Marketing Plan for Sony Xpreia Essay

The following report is a marketing plan for Sony Ericson Mobile in Australia for the 2012-2013 financial year. The Sony Ericson brand continues to grow in unpopularity after several years of underperformance. This has occurred due to Sony Ericson trying desperately to hold onto its premium brand image that comes with a high cost and not focusing its resources on finding the right target market that suites its technology and innovation. The marketing plan will focus on the mobile market and critically analyse this market in Australia. Also analysing Sony Ericson as a company, as well as its competitors, customers and SWOT analysis. Sony Ericson has missed a critical market that its innovative technology would fit perfectly with. This report will argue that by incorporating the tween market through this marketing plan Sony Ericson will be able to stop the growth in unpopularity that it has created over the last few years. Introduction In this report the Sony xperaplay smart phone will be critically analysed in terms of its market segmentation, current objectives, the market it targets, Sony occupies an irreplaceable position in the gaming world, and its subsidiary, Sony Ericsson, also has strong competitiveness in the mobile phone industry. Sony combined mobile techniques with their own gaming technology, which created the Sony Ericson Xperia Play. Xperia Play is a mobile phone with incredible game function which is targeted at young adults and gamers, and has a good reputation within the customers. The marketing strategy that was implemented has directly targeted a specific market, young adults. As a result of this it has made the product have a fairly subjective target market which Sony can seek to increase potential target market by repositioning the Xpera Play phone towards a younger audience. This campaign will reposition it to focus on tweens. Situational Analysis Sony Ericson currently targets older teenagers through to young adults for its mobile phone. But it seems that the mobile phone is lost within this market as the market share the xperiaplay holds compared to many other smart phones in this market is very small, Even thou Sony Ericson is a well known and well respected brand. The drop is caused due to the fact that Sony have been targeting the wrong market. Company Analysis The marketing decision makers for Sony Ericson are the Senior Brand Marketing Manager. Sony Ericson has not been consistent in promotional activities for its mobile phones. Mostly the brand focuses on trying to hold its premium image with marketing mostly focusing on its premium range of smart phones. This has reflected in its sales, it has made consecutive losses since 2010. The most likely reason for its lack of successful campaigns is the lack of resources dedicated to designing and implementing campaigns to attract the right target audience, which is why the company continues to make losses and lose market share. PESTL Analysis Political Proposed legislation such as the carbon tax which will raise prices of shipping. Many businesses have had to raise the cost of their products to make a profit. Also this tax affects outlet stores in terms of electricity charges, which will again raise the prices of mobile phones as business tend to pass on the cost to consumers rather than bearing it themselves. Economic While the global financial crisis has affected a plethora of industries, The Australian economy has remained relatively strong with per capita households spending an average of $40000 (CIA 2010). Despite this consumers have cut back on spending, specifically on items such as food, entertainment, clothing, cars and mobile phones. Ergo the economy is slowing down because consumers are not spending enough money; This affects the sales of mobile phones majority because consumers are not spending enough money on replacing or updating their mobile phones or on entertainment. Also another economic factor is the high Aussie dollar causes imports to be cheaper because countries such as china which manufacture the product have a low rate currency. This means that the companies are able to import more products for a lower price. Socio-cultural Recent consumer trends within the gaming product market are driving a new theme of product innovation. Today’s society tends to be busy and on-the-move and want to increase their leisure time at their own discretion. To meet the needs of consumers, companies are innovating gaming products making it more mobile. In addition the functionality of the multiplayer platform has created a whole new range of social aspects where consumers are able to interact with each other. Technology Technology can be utilized as an advantage within the industry as it provides the ability to design and create new products and expand or promote to specific target markets via interacting with consumers on an online basis. Technology has allowed the ability of online shopping as consumers are leaning towards this option as the most popular option of shopping. The internet has opened up a whole new market with the use of social media networks and websites companies can easily target a global target market. As the rate of technology is increasing consumers are able to communicate with each other on a social multiplayer platform where content may be purchased online and downloaded straight to their device. Legal Sony company has always been one of the main victims of the piracy in game industry. The characteristics of this phone are powerful game function, but it also made it easy to create pirating games. Compared with Sony’s genuine products, pirated products have a huge price advantage, the fact that they are mostly free, and this does attract a lot of people try to obtain these game products illegally, and that is the reason Sony has to use the Copyright law to protect their game products, so their game products can make a maximum profit Rating System for games is required, Users are able to download a lot of games to this phone through the network, according to the Rating System, which these games have to limit the players from downloading content not suited to their age. This is needed to protect kids from Violence and pornography. SWOT Analysis Strengths Remains as a one of the kind device that could become a big hit Not many phones competing in the same category Tactile buttons provide more immersive gaming experience Delivering console quality games Designed portable gaming in mind Include a game pad with input controls and interface recognizable to hardcore gamers. Multi touch gadget powered by Android