, yet resonated easily with consumers. Before the introduction of the Sassoon product line, hair care was a simple commodity business. Prell, Breck and Suave were the major brands of the day and their products were basically soapy cleansers for hair, inexpensive, elemental. Sassoon products differed in three major ways: they were packaged in solid color, starkly minimalist containers, they were marketed to be used in a 3-step regimen and they utilized a revolutionary high fashion branding statement. This was the first targeted, designer hair care program.

Rather than a simple hair cleaning product Vidal Sassoon pioneered cleansing, moisturizing and conditioning the hair follicle with three specific formulae. As the public responded ever more positively to this innovative system of hair care new, highly targeted, specifically marketed treatments and styling products were introduced. The sleek, understated packaging of the line in itself became a powerful generator of brand awareness for Vidal Sassoon Hair Care products.

Owing to the fame and legend that was attached to Mr. Sassoon, the Company did everything possible to link him and the products together as one in the public’s mind. Each commercial and print advertisement ended with the most famous beauty industry branding statement of the 1970’s and 1980’s, spoken by Vidal Sassoon, “We don’t look good, if you don’t look good”. American and worldwide product distribution channels became flush with demand for these hair care products that consumers everywhere were demanding.

Mr. Sassoon, and his actress wife Beverly Adams, became media darlings of that era. They appeared as regular guests on the most popular television talk shows of the time and gained a huge following for their views on healthy lifestyles. They co-authored several best-selling books on diet, exercise and beauty.

The demand for products that could leverage the solid gold name of Vidal Sassoon would soon lead to licensing. A number of very successful licensing contracts enabled manufacturers to brand styling tools, small electrics, hair ornaments and salon equipment with the Vidal Sassoon name. Many of these products sell successfully to this day.

As the brand and business interests of Vidal Sassoon expanded exponentially, the Company was regularly approached with offers to be purchased. This was a period when large, multi-national consumer product houses sought to build portfolios of brands across a spectrum of categories. Richardson-Vick Pharmaceuticals purchased the Vidal Sassoon Hair Care product business and they were subsequently absorbed into Proctor & Gamble.

Vidal Sassoon is recognized as one of the great beauty and fashion innovators of all time. He almost single handedly created the celebrity, fashion hair care treatment industry. From schools, to salons, to products, to licensing and as a media presence, Mr. Sassoon has pioneered the branding of himself, and his related products, as an intertwined, world- wide recognizable brand. He has been just as active and productive in the good works and causes he actively supports.

by: Geoff Ficke

In 1927 the Austrian inventor Eduard Haas introduced PEZ as an aid to curb smokers urges to engage in the unhealthy habit of smoking. Haas was an early anti-smoking crusader. Even in the early 20th century it was widely understood that smoking was a vile practice with potentially dire health consequences for users who engaged in the habit on a regular basis. Governments too, understood that smoking had dangerous long term effects on smokers health, and accordingly began to assess stiff excise taxes on sales of cigarettes.

PEZ were originally peppermint flavored. The word PEZ comes from the German word for peppermint. Mr. Haas believed that peppermint would energize the sense of taste and mute the smokers desire for smoking cigarettes as the flavor of burning tobacco smoke was believed to be unpleasant with peppermint in the body. For 25 years PEZ were sold in pharmacies in Europe and by today’s standards would be considered a modest commercial success.

The evolution of PEZ from an over the counter health aid to a candy took place before and during the World War II years. As much of Germany and the European continent lay in ruins Mr. Haas recognized that smoking was becoming more popular among many people. Smoking was one of the few relaxants readily available on the severely diminished retail marketplace of the time. Though an ardent evangelist opposed to smoking, Haas understood that his business would collapse unless he reinvented PEZ. The peppermint flavor of PEZ made the product an ideal candidate to be remarketed as a candy product.

In 1952 Eduard Haas began to export PEZ candy into the United States. Sales were initially very sluggish. American consumers did not respond to the strong, almost overwhelming peppermint flavor of PEZ candies. At this point Eduard Haas made a decision which provides an excellent teaching moment for entrepreneurs seeking to reposition their product.

