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In Australia in August 2011, 50% of teens and young adults hadn't tasted Coke. To re-connect with this group, Coca-Cola printed 150 of the most popular Australian names on its bottles. This was extended across kiosks that would print names by request on cans, then more names were voted for through social media. In a category that is decreasing by 0.7%, Coca-Cola grew sales transactions across bottles and cans of Coke by 3%, increased volume by 4%, and 5% of Aussies have started to put Coca-Cola back into their repertoire again. Specifically, young adults' consumption increased significantly during the campaign, increasing by 7%.
To increase international awareness of Queensland's 'Islands of the Great Barrier Reef', this campaign created a reason for people all over the world to engage with the Australian destination and aspire to experience it. It generated huge amounts of press interest round the world. A rudimentary calculation suggests it has had a return on invesment of $240 for every $1 invested.
The Body Shop, the cosmetics and personal care retailer, was well known for its pioneering campaigns for good causes. However, with more and more companies getting involved in this area, the design of its global "Stop Sex Trafficking of Children and Young People" campaign with the NGO, ECPAT (an international network of 70 charities) had to meet a series of commercial and social objectives. It needed a strong visual identity to drive sales of its specially-created "Soft Hands Kind Heart" hand cream (with profits tied to the campaign), encourage signatures to a petition, persuade franchisees to take part and underline The Body Shop's authority in campaigning for change. The resulting design focused on a bold hand print symbol utilising an arresting combination of yellow and black, which worked to capture attention across a range of markets and media. Within two years, profits from the hand cream led to £3 million in dontations to ECPAT (against a target of £1 million) and the 6.6m petition signatures exceeded targets by 10%. Franchisees in 65 markets took part, making it The Body Shop's biggest campaign to date.
Dove was a small and silent brand in China. Launching a shower gel in 2010 onto supermarket shelves that were groaning under the weight of over ninety variants from a dozen brands seemed an impossible task. But the brand opted for rigorous, unique and brave strategic choices, coupled with a boost of creativity. According to this case study, Dove's 'Better Than Milk' campaign almost quadrupled its market share within four months and improved key brand equities against its rival, Olay. According to this paper, this success was not achieved by spending more than competitors on media, cutting price, expanded distribution, or by introducing a product benefit or innovation.
This Cadbury Dairy Milk paper from India shows how the meaning of chocolate can be different in different cultures. Understanding the difference in culture codes helped Cadbury Dairy Milk (CDM) find a new occasion for consumption and become a permanent part of Indian sweet-eating occasions. Sweet food in India is associated not with sin, as it is in the West, but with auspicious moments. The key to a multimedia campaign was making a connection between the consumption of chocolate and the start of something new. Sales of CDM grew by 42% in value and 33% in volume. Other Cadbury brands also saw increased volume sales (+25%) and value sales (+33%).
Unilever's Axe male grooming brand maintains a tight focus on 16-24 year-olds, meaning that it experiences a 10-15% churn of consumers annually. A key strategy for replacing lost older consumers with new younger ones is the introduction of a new variant each year. In the deodorant category, which this case focuses on, 2008's Dark Temptation was a notable success, but was followed by two less successful launches. The latest "Excite" variant therefore had to be a success to maintain Axe's global value. Research identified young men's real female fantasy was the more obtainable "nice" girl, rather than the stereotypical but intimidating "naughty" girl. So the creative idea behind Excite was that this fragrance was powerful enough to seduce even the most angelic and virtuous of girls, which was played out across a range of local markets and media, including print, TV, cinema and OOH, as well as online and social channels. The campaign exceeded sales targets by 7% and grew volumes by over 4%.
Mars-owned Snickers, the world's largest confectionery brand, was growing globally but not as fast as its rivals. Part of the problem was Mars's decentralised structure, which meant that the brand had a global footprint but lacked the true global positioning it needed to drive sales, market share, and penetration. The broad creative idea that was developed - "You're Not You When You're Hungry" - played on the fact that when men get hungry, they're actually not themselves - a problem solved by a filling Snickers bar. This idea was adapted locally to over 50 markets, typically with a celebrity-focused, TV-led media strategy. After a full global rollout, over 88% of global value sales had been influenced by the campaign and Snickers started to regain the share it had lost to competitors.
Lynx, Unilever's UK fragrance brand for young males (known as Axe internationally), was struggling to convert increasing market penetration into long-term loyalty. The brand therefore decided to let go of its ownership of consumer data, and use Facebook and social media as a platform to engage with audiences on their terms in order to significantly influence spending habits. To keep the buzz and conversation going between campaigns, Lynx developed an 'always on' approach, delivering a constant stream of content into Facebook so that the brand could maintain engagement levels. In total Lynx have demonstrated that the Facebook page drove £750,000 of additional revenue.
This campaign for McDonald's in Hong Kong, the restaurant chain's most penetrated and mature market, aimed to inject sales growth into its Chicken McNuggests, a menu staple of 20 years. It targeted young adults between the ages of 18 and 25 and focused on the taste and the ritual of dipping them in sauces. The idea was brought to life through the creation of two characters: Dim Jack, who breaks the law to fulfill his obsession with McNuggets, and Officer Mak, a heroic officer determined to catch him. A social media campaign encouraged consumers to report sightings of the characters around Hong Kong, as part of the "Catch Dim Jack" investigation. Traditional media were only introduced once the campaign had reach a critical mass through online buzz. The campaign exceeded sales targets by 26%, and year-on-year profits on the promotion of McNuggets' increased by 64%.
Asia has become an increasingly important set of markets for Axe, Unilever's deodorant brand for men, because of the region's rapid economic and social development. However, Asia's strict censorship laws have often been tough on Axe. Many global Axe campaigns have either been banned or watered down significantly (sometimes even losing their original intent and comedic value). In trying to develop a truly Asian Axe campaign that could get past censors, the brand learned that mobile phones were the primary channel through which young guys flirted and interacted with girls. This made sense in Asia, especially for markets with large Muslim populations. This insight led to a campaign, involving mass media and interactive channels that showed girls uncontrollably giving out their numbers to Axe guys. When guys called those very numbers, they were surprised by a sexy, interactive Axe experience. A record-breaking six million calls and substantial share growth made this campaign one of Axe's most significant success stories in Asia.