The new identity of Volkswagen that fooled the world.
It’s a surprise to many that Hitler, who is often referred to as the “personification of evil” (Rosenbaum, 1999), was integral to the design and launch of the Volkswagen Beetle, one of the most successful and iconic cars of our time. Hitler created various schemes for the German people to encourage them to buy into the Nazi regime. This is where the need for a ‘car for the people’ became apparent. Hitler charged Ferdinand Porsche with the task of designing a car that was not only affordable, but embodied Hitler’s desired lifestyle for the German people. The “slave labour at the Volkswagen car plant” (Press, 2014) that Porsche oversaw, reflected the institutionalised cruelty synonymous with concentration camps and Hitler’s reign in general. After the war, this undesirable link to the past meant that Volkswagen had to create a new image for itself quickly, if it was to succeed. A language was adopted, maybe not consciously, but it winds throughout all that Volkswagen do: semiotics. Semiotics, most simply explained, is the study of signs. Roland Barthes stated that “semiology aims to take in any system of signs, whatever their substance and limits; images, gestures, musical sounds, objects, and the complex associations of all of these, which form the content of ritual, convention or public entertainment: these constitute, if not languages, at least systems of signification.” (Barthes, 1972) Although it can be argued that semiotics is in everything, it has a particular relevance to Volkswagen, which employs the use of signs not merely as a coincidence, but as a well-orchestrated framework for the company. Luke Sullivan, a designer and artist, talks about Volkswagen’s language as being “a totally new voice” (Sullivan, 2008). This new type of language allowed Volkswagen to alter public opinion after the damage of the war, through a beguiling combination of strategic advertising with a conscious association with more ‘positive’ brands, all, in turn, harmonised through their knowledge of what people want. In this essay, I will analyse Volkswagen’s Beetle advertising campaigns and their links to culture and companies that contributed to the success of Volkswagen in both Great Britain and America between 1945 and 1970. I will also explore how these elements were essential to formulate a new myth for the company, which allowed them to distance themselves from the past.
Fig.1. The Observer , 1964. Volkswagen - What size man are you?. 8 March, p. 12. Accessed: Leicester Square Reference Library, London. My initial search for original Volkswagen advertisements in the period between 1945 and 1970 proved difficult as it became apparent that I was looking in the wrong place. The Beetle was something of an enigma of its time, both because of its low cost, and because its easy-to-fix mechanics belied a car with a certain style and famous ‘German engineering’. Upon embarking on my initial research I focused on specialist car magazines of the time as the primary sources for Volkswagen’s advertising, but Volkswagen were already engaged in “new” thinking: hence a broader search of periodicals, more in line with their motto of ‘the people’s car’ quickly revealed that they had been targeting their advertising towards the newspapers of the everyday person. Frequent advertising campaigns could be found in the Observer, The Guardian and The Daily Express, all well-known household names and typical newspapers of the average
Fig.2. The Guardian, 1964. Volkswagen - Who's the man in the Volkswagen?. 1 October, p. 4. Accessed: Leicester Square Reference Library, London. working and middle class family - precisely the audience that Volkswagen were trying to attract. In Fig.1 you can see the Volkswagen advertisement ‘What size car man are you?’ surrounded by stories of that day and vying for attention with the advertisements of “lifestyle” products of that time. The strap line grabs attention and instantly places itself as an advert charged with questioning the consumer’s masculinity. The imagery used to illustrate this is “more imperative than writing” (Barthes, 1972) because it marries this with the words “more powerful” and “reputation” (Observer, 1964) and with meaning dependent “on its relation to other words” (Chadler, 2002). The two main headlines at the top of the page also share the same atmosphere. The subliminal juxtaposition of these signs creates the powerful perception that owning a Volkswagen projects this image of power and masculinity. The advertisement causes the consumer to question their own masculinity and power and how this measures up to the ideal portrayed by Volkswagen. The theme is continued and developed in a later advertisement of that year (Fig.2) in which they further advance this relationship between the car and the man, and define what they perceive to be the ‘Volkswagen man’. In terms of semiotics, the signifier is the man in the advert, who reflects the stereotypical image of the time of the successful man in a suit. This is further reinforced in the first line of the advert: “He’s an individualist. A man of ideas” (Guardian, 1964) where they create a predisposition of what the man’s characteristics are like. They further go on to talk about how the Volkswagen car meets the ”everyday man’s” principles then asks the audience the question “How about you?” (Guardian, 1964). This dialogue with the consumer “requires more than listening Fig. 3 - The Express, 1969. Volkswagen - It makes your tyres go farther.. 16 August , p. and reacting, it requires deep 8. Accessed: Leicester Square Reference Library, London. engagement” (James Cunningham, 2012); it allows the company to interact on a more personal level. Five years later in Fig.3, after growing their market share and achieving a brand following in the western world, Volkswagen then began to use humour as a means of communication to further develop rapport with their core constituency. The use of irony is immediately noticeable to the consumer and the focal point is a visual representation of the Beetle without any tyres, creating a sense of confusion, thereby provoking satire. The first line reads “The little gadget in the photograph is called a Volkswagen.” (Express, 1969). In the context of the news in the paper that day, which included heavy coverage about the invention of the ATM, the obviously disingenuous self-effacing humour makes an ironic link between the text and the “breakthrough” news. Using humour they make reference to the car’s ‘remarkable’ tyres, which in turn establishes brand loyalty by stating how when owning a Volkswagen “the more revolutionary the ideas gets.” (Express, 1969) These advertisements signify a lifestyle, the contextual relevance of the car and a type of man that people of the time were encouraged to aspire to. This paradoxical relationship of this ideal and a car of a less humble beginning is overshadowed by “new history which is implanted in the myth.” (Barthes, 1972) This quintessential and fundamental relationship created a new meaning for the company.
