3
    CONFIDENTIAL
    LUCKY STRIKE
    11
    INDIRECT ADVERTISING
    0
    CONTEXT
    Unlike other major brands, LUCKY STRIKE has not
    implemented a Iona-lasting indirect advertising strategy in the French
    market.
    Artticle 3 of the Evin Act (loi Evin) provides that
    ,-.3 promotion or adventising ,"or ar, association, service, activity,
    product or am'cie other thar. tobacco or a tobacco product shag be
    considened cronnotion or indirect advertising whenever the promotional
    material or ac_;vern, . s/ . no uses graphics, packaging, a brand. an advertising
    emblem or arty -,~her distincrive si gn that rem1nds corsumpers of tobacco or
    a tobacco
    "Hcwever the above provisions shall not apply to promotion or
    adver-tisma itr a product other than tobacco or a tobacco product that was
    " 1990 by a le-gal entity that is legally
    put on the market prior to January 1sL
    and financially distinct from any legal entity that manufactures, imports or
    markets tobac~c or a tobacco pro~uct. Any legal or financial connection
    between those 11imPanies renders this exemption ina,oplicable.
    In e-arly 190.3. major tobacco companies were torn apart by the
    price war they were busy waging against each other. It is still to soon to
    grasp their atwLude towards indirect advertisina or their willingness to invest 44
    in it,
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    t
    No real case la,.V exists on indirect advertising give~', that up until
    now anti-smoking associa:ws have concentrated their effor-s on cigarette
    advertisina.
    Nevertheless, to prepare a future meeting with the ATC on the
    subject, we should start thinking along two lines :  I
    > communicatic-s that comply with the Evin Act (Lc:' Evin),
    > financing thesze~ communications.
    COMMUNICATIONS IN COMPLIANCE WITH THE EVIN ACT (LOI EVIN)
    11KE AS A HISTORICAL BRAND
    A LUCKY IF%
    An entire series of communications actions ca:~ be based
    on :
    * vintage Posters,
    * vintage ads.
    ' Lucky Strike memorabilia,
    * the prestige of Raymond Loewy, the designe;- of
    today's pack.
    It will be -Jifficult to use the act to prever-, the use ol
    material which has "Vintace" or "Historicai" value.
    With the e-,<ception of a major retrospective ex~-ibition
    (e.g. CAMEL. SEITA exhit-ition of the 40s. 50s and 60s) c- a Raymond
    Loewy exhibition. the communications tools under considerEtion will not
    result in widespread public'-,y but will put some excitement into .he brand.
    Ex.- * putt::ng vintage posters or memorabilia :t,-. places
    where the brand irnage can be seen sucn as "in"
    bars. restaurants and clubs,
    the sale of re-released vintage memorabilia.
    Financino
    these meas,_,res could be directly financed by -~e SEITA
    or ATC by _`.s,_-_uising_ the financing as corpora-e
    sponsors,"
    C,
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    8 LUCKY STRIK~: AS AN ARTISTIC EMBLEM
    In France the "LUCKY STRIKE" logo is widely held to be
    the "product of design par excellence" and Raymond Loewy's masterpiece.
    All types of artists such as painters, designers and
    photographers would probably be open to the idea of creating a
    contemporary work based on the logo either on their own or if they were
    commissioned a work. A Prer'-dent exists such as exhibitions using the
    gypsy silhouette designed for Gitane in 1_047 by Max Ponty.
    ExhibiLions featuring these works can be staged in
    prestigious galleries with possible media coverage provided.
    We must choose between the "LUCKY" label and the
    "LUCKY STRIKE" label.
    Financing :
    it could be provided directly by the SEITA or ATC by
    disguising it as corporate sponsorship.
    C LUCKY STRIKE AS A LIFESTYLE
    The LUCKY STRIKE concept and the LUCKY STRIKE
    design enjoy wide recognition. We can thus consider starting a collection of
    articies. clothing. and furniture that can be soid without needing to
    advertise.
    0
    The Evin Act (loi Evin) does not prohibit the sale of such
    theme-products. The success of ZIPPO LUCKY STRIKE lighters proves
    that it is an effective sirategy.
    Financina -
    it would entail finding leading and talented partners
    and could also be directly financed by the SEITA or ATC.
    CI
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    D LUCKYAS A. HQIISE--~QLD VVORD
    The English wcrd LUCKY that has be-corne part of
    everyday language in France.
    This linguistic development gives us an opportunity to
    come up with products or concepts that bring across brand image and that
    can be advertised provided that .
    the look and graphics of the product or concelor
    convey the LUCKY STRIKE logo in an ellipLicai but
    recognizable manner,
    no legal or finar,.1-,;al connection can be shown
    between these products and concepts and. the
    is manufacturers -,.'-;at market LUCKY STRXE- ciga-rettes.
    LUCKY CAFE
    A very trendy caf6 G=Ic' be set up. The aim would be to make it
    into landmark based on the "Caf~ Costes" or the "Caf~ Seaubourg" in
    Paris.
    Eventually. franchises could be granted to set up ident~cal caf~s
    throughout metropolitan France.
    LUCKY YEARS
    Without departing from the LUCKY STRIKE style we can even
    go as far as saying that each artis-;c medium had its golden age o,, "LUCKY
    YEARS".
