connection strategy casebook

Transcripción

C ONNECTION STRATEGY C ASEBOOK Insights from the Warc Prize
for Connection Strategy
SAMPLE VERSION
Four things to take from this report
CHANNEL STRATEGY
IS AT THE HEART
OF MODERN
CREATIVITY
PARTNERSHIPS
CAN DELIVER
REACH AND
CREDIBILITY
BRANDS ARE ADOPTING
SOPHISTICATED
COMMUNICATIONS
ARCHITECTURE
DATA OPENS UP
OPPORTUNITIES FOR ALL
STAGES OF CAMPAIGN
DEVELOPMENT
The campaigns featured in this
report underline how integral
channel strategy is becoming to
creative thinking. These highly
successful initiatives, including
the winning case study from
Coca-Cola, are built around
intimate understandings of the
way channels and technology
work together, and can be
combined in fresh ways.
Partnerships with thirdparty organisations feature
prominently in this report. They
are an increasingly common
aspect of communications
thinking. Partnerships can allow
brands to reach audiences in
new ways. They can also deliver
long-term benefits. For example,
brands can gain credibility with
key audiences by working with
the right partners over time.
Several campaigns in the report
show a highly sophisticated
approach to communications
architecture, with each channel
taking on a specific purpose.
Unsurprisingly, the use of
digital channels – particularly
social media and online video
– was widespread. However, it
is also notable how common
it was for online campaigns
to be complemented by ‘realworld’ brand experiences.
The use of data to open up
new opportunities to connect
with consumers is a feature of
several entries. Data analysis
is being used throughout
the campaign development
process. Some campaigns are
drawing consumer insights
from datasets that can then
be applied to channel choice;
others are building data-driven
campaign platforms that can
be updated in real time; others
still are finding fresh ways to
measure what is working.
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Connection Strategy Casebook 2016 - SAMPLE VERSION
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© Copyright Warc 2016. All rights reserved.
Executive Summary
This report brings together
some of the best examples
of modern media thinking.
At its heart are the winning case
studies from the Warc Prize
for Connection Strategy – a
competition launched in 2015
to showcase emerging best
practice in communications
planning. The Prize rewarded
new strategies for connecting
with consumers, with a focus
on the strategies, analytics
and measurements that
drive media investment.
The competition has created
a fascinating group of media
strategy case studies that
contain lessons in successful
channel thinking. The 13 winning
case studies are included in the
full report, plus analysis of how
the top case studies in the Prize
compared with the also-rans.
Chapter 1 is focused on the
creativity of modern media,
and shows examples of holistic
strategies built around consumer
and media insights. It is
important to note that the line
between creative development
and media development in these
campaigns is blurred – the
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creative idea would not work
without the media thinking.
The Prize’s Grand Prix-winning
campaign, #colouryoursummer
by Coca-Cola, is a prime
example of this. The campaign
team understood that teens
didn’t want to be told what was
cool; they needed to discover it
for themselves. The application
of that idea was not a creative
treatment, but a creative use
of ‘owned media’ assets, which
allowed teens to find and
share hidden digital content.
While #colouryoursummer was
a sophisticated, multi-touchpoint
campaign, others used creative
channel thinking to extend the
impact of a small budget. For
example, EXIT-Deutschland
used social media to enhance
the impact of their Nazis
Against Nazis charity walk both
during the event and through
media coverage afterwards.
Creative thinking is also
required to unlock the potential
of the technology now available
to marketers. There are clear
opportunities in finding new
combinations of technology.
For example, Very.co.uk used
Shazam, social media and
‘#colouryoursummer’
geo-targeted creative to
reach Christmas shoppers.
Chapter 2 looks at the use
of partnerships within modern
communications strategies.
Partnership and collaboration
was the lead creative strategy
among these entries, as brands
looked to cut through via
alternatives and supplements
to paid media. Johnnie Walker
Blue Label used a partnership
with lifestyle brand Mr Porter
to expand its focus from being
marketed purely as an alcoholic
drink to move into the broader
luxury space. Clothes and
accessories worn in an online
film for the brand were available
to purchase on the Mr Porter
website – creating a new area
for Johnnie Walker Blue Label
to connect with international,
affluent consumers. Fanta
also used partnerships to give
the brand credibility in a new
space; its partners provided
capital investment for expensive
activations, as it set up a gaming
platform to reach teenagers.