Gingerbread is one of best versions of Android OS†¦ Weakness’s Release of two more phones from the Xperia line during the same time Not many people buy just for gaming purposes Touch screen gaming controls are not as responsive and precise Suffer key hardware limitations Lacks 4G LTE, HDMI port Touch sensitive circle are not as responsive and don’t replace the precision of actual joysticks Touch sensitive circles are just not as responsive as we would like, and do not replace actual joysticks. Android games don’t support the controller buttons No backups for downloaded games/ purchased games CPU AND GUP not the best Display has poor viewing angles No smart dialing and shutter key†¦ Opportunities A new open market Parent company Sony owns EA and many other gaming companies games can be adapted to be able to be played on the xperia Can earn a lot of revenue from game purchases and applications Better quality Games compared to other phones Exceptional online experience to grow a customer base Strong customer demand High percentage of young adult market High disposable income in rising market Threats Chain stores not wanting to stock a new niche mobile phone independent stores not wanting to store Sony Ericsson phones Retail stores wanting bigger discounts to sell phone because of popularity of competitors models Competitor products such as iphone, htc, Motorola Aussie dollar going back down Retail stores having preferred suppliers or contracted with particular suppliers and having a non compete Competitors copying the innovation of PSP phone and supplying at a cheaper price Fully fledged gaming devices such as DS Objectives Mission Statement Sony Ericson mission statement: â€Å"To provide quality end to end communications services to both retail and small to medium corporate customers† and â€Å"To give them the most help we ever can in the most professional way†. Market Objectives Maintain and increase sales in specific target market. Advance and open up new market for kids and teenagers. Increase the brand awareness among the target market; to measure this objective, the organization will conduct interviewer-led surveys in shopping centers or on the street every three months. Increase the brand share by 1% within two years, which will be confirmed by periodically checking the brand share chart for growth indication. Establish multi-channel retail practice, especially focusing on internet retail, to expand sales. Adapt and respond to the wide consumer needs of products. Sales objectives Increase sales by 15% in first year. Increase sales by 30% over three years. Increase market share to 20% of the total target market segment within three years. Communication objectives Set up feedback section for Xplay on website Increasing Feedback questionnaire response rates Competition There are 100’s of companies which make thousands of mobiles phones. Which break down further into smart phones and non smart phones. This makes the mobile phone market very competitive. The average price of mobile phones in Australia range between $300 and $800. Sony Ericson phones tend to price in the premium range with their mobile phones ranging from 700 – 900 AUD, Which limits the retail segment for Sony Ericson even further. The main competitor for Sony Ericson is the Iphone, as it has the largest share market of any phone. A selection of the primary target market competitors is found in table 1. A secondary group of target can be found in figure 1.They are secondary only because of they are not as used as the primary competitors and others do not compete in the mobile phone market but in the game market. These are still considered competitors due to the type of phones Sony Ericson make which has a heavy focus on gaming. Primary Secondary Iphone Alcatel Samsung Blackberry Nokia Amoi HTC Sonim LG Playstation Portable Motorola Nintendo DS Competitive Advantage Sony Ericson currently is the only brand that is making a mobile phone combined with a portable gaming device. Sony Ericson mobile phones are made by Sony which is a multinational company owning many companies in many areas. Including gaming, Sony owns EA, one of the leading gaming brands in the world. Sony Ericson is one of the most well known mobile phone brands in the world. Sony Ericson has innovative designs and materials, which is appealing to the target market. Customer Analysis Even though the product is a smart phone, price is a major factor for the Australian consumer. The primary consumer is primarily young in age, and they demand value for money at a competitive price. The product must also fulfil their everyday needs. The other factors that are important to the consumer are quality, comfort, function, style, design, speed, image, status, power, and functionality, variety of apps and games and durability. Target market Segmentation and Positioning Profile market segments Geographic segmentation People can purchase the Xperia play anywhere in the world. Entire Australia will be the target market for this product, but mainly focuses on the three biggest cities, Sydney, Melbourne and Brisbane. Demographic segmentation Xperica Play targets this product for Tweens age between 12 to 15. Generally young people do not have a high income they may have to persuade parents to purchase this product. Psychographic segmentation These days’ young people are experiencing a rapid lifestyle which leads them to save time including spending time to play games. The sales potential for this specific product is high as little kids enjoy playing video games and interact with their school friends. Targeting Tweens (12 – 15) The sales potential for this specific market is high as little kids enjoy playing video games and with this product they are able to interact with their school friends. Tweens will be able use the ability of pester power to allow their parents to purchase the Xperia Play for them. There for the price of the product may be moderate as they consumers parents have the income to pay for the expenses. There is also a large market share as tweens receive their first phone and they will be influenced by the video game functions. Young Adults (16 – 25) The sales potential is for this specific market is high as the age group has a moderate income and will be likely paying for their own expenses therefore they will be able to make their own decisions on what product to purchase. The cost structure can be moderate as they will have sufficient funds to pay for the Xperia Play. The Market share for this market is high as the consumers are able to purchase their own applications at their discretion. Other 26+ The sales potential