Advertising through catalogs - how did companies make us want their stuff?

"When was the last time you ought something because you needed it? Even when buying starts with the need, the decision doesn't rest there.  When price and function are equal, form prevails…And when a buying channel is a catalog, desire is the gatekeeper." (Edwards, 2001)

Creating emotional desire is arguably the heart of the branding process.  Whether it be through facts, figures, visuals, or implied promises of an instantaneous life upgrade as soon as you get your hands on Alessi's Juicy Salif Lemon Squeezer, companies strive to sell their goods through convincing their customers that their products are a necessary purchase.  One book I found in the library has been a great read in outlining the what and why behind the desire that is created by catalog companies. "Catalog Design: The Art of Creating Desire" by Dianna Edwards and Robert Valentine looks at the function of a catalog, using examples of companies such as Martha Stewart Living, Abercrombie & Fitch and Burton.  While the book, and arguably the practises in it, is a little outdated (published in 2001, when ordering from the internet was yet to be the go-to method) I found it to have a lot of relevant information and examples, especially regarding how these upmarket companies manage to convince people to buy stuff they don't actually need, purely through the medium of a catalog which many consider to be pretty static in today's largely interactive shopping experience.  Some are about the need for the lifestyle represented by the product, some are about the emotional connotations that a customer is promised to take on when they purchase from the company.

Emotionally-led visuals - Abercombie and Fitch, Nieman Marcus, Banana Republic

Fig.1 Abercrombie & Fitch catalogue spreads shot by Bruce Weber

 The all-American image presented in the series of Abercrombie & Fitch spreads above conjures a life of adventure, friendship, love and hints of lust.  Today, A&F and it's sister company Hollister & Co. sell on brand reputation alone, because they know how their target audience of preteens to young adults want to feel when wearing their brand, and there are already in-store sales teams of genetically blessed school and university-age young people to show them how it can be done.  Edwards writes: "Audience determines everything - merchandise selection and presentation, tone of voice, age and attitude of models, even ordering methods.  Abercombie & Fitch staffs its call centre [and outlets] with college age kids who literally speak the same language as their customers.  Does it help sales?  You bet." (Edwards, 2001)  Unlike, say, Gap or even H&M, the brand is driven partly by the in-store culture of good-looking salespeople, called 'models' rather than sales assistants which furthers the idea of upholding a beautiful aesthetic that fits with the brand's 'heritage' shown in the above pictures.  It could be argued that A&F is as much about the lifestyle associated with it as the clothes it sells - and what image-orientated 18-25 year old doesn't want a slice of that carefree outdoors fun all those young people seem to be having in the pictures?

Fig.2 Nieman Marcus campaign by Margo Weathers

Fig. 3 Nieman Marcus jewellery pages in their catalogue, shot by Margo Weathers

Fig. 4 Nieman Marcus Footwear spreads shot by Margo Weathers

Nieman Marcus' shoots and spreads speak to their customer's desire for a life of fantasy reached through beautiful things, as displayed in Fig. The items shown are all wearable outside of the fair maiden backdrop, so it is implied that by purchasing the items for wear the customer can attain a little slice of the dreamy world created in Margo Weathers' shoot.  The jewellery pages use a magazine page with a woman's face to frame the layout, with pieces overlaid onto the pages giving some juxtaposition and complementing the blue of the model's coat.  "Chronicle a life with the extraordinary" told buyers that these very expensive pieces of jewellery were ideal gifts for life's milestones, much in the same way that jewellery giants Pandora do today with their charm bracelets and rings.  The "extraordinary" of course refers to the jewellery, and the combination of buzzwords and dynamic shots of pieces that are clearly made from precious metals evokes a desire for ownership in the Nieman Marcus customer.  Visually the woman's expression anchors the viewer's gaze and draws us in on an emotional level, which is of course the underlying drive to the campaign.

The kooky, delicate illustrations in Fig. 4 suggest an easy wearability that is complemented by lovely-looking surroundings, which in turn suggests that the Nieman Marcus woman is already used to living a life that is heavy on the pretty aesthetic and acts as a kind of flattery to the customer.  Flattery in visual branding is something I have yet to consider so this is a good reference point.  

