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Orivaldo O. Gallasso 141 SETEMBRO / OUTUBRO DE 2008 – R E V I S T A D A E S P M ES PM peculiar segment, insofar as it is positioned somewhere between: it must convey a certain meaning and also be considered “artistic”. Often small gestures and attitudes – rather than sophisticated productions – will stand out in a campaign for fashion products and services. Fashion advertising must also take into account an array of values, codes of behavior and styles that are their creative raw materials for successful campaigns. CLOTHING AND FASHION M ARLEINE P AULA M. F. T OLEDO pAgE 66 Fashion supposes clothing, and clothing hides nudity. Nakedness is the ontological condition of human beings, and also stands as a symbol of their vulnerability to external aggression and, ultimately, to death. By dressing, people not only protect themselves from physical harm, but also from psychological threats. When naked, one lacks – mainly – psychological security. As an object of desire, clothes preempt a part of human needs. Fashion (in Portuguese Moda) is a “mode of being”, which may change with time. All through history, writers and philosophers have emphasized the ephemeral condition of things. Post-modernity stresses the consequences of the acceleration of science and technology, provoked and enhanced by globalization; this wild race makes time go by faster and brings about a general sense of obsolescence, to relativism and carpe diem. To be up to date with fashion is a solution, if provisory, not to be submerged by the vortex of change. FASHION AS A COMMUNICATION ARENA S ERGIO G ARRIDO M ORAES pAgE 76 The fashion industry, represented by the textile and apparel industrial chain, is one of the mainstays of the economy. The flow of information – as much as the flow of materials – is a basic factor of survival, even more so than in other activities. This intimacy with the flow of information, combined with actions to strengthen their brand image, makes the fashion industry stand out as one of the new “arenas of communication”, as proposed by prof. Francisco Gracioso. Practically the brand of any product or service - wishing to add to its image characteristics of innovation, integration, identity and glamour - may benefit of fashion as one of its communication channels. HOW TO BE A NERD WITHOUT BEING ASHAMED OF IT A DRIANO M ALUF A MUI pAgE 92 iPod realized something that was thought to be outside the capabilities of marketing: not only it turned technology into fashion, but it did so with the addition of sex-appeal - to a machine! It became a symbol of sophistication and uptodateness, almost indispensable to the young set everywhere. However, will the success stand the test of time? The product’s performance and image is constantly reinforced by the Apple company. Competition will not stand still, however, and launches – almost daily – alternative items. Will Apple be once more able to reinvent itself? And an even bigger question: will it be able to do it without its master - Steve Jobs? GORILLA – THE ONTOGENY OF A GRAND PRIX H ERALDO B IGHETTI G ONÇALVES pAgE 98 This article discusses the conception, birth, development and some other facts involving the pro- duction of the film Gorilla , for the Cadbury Schweppes chocolate bar, which won the Grand Prix in the International Advertising Festival of Cannes, France. Also, how creative strategy changes its shape, in postmodernity, offering new manners of promoting the product without putting it as an actor in the film story. These questions are focused through the history of advertising, with the help of cultural studies and field theory, and also by considering advertising as a form of art – endeavoring to identify the possible reasons for its recognition and success. The crossing of these two arenas of communication – publicity and entertainment – enabled a new form of sales proposition through a movie icon, which in some way represents a methaphor for Nature now Tamed. DIFFERENT PEOPLE REACT TO DIFFERENT STIMULI M ARCELO S OUSA pAgE 124 It is practically impossible to create one single value proposition which may be effective to largely diverse and heterogeneous needs and styles of life. Thus, companies tend to chose segments or groups of consumers with whom they wish to do business, and to create goods and services carrying relevant attributes to their needs and lifestyles. The definition of target is one of the most important decisions for any company’s marketing planning. In order to define it, one has to assume that it is necessarily composed of similar but different people, whose demands will have to be attended to in different ways. Segmentation is an ample concept, and may vary from a cluster of clients around one demographic attribute, such as age, in the case of individuals; or type of activity, for companies – to quite sophisticated groups determined by multivaried statistical techniques dealing with literally hundreds of variables – geographic, demographic, behavioral, psychological etc.