1. How does the advertising for generic and designer jeans differ? Can one brand and advertising campaign straddle both markets?

2. Explain Joe Bloggs' choice of Lara and the £150,000 jeans as a way of promoting the brand. Are twelve ranges a year really necessary?

3. What is the controversial style of Diesel's advertising trying to achieve? Do you think it is effective? Ethical? Appropriate for all markets?

4. How does the centralized nature of Diesel's advertising fit the entrepreneurial style of the company? How can the advertising be linked in with the rest of the marketing mix in the many markets and distributors thai Diesel serves?

5. What explains Rosso's choice of Sweden, rather than Italy, as the base tor his international marketing activity? Why choose an agency and location outside the London and New York heartlands of modern global advertising?

(>. Can 'the Renzo Rosso style' be separated from the brand identity and the advertising used? How well does 'the Renzo Rosso style' fit the needs of the jeans market and why?

The LjuotiitLon is copy from a 1970s Levl's a< J.

SOURCES: John FisKe, UndersLmtdi'ig Popular Qulturv (London: Routiixlge, 1990); Hunter Davies, 'Not any old Joe Bloggs', Independent (15 November 1994), p. 23; Stephanie Theobald, 'European streei style'. The European —4lan (11-17 November!994), pp. 13-16.

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