Haas withdrew PEZ candy from the market, but he did not do so to close the brand down. He repackaged the candies, using new colors and fruit flavors that children especially enjoyed. The overpowering German peppermint was toned down significantly. Most importantly, the packaging of PEZ candies was reworked to possess the features of a child’s toy with cute animal heads that acted as a spring load delivery system to engage, and almost magically produce each piece of the candy. Children loved the interactivity of the packaging and the fruity treats that they delivered.

As a result of Eduard Haas reinvention of PEZ he created an iconic candy brand. The sales success and popularity of PEZ have continued unabated to this day. Very few consumers, even if they do not eat PEZ, fail to recognize PEZ when they see the cute little colored, animal inspired packages of the sweet.

Many inventors, entrepreneurs or small businesses hang their hats on a signature, “alpha” product. When or if sales lag they are flummoxed. What can be done to resurrect the brand? A new marketing strategy? New Branding? Redesigned packaging graphics? New distribution channels? These and other options must be considered. However, the Eduard Haas option, to reinvent the “alpha” product as a completely new item with fresh features and benefits is rarely considered. It should be.

by: Geoff Ficke

General Motors, Ford and Chrysler, the historic “Big 3” American automobile manufacturers are on a deathwatch. Their collective futures appear to be solely dependent on the political whims of the United States Congress. As they burn cash, are strangled by huge legacy labor obligations, confront perceived quality issues and offer cars that are out of step with consumer tastes and needs, the future looks bleak for each.

There are many reasons for the demise of these legendary manufacturing behemoths. I believe the most important cause is that for too long they did not emphasize unique, elegant design. It does not cost any more to make an ugly car than a handsome car. When I sit at a traffic light today I cannot differentiate one American model from another. As a child growing up in 1950’s America, I clearly remember going for Sunday rides and identifying every car make by the rake of the fenders, the unique headlight treatment, grille fascia and the vivid two-tone sherbet colored paint jobs specific to each model. What happened?

Design in product development is crucial to product desirability. A Krups toaster is more aesthetically pleasant than a pedestrian Emerson model. An Italian leather sofa is typically more stylized and desirable than a chain store sofa offering. Apple computers are more visibly enticing than their competitors units. Who would not rather drive a Smart car than a Geo Metro?

The most desirable design features are usually simple. In industrial design the term “elegantly simple” is used regularly to denote product improvements that are not overbearing or complex. This concept is a modern adaptation of “Occam’s Razor”, a theorem proposed by an ancient monk that the most useful solution to problems is almost always the simplest solution.

There are many wonderful examples of designers of that have enjoyed great success by employing “elegant simplicity”. One of my favorites is the classic modern jewelry designer and artist, Elsa Peretti. Her body of work is a classic collection of “less is more”.

Ms. Peretti, born in Florence, but residing in New York, has been a fixture on the international jewelry design scene for over 30 years. She became a principal designer for Tiffany in the 1970’s and famously collaborated with fashion designers Halston and Giorgio de Saint Angelo to accessorize their most famous haute couture fashion collections.

Her most recognized and lasting design is the “Peretti Floating Heart”. The simplicity of the piece is enhanced by the undulating wavy cleave that is inherent in the object. The heart seems to float and engenders a feeling of warmth that connoisseur’s have valued for decades. The “ Peretti Floating Heart” has been a mainstay in Tiffany’s stores and catalogues and been offered in dozens of styles, pieces and combinations since it’s initial presentation. The timeless influence of this design alone would insure Elsa Peretti’s place as one of the great artisan designers in history.

When Halston began work on his eponymous fragrance brand he turned to Elsa Peretti for inspiration. Her adaptation of the “Peretti Floating Heart” into the stylized sculpture that became the Halston perfume bottle is considered one of the classic designs in the history of the fragrance industry. It sells briskly to this day.

Ms. Peretti, like Raymond Loewy, Pininfarina, Felini and Erte created design, art, and fashion that is timeless. These artists realized that form and function are actually one joint element that can insure commercial success. We forget this at our peril. Just look at the current situation of the “Big 3”.

When we review new product submissions at our marketing consulting firm we apply a simple methodology to measure potential commercial success. Does the item adhere to the basic principal of “Occam’s Razor”?
Are the features and benefits inherent in the submitted item an advance over existing products in the space? Is the form and design distinctive enough to clearly differentiate the item from competition? These are only a few of the elements we review when grading opportunities.

