When Eurostar launched in 1994, the brand was synonymous with innovation and contemporary design. Now, 15 years later and still with-out direct competition, its image has, arguably, become tired and predictable.
However, this could be about to change. In January, Eurostar's monopoly will come to an end following an EU decision to liberalise the Channel Tunnel. Air France-KLM is planning a service between Paris and Amsterdam, and hopes to add a London to Paris service by October 2010. Virgin has also shown interest in operating a service.
Emma Harris, director of sales and marketing for Eurostar, believes the deregulation of the line will inevitably make the company think harder about its long-term brand vision.
Last week it emerged that Eurostar is to undergo a complete overhaul. Harris confirmed that a refreshed visual identity would be rolled out next year and has called a pitch for a lead agency to handle the project.
Peter Knapp, executive creative director, EMEA, for branding agency Landor, which has worked with carriers including Jet Airways and bmi, says the Eurostar brand has become institutional. 'It is the only brand operating in its sector and so is seen as predictable,' he adds. 'Consumers need to witness a willingness from Eurostar to be innovative.'
Knapp argues that a fresh brand identity alone is not enough to pull the company to safety. 'It needs to consider its products and services,' he says. 'The brand can't just be tidied up in a polite evolution. There needs to be a striking step change.'
Harris contends that, as the first player in the sector, Eurostar is viewed as an expert in its field. She adds that the brand plans to launch a range of innovative deals for customers. 'We need to be seen as more than just a transport service,' she says.
Eurostar has already been involved in high-profile promotions including multi-million-pound links with films such as The Da Vinci Code and Shane Meadows' Somers Town. However, after a fire in the Channel Tunnel in September 2008, the brand suspended all marketing for six months.
This year Eurostar released its comeback campaign, 'Little break, big difference'. 'We recognised that the brand itself needed a refresh,' says Harris. 'The new interior and identity will be a fundamental refurbishment.'
Harris concedes that there are holes in the brand's customer service; it is, she says, over-delivering in first class, but under-delivering in some areas of standard class. 'There are inconsistent levels of service, but we are working on improving our engagement.'
Despite this, Eurostar remains a respected brand. Jen McAleer, managing director of design agency Start Creative, which has worked with Eurostar, says there is still a level of romance associated with the brand. 'Despite the increased competition, Eurostar will continue to thrive,' she adds.
In addition, McAleer argues that its decision to overhaul its interiors and refresh its identity is a step in the right direction. 'It needs to be clear about what its brand stands for,' she says.
Richard Exon, chief executive of ad agency RKCR/Y&R, which works with airline Virgin Atlantic, also believes that, overall, the Eurostar brand remains strong. However, he says its personality must be assessed. 'This is not just about livery or tone of voice,' he argues. 'There has to be a physical difference. Can Eurostar make this type of investment? Competition is going to force it to define itself.'
Eurostar is not a brand in trouble. In fact, when viewed in the context of the challenges faced by the aviation industry, it is in a good position.
Nonetheless, the brand is keenly aware that it can work harder to bolster its reputation. With at least a year to go until competitors enter the market, Eurostar has at least given itself some time to get the brand back into shape.