for this specific market is fairly low as the age group has inadequate time to pursue the leisure activity of gaming. Although this market may have greater income the phone may not have the functionality that this market is looking for. The competitive situation is not that good as this market may be looking for a product that provides better communication functions opposed to video game functions. Select Target Segments Tweens of the ages of 12 – 15 tend to have a large amount of leisure time; the large majority enjoys new technology. The specific Target market locations will be in Australian located in the major cities. The use of Pester Power amongst tweens may persuade parents to purchase this product increasing total sales. Tweens tend to be more social, opposed to older generations because they have more free time available, Tweens have the opportunity to react with each other, and this can be an opportunity to allow the consumers to utilize the multiplayer functions leading to multiple purchases by peers increasing the total revenue. Xperia play will attract the target market with the phones functionalities, lower price range as the target may have lower income, social benefits and essentially the video games. After careful analysis and evaluation, the target market segment chosen will offer the greatest potential for the product and consumers. It provides maximum sales potential increasing the sales revenue and total market share, and will have a competitive advantage within the young audience. Positioning The Sony Xperia play will undertake a market positioning strategy where the target market will perceive a valuable offering in relation to competitors. The experience that the Xperia can provide is of a fun nature opposed to a professional business nature as a fundamental aspect is the slide out gaming functionality. The phone has a very innovative design and functions; the price of the phone will be of a moderate price as the target market chosen tend to go for the cheaper options. Although the price of the mobile phone may not be expensive, a high quality must be met as customer generated media can play a vital role in the decision making process of consumers. The service that will be provided is comprehensive; it has a specific market where owners of an Xperia Play are able to purchase and download various games and applications which will be of high convenience in regards to the user’s discretion. Following these set of attributes will help position the Xperia play to the assigned target market and provide a competitive advantage in relation to other products. The target market segments will perceive this product as the dominant offering. Product Xperia Play is a gaming mobile phone with incredible function which is targeted at young adults (age 12 to 15) and gamers. The phone has a very innovative design and functions; the price of the phone will be of a moderate price as the target market chosen tend to go for the cheaper options. Brand name highly impact on the target market due to the variety of good quality related with technology. Sony’s slogan is meant to make people smile, so it tried to design mobiles like Xperia Play to deliver the Sony’s purpose. Sony encourages their customers to buy this mobile phone by giving guarantee for their high quality products. Place Mobile phones will be sold through online retail stores, big Australian retail stores such as JB HIFI, etc, as well as smaller retail stores, Telco’s such as Telstra, Optus etc online store as well as retail stores, Stores specializing in mobile phones such as crazy johns, all phones etc, Sony Ericson’s own retail stores and its online website, department stores and Technology stores. The opportunity exists to expand the distribution network in all areas listed. However the main outlets to target are Telco’s as this is the first stop where consumers go to buy mobile phones, the second would be bigger retail stores such as JB HIFI as they have a larger customer base and the ability to attract more customers, the third main outlet to target would be specialized mobile phone stores such as crazy johns and all phones as they constantly are advertising and attracting new customers as their main focus is mobile devices, these outlets must be targeted throughout Australia. A selection distribution policy will be undertaken for the Sony Ericson mobile phone range, the main focus will be on customers mainly tweens who have not owned a smart phone before and are upgrading to one, but the priority will remain with tweens who enjoy gaming. Price The Sony Xperia play phone ensures that a high standard of quality is present whilst having an appropriate selling price that is both beneficial for the company and contains a positive perceived value towards the customers. The mobile phone will be introduced through mobile phone service companies and their plans with additional costs, such as Telstra, Vodafone, Optus etc, and will provide a range of packages and discounts to create a satisfying option for the consumers. As consumers are aware of various other phones and deals that are arising within the market a mid-to-low price range that is competitive in relation to other phones will be evident, as it also relates to the target market of tweens. In addition various pricing policies will be needed according to different functionality of the device such as memory which can relate to a variety of customer’s needs. The price that is chosen will allow the company to maximize their benefits as well as customer satisfaction, the price may be reduced to allow for a competitive advantage and the revenue will be received through the use of the phones applications and video games designed specifically for the phone that may be purchased on the online market. Promotion The phone appears on Sony Ericsson’s official website as well as some mobile phone retailers’ Web sites, so re-set up a special introduction is necessary, set up some special entertainment features on the official website of the Xperia play, such as virtual phone system experience, the online game demos, in order to improve user interaction. Television Xperia play will spend $100,000 on television advertisements during peak times where tweens would be watching TV, this is justified as tweens spend on average about 35% of their time watching television, The time that is most suitable is before and after school, on such television channels featuring cartoons and such television shows such as The Shak, Total Girl, Toasted TV etc. The advertisement will be relative to the target market as they are presented during the specific