Product designers, inventors and entrepreneurs need to study history’s successes and failures. Businesses come and go. Brands soar and decline.

You are never the greatest, only the latest. Unique design is invaluable to long-term product success. Do not dismiss this crucial product component.

Elsa Peretti has built a lasting success and legacy by focusing on design, quality and “simple elegance” that defines her work.

by: Geoff Ficke

I was most fortunate to work as an executive in the cosmetic and perfume industry in the 1970’s and 1980’s, the “Golden Years” for creativity in that wonderful business. That was the era before the immensely destructive wave of retail consolidations and corporate mergers and buyouts that has severely crimped innovation in the years since. My experience was blessedly timed to coincide with an explosion of entrepreneurial activity.

The beauty industry gave me an opportunity to work with retailers, artisan craftsman and component vendors from all over the world. One of the most rewarding and enjoyable collaborations I experienced was working with Pierre Dinand to create an original perfume flacon for a new scent I was launching.

In the world of perfumery, Pierre Dinand is a living legend. Over half of the perfume units sold around the world to this day are packaged in customized, crafted bottles designed by Mr. Dinand. He has uniquely sculpted over 500 flacons for some of the most successful and famous perfume brands in the world. Opium (Yves St. Laurent), Eternity (Calvin Klein), Fendi, Valentino, Azzaro Pour Homme, Rochas, Armani, Guerlain and Givenchy are only a tiny sample of the brands he has designed for.

Pierre Dinand works in a light, airy atelier in Paris. When Mr. Dinand accepts a commission to create an original flacon he initially receives a sample of the scent to be contained in his creation. He interviews the perfumer, seeking to ascertain the notes and moods the perfume is meant to convey to the consumer. Dinand lives with the scent until his mood has been piqued and he forms a creative template for the initial silhouette he imagines.

Mr. Dinand is an internationally acclaimed sculptor. He uses favored sculpting techniques to generate initial concept pieces. The production of molding tools for the glass and the manufacturing process must be considered when crafting the prototypes. After drawings, clay models and initial acrylic pieces are sculpted the client is brought in to critique and review the early prototypes.
The process is continued until all issues regarding aesthetics, design, tooling, production and breakage are satisfactorily addressed. The closure is often the most difficult, detailed component in a perfume flacon. The closure must have the most exact tolerance to contain the liquid (which is prone to leakage) and can add significant costs to the bill of materials.

Mr. Dinand remains involved in all aspects of the packaging of the scent until the product is on counter. He appears at press presentations, will attend key trade shows for launch purposes, meet with major buyers and lend his considerable personal network of associations whenever necessary to assist a brands success in the international marketplace. He is a true professional and the roster of hugely successful brands he has creatively inspired is testament to his genius.

Pierre Dinand has also enjoyed great success as a mainstream, consumer product container designer. One of the most famous packages he crafted is the world famous orb bottle for the popular soft drink Orangina. The ubiquitous Orangina shape is renowned around the world and is further proof that this design giant digs deep to understand the needs of every client he services.

The world of high-end perfume is populated with artisans that demand the highest levels of quality, craftsmanship and creativity. Corners are never cut in the pursuit of delivery of the perfect scent. Closure, bottle, box and coffret graphics, tester units, sales collateral, sampling and signage are all absolutely essential elements necessary to present the scent in the most exclusive presentation possible.

I have launched a number of fragrances, skin care lines, hair care programs, color cosmetics, bath and body ranges, nail care, hand and foot care brands over the years. Collaborating with top craftsman is essential in order to properly position and differentiate new products. Working with an old-world artisan such as Pierre Dinand is rewarding, and refreshing in a modern world where attention to luxury, detail and styling is almost a lost art.

by: Geoff Ficke

The stunning growth of the high-end luxury perfume business in the last two decades has been centered in the celebrity endorser, designer category. Actresses, athletes, models and fashion designers have introduced dozens of new scents; each seeking to lure consumers based on the aura created by the endorsing personality.

Whether you admire Michael Jordan’s basketball skills, Narciso Rodriguez’ modernist Spanish designs or Jennifer Lopez’ singing or acting talents, the marketers of these fragrance brands seek to profit from the perceived lifestyle allure of their licensee’s. What very few people realize is that branded fragrances are rarely, if ever, actually created by the endorser.

