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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 paper deals with the revival of one of Britain’s oldest brands. Hovis had been in trouble since 2006, falling far behind regional upstart Warburton’s. The ‘As Good Today As It’s Ever Been’ campaign leveraged history to prove enduring modern relevance for the brand. Communications included an 122 second TV commercial and a PR onslaught, as well as a host of product-specific communications, which together resulted in the campaign being voted the nation’s ‘Campaign of the Decade’. Sales grew by 14% year-on-year, and the share gap with Warburton’s, which had been projected to reach 20 percentage points, narrowed to only six percentage points. Up to £90m incremental profits were generated, representing a payback of c.£5 to 1.
In mid-2009 John Lewis, the UK department store retail chain, was struggling in a challenging financial climate. Its existing advertising was ineffective and a new approach was required. A bold decision to use highly emotional advertising, particularly on TV, generated a huge amount of interest in the brand. It resulted in more shoppers, visiting its stores more frequently and increased the average spend. The campaign generated £1074m of incremental sales and £261m of incremental profit in two years. Thousands of its employee-partners also benefited as the profitability of John Lewis communications boosted their annual bonuses.
Yeo Valley, the dairy company, wanted its range of organic dairy products to achieve a greater share in the broader UK dairy category. A small brand with limited funds and small user base, Yeo Valley’s challenge was to increase awareness, gain new customers and increase sales in the competitive mainstream dairy category. In a 3-month campaign targeted at UK shoppers, Yeo Valley invested 100% of its budget advertising around the X-Factor, a popular UK talent competition screened on prime-time TV. This created a unique partnership between Yeo Valley and ITV, the x-Factor's broadcaster, and afforded Yeo Valley a disproportionate value for its investment. The content of the advert, a 2 minute rap promotional video, was released as a single and video content placed on the home site linked to Facebook. A competition and brand presence on Twitter reached out to target audiences and on pack advertising in store reinforced the brand's association with The X Factor. Yeo Valley achieved over £3.5m of media coverage – including features about the campaign (and screenings of the ad) on BBC regional news. In 12 weeks Yeo Valley turned a 3% share of voice into a 71% increase in brand awareness, brought 500,000 new households to the brand and grew sales value by 15% - outperforming the adult yoghurt market by 2.5 times. Those who engaged with the campaign online had double the brand affinity and were 15% more likely to try the brand than TV viewers alone.
'fcuk' was a strong brand message for French Connection in the 90s but by 2009, it was actively contributing to the fashion retailer's image problems. Even though they made up a smaller proportion of sales, changing the idea of the men who shopped at French Connection was the key. This was due to the women French Connection wanted to appeal to did not want to associate with the men linked to the brand. A new picture of what the 21st Century French Connection Man and Woman was, resulting is a campaign that has run globally and that has contributed to a ten-fold increase in French Connection profits.
IKEA, the homewares retailer, needed to reverse a decline in top of mind awareness, increase its penetration and offset a general economic slowdown in the UK. In particular, the chain wanted to deliver short-term increases in visits to IKEA stores and drive sales of its kitchens and storage products. Using a mixture of consumer and cultural insights, the brand decided to align itself with Britons' ideas of the importance of home, and focused on prompting reconsideration of its kitchen and storage product lines. This case study outlines how the brand delivered against three specific briefs and revived its scores for awareness and emotional proximity, as well as growing kitchen sales.
Stella Artois, the beer group owned by the Anheuser-Busch group, wanted to find a global idea that was consistent but flexible enough to reflect the different charactertistics of its brand's penetration and success in different countries. Stella Artois had a widely varying international business, and its most enduring positioning "Reassuringly Expensive" had long lost its relevance, especially in the UK, its largest market. This case study describes how the brand opted to frame its relationship with its consumers within the overarching metaphor of a male-female relationship. This was built on the insight that, if in the "Reassuringly Expensive" era, consumers had defined themselves largely by their spending and possessions, they currently placed much more emphasis on their relationships, including their relationships with brands. This idea allowed Stella Artois to portray the different characteristics of the brand in markets such as the UK, US