time. Printed Media Xperia play will be promoted through magazines considering that tweens are the second largest market for magazines having a market share of 50%. Magazines such as K-zone, total girl, KIDS, M.A.D. will be sold with vouchers for the Play station network. When purchasing these particular style of magazines usually they customer will receive promotional items, therefore there will be available game demos within the magazine. Public Transport Various imagery of posters will be placed on public transport on specific bus routes located around the streets of primary schools. This will allow maximum awareness throughout the target market of tweens as they will be exposed to the media on buses trains and bus stops. Official website and Forums Gaming forums are popular amongst tweens due to the fact that they can provide information regarding the video games such as hints, cheats and walkthrough guides. The Xperia Play will be implemented throughout these particular websites containing imagery and videos related to the xperia play and contain various reviews. Consumers will be able to gain information about the xperia play and its applications, registered accounts will also receive weekly emails offering a range of discounts and download vouchers Evaluation and Control – Campaign evaluation is a critical component of the plan as is the justification for the overall effectiveness of the campaign in the core areas. There are a range of factors that can determine the effectiveness of a marketing plan as shown in figure 3, such as: ï‚ · Brand awareness – this will be achieved through surveys of the awareness of mobile phone brands on consumers ï‚ · Consumer attitudes – this can be achieved through surveys done on the general public in regards to Sony Ericson and if they’re brand is a good or bad brand. ï‚ · Test promotion activities – this can be achieved through evaluating if sales are on an upward trend as well as brand awareness since the launch of the plan ï‚ · Review marketing mix – this can be achieved through evaluating sales and profit to see if they have gone up, it means the marketing mix is effective ï‚ · Sales review – this can be achieved through evaluating sales to see if they have gone up, it means the marketing mix is effective ï‚ · Profit review – this can be achieved through evaluating profit to see if they have gone up, it means the marketing mix is effective ï‚ · Review company objectives reviews – this can be achieved through evaluating the entire marketing plan to see if it has been effective in achieving the original objective if not it has to be altered. ï‚ · Market share – this will be achieved through surveys on websites such as Facebook etc. of what brand of mobile phone individuals own. Figure 3 The marketing team will approach various kids’ magazines and the Sunday mail. Websites The Management team will contact various gaming websites in order to promote the product throughout their sites The website development team will edit the website to allow consumers to gain relative information. Public Transport The Marketing team will contact Translink in order to allow the approval of promotional items suitable posters will be placed at public transport areas Television advertisement The Marketing team will gather various information on the most appropriate times to view advertisements for the specific product, it will allow maximum brand awareness to the target market Bundle Pack The Management team will contact various mobile phone service companies and give acknowledgement of specific offers In store Testing The Management team will ship out testing devices to mobile phone service companies so that consumers are able to experience the device Evaluate campaign The main managers and CEO will go through intense analysis of the situation to evaluation every aspect of the marketing plan in order to provide additional help where needed to ensure that the objectives are met by the deadline. Conclusion/ Recommendation This report set outs the marketing plan for the Sony Xperia play mobile phone in Australia. As outlined in the report, the target market consists of the target market of tweens that are aged from 12 to 15. The sales objective was to increase sales by 15% within the first year and 30% within three years and increases the market share by 20% over three years. The main marketing objectives are to main and increase sales within the specific target market of tweens and increase the total brand awareness. Essentially the Xperia play will be reposition to adapt and respond to a wide consumer need of products. Promotion activities will include magazine, newspaper, websites, Public Transport areas, Television advertisements and mobile phone bundle packs References ^ The Definition of Marketing. American Marketing Association.http://www.marketingpower.com/AboutAMA/Pages/DefinitionofMarketing.aspx. Retrieved 2011-04-04. Approved by the AMA Board of Directors in October 2007, the Marketing Accountability Standards Board (MASB) endorses this definition as part of its ongoing Common Language: Marketing Activities and Metrics Project. Principles of marketing (5th ed.). Kotler, Philip; Gary Armstrong, Veronica Wong, John Saunders (2010). â€Å"Marketing defined†. .). p. 7. Retrieved 2009-10-23. â€Å"Definition of marketing†. Chartered Institute of Marketing. Retrieved 2009-10-30. International Marketing: Modern and Classic Papers (1st ed.). Paliwoda, Stanley J.; John K. Ryans. â€Å"Back to first principles†. p. 25. Retrieved 2009-10-15. A Framework for Marketing Management (4th ed.). Pearson Prentice Hall. 2009.ISBN 0-13-602660-5. View as multi-pages

