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On-street segmentation

25.06.2010
Nicola Conron Nicola Conron

A new take on tissue-pack marketing

Turning left up Kingsway to get a sandwich the other lunchtime, I hopped, skipped and jumped my way deftly through the crowds of charity representatives all telling me to ‘smile, it’s not that bad.’

Suddenly, my London Lunchtime Blinkers came off as I spotted what appeared to be the Milk Tray Man walking next to me as I approached Boots. He was tall, dark, handsome, wearing a black polo neck jumper, black jeans and leather jacket, and was handing me a small white envelope.

Annoyingly, I was so distracted by my first thought of 'crikey, you must be hot in leather in this weather' that he was gone before I could register any more.

It was only when I was back at my desk with my chicken wrap that I remembered the envelope. I opened it with excitement, convincing myself that perhaps he was a model scout, a crazed lottery winner handing out money or actually the genuine Milk Tray Man giving me a free chocolate. Instead, I find… a note advertising his escort services to single, unhappy women.

Ahem.

Once I’d got over the shock (and disappointment of no free chocolate) and phoned my boyfriend to reassure myself that I am both happy and in a long-term relationship, I couldn’t help but admire his social marketing techniques and on-the-spot audience segmentation. Jay Conrad Levinson and the Japanese tissue-pack marketers would be proud. He:

- identified a prime location for his mass audience (Boots);

- defined his criteria to fragment out his priority audience (looking miserable, eyeing up other girls’ summer dresses enviously and heading to the Shapers aisle);

- created a noticeable vehicle for his message (Milk Tray Man outfit);

- delivered his message directly (into my hand);

- left me feeling curious about the brand (disappearing in the crowds);

- but with a clear call to action (his number).

And, no, I’m not going to be wearing this outfit ever again and will turn right out of the office from now on.

Posted by Nicola Conron


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