Smokers no longer derive a sense of identity
from cigarette brands after plain packaging rule was introduced in Australia, helping them to kick the habit
Not exact matches
In Brooke Group Ltd. v. Brown & Williamson Tobacco Corp., 98 the Supreme Court formalized this premise into a doctrinal test.The case involved
cigarette manufacturing, an industry dominated by six firms.99 Liggett, one of the six, introduced a line of generic
cigarettes, which it sold for about 30 % less than the price of
branded cigarettes.100 Liggett alleged that when it became clear that its generics were diverting business
from branded cigarettes, Brown & Williamson, a competing manufacturer, began selling its own generics at a loss.101 Liggett sued, claiming that Brown & Williamson's tactic was designed to pressure Liggett to raise prices on its generics, thus enabling Brown & Williamson to maintain high profits on
branded cigarettes.
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A new survey on the use of tobacco products in New York State shows a change in the dynamic of the tobacco marketplace, shifting
from traditional
cigarette brands to newer products.
Australia's bold plan to remove all
branding from cigarettes and their packaging is a triumph for public health, says Simon Chapman
Participants were randomly assigned to smoke either their usual
brand of
cigarettes or one of six types of investigational
cigarettes with nicotine content ranging
from 15.8 mg per gram of tobacco (typical of commercial
brands) down to 0.4 mg per gram.
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found that Philip Morris identified a female market niche, the feminist values of individuals in that niche, and the stimuli to which they respond as they attempt to fill their needs.As women's needs change with age and over time, advertisements were developed to reflect the needs encountered at different stages in women's lives.
Cigarette brands for younger women stressed female camaraderie, self confidence, freedom, and independence;
cigarette brands for older women addressed needs for pleasure, relaxation, social acceptability, and escape
from daily stresses.
In pieces like Butterfinger
from 1995 and Miss Lucky Lulu
from 1965, Ramos coupled youthful, ironically perfect female bodies with American candy bars,
cigarettes, and other
branded items.
At the time, he was creating prevalently images of popular superheroes and gradually started to include female nudes emerging
from bizarre objects, such as cornstalks, bananas, candy wrappers, martini glasses or famous cigar and
cigarette brands such as Havana.
But look closely at the matchbook the subject is holding and you'll notice a logo for Winston, the R.J. Reynolds
cigarette brand from North Carolina.
Using tobacco as both subject and object, the exhibition includes Xu Bing's adaptations of historical texts and graphics: a book made of whole tobacco leaves and printed with an early - seventeenth - century account of Jamestown, Virginia; a poem composed
from historical tobacco
brand names and printed on
cigarette paper; and Chinese
cigarettes printed with selections
from Quotations
from Chairman Mao Tse - Tung (the «Little Red Book»).
Abstract: Moving
from petroleum - fueled vehicles to electric cars is beginning to look more and more like shifting
from one
brand of
cigarettes to another.
The ad did well, until litigious action
from the candy industry forced the
cigarette brand to switch strategy.