Entries to the Prize showed
some very sophisticated
approaches to communications
architecture. Chapter 3 considers
the way touchpoints are being
combined, and how the concept
Executive Summary
of ‘integration’ is evolving.
Shortlisted campaigns used
more media channels than
non-shortlisted campaigns – not
surprising, perhaps, as bigbudget, multi-channel work
will require careful planning,
with different channels
assigned different roles.
A couple of trends stand out
in this chapter. First, the use of
owned assets was a significant
feature of these entries —
shareable content featured in
#colouryoursummer, a campaign
for Antarctica Pilsen in Brazil,
and a campaign for the United
States Postal Service featuring
a tie-in with the movie Spider-
Man 2. Second, online marketing
was often complemented by
offline brand experiences,
as brands sought to engage
consumers in ‘real life’.
Chapter 4 highlights various
ways data is being used to
inform campaign development
– from consumer insight, to
real-time execution, to new
opportunities in measurement.
The top entries combined
new and old data sources, used
real time triggers and signals
to optimise their campaigns,
and demonstrated how data
can lead to agile and more
effective marketing. A campaign
for Bonnington’s Irish Moss
used multiple data sources to
create a flu tracker to target
effectively and make the most
of a limited media budget.
However, the result of datadriven campaigns was not
always a highly targeted
campaign. An entry from Beam
Suntory demonstrated that
television can be a particularly
powerful way to connect
with specific influencers.
Bonnington’s Irish Moss
About the Warc Prize for Connection Strategy
Entrants were asked to submit a case study detailing how a smart
‘connection strategy’ delivered on a client’s objectives. The Prize
focused on new ways to connect brands to consumers. It included the
development of communications architecture, the integration of creative
and media, and the application of innovative cross-channel strategies.
Entrants had to show the results the channel thinking had delivered.
The Prize had a $10,000 prize fund, with a $5,000 cash prize for the
Grand Prix and five $1,000 awards focusing on different aspects of
effective Connection Strategy.
These were awarded to the best examples in the following categories:
the Commercial Impact Award for direct influence on retail or
e-commerce performance; the POE Award for a strategy linking
paid, owned and earned media; the Attribution Award for a channel
attribution model; the Context Award for a real-time or contextual
connection strategy, and finally the Low-Budget Award for a connection
strategy developed on a budget below $1 million.
‘Fanta Masters’
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For 2016, Warc will be launching a new Media Awards programme
in May.
1: T he blurring lines o f media strategy At a glance: Creative media
CHANNEL THINKING
IS MOVING TO THE
HEART OF CREATIVE
DEVELOPMENT
CREATIVE CHANNEL
THINKING IS NOT
THE PRESERVE OF
BIG-BUDGET BRANDS
BRANDS ARE
PROFITING FROM
CREATIVE COMBINATIONS
OF TECH AND MEDIA
Case studies in the Warc
Prize for Connection Strategy
demonstrate how blurred the
line between media and creative
has become. Choosing the
most appropriate touchpoints
is no longer the ‘second step’
in planning a campaign
following the creative idea,
but may be the starting point
when the idea, the creative and
the media are all intertwined.
The Grand Prix winner from
Coca-Cola was built around
an insight into how packaging
could be used to reflect teens’
desire for self-expression.
High-budget campaigns overindexed in the Prize shortlist.
That’s not surprising – bigger
campaigns using more channels
will need to think carefully
about how to plan activity
across channels. However,
more than half the shortlist
came from brands with budgets
below $1 million. For example,
creative use of social media
delivered success for EXITDeutschland, an organisation
fighting against extremism.
Media creativity often requires
understanding of the way
data and new technology can
be combined with existing
approaches. For example,
Very.co.uk successfully
targeted Christmas shoppers
by combining Shazam
technology, social media
and geo-targeted creative.
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Small budget, big impact. In the
EXIT Deutschland campaign,
bananas with labels saying
‘Mein Mampf!’ (‘My munch!’)
were prepared to keep up
the Nazis’ energy on their
involuntary charity walk.