This meaning was further enhanced by the company’s clever product placements and associations. In the same year as the ‘It makes your tyres go farther’ campaign, Volkswagen lent its name to the Disney franchise to create the movie ‘The Love Bug’ featuring the Beetle. Disney has been “preeminent in the field of family entertainment” (Disney, Unknown) since 1923. This collaboration between the two companies forged a relationship that allowed Volkswagen and Disney mutually to endorse each other’s reputation. This strategic business move was also enhanced by the movie itself. Herbie or ‘Love Bug’ was the name of the car upon which the movies were based. The term ‘Love Bug’ is commonly associated with the hippie culture which believed in – “peace, freedom, mind expansion, activism, music, spirituality and vegetarianism” (Nawrocka, Unknown). This lifestyle of freedom and ‘flower power’ was one that many people aspired to be part of because of its fun loving philosophy. The hippie culture itself became a brand and many bought into it. This philosophy was one that the Herbie franchise channelled and in total 6 movies were made, making Volkswagen a household name with a new set of signifiers. This semantic relationship was an avenue of positive advertising for the brand which they used, and continue to use, to their advantage: Volkswagen’s relationship with Disney has had a 21st century makeover. The more current ‘Cars’ franchise still preserves the link between the two companies much like the Fig.4 – ‘Cars 2’ merchandise featuring the Volkswagen Beetle. previous movies did. It now features not only the (Available) http://bdd.worldofcars- Volkswagen Beetle but also the Volkswagen forum.fr/bddcars/images/blistershd/cruz_besouro_carla_veloso Camper Van. With two films being made, ‘Cars’ and _crew_chief_cars_2_movie_moments_gallery/1_cruz_besouro_ ‘Cars 2’ and both having been successful they now carla_veloso_crew_chief_cars_2_movie_moments_carrefour.jp have their own merchandise made to accompany g the film (Fig.4). This gives younger fans the chance to own their very own Volkswagen at home, further encourages brand loyalty by enhancing their image with younger generations. Although the Beetle is significant in the rise of Volkswagen it is not the only Volkswagen export that is well known for its links to other franchises. The Volkswagen Camper is synonymous with the stereotypical “image of the ideal American family” that “we seek to emulate” (Munhall, 2001) as it has been popularised and commonly represented on television. This family orientated image has come about as a result of the car’s practicality. This portrayal has made it an instantaneous hit with film makers as it already has its own associations with this kind of lifestyle and principles of the humble family holiday. In addition to having been featured in the ‘Cars’ franchise, it also has a role to play in popular titles such as ‘Pink Panther’ and ‘Little Miss Sunshine’ to name but a few. All these franchises are well known for their humorous and family orientated nature. The use of humour is a way of connecting with the consumer and makes “the brand well liked and ‘friendly’” (Andrews, 2013) and although “some professionals distrust it and think that it is distracting and lures attention away from the core message” (Andrews, 2013) it allows Volkswagen to continually keep the consumer distracted from the past, adding another layer over their original associations and in doing so only forge a deeper “language-robbery” (Barthes, 1972) of the signifiers that other companies have managed to forge with the consumer.
In Roland Barthes, Mythologies today he talks about the idea of a “false nature” (Barthes, 1972) and “the assumed innocence of the most unsophisticated relationships . . . which this innocence is meant to make one accept.” (Barthes, 1972) This theory is illustrated by the significant degree of brand loyalty and success that Volkswagen have achieved. Through their strategic brand association with the likes of Disney, their ability to sell a car as the ‘ideal lifestyle’ and their use of semiotics, Volkswagen has created a new “myth” (Barthes, 1972) which overshadows their historic relationship with the Nazi regime, and replaces it with a company that has a new light-hearted and positive position in society. They have created an ‘innocence’ for themselves but this new myth, although successful, cannot be fully attributed to Volkswagen alone. They have undoubtedly orchestrated it over a period of time, but part of their reputation is manufactured by the companies with which they have affiliated Fig.5 – Precision Parking by Volkswagen advert. (Available) themselves, and the power of http://www.wherecoolthingshappen.com/wp- semiotics in their advertising and content/uploads/2014/02/creative-print-ads-74-640x430.jpg the culture of that time. The signs that Volkswagen use to create meaning are nothing more than the consumer’s ability to make connections, which is ultimately what semiotics is. “It is certain that in this sense mythology harmonizes with the world, not as it is, but as it wants to create itself.” (Barthes, 1972) This has disguised Volkswagen’s past and allowed them to move on from their historic affiliations and questionable beginnings.
Although the fact remains that Volkswagen is a product of Hitler’s regime, this is generally disregarded and the focus is on the new signs they have made. Volkswagen has successfully moved into a new era and would not have achieved this without the help of companies such as Disney, its changing perception driven through the medium of advertising and its affiliation with social movements such as hippie culture. On top of this the ability of time to heal should not be underestimated. This has resulted in the Volkswagen we know today and their continued link to a family friendly image and humour, as illustrated in Fig.5. The myth Volkswagen have created gets stronger year-by-year - and shows no sign of diminishing any time soon.
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