Sex and advertising ¨í

190-7-858
Dichter¡¯s message to advertisers was: figure out the personality of a product, and you will understand how to market it. Soaps could be old or young, flirty or conservative. Ivory, Dichter inferred, had a ¡°sombre, utilitarian, thoroughly cleansing character¡±. It was the mother-daughter of soaps, whereas a brand like Camay was a seductress. Such insights led to the slogans ¡°Be smart and get a fresh start with Ivory Soap¡± and ¡°Wash your troubles away¡±.
But the innovation that put Dichter on the marketing map involved a problem Chrysler was having with its relatively new line of Plymouth cars—which consumers were shunning. Dichter headed out to Detroit, conducted extensive interviews with a couple of hundred people, and deduced that the company¡¯s first problem was its existing advertising, which boasted that its cars were ¡°different from any other one you have ever tried¡±. This evidently triggered an unconscious fear of the unknown among buyers, for whom familiarity in a car meant safety.
He also learned from interviews that whereas convertibles made up only 2% of sales in 1939, most men, particularly middle-aged ones, dreamed of owning one. When convertibles were placed in the windows of dealerships as ¡°bait¡±, more men came in. But when they returned actually to make a purchase, they typically came with their wives and chose a sensible sedan (the Plymouth line offered both).
Dichter gathered that the convertible symbolised youth, freedom and the secret wish for a mistress: an idle bit of temptation. He suggested that Chrysler beef up its convertible advertising—and, in recognition of spouses¡¯ role in the final decisions, begin marketing cars in women¡¯s magazines. Meanwhile, a new and more reassuring campaign emphasised that it would take ¡°only a few minutes¡± to feel at home with the new Plymouth.

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