Coca-Cola: ‘#colouryoursummer’
GRAND PRIX & ‘PAID OWNED
EARNED’ SPECIAL AWARD
#COLOURYOURSUMMER
Advertiser: Coca-Cola
South Pacific
Agency: UM Sydney
Market: Australia
The soft drinks company changed
teens’ attitudes towards Coke
and increased teen engagement
with the brand by using one of its
biggest assets – its packaging –
as a vehicle for self-expression.
An intricate and creative media
strategy went beyond “push” or
“pull” marketing, allowing teens
to discover digital touchpoints
themselves.
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CHALLENGE
Teens were lacking a connection
to the brand as they didn’t feel
that Coke had an affordable
smaller pack size, or, more
generally, that it was speaking
their language. Its universallyknown, but unchanging, image
didn’t seem relevant to teens
and Coke consumption within
this group was falling.
SOLUTION
Drawing on teen-focused ideas
of self-expression and discovery,
Coca-Cola launched a small,
affordable 250ml can, available
over the summer in a limited
edition range: the iconic red,
plus five new vibrant colours. The
cans also worked as passcodes
to unlock digital content, games
and branded experiences.
As the young target consumers
were nearly all digital natives,
the campaign focused on
online connections in order
to reach the audience.
The brand offered experiences,
not just messages. Coca-Cola
used OOH executions in areas
popular with teens and seeded
original content throughout
social media platforms.
With all this buzz in the market
around the coloured cans, the
brand still never said a word
about the cans actually being
codes, letting teens figure that
fact out for themselves. This
discovery, in turn, made its
audience a core communications
channel, which proved integral
to the success of the campaign.
RESULTS
With over 800,000 codes
unlocked over the campaign
period, Coca-Cola managed to
reach 99% of its audience using
no TV adspend, an approach
that proved that different
audiences require different
communication strategies.
The #colouryoursummer
campaign earned 47m
impressions on social media,
as well as becoming the
number 1 trending hashtag
globally for a day.
Read the full case study
2: Connecting
through partnerships
At a glance: Connecting through partnerships
PARTNERSHIPS ARE
CENTRAL TO MODERN
MEDIA THINKING
BRANDS SHOULD
LOOK FOR CREDIBILITY
AND REACH
PARTNERSHIPS CAN
OFFER LONG-TERM
BENEFITS
One way many of these
innovative media strategies
were able to do more with their
campaigns was by leveraging
smart partnerships. Partnerships
were the most popular creative
strategy among all entries,
and indexed even higher for
the winners. An example is an
international content campaign
from Johnnie Walker. To add
depth to the initiative, the
brand partnered with global
men’s luxury lifestyle portal Mr.
Porter, giving Johnnie Walker
credibility in the luxury space
and an international audience
of affluent consumers.
Two key benefits successful
partnerships bring to a brand
initiative are the credibility of
the partner, and its audience
– particularly if a brand is
targeting an audience that
is hard to reach through
conventional media buying.
Fanta used partnerships to
gain credibility in the gaming
arena, and these tie-ups helped
the brand reach the difficult
teen audience. Fanta needed a
strong, continuous, engaging
brand platform, and worked with
Sony PlayStation, EA Sports and
other hardware and gaming
partners. As well as credibility
and reach, the partners helped
fund on-the-ground activations.
The Fanta example is one
of several case studies in
the competition that used
partnerships as more than a
short-term tactical play. Many
brands are looking for strategic
partnerships that can deliver
over multiple years. An example
comes from Emirates NBD
Bank, which partnered with
school networks to encourage
parents to start savings plans for
their children. The project has
turned into a broader initiative
by the Ministry of Education,
and has given the bank a new
audience of engaged parents.
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Johnnie Walker Blue Label’s
collaboration with luxury
lifestyle brand Mr Porter.
