Lager's personality crisis

This might have worked five or ten years ago, when magazines like Zoo were at their peak and continental lagers with crests for logos were still new. Marketing has always reflected the cultures of the designated target audience, which raises the question, however, of why such football-centric, ‘lad’ culture marketing and branding is still prevalent. As times have changed Nuts has lost credibility and stature, and FHM is struggling to find a new audience as their previous readers have lost interest.

However, to give the drinks sector credit, there have been some successful marketing campaigns that have bucked this trend: Beck’s ‘Green Box’ project placed the firm squarely in the art and culture space, while Budweiser ‘Grab Some Buds’ campaigns allows it to cross all areas of entertainment, be it festivals, parties etc. But these campaigns have rarely been large scale, and simply haven’t been as vocal or visible as other, more mainstream ‘lad’ based adverts such as the iconic Rooney/England flag combo.

The market has moved on. Beer tastes have become more sophisticated, moving beyond the standard ‘pint of lager’. Nowhere has this been more striking than in the ale market, which has seen a huge resurgence over the past few years. Young and old, male and female, are discovering new types of beer that they enjoy far more than generic lager. Amid this revolution in the pub, the standard row of pumps and bottled beers that contain ubiquitous lagers have paled in comparison with the exciting row of unknown labels, heritage and flavours offered by emerging ales.

Therefore, the drive for a change in lager branding has never been more critical. Targeting a core and diminishing group of lager-drinking, male football fans leaves brands such as Carling unable to attract the new audience that is looking for a taste experience, and who may be actively put off by the ‘lad’ label these drinks bestow on them. In a world where new & exciting brands are advertised weekly, why revert to the old and the familiar?

Carlsberg has understood this, and is looking to rectify this approach. Its new lager ‘Copenhagen’ is due for imminent release in the UK, and goes a long way towards changing perceptions of the brand. Yes, their advertising can be funny, but we all know it’s nowhere near the ‘best in the world’. ‘Copenhagen’, on the other hand, looks, well, nice. The clean lines and label design make it look crisp, refreshing and decidedly drinkable. I will definitely be trying it when it appears in my local supermarket or pub. And a key point is that it is unisex too. The design is minimalist, yet not delicate, attracting both men and women with its contemporary and upmarket style – a world away from the average Carlsberg bottle.

This cosmopolitan and European edge is a hallmark of another lager brand that has been ahead of the game in terms of branding: Stella Artois and more precisely, their‘4%’ drink. Since launching in 2008, the lager has aligned itself with the undeniable style, class and fashion of 1960s Europe, with their latest campaign, ‘Smooth Escapades’, featuring cool, handsome men wooing beautiful women across the French Riviera. The effect that this positioning, and the more recent ‘Cidre’ launch, has had on the brand is undeniable. The ‘wife beater’ moniker that blighted Stella Artois of old used to have is a distant memory as a new audience of drinkers has been introduced to the brand thanks to such clever, insightful marketing.

These two examples serve to reaffirm the impact bottle design, which is after all the dominant media vehicle, and clever advertising can have on driving a brand’s reputation. Remember that the new beer and lager drinkers of today are willing to try new experiences if it appeals to them, and won’t rule out a drink just because of a brand. If it looks good, and offers something genuinely new and exciting, they will try it, no matter where the beer comes from. If it looks old, well – no one likes a flat pint.