    This concept can be easily applied to music. Com , pact disc
    collections can be released for r-rost any type of music depending on the
    record label we team up with. *Vlle could release the following "LUCKY
    YEARS" collections
    * Rock.
    * Blues.
    * Rhythm and Blues,
    ' Reggae,
    * Soul.
    ' Funk,
    ' New Wave. etc.
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    T'n,e concept can even t;-= applied to movies. literature, sports
    and other areas.
    However. music has the 7,-st in common with our target market.
    Several ideas that were developed along the same lines before
    January I st. 1990 :
    * 36 1 -5 - Lucky (offered c- Minitei, the French videotex service,
    by the Hersant media gj~up);
    * Lucky Music (a record s.--op in the Beaubourg
    * Lucky Bar (a bar in the -P'galle area).
    0 Unless there is a clear-c~--, advantage in using communications
    means allowed under the Janua- - . 1st, 1990 exemption, it would be
    advisable to come up with a new concept which is both more image-
    enhancing and more in tune with LUCKY STRIKE's target market.
    Financina
    We would have to ccr-e up with indirect financing so no
    connection could be established be-,,ieen tobacco manufaciurers and the
    source of finaricinc.
    0
    CN
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    r-" ,~ 4- 5,F ,-:
    T M D
    Unlike other 7acr aim, erican brands Lucky Strike has -,ever established
    L
    in F,-ancee a lastinc traderniark diverstifiCati0fl.
    Cicarette adve:-isinq is totaly banned inFrance and a -rademark
    dive,sifica*jon is obviously a must to establish a brand ima0e.
    Marlboro Cla-z--zkcs
    Came! Boots - Carnei Trophy Matches
    Peter Stuyve sa nt T, ave!
    Winston Spiriit
    Chesterfield (ourr
    ertly working or new ideas)
    Philip Morris Cinema
    Lhese activities can advertise provided
    The french law (Evin ACIL says
    they have been marketet before January 1 -1990 and they have nc 5rancial link
    which cicarettes manufac-urers.
    LUCKY - A GENERIC NAME TAG
    The date conc;iticn cf the Evin Act car, be avoided USi~_-C 'the name
    "Lucky" inszead of "Lucky Strike".
    There is an exce!lent opportunity there to develop products or concepts
    reflectinc 'he brand imace and having media potential, on two con-Mons
    C', tl~e aestietic and g, aphic aspects of such products or
    c.-ncepts must conjure up the LUCKY STRIKE logo in a
    rcundabcut bu~ understandable manner.
    '2:, there mus'. beno or legal or financial link benween activities
    anc firms using the LUCKY brand and rnar~;Irl <ZD
    marketinC the LUCKY ST RIKE cicarette '_Aj
    C I
    BATCo document for Legal Services : Health Canada 21 October 1999

    




    LUCKY SOUND CID COLLECTION
    TE IDEA - LUCKY SOUND (or anc,-,7er name)
    H'L-
    Staying close to LUCKY STRIK:-. we want -o create a new trademark
    activity, i.e. a collection of soul music CD's -Lucky Sound" wicle~y marketed in record
    S,
    tores
    mythical artiSLS (Ma-,"in GAYE. Diana ROSS. Stevie
    WONDER) ex.oressing an arche7jpal america
    music very popular among young adults
    the soul soih4, a sta-e of mind particufar~ in line with the
    LUCKY STRIKE bra:-,d charaCte!, (freedom, ourety, solidar4,
    soc;ai interaction, e~:cyment. parties).
    0 PA RTNER POLYGRAM FRANC ="
    0 FROJEC T Two series
    Iz> compilation se.-:=-s - LUCKY SOUND
    10 C D - en d 1 9 z-4.
    plus 5 new CDevery 6 n)cnths
    cx~> reissues of famous
    (or rare) origira;' albums LUCKY ORIGINALS
    0 10 CD - end 1 c- -c4
    plus 10 new CD every 6 months
    Repertory used :
    Tamia Motown
    Back catalogue and new recordings (more than
    3 000 21bums maSters)
    Trendy musjic very focused for
    Lucky Strike Target Group
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    0 ADVEFTiS/NG
    French marKet ~ 7 - 10 millions FF/ye
    70 media (in cinema/ magazine
    20 promotion - public relations
    10 OX~ tec,~nical expenses
    Uo to date situation
    Frencn Polygram team is very erzhusiastic about the idea has
    been approved by Pc"gram Headquarters in London ant 7a~a
    Motown Headquarters in Los Angeles.
    The whole thing have to be kep: strictly confidential and 2cinnectior,
    with Lucky Strike cigarettes mus: stay completely in the
    packaging
    BAT / SEI TIA and POLYGRAM mustagree on pacKag::7g.
    advertising :
    must be approved by BAT.-SEITA a n d P 0 L Y G Fi-. t%I
    Firs', propositions for print and cinema advertis~ng
    ANce (Agency fc; Rance) 0eady availabVe.
    POLYGRAM is -eady to wo,-K ASAP on finalizatic,-.
    conceq:
    musicaj produc-.,,,3-4 months)
    4 packaging
    --> advertising program
    A special company mus: be forr-ned to sign the ccr-.-ac, .-.,ith
    POLYGRAM (wtich rnust not be signed directly by S;E:7". or
    BAT).
    C-)
    CI
    BATCo document for Legal Services : Health Canada 21 October 1999