Emirates NBD: ‘Hey Future Me’
GOLD
HEY FUTURE ME
Advertiser: Emirates NBD
Agency: FP7/DXB
Market: United Arab Emirates
The Middle East’s leading
bank, Emirates NBD, increased
awareness of their children’s
savings plans by inviting children
to think about their futures and
record a message to their future
selves. Endorsements from
and partnerships with leading
educational institutions enabled
Emirates NBD to extend its retail
distribution network to schools,
while also resonating with
parents and the wider community
through a thoughtful and well
integrated strategy.
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CHALLENGE
As Emirates NBD prepared
to launch its new Children’s
Saving plans to parents
across the UAE, the brand
gained insight into everyday
families across the country.
This included the revelation
that 73% of parents hadn’t yet
had a conversation with their
children about their future. So
the bank devised a strategy
to address this issue and sell
its plans at the same time.
SOLUTION
The campaign emphasised
communicating insights about
children instead of just telling
people about the products. The
bank also turned to a different
media approach that would
engage parents in a setting that
defines children’s futures: school.
The creative idea was to
film the parents watching their
children delivering a prerecorded message they had
made for their future selves,
talking about their future hopes,
fears and goals. This became
the optimal moment of truth to
talk about the importance of
Children’s Savings Plans, as a
product to support the parents in
supporting their children’s future.
The campaign was then
shared among Emirates NBD’s
customers, as well as through
owned social media platforms
and school screening events.
RESULTS
The video of the children’s
messages became the most
viewed and shared video by
a bank in the Middle East
in 2014, generating nearly
$260,000 in earned media. Also,
with the video used as a B2B
marketing tool, more than 30
school networks in the UAE are
partnering with Emirates NBD.
3: Integrated
communications
At a glance: Integrated communications
TOP ENTRIES USED
MORE CHANNELS, WITH
A BLEND OF ONLINE
AND OFFLINE
SOPHISTICATED
COMMUNICATIONS
ARCHITECTURE IS
COMING TO THE FORE
ONLINE CHANNELS
ARE BEING BLENDED
WITH REAL-WORLD
EXPERIENCES
In simple numbers terms,
the shortlisted entries in
the Prize used more media
channels than non-shortlisted
campaigns. Use of online
channels was widespread,
with social media and online
video particularly common
aspects of these campaigns.
However, it is also notable
that television remains a lead
channel in 40% of campaigns.
The key to success in the
competition was the way
channels were combined, and
top-performing entries such as
Coca-Cola’s ‘#colouryoursummer’
demonstrated highly evolved
communications plans where
different channels performed
specific purposes. These plans
tend to look beyond paid media
to include all touchpoints
that might be relevant to a
phase of a campaign.
A notable feature of many
campaigns in the Prize is
the inclusion of a ‘real-world’
activation – not just offline paid
media, but some kind of ‘live’
interaction with consumers.
That includes the Coca-Cola
campaign, which used the cans
as the focus of interaction, and a
campaign for Antarctica Pilsen
which included distribution of
flashcards in social spaces. In
these cases the ‘real-life’ element
balances the ‘virtual’ digital
media activity and provides extra
encouragement for participation.
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USPS made use of owned
assets for their high profile
tie-in with Spider-Man 2.
Antarctica Pilsen: ‘Rio de Janeiro,
the city where people meet’
SILVER
RIO DE JANEIRO, THE CITY
WHERE PEOPLE MEET
Advertiser: AB InBev
Agency: AlmapBBDO
Market: Brazil
Through tapping into its brand
heritage, changing the tone of
communications, and adopting
more integrated and innovative
channel thinking, Antarctica,
the leading brand of beer in
Rio de Janeiro for the last seven
years, was able to overcome new
competition from global beer
brands. The campaign made
sophisticated use of outdoor and
experiential advertising to bring
to life cultural insights about the
city to reinvigorate the brand.
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CHALLENGE
Recently threatened by global
brands, which had been
changing beer consumption
habits in the city, Antarctica
was challenged to renew the
way the brand connected with
its public. Losing identification
with the “new city” that was
appearing, the brand was
seeing its ‘aspiration’ and
‘preference’ scores fall.
SOLUTION
Taking advantage of the
city’s celebration of its 450th
birthday, Antarctica moved
its brand alignment towards
a more inspiring message,
connected to Rio’s lifestyle. As
a local brand, communications
adopted an insider tone,
setting up an opposition to
its foreign competitors.