The perfume industry is a multi-billion dollar international enterprise. The marketers of branded fragrance products, however, rarely, if ever, develop and produce their own scents. This is a specialty business handled by large essential oil houses like IFF, Robertet, and Givaudan. These companies not only formulate scents, but they harvest and source the flora, fauna and the exotic natural ingredients that provide the base for their fragrances. Many of these biologically diverse plants and animal by-products are rare, expensive and fragile, requiring a great deal of special handling and knowledge.

An example is the whale by-product ambergris. Whales are not harvested to obtain ambergris. This is skimmed from the surface of the ocean, above swimming pods of whales, Ambergris is simply whale vomit. It is exceedingly valuable and crucial as a component in many exotic scent bases.

The high cost of perfume is attributed to the expense of obtaining essential oils from rare and expensive plants. Rare orchids can yield only a few drops of oil per plant harvested and processed. The processing of essential oils is its own industry.

Companies like Estee Lauder, Elizabeth Arden and Lancome do not produce any of their own fragrances. They typically meet with perfume houses such as Givaudan, provide guidance as to their desired scent direction, and then await and evaluate submissions from the integrated houses chosen to bid on the project. Once a favored prototype scent is chosen then the perfume house is contracted to perfect the scent and produce the oils.

The creation of perfume is part science, part marketing, part branding, and a whole lot of art. The art of designing unique, commercial fragrances is entrusted to the “nose” retained by the perfume house. “Noses” are rare, coddled, gifted and possess a talent so unusual that there are only a few recognized “noses” in the world at any given time.

I have had the good fortune to work with one of the greatest, most successful “noses” of the second half of the 20th century. Francis Camail is a legend in the world of creative perfumery. The list of his achievements is stunning. Watching and experiencing his work is to view the efforts of a “master”.

Mr. Camail, working from his laboratory in Grasse, France has been the creative genius behind Annick Goutal, Revlon’s Charlie (at one time the most popular scent in the world), Giorgio (the most profitable brand of the 1980’s), Estee Lauder’s Aliage, Eternity (Calvin Klein), Ivoire (Pierre Balmain) and Bond #9. These are only a few of the brands that have germinated from his ability to create scents that consumer’s desire and loyally purchase on a repeat basis.

Mr. Camail is unique in that he is an independent contractor hired out by large, international perfume houses on a per job contract basis. His reputation is so powerful that he has the ability to be exceedingly selective in the clients he chooses to work with. To view the process he utilizes to layer, build and nurture various top notes, dry notes and a final bouquet is to experience a true artisan master at work.

The creative process necessary to produce luxury perfumery is an old-world, artisan craftsman skill that can not be taught. Francis Camail does employ assistants and interns, as do most other “noses”. However, very few of them, if any, ever go on to successfully conquer the mystical world of exotic fragrance. His skills are apparently God given.

In a world of mass production and industrialization, it is reassuring to know that skills such as those provided by perfumery “noses” are still extant, and essential. The world still has nooks and crannies that appreciate and value craft and artisan skills and abilities.

by: Geoff Ficke
I grew up in the 1950’s playing basketball hour after hour on city playgrounds. The public courts of the day were nothing like those found today in most American towns. There were no lights, a steel, kidney-shaped backboard (ugh!) with bent rims, occasionally a steel chain net and no lines painted to properly delineate the free throw line and out of bounds. The surface was often rough and cracked. You had to know where the ball would give a true bounce and where you could lose control because of the uneven surface.

But we played on for endless hours in all weather. The worst nights were when there was no moon to play by. We had to quit play early on those nights. Every Christmas I would find a new Voit basketball under the tree. It was a glorious site, sparkling, hard, looking just like a ball you would see the pros play with on television. I could not wait to get the presents unwrapped, finish the never ending holiday breakfast, get to Mass and, then, finally, get my new Voit to the courts.

The only other sporting good product that came remotely close to the joy of seeing my new ball every year was when I bought a new pair of Chuck Taylor Converse All Star shoes. Back in that day, Chuck’s as they were universally called, were the gold standard of sports shoe. You could buy black or white Chuck’s. There were cheaper knock off brands of athletic shoes, but though we were poor, no kid in our neighborhood would hit the court in anything but a pair of Chuck’s.