Banana Republic, while also being a fashion brand targeted at women, takes a more personable approach to merchandising than that of Nieman Marcus.  "Today's Banana republic customers seek their adventures in more urban settings, in luxe metropolitan jungles of concrete and steel," writes Edwards. "The clothes, the catalogues, the stores, and the stores - all sophisticated, minimalist and contemporary - show us one of the great truths of modern life.  When it comes to urban warfare, style is often the weapon of choice."
The imagery in Banana Republic editorials is at times playful, and at timed more dramatic (shown below).  It is easy for the customer to visualise themselves wearing the clothes they see here as the mood is always personable no matter how (un)serious, and "the models are beautiful, but not too beautiful…it is somewhat easier for the average customer to see him- or herself in Banana Republic's catalog than in most." (Edwards, 2001) The images fit together in both layout and narrative, giving the impression that the clothes have a story that comes with them.  The Banana Republic catalogue is different to others as it invites the customer to imagine themselves in it.  This creates a feeling of accessibility - the brand is more tangible and arguably this makes people more eager to engage with it.

Womens' section in the Banana Republic catalogue, photographer unknown

Product-driven but still personal - Habitat, Martha by Mail, Harley Davidson, Sears, Takashimaya New York

Fig. 5 Habitat dinnerware spread shot by Martin Morrell

Habitat's lively style of editorials centre around colour and shape, playfully reflecting the brand's creative approach to household objects that could otherwise be mundane and subsequently bringing beauty back into everyday life.  Through bright colours and softer fonts the catalog aims to be an inspiration as well as a sales pitch by the company.  Colour is also a guide for readers who need to navigate the expansive range quickly - each chapter has a colour, and in each chapter is a particular category of Habitat goods.  Overall the feel is very personable;  "Habitat's voice is kindly and direct, more like a friend with suggestions than a sales pitch. 'Habitat speaks to the customers which is something I don't really feel other catalogs do so directly,' says Skeen.  'We try to relate to people and speak their language.'"(Edwards, 2001)  The spreads shown above showcase the two ways that Habitat use to present their goods - a home spread with products on the facing page, or a product range laid out in neat lines that both cram all the options in and guide the eye in a way that is not overwhelming.

 Fig.6 Harley Davidson catalog advert and contents page by Paul Slocum

"There's a word for a bike like this.  And you could probably say it if you could keep your tongue in your mouth."  This phrase sums up the elements of product excellence and the lust it causes in the customer.  Harley Davidson is already a brand name known for its sense of adventure, danger and edge as much as it is for it's motorbikes.  "As a brand, it is nothing less than mythic.  Why is that?…The answer is simple as it is complex.  For almost 100 years, Harley-Davidson has kept it's promise: Harley delivers an experience.  "Live to ride" is a covenant between Harley and it's customers.  Trust is at the heart of this brand and - make no mistake - this kind of trust translates into sales." (Edwards, 2001) Harley Davidson catalogs include motorbike parts and specs, which allows the customer to be creative with their machines and customise their bikes.  "The average customer adds $4800 in accessories the day a bike is ordered…accessories will represent $96 million in chrome exhaust bracket kits and leather dashinators on new bikes alone. " (Edwards, 2001)  The Harley Davidson catalog is different from others as parts can not be ordered from it.  Instead, the catalog is a primer for the rider's subsequent visit to a dealership store - the way the catalog is organised follows the way information is presented in a Harley garage.  This particular kind of catalogue is very heavy on written details, so a readable typeface is used that works with all sizes.  The bikes themselves are shot in different formats. "Beauty images" such as the one top above to show it in a glamourous and more dynamic light -  essential to sales as this brings in the factor of emotional desire.  Traditional parts and on-bike shots can be seen in the lower half of the image above, where the technical aspects of the machine are presented in a way that is concise but still visually compelling.  

I found the antique Sears catalogues interesting because they are presented in a way that we don't see today, with hand-drawn illustrations and in some cases extensive product write-ups.  Antique catalogs could not use photography to emotionally ply their readers into a decision to buy, so instead intricate illustrations are combined with language to craft descriptions that make the products sound the most appealing.  Example from Fig.1: "These are absolutely the best and most satisfactory kid gloves ever sold for less than $1.50" (Well, if you say so) The quality is still put across via the high detail of the illustrations, and images drawn of well-dressed ladies of the time gives a clear indication of the target market and the kind of person who would buy from a Sears' catalog in the late 1800's.