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Through the London exhibition of this work, its decorative motifs spread into what we now know were the beginnings of the Art Deco movement. It also had a strong influence on the resurgence of Art Deco designs in 1970’s home decorations and furnishings. The paper will be split into two main sections, with the first section looking at the general influence of Egyptian design on Art Deco design. The second section will then look at specific examples of designs and designers to support the claims of Egyptian influence on Art Deco design through the artefacts of the Tutankhamen exhibition. Firstly, though, it is worth mentioning a brief history of how Egyptian design began to influence modern design, particularly in the Western world. It was in the 18th century that Egyptian design first became fashionable for furnishing within British homes, mainly through the influence of Italian design at the time. This is when obviously Egyptian items were being used as designs within homes, including obelisks and sphinxes. As Western society learnt more about Egypt through the decipherment of the Rosetta Stone, the opening of the Suez Canal and an exhibition of Egyptian artefacts by Belzoni in 1821, the trend for Egyptian design as a fashion continued throughout the 19th century and into the early 20th century.[2] However, during this time much of the Egyptian designs were limited to copies or replicas of large, visible artefacts of Egypt. It was not until the discovery of the tomb of Tutankhamen in 1922 that the styling of Egyptian design began to really influence modern design. The artefacts in Tutankhamen’s tomb were of amazing quality and style, and it is these artefacts that inspired the Art Deco movement. Examples first appeared in architecture such as the Hoover Building in London in 1931/32, which is still around today. Many other aspects of design from this period such as furniture, jewellery, and even clothing were influenced by Egyptian design. However, it was the Art Deco movement that took Egyptian motifs and designs and used them in a different way, rather than exactly copying or reproducing existing designs. [3] The artefacts of Tutankhamen again had an influence on design in the 1970’s as they were exhibited in London. This sparked a renewed interest in Egyptian design and again clothing, furnishing and decorations were created in an Egyptian style. The next section of the paper will look at the general design similarities between Egyptian design, particularly the Tutankhamen artefacts, and the Art Deco movement. Influence of Egyptian Motifs on Art Deco At first glance, the obvious similarity between Egyptian design as seen in Tutankhamen’s tomb and Art Deco design is the use of decoration to cover as many different surfaces as possible. Egyptian designs were highly decorative, and this was a huge influence on the Art Deco movement that used decorative patterns and design elements wherever there was space to do so. [4] However, the term Art Deco itself was not coined until the 1960’s, and in the 1920’s and 1930’s the movement which is later known as Art Deco was more concerned with mixing the glamour of Hollywood with the mystical and spiritual designs of ancient cultures such as Mayan and Egyptian. The concept of Art Deco was to do with forms, shapes and geometric lines which signified the rise of the machine age, the aeroplane and the automobile. However, they also mimicked the geometric patterns found in Egyptian design and hieroglyphs.[5] As 1930’s Britain and America were reaching a more advanced stage than modern society had ever achieved, the style of Art Deco paid homage to this through its use of the Egyptian motifs – the motifs of the ‘pinnacle’ of ancient society. The influence from Egyptian design also had to do with a fascination for the primitive and the primeval of ancient times. The influence of the Tutankhamen artefacts can be seen in the adoption of pharaonic imagery in Art Deco, such as scarabs and cats.[6] An article in Harpers Bazaar in 1928 showed this influence directly by showing women’s accessories of the time against profiled heads of Egyptian females.[7] There was a very clear influence from Egyptian design on the Art Deco architecture in cities like London and particularly Manhattan in the 1930’s. Symbolically, the beginning of the era of skyscrapers is like the looming of the ancient Pyramids. There is a certain sense of mystery in such powerful and dominating structures, and this was certainly part of the Egyptian influence on Art Deco architecture at the time.[8] Other designs in Europe more showed more direct influence from Egyptian design, with pyramid style apartments and buildings being planned in London, New York and Paris as a sign of luxury and sophistication.[9] Hybridism is another area where Egyptian design has influenced Art Deco. Egyptian design was based upon a mix of traditional and contemporary styles, and mixed decorative style with function and purpose. Art Deco also did this by mixing not only Egyptian styles but the styles of other ancient cultures as well as the functionality and precision of modern design.[10] Whilst Egyptian design was a hybrid of designs from the cultures and peoples that were dominated by the ancient Egyptians, so Art Deco was a mixture of the traditional and the modern from all over the world. Egyptian design was also important as a social influence on Art Deco, because the discovery of Tutankhamen and the tomb’s wonderful artefacts represented a time when luxury, mysticism and a ‘golden age’ were occurring. During the 1920’s and 1930’s people were still recovering from the ravages of the First World War, and they wanted to move away from those times of hardship into a new era of peace, fashion and decadence. Egyptian design was a perfect representation of such an era, and this is another reason why the Art Deco designs of the time incorporated Egyptian motifs.[11] The geometric patterns of Art Deco however are perhaps the main focus of the movement’s aesthetic, and came not only from Egyptian design influences but from the influences of Cubism. It was the geometric patterns of Cubism mixed with the decorative aesthetic of Egyptian design that influenced much of the European and American movements of Art Deco during the 1920’s and the 1930’s.[12] A further design aspect of Art Deco influenced by the Egyptian, or at least the perception of Egyptian, design was the concept of feminine style. The 1920’s and the 1930’s were the start of a new era for feminine style after the austere fashions of the early 1900’s. Egypt, with its female gods and female ruling figures, is seen as a barometer of classic feminine elegance and style. Therefore, many of the fashion styles and interpretations of Egypt at the time were based on this idea of femininity. Nowhere can this be better seen than in the 1930’s film version of the story of Cleopatra, where Cleopatra is played by Claudette Colbert. The movie was made on the back of the popularity of Egyptian-inspired Art Deco, or ‘Nile Style’ as it was sometimes referred to in Hollywood circles. Colbert’s image as Cleopatra was far more about current Art Deco style than historic recreation of Egyptian design.