Chuck Taylor Converse All Star’s were a pretty basic affair. The shoes had a cloth, flexible, soft upper construction. The upper was glued to a layered rubberized sole. There was an iconic round logo glued to the outside of the shoes letting everyone rest assured that these were real Chuck’s. The designer of the shoes was the former star basketball player and coach, Chuck Taylor.

Until the mid-1960’s Chuck’s remained the shoe of choice for all levels of basketball players from Pee Wee to professional. At about this time a new development in the evolution of athletic performance enhancement came to market. This new product changed the way athletes train and play, the way sports were funded and athletes were paid and revolutionized modern personal care and entertainment habits.

Bill Bowerman was a decorated World War II hero. After the war he returned to his native Oregon where he became one of the great track coaches of all time at the University of Oregon. His squads won national championships, his athletes won numerous national and Olympic championships. Bowerman created numerous training techniques that he utilized to pull more speed, endurance and confidence out of his athletes. He always was looking for an edge.

In 1962 Bill Bowerman took a trip to New Zealand, and almost unbelievably, was introduced to jogging which was popular in that island nation. Before this time, jogging as part of a healthy exercise regimen was virtually unknown in America. He returned home and published a small 100 page book titled “Jogging”. It sold over one million copies and started the jogging craze in the United States.

In any endeavor where achieving great speed is the goal of the activity, the enemy of maximum performance is weight. Race cars go faster if they can be made lighter. Bowerman was passionate about improving athletic performance. It was this passion that pushed him to design and launch one of the great consumer products, and brands, of all times.

In his home workshop, Bill Bowerman was a constant tinkerer. While seeking to craft a novel performance running shoe, he had the idea to impound his wife’s waffle iron and use the griddle to score the soles of prototype training shoes he was experimenting with. He seared the rubberized soles with the waffle iron and found that by removing sections of the rubber, the shoes were more aerodynamic, lighter weight and provided substantially more grip than the available shoes of that day.

The iconic Cortez running shoe, still popular to this day, was born. Athletes were ecstatic with the fit, comfort and added speed that the Cortez shoes provided.
Coach Bowerman approached a former runner athlete of his, Phil Knight, with a proposition. He would design and test the shoes, if Knight would handle the business side of a new enterprise. They sealed their deal with a handshake and Nike was born.

For many years the Nike brand has been synonymous with the growth and commercialization of sport at all levels, internationally, domestically, amateur and professional. Athletes, coaches, professional teams and universities sign multi-million dollar contracts to wear Nike gear and display the famous “swoosh” branding logo on their uniforms, footwear, balls and sport bags. Nike retail stores are in most shopping malls.

Sponsorships pioneered by Nike have resulted in the explosion of televised sporting events. New sports such as beach volleyball and extreme sports have boomed and penetrated sports fans consciousness. Basketball has spread from an American centered game to enjoying huge international growth largely because of Nike sponsorship deals and in country marketing. Almost inevitability, when sporting history is made, or records broken, Nike is involved either in marketing the event or providing athletic enhancement products.

Nike is a multi-billion dollar corporate success. There is almost no sport, organized or recreational, that does not feel the tentacles of the Nike reach. The brand is one of the most recognizable in the world. For years the Company has been considered one of America’s best employers in annual worker surveys. The State of Oregon and the University of Oregon have received munificent benefits from the generosity and immense profitability of Nike.

Bill Bowerman was not seeking to build a financial fortune when he inadvertently did so by achieving his real goal of seeking more speed for his athletes. His Cortez shoes were the “alpha” product that became the cornerstone for building one of the world’s great brands. He died in 1999.

Coach Bowerman was a war hero, athlete, coach and teacher, beloved by each of the students and athletes that came under his sway. His legacy is burnished every time a recreational jogger dons Nike shoes and shorts to make a run, or the University of Kentucky basketball team takes to the court in Nike uniforms. The benefits that society continues to enjoy from his creativity and passion will make each of our lives richer for as long as Nike successfully expands sporting opportunities and seeks more performance benefits for its products.