At Michelin, its pneumatic mascot Bibendum is so highly regarded that in 1998 the company published a book celebrating his
centenary. Indeed, so well embedded is the character that he has been used as a subject for a number of critically acclaimed artists. One of them, Fabrice Hybert, says of the Michelin Man: "Bibendum is my favourite character he is transport itself."
Even in areas as staid as finance there are mascots of sorts. Merrill Lynch's bull is more of an icon of Wall Street than a mascot, says Eileen Lynch, managing director of corporate marketing: "It is meant to represent the qualities the firm stands for - strength, optimism and a sense of bullishness."
Another company that has wholeheartedly embraced its mascot is cleaning products company New Pig, based in Pennsylvania, whose character Sparky the Pig lies at the heart of the company's identity. Even though New Pig is a business-to-business company, Keith Eldred, a corporate project manager, says customers seem to dig the pig. "A lot of them identify the company with the mascot - more so than the logo," he says. And no wonder: the company does not have a catalogue, it has a pigalog.
"People are people," says Mr Eldred. "In our business, products are so serious - Sparky just adds a little fun and colour."
Mr Eldred adds that many critics had warned against such
porcine company values when the business started, citing concerns including trivialisation and possible religious issues. But, he believes, "the positives far outweigh the negatives".
Rob Opie, director of the Museum of Brands, Packaging and Advertising in London's Notting Hill, says that corporate mascots are a good thing. "They're very much part of our lives," he says. "Especially if you loved them as a child, they may make you feel good about working for the company." For most mascots, he says, the key is to ensure that they enhance the business's image so employees don't
balk at the thought of working for a company symbolised by a clown or an overweight tyre man.
So, are there any downsides? Perhaps a couple. First, mascots can date horribly. One example is Robertson's Golly, who gradually metamorphosed from fun jam guy to racial
slur.
And once your mascot has embedded itself in the collective consciousness, as with the case of Bibendum's portrayal in paintings, anyone can take an interest in it. While the attentions of edgy artists may be flattering, the corporate image can easily be
subverted by activists or internet pranksters.
Moreover, these characters can amplify negative publicity. Churchill's image came under attack when the dog appeared to swear in a television advertisement. He did not, but the fuss generated was perhaps a measure of the mascot's success.
In fact, the dog has far surpassed his original goal of differentiating the company from Churchill the leader. Mr Watney says consumer research suggests schoolchildren are more familiar with the dog than Britain's wartime prime minister. Oh yes.
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