[13] She even advertised her hair in a curled ‘Egyptian’ style and endorsed Cleopatra Egyptian-inspired dresses and gowns like those shown in the movie. Even the physical feminine style for women at the time of being tall and thin was similar to historical records of the feminine style preferred in ancient Egypt. Her costumes in the film were influenced by those historically recorded for Isis. Below is an example of this style, showing the influence of Egyptian style on Art Deco even in contemporary movie-making of the time. This may have been a film based on an Egyptian story, but Colbert was known for wearing modern styles even in such movies and this is reflected in the Art Deco Egyptian dress worn. Colbert’s Art Deco Cleopatra Look[14] The Art Deco movement’s use of Egyptian motifs and design was certainly launched fully by the discovery of Tutankhamen’s tomb in 1922, and this set off the recreation and interpretation of Egyptian artefacts and design in almost all areas of art and design. This ranged from costumes such as those designed by Sonia Delaunay, the Egyptian Theatre by Grauman and the biscuit tins of Huntley and Palmer. Some of these designs will be examined more closely in the next section of the essay. What all of these designs share is the sense of decadence, elegance and sophistication that people craved during this era and was expressed through the use of Egyptian motifs.[15] Art Deco architecture was influenced by Egyptian architectural techniques in that it places a certain importance on aesthetics as well as functionality. This makes the architecture closer in some ways to painting or art rather than merely the design of buildings. Art Deco buildings like the Egyptian buildings were highly functional, but not at the cost of style and decoration.[16] Jewellery of the Art Deco period was also greatly influenced by Egyptian design as well. The fascination with Egyptian culture meant that artefacts from Tutankhamen’s tomb were reproduced or at the very least elements of their design were used for highly sought after jewellery pieces. Although Egyptian motifs had been used before this time, this was the first time that they were used to such an extent in modern, fashionable design. Van Cleef and Arpels in Paris set tiny Egyptian figures in coloured stones into a diamond background, and Cartier designed Egyptian-inspired clocks. A heavy use of previous metals such as platinum and gold as well as diamonds became more popular, inspired by the hugely elaborate and stunning gold pieces found in the tomb. However, this type of jewellery became less popular after the 1929 Wall Street crash and cheaper materials were again used.[17] However, not all of the Art Deco movement was influenced so heavily by Egyptian design. The Art Deco movement in Paris was influenced more by the visit of the Russian ballet and the aesthetics that came with their performance. However, in London and New York the scenes, particularly architecture and interior decoration were highly influenced by Egyptian design.[18] However, towards the end of the 1930’s the style started to become less fashionable, and tastes changed. The Art Deco movement though would be revived in Britain in the 1960’s and 1970’s, again when it was heavily influenced by the arrival of the London exhibition of the Tutankhamen artefacts. The first stirrings of the Art Deco revival in London were through retail styles of stores like Biba in Kensington. The ceramic designs of Clarice Cliff were still in high demand, and even the headquarters of MI6 has a number of Art Deco touches in terms of detail and symmetry. [19] However, it was the arrival of the Tutankhamen exhibition in London in 1972 that again sparked a revival of Egyptian-inspired Art Deco style. The sheer excitement and opulence of the exhibition of these world famous treasures meant that Egyptian design once again became fashionable. The exhibition attracted around 1.7 million viewers in its year run and inspired the revival of the Egyptian inspired Art Deco movement that is sometimes referred to as ‘Egyptian Revival Art’.[20] This revival of the Art Deco was also a response to Modernism that had deemed Art Deco too decadent and had replaced the decoration with ‘cleaner’ looks. The Postmodernist architecture and design began to pay homage to the decorative excesses of Art Deco and ornate jewellery, ostentatious sports cars and lacquered furniture once again moved design back towards a more decorative aesthetic.[21] It was almost as if the arrival of the Tutankhamen exhibition sparked a remembrance of the Art Deco style, and this created the first real collecting phase of Art Deco in the UK. Exhibitions and retrospectives began to flourish and the movement was looked at again in a new light. It once again became fashionable as celebrities such as Elton John and Barbra Streisand began to collect Art Deco pieces. [22] We have seen in this section how Egyptian motifs were one of the key elements in the Art Deco movement in the 1920’s. The real spark of inspiration came with the discovery of the tomb of Tutankhamen by Howard Carter in 1922. The decadence and decorative appeal of the artefacts in this tomb appealed to the tastes and fashions of the time and became imbedded in the Art Deco movement. The architecture of New York and London during this period is highly influenced by Egyptian motifs, as well as the furnishings, fashion and art. Although the movement was replaced by Modernism in the 1940’s, the arrival of the Tutankhamen exhibition in London in 1972 once again created a demand for Art Deco designs that were inspired by Egyptian motifs. The next section of this paper will examine some of the key examples of Egyptian motifs within Art Deco design in the 1920’s/30’s and the 1970’s in Britain and how they are inspired by the artefacts found in Tutankhamen’s tomb. Examples of Egyptian Motifs in Art Deco Fashion and Interiors The Egyptian motifs appeared in Art Deco in the 1920’s and 1930’s most prominently in the architecture of Britain and America. In Britain, perhaps the best surviving example of this Egyptian inspiration in Art Deco is the Hoover Building in Perivale.[23] Other good examples still to be seen in London are The Daily Telegraph Building designed by Ernest Elcock (1928-1931). This building has huge, bulging Egyptian columns. Another building of the same era is the Carreras Building in Camden which features an imposing Egyptian colonnade. [24] The Carreras Building is influenced by the Temple of Bubastis, the cat-headed goddess. It had a sense of spaciousness and light to match the mystical feeling of the ancient temple, and was adorned with a wide variety of Egyptian motifs and designs.[25] In America one of the earliest examples was the Egyptian Theatre (1922) by Sid Grauman. However, many of the skyscrapers in New York built during this era have some Egyptian influence – even the famous Empire State Building with its needle-like point and angular edges similar to many of the ‘needles’ found in Ancient Egypt.