Fig.1 The Sears, Roebuck and Co. Catalog, 1893 edition (top) and 1897 in colour (bottom) published by R.W Sears Watch Company

Fig. 2 Sears, Roebuck and Co. Catalog, date unknown.  Published by R.W Sears Watch Company

Martha by Mail is Martha Stewart's output to a wider audience, inviting the audience to buy into her already well-known brand and at the same time bring a little of her lifestyle into theirs.  A bit similar to Habitat but with more traditional items, the Martha Stewart identity is driven by the idea that one can find inspiration in the home, from common household items.  Visual co-ordination is key to the appeal of Martha by Mail.  As seen below, the Stewart aesthetic is soft and homely, with the look of a living room that someone would typically find cosy and inviting.

What sets Martha Stewart products apart from a standard Argos catalogue selling the same wares is the quality of the products, and this is made explicit by the presentation in the catalogues.  An interesting thing to note is how Martha Stewart brand has kept current is it's current use of digital platforms.  A YouTube channel uploads craft tutorials to show customer how to use their Martha tools, while a trendy Instagram feed shows products posed in context so they don't look like straight up advertisements.  The same theme is shown here, where products are shown not just as they are but how they would be used and how they fit in with a lifestyle, in particular the one Mail by Martha customers are buying in to.  As Edwards writes in Catalog Design… "commercial relationships…take honesty and effort.  Successful catalogs provide all the detail their customers need in order to make a buying decision.  The amount of detail depends on the customer and the product."  For those reading Martha's catalogues, materials such as Silpat baking mat - "The best for making cookies and candies…" are a prime example of the high-end craftsy kit they set out to buy.  The MbM customer wants quality and authenticity, and the catalogues as shown below present the dreamy lifestyle they hope to attain through adhering to their standards.  Probably the most interesting thing here that I can look at with other examples is the brand of a person - MbM is an extension of the Martha Stewart brand, which is driven by and for Martha Stewart herself.  It will be a good exercise to look at how a famous figure has branded themselves, what values they push, and how.

Spread from Martha by Mail catalogue, photographed by Chris Baker

Martha by Mail cookie cutters spread, photographer unknown

It could be argued that Takashimaya New York is less of a catalogue and more of a precursive experience to their products, which makes the appeal all the more enticing.   In the opening written section on TNY, Edwards confides to the reader that: "There us nothing you need in the Takashimaya New York catalog.  Instead, there are things you covet and crave, things that will pull at you long after you've put the catalog down.  No, this is not about need, this is about hunger, and how skilfully a design firm can create it…at it's simplest, Takashimaya is a story about the relationship between need and want and the squeeze of the heart that turns one into the other." (Edwards, 2001)  The TNY catalogue uses tactility to its advantage - fine pressed paper, pull outs with ribbon and a Japanese-inspired layout invite the reader to discover the quality crafted element which is at the heart of the Takashimaya brand and its products.  "Takashimaya pieces leverage the communicative (and commercial) power of touch to it's fullest.  And in doing so, they create an extraordinary marriage of message and material.  Before you can look inside, there are seals to break, ribbons to untie, or slip cases to remove.  Opening the catalog is a physical experience that begins a relationship with Takashimaya." (Edwards, 2001) The idea of a relationship with the customer is something I have yet to look into, so this is a useful key point.

Takashima New York Catalogue with pull-out selections, photographed by Geof Kern

Takashimaya New York catalogues come with postcards, hand-written notes and mementos, which was initially framed as a PR tool for the company to highlight the personable approach the brand takes to materials and the implied history behind its products.  The catalog was elevated from that of regular sales material to cult collectible status through each issue of "hand-collated mementos" (Edwards, 2001)  - they were the final personal touch to a catalog that was already appealing visually.  In terms of a potential product, Takashimaya demonstrates how desire can be heightened through a promise of quality, which in turn promises a grasp at a lifestyle.  This is certainly food for thought with regards to my own project, as a tactile/digital crossover is something I am keen to explore.

A Takashima New York "pack" with the catalogue and accompanying cards, photographer unknown

References:

Edwards, Diana and Valentine, Robert, 2001.  Catalog Design: The Art of Creating Desire.  Unknown: Rockport Publishers.

All images are scanned in from the above book