The creative idea also
reflected Rio residents’ famed
perception, proven by market
research, of living in a city that
likes to “get together”. Besides
a redesigning of Antarctica’s
cans to commemorate the
city’s birthday, the campaign
also used OOH media to
promote social gathering
using subway announcements,
branded merchandising, and
a 30 minute film and six short
documentaries broadcasted on
TV, radio and social media.
RESULTS
The campaign helped the
brand leap up in preference
scores, registering the
greatest preference gain for
the brand ever registered in
the city. Sales also grew.
4: Use of data
At a glance: Use of data
DATA IS DRIVING
REAL-TIME CAMPAIGN
DEVELOPMENT
DATA IS OPENING UP
NEW INSIGHTS INTO
TARGET AUDIENCES
DATA LEADS TO NEW
OPPORTUNITIES FOR
THE MEASUREMENT OF
CAMPAIGNS
New sources of data allow the
creation of platforms that can be
updated in real time. This creates
opportunities for optimisation
of campaigns as they develop.
A campaign from Bonnington’s
Irish Moss included a flu tracker
powered by social data, which
in turn could inform best use
of a limited media budget.
Online data is also driving fresh
forms of consumer insight. The
identification of ‘influencers’ is
part of several case studies in
the competition, and an initiative
by Beam Suntory shows how
social data can be used to find
people who can help spread a
message to a target audience.
The result of these data-driven
approaches is not always a
highly targeted campaign.
Interestingly, one conclusion
from the Beam Suntory analysis
was that TV was a particularly
powerful way to connect with the
influencers it had identified.
Prize entries reveal how quickly
campaign measurement,
including attribution modelling,
is evolving. One of the best
examples comes from O2, which
partnered with Microsoft on a
comprehensive measurement
project designed to provide
ongoing learnings for the brand.
The starting point was detailed
path to purchase research which
informed a campaign. Postcampaign analytics then led to a
framework for O2 to use and help
shape their future media plans.
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Spirits supplier Beam Suntory
used data analysis to identify
key influencers, and boosted its
word-of-mouth in the USA.
Fair and Lovely: ‘Project Forshya –
The best ever (Re)-Launch’
BRONZE
PROJECT FORSHYA – THE
BEST EVER (RE)-LAUNCH
Advertiser: Unilever
Agency: Lowe Lintas
Market: India
In this case study, Fair and
Lovely, a skin-lightening brand,
showed how sticking to a brand’s
core-values and engaging with
different media channels can
resonate deeply with customers.
Fair and Lovely had a huge
challenge when a major relaunch
of the brand backfired. Through
careful analysis of old and
new data, adapting the media
strategy and focusing on creative
ways to reach consumers in
the media dark areas of India
that were lapsing in use of
the product, Project Forshya
managed to turn the fortunes
of a struggling brand around.
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CHALLENGE
Despite its €400million
turnover in 2012, a product of
a three-decade-long brand
development, Fair and Lovely
had started to see its sales
dwindle and lose ground to
international competition. Even
a later relaunch of the brand
was not enough to return the
brand to healthy growth; in
fact, it ultimately damaged
Fair and Lovely’s consumer
base in the long run.
However, with many of these
lapsed users living in rural,
media dark areas, the brand had
to devise its campaign to avoid
traditional media channels.
The solution was to instead use
promotional consumer packages,
selective outdoor advertising,
mobile networks, point of
sale strategies, sampling,
and festival sponsorship.
RESULTS
With a 10% growth and a
record low number of complaint
rates since the launch of
the new product, Fair and
Lovely started to win back the
customers it had lost with its
previous, failed, relaunch.
SOLUTION
Aiming to win back the 8 million
lapsed users that had left the
brand since its relaunch, Fair
and Lovely focused its campaign
on its core brand values and
created a strategy to sell a new
cream that would outshine the
brand’s previous product.
More from Warc ABOUT THIS REPORT
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CASE FINDER
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report, by searching our unrivalled database, which is organised
by campaign objective, country, industry sector, audience, media
channels, budget and campaign duration. Find a case.
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connection strategy casebook

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