NEW YORK -- In the fragrance world, 14 years is, well, an Eternity.
So, after supporting its strong-selling Eternity masterbrand for the past decade-plus with an advertising campaign that was last updated in 1997, Unilever and Calvin Klein are unveiling a new approach.
"Eternity is by far our top priority," said Hilary Dart, president of Calvin Klein Cosmetics. "With the brand still strongly maintaining its market share, we decided that now was the perfect time to freshen and update -- but not change the positioning of -- the brand's image." Eternity for Women launched in 1988, while the men's counterpart was introduced the following year.
While previous campaigns focused on various permutations of love and were centered around beach images, the new version moves the playing ground into the house and onto the family. "This campaign focuses on significant moments in family life. The ads are designed to look like they're pulled from a family album," noted Dart. "Rather than full-page images, you'll see smaller pictures on a page, with the tagline, 'love, sweet love.'
That tagline is a reference to the Burt Bacharach song "What the World Needs Now is Love," which is used in the TV ads, sung by Aimee Mann. "The song is a perfect tie-in for us," said Dart, who noted that it is the first time that Calvin Klein's TV advertising has included a song. "Fragrance has such an emotional connection, as does this song. We felt we could further leverage that ground by tying the fragrance to moments in everyday family life."
The new campaign consists of four print ads and two TV ads, all created by New York-based advertising agency Kraftworks in collaboration with Calvin Klein's in-house agency CRK. It also introduces a new face for Eternity for Men, Aaron Ward. The first print ad is for year-round use for the masterbrand, while three others focus on Valentine's Day, Father's Day and celebration (for use at other holidays).
While the approach is new, there are several familiar faces on the campaign: model Christy Turlington continues her role as the Eternity woman, and the ads were photographed by Juergen Teller, who shot the previous Eternity ads. And, like all previous Eternity ads, the campagin is presented in black and white.The print ads are slated to appear in a wide range of magazines, including Cosmopolitan, Elle, In Style, Glamour, GQ, O, Child and Martha Stewart Living, beginning in February. The TV ads will also be released in February. Both the print ads and the TV ads will be presented globally in all of the brand's 75 markets. Dart added that outdoor advertising will be part of the promotional plans in Europe, but not in the U.S.
While Dart would not comment on the cost of the campaign, industry sources estimated that the company would spend upward of $35 million this year, globally, on the campaign.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast