Helmut Krone left for vacation a very depressed man. A celebrated art director at the advertising firm of Doyle Dane Bernbach (DDB) since 1954, Krone had just been tasked with heading a campaign for the Volkswagen, an unusual little automobile with modest sales and a sordid history. Taking notice of the first models to roll off the assembly lines in Wolfsburg, Germany, in 1938, The New York Times referred to it as a “beetle.”
Less admiringly, they also called it “baby Hitler.”
The compact car was a product of Adolf Hitler’s wish for an affordable vehicle that would help ease Germany’s families into a future full of autobahns and technological innovation. He enlisted Ferdinand Porsche to design it. By 1938, a working model was ready. By 1939, the Wolfsburg factory was turned over to the military for wartime needs. Manufacturing for the Volkswagen (or “People’s Car”) went on hiatus.
After the war, British forces supervised the car's renewed production at the plant they now controlled. Germans consumers loved the Beetle, which became so pervasive that, by the 1950s, they made up a third of all cars on the road.
Krone knew the market in America would be a different story. Exactly two Beetles had been sold in 1949, the first year the car was available in the States. By the time the account came to his ad agency in 1959, it had yet to make a dent in an auto market dominated by hulking vehicles and domestic manufacturers. It was small, odd, and had a heritage uncomfortably aligned with the Nazi regime.
Working with Bernbach and copywriter Julian Koenig, Krone conceptualized three print ads, sighed, and left for the Virgin Islands to clear his head. When he returned two weeks later, he was Madison Avenue’s biggest star. The Beetle would shortly become an iconic symbol of 1960s counterculture, embraced by a demographic that was exactly the opposite of Hitler's homogenized ideal.
To make that impossible sale to the American public, Bernbach and his men had to first accomplish one thing: reinvent advertising.
Bernbach had always taken a unique view of the ad world. In the decades leading up to the 1950s, campaigns for consumer products were often stilted, relying heavily on illustrations and facts to send direct messages. There was little attention given to creativity, with executives steering concepts based on market research.
At DDB, Bernbach encouraged writers and art directors to collaborate rather than try to make art fit copy (or vice versa) after the fact. He embraced simplicity and charm rather than dry recitations of product features or endorsements. His famous 1950s ads for Ohrbach’s retail stores were some of the first to tease readers by leading with negativity: in one, a sorrowful-looking dog explains he "hates" the store because his owner is always shopping there.
Bernbach’s irreverent style caught the attention of Carl Hahn Jr., the president of Volkswagen America. His division had been allotted $800,000 to mount a major campaign in the States. While Detroit automakers dominated the industry, Hahn thought the Beetle—a car costing less than $2000 and known in other countries as the Flea, Mouse or Turtle—was so bizarre-looking it would prove disruptive. He wasn’t introducing another heavily-muscled American car: this was something almost abstract. It was distinctive enough to draw attention.
Hahn found a captive audience in Bernbach, who was eager to apply his unconventional methods to something as mainstream as the automotive market. Bernbach’s employees, however, weren’t so receptive. According to George Lois, a design director for DDB, Bernbach’s announcement in 1959 that they’d be taking on Volkswagen was met with irritation. World War II was a fresh wound, and Lois had no desire to promote what he called a “Nazi car.”
It was the Third Reich’s Kraft durch Fruede (Strength Through Joy) "leisure" division that had overseen Hitler’s wish for Germans to enjoy their free time on the coming autobahns. The Wolfsburg factory where the cars were made, however, was hardly a picnic. Slave labor was utilized; female workers who gave birth saw their children sent off to orphanages. To say the Beetle had baggage was an understatement.
But Bernbach couldn’t be dissuaded. He told Lois they’d work on Volkswagen for a year as a public audition in the hopes of securing a bigger account like General Motors. DDB was a tiny agency that needed to make waves.
Bernbach then pulled Krone into the mix. Born in Germany and raised in New York, he had one crucial asset: he was one of the few Americans who had actually bought a Volkswagen and had an understanding of it. The agency also enlisted the copywriter Koenig to come up with something that would capture the eye in the Bernbach tradition: minimalist and witty.
Out of Bernbach’s lighthearted atmosphere came the solution to being saddled with the Beetle’s goofy looks: make fun of it before anyone else could. Brainstorming, Koenig wrote the phrase “think small.” DDB employee Rita Selden came up with a single word to compel magazine-flipping readers to stop: “lemon.”
