The 20 biggest advertisers for the first half of 2002.
Sometimes advertising spending isn’t rewarded with editorial coverage, as last week’s list illustrated. (See "Editors’ Choice," Sept. 12, page 10.) Only Prada, Christian Dior and Louis Vuitton were among editors’ favorite brands. No matter, brands such as Nike and Levi’s spend heavily to communicate to consumers directly through advertising. But times are tough in ad land. The top 20 advertisers slashed their budgets, spending only $423.3 million during the first half of 2002, compared with $774.1 million for the same period in 2001.
2002: $112.6 million; 2001: $117.6 million
Nike touted products for professional athletes to power-walking housewives. Maybe its slogan should be "Just Buy It."
Levi Strauss & Co.
2002: $38.4 million; 2001: $42.9 million Levi’s aimed Super Lows at Gen X and Y’ers. For their parents, who actually remember wearing the iconic brand, there’s Red Tabs.
2002: $34.6 million; 2001: $49.7 million. Adidas fought the battle for market share on the front lines — World Cup soccer fields, Olympic ski slopes, NBA and WNBA courts, and trampolines.
Sara Lee Corp.
2002: $31.5 million; 2001: $63.9 million. Sara Lee’s relentless ad spending has made Hanes and Playtex two of the most recognized brands in the world. Now it’s working on Bali and Wonderbra.
Reebok International Corp.
2002: $30.1 million; 2001: $35.4 million. A surgically enhanced Los Angeles aerobics addict and rabid sports fan are featured in Reebok’s wide-ranging Classic ad campaign.
De Beers Consolidated Mines Ltd.
2002: $25.7 million; 2001: $24 million.
De Beer’s generic "A Diamond is Forever" campaignturned it into a recognizable jewelry brand before it had any jewelry to sell.
2002: $23.4 million; 2001: $152.7 million. A burnished Bain de Soleil model is still a mainstay of the brand’s advertising.
2002: $14.1 million; 2001: $85.1 million
Gap’s previous ads alienated various consumer sectors. Its new all-inclusive tag line is,"For Every Generation. Gap." But, the firm’s financial woes continue.
2002: $12.5 million; 2001: $9.2 million
Cotton Inc.’s ad campaign features girl and boy dolls wearing everything from suits to blue jeans, staring blankly from newspaper pages.
2002: $12.3 million; 2001: $7.9 million. While the cast of characters is ever-changing, the idea of using sex to sell jeans is a constant in the parlance of creative director Paul Marciano.
Skechers USA Inc.
2002: $11.5 million; 2001: $19.9 million.
Skechers ads depict young adults having good, clean fun.
Giorgio Armani SpA
2002: $10.6 million; 2001: $11.9 million.
In a post-9/11 world, where consumers want quality and durability, Armani gives clothing and accessories a starring role.
Polo Ralph Lauren Corp.
2002: $9.4 million; 2001: $42.5 million. Ralph’s previous campaigns depicted the good life through rose-colored glasses. Some offbeat styling gives the latest adsa bit more edge.
Rolex Watch Co. SA
2002: $9.3 million; 2001: $7.2 million. Rolex is synonymous with luxury, and the company aims to keep it that way with ads that put the product front and center.
Tommy Hilfiger Corp.
2002: $9.1 million; 2001: $12.4 million. Hilfiger’s ads are like modern Norman Rockwell portraits: fresh-faced, pristine models, engaged in good, wholesome fun.
Jones Apparel Group Inc.
2002: $8.8 million; 2001: $9.9 million.Jones New York and Lauren by Ralph Lauren are two of the group’s brands. The former is the subject of a new ad campaign.
LVMH Moët Hennessy Louis Vuitton SA
2002: $8 million; 2002: $44 million.
In spring, Christian Dior ads featured soap suds-covered models wearing a look of ecstasy. For fall, the girls have graduated to the stage of a futuristic rock concert.
2002: $7.6 million; 2001: $14 million. In lieu of black-and-white newspaper ads, Cartier is going for the bold with color.
2002: $7.5 million; 2001: $13.8 million. Prada’s ads, which were straightforward for spring, have a cinematic quality for fall. The group also advertises for subsidiary Jil Sander, among others.
Alfred Angelo Inc.
2002:$6.2 million; 2001:$8.5 million. The 70-year-old company, which makes wedding gowns for budget-minded brides, is a perennial advertiser in bridal publications.
“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