[26] The rebuilding of San Francisco after the terrible 1906 earthquake was masterminded by Timothy Pfleuger. He built a number of Art Deco buildings including the Castro Theatre and the Telephone Building. Pfleuger mixed all types of ancient cultural influences into his decorative works including Egyptian and Mayan motifs.[27] Interior design was also influenced by the Egyptian motifs from Tutankhamen’s tomb. The Harrods Egyptian escalator hall in London may not be the best example of Art Deco, but it shows how the influence of Egyptian design continues even as art movements change. The designer, William George Mitchell said that he wanted the â€Å"staircase to be a walk-in sculpture, a journey from the Lower Nile to the Upper Nile.†[28] It is also clear that the areas where Art Deco was most prevalent tend to have the most examples of Egyptianized architecture. London has some, but the Art Deco movement was more prevalent in New York and this is where the largest concentration of Egyptianized buildings is located. The influences of Egyptian design could even be seen in the writings of famous literary minds of the time. F. Scott Fitzgerald begins one of his most famous short stories known as ‘May Day’ with a sort of Mock Arabian introduction of how New York will be reborn for the Art Deco. It establishes the importance of exoticism within Art Deco, which is certainly something that Egyptian design can add to the mix.[29] This exoticism can be seen in the jewellery of the time, particularly the high-aesthetics of Cartier. As Bracewell discusses an exhibition at the Victoria and Albert museum on Art Deco, a 1925 vanity case is mentioned as an example of this Egyptian-inspiration in Art Deco. The vanity case is the shape of a sarcophagus, and illustrates the exotic luxury that is synonymous with Egyptian designs in Art Deco pieces. The catalogue option for the vanity case reads as a veritable plethora of luxurious materials and decorative design – Gold, platinum, carved bone, sapphires, emeralds, diamonds, onyxes and enamel; interior with folding mirror, tortoiseshell comb, lipstick holder and cigarette compartment.[30] The Cartier jewellery epitomised both the visual design aspects of Egyptian design in Art Deco, but also the ethos and ideals of the Art Deco movement. The jewellery was decadent, but because it harkened back to the past and primeval culture it was not ostentatious in the same way as the Art Nouveau movement before it. The Cartier brand and its use of precious materials using modern lines, but combined with ancient motifs and symbols, shows the glamour and escapism that Art Deco was trying to create.[31] The furnishings of the time were also examples of the almost Pharoah-esque aesthetics of the Art Deco movement. Two houses in England – Coleton Fishacre and Courthauld house – are excellent examples of the use of luxurious fabrics and different textured materials within Art Deco interior design. The influence from Egyptian design is less obvious here, and is more to do with the luxurious fabrics and importance of aesthetics that are stylistically similar to the ancient Egyptian palatial interiors. Both use clean lines mixed with good colours, sensitive lighting and textured materials to create a tactile environment. The interior of Coleton Fishacre was designed by Basil Ionides, who invoked a Jazz Age feel in the house. Dining rooms contained Lalique lights, and ornate iron framed furnishings. The sea-blue tabletop was clearly influenced by the colours within the Tutankhamen tomb. [32] The initial movement of Art Deco was certainly geared towards the upper classes and incorporated not only the influences from the Tutankhamen tomb but also the improvements in transport technologies and communication. This brought new and exotic materials to the market such as ebony, shark skin, mother of pearl, lacquer and tropical woods. This allowed for experimentation with new and exciting materials, but still paying tribute to the traditional and ancient cultures where they came from. The Egyptian influence was just one of these influences, although perhaps the most striking of all thanks to the artefacts found and the decorative beauty of the items in the tomb. The rise in consumerism reflected the dawning of a new and wonderful age, and so it was only natural that elements of previously successful and respected societies would be included in design. With no society more famed and revered in the ancient world than Ancient Egypt this meant the design elements crept into many of the styles of age including the Chrysler Building by William Van Alen (1927-1930). Just as the pyramids of ancient times were engineering wonders that looked like they could not be built by the hands of humans, the modern skyscrapers of the 1920’s and 1930’s were designed to look like they were made by machines, with their huge heights and angular structures.[33] However, the movement changed somewhat in the later era of Art Deco and the revival in the 1970’s, where again ‘Tutmania’ took over and the demand from the masses for Egyptian inspired design meant that mass production techniques and cheaper materials were now used and the focus was less on luxury and more on the motifs and exoticism of Egyptian design. The designs became more like reproductions of Egyptian designs than inspirations within a distinct movement. Fashion throughout the Art Deco period though was perhaps one of the most heavily influenced areas of design. Delaunay was one such fashion designer of the Art Deco period who was influenced by Egyptian designs. She had always incorporated different styles into her work, including influences from Fauvism, Cubism and ethnic trends. Her career saw her develop from a painter to a designer, and it was in her capacity as a designer that she was involved in costumes for Diaghilev’s version of Cleopatra (1917). Many of the costumes for dancers of this production could not be full recreations of Egyptian clothing, but instead were Art Deco pieces that hinted at Egyptian motifs through the scarves and other accessories for the costumes.