Krone was initially resistant to the self-deprecating approach. He felt a car so foreign in design needed to be covered with a metaphorical coat of paint to hide its origins. But Bernbach pushed back: the humor was needed. When Koenig dropped “Think Small” on the table, Krone used white space to miniaturize the car even further.
Krone decided to use a specific template, "Layout A," that consisted of two-thirds image, one-third copy, and a bold headline stuck in the middle of the two. While not new to advertising, it was a fresh approach in auto marketing. Most of the Volkswagen ads to come out of the campaign adhered to the format, which also mandated three blocks of text. Unlike most recurring ad series of the era, Bernbach opted not to have a slogan. Instead, the “VW” logo appeared as their way of branding.
Krone and Koenig’s early efforts with “Layout A” were nothing short of revolutionary. Car marketing at the time was almost interchangeable; Volkswagen’s had both a distinctive presentation—one that Krone believed could be identified from up to 30 feet away—and a winking approach to their inventory. The ads often acknowledged how absurd the Beetle looked with its rear-mounted engine and highlighted its shortcomings: there was no air conditioning, it was small, and it was slow.
Once hooked, the ads would go on to explain why a perceived weakness was actually a positive. Calling one a “lemon” drew attention to the fact that the company had a full-time inspector for each car that rolled off the lines. Small? Sure, the car was small. But it was also a gas-sipper. Other ads, in turn, called it a “joke,” implored readers to not laugh at it, and mentioned it was easy to push in case you ran out of gas. DDB even enlisted Wilt Chamberlain to demonstrate that the car was too compact for anyone over seven feet tall. it was one of the few celebrity endorsements for which the star had no use for the product.
Bernbach’s instincts couldn’t have been more on point. The culture of the 1960s was being created and informed by iconoclasts that were suspicious of conventional advertising techniques. Baby boomers growing into jobs were also distancing themselves from their parents—and by extension, their parents’ boat-sized sedans. The Beetle was everything the establishment wasn’t: trendy, exciting, and aesthetically daring. Bernbach’s ads captured its appeal perfectly. Krone was happy to be proven wrong.
By 1972, the Volkswagen Beetle had accomplished the impossible. With 15 million units produced, it had outpaced Ford’s Model T to become the most ubiquitous vehicle ever made. Sales had climbed from two in 1949 to 570,000 in 1970. Surfers and hippies piled in. Hitler’s car had successfully escaped its bleak history to become something almost huggable.
Its effect on advertising as a whole was even greater. DBB grew from $25 million in billings to $270 million annually by the end of the 1960s; Bernbach’s humor and stylized sales pitches became commonplace in everything from Avis (the number-two car rental company that promised to “try harder”) to Life cereal’s hard-to-please Mikey. Products began to have character, and agencies were now given more permission to exert creative control over ads instead of being forced to color inside the lines of company marketing departments. Advertising had become self-aware.
By the time Bernbach died in 1982, he was already considered the most important man in advertising. His stature hasn’t changed. Ad Age, considered the mainstay publication of the industry, voted the Beetle campaign the best of the century.
After spending 30 years at DDB, Krone passed away at age 70 in 1996. Koenig died in 2014 after some extended sparring sessions with Lois, who Koenig alleged took too much credit for work done at the agency—though Koenig was fond of tall tales himself, like insisting he invented thumb wrestling in 1936. (Koenig was also name-dropped on Mad Men, a show Lois despises for its depiction of 1960s office behavior.)
The Beetle did not go on to have as steady a career as the men who sold it to America. After the Toyota Corolla emerged as a promising alternative in 1968, sales began to plummet. By 1990, Volkswagen had just one percent of the U.S. auto market, down from five percent in 1970.
It wasn’t until the Beetle was reintroduced in 1998 that the company saw a reversal of fortunes. Capitalizing on nostalgia—the boomers were now middle-aged—and a relaxed car market, Volkswagen had to issue waiting lists for the vehicle.
Cars continue to be manufactured in Wolfsburg, Germany, a frequent European tourist destination. Volkwagen’s beginnings had always been a bit of an open secret, but due in large part to the disarming nature of Bernbach’s house style, the Beetle was never demonized in the way it could have been. While the Third Reich nudged the car into existence, it was the labor and imagination of others who later brought it notoriety. Hitler, after all, never even had a driver’s license.