[34] However, it must also be shown that there were a number of designers within the Art Deco movement influenced by other designs. Clarice Cliff marked her Art Deco with different ethnic designs, but was perhaps most famous for her use of bold colours and Cubist designs. Although there are certainly some Egyptian influences in Cliff’s work, it was her hybridity and blending of styles in pottery that made her a success in the late Art Deco period, and still makes her work sought-after today. Cliff mixed themes from the Jazz Age and exotic elements of different ethnic cultures with elements of De Stijl and Cubism to create Art Deco pottery that was influenced by everything yet looked like none of the individual influences. The items she created were meant as household items and used materials that were less expensive than the opulence associated with the earlier Art Deco period. However, the concept of hybridity is certainly an idealistic homage to the hybridity seen within the great and Ancient Empires such as the rule of the Egyptians. Their culture mixed together all of the cultures they had observed and the knowledge they had learnt, which was evident in their beautiful but elaborate designs. Cliff’s design mimics this with its use of hybridity, and whilst visually there are few influences in Cliff’s work to Egyptian design, her use of Art Deco hybridity is indirectly influenced by the hybridity of Egyptian design. [35] Virtually all of the major Art Deco designs have some influence from Egyptian design, either through their visual aspects such as Egyptian motifs or through the ideals of hybridity, exoticism, decoration and aesthetics. The designers that have been looked at in this section give a glimpse at both the visual influence of Egyptian design on Art Deco design as well as the idealistic influence. From the deep-sea blues of the table at Coleton Fishacre to the bejewelled sarcophagus-shaped case created by Cartier, Art Deco owes a great deal of its stylistic and visual appeal to Egyptian Design. This is most evident in large cities such as London and New York where the giant architectural monoliths carry the motifs and flourishes of Egyptian design. Whilst Egyptian design was popular before the Art Deco movement, it was the discovery of Tutankhamen’s tomb in 1922 that really influenced the movement. The artefacts found in this collection were so mesmerising and unlike anything seen before that their style was sought-after as an escape from the previous designs of the late 19th century and early 20th century. This link to Egyptian design is not only in the visual aspects but in this ideal of luxury, exoticism and hybridity that epitomises Art Deco. The next section will conclude the paper, and look at the main points of similarity and influence between Egyptian design and Art Deco, and how this is particularly linked to the Tutankhamen artefacts. Conclusion Art Deco’s goal was to break away from the Art Nouveau of the 19th century and break the rule of not paying tribute to past styles, whilst still looking forward. Art Deco did this by looking at truly ancient motifs and styles from Egypt that was at once primeval and dazzlingly modern because of the distance of time between the modern era and the ancient era.[36] The need to move away from the horrors of the First World War and embrace and new, elegant and decadent present meant that the 1920’s were a place where decorative design took precedence. However, it was the discovery of Tutankhamen’s tomb in 1922 by Howard Carter that really caught the imagination of the public and pushed Egyptian design as a major influence for the Art Deco movement. Although the term Art Deco was not coined until the 1960’s[37], the influences of Egyptian design on the movement in the 1920’s and 1930’s can be seen throughout all aspects of design at this time. The Art Deco architecture of New York and London was heavily influenced by Egyptian motifs including the pyramid shapes, the decorative interiors and exteriors and the sheer size and dominating presence of the buildings themselves. The design aspects of furnishings, jewellery and even fashion were influenced by Egyptian design during the Art Deco period. The two styles have similarities in concept and meaning as well as visual appearance, with both styles being a synergy of different styles and techniques from the past and the present. This is why the influence of Egyptian design within Art Deco is so far reaching, with all the different materials and types of design being used in this movement. Also, both movements place the bulk of importance upon decorative aesthetics, with function important but not at the cost of decoration. The use of precious metals, frequent and multiple design elements and geometric designs also match. Even the ideas of femininity were fairly similar as can be seen through Hollywood movies of the time and their use of sleek, tall women wearing clothes that enhanced their appeal as ‘Goddesses’ or powerful, mysterious women. The movement was replaced by modernism in the 1940’s, but it was once again revived in the UK in the 1970’s with the arrival of the London exhibition of the Tutankhamen artefacts. Egyptian-inspired furnishings, decorations, jewellery and fashion became popular, and this era is often dubbed as the ‘Egyptian Revival Movement’. It coincided with a renewed interest in Art Deco, and shows the deep links between the Art Deco movement and Egyptian design not only in visual similarity but in design ideals and principles. In conclusion, the influence of Egyptian design on Art Deco both in the 1920’s/1930’s and the 1970’s was significant, constituting not only a visual influence on the movement but a stylistic and symbolic significance. Although Art Deco’s primary style of geometric patterns and lines was perhaps more heavily influenced by Cubism, the decorative aesthetics of Egyptian design brought many of the design aspects and motifs that we associate with the Art Deco movement. Bibliography 20TH CENTURY LONDON. (2008) Art Deco Style. (Online). Available at: http://www.20thcenturylondon.org.uk/server.php?show=conInformationRecord.72 (Accessed 25th October 2008). BINNEY, M. (2007) Vibrant motifs from the old world found new life in Art Deco. The Times, November 15th, 2007. Available at: http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/specials/tutankhamun/article2864301.ece BRACEWELL, M. (2003) Another Time, Another Place. New Statesman, 132(4631), p. 38+. CHILVERS, I. (1999) A Dictionary of Twentieth-Century Art, Oxford, Oxford University Press. CLOUZOT, H. (1997) Art Deco Decorative Ironwork, Courier Dover Publications. CONDON, S. (2007) How Hollywood manipulates history through costume, University of Portsmouth Dissertation. Available at: http://dissertations.port.ac.uk/179/01/CondonS.pdf CRANFIELD, I. (2001) Art Deco: An Architectural and Interior Design Source Book, Devon, David Charles Publishers. DAWSON, J. (2003) Deco Rationale. The Architectural Review, 214(1275), p. 21+. DOWS, D. (1942) Review of Egyptian Architecture as Cultural Expression by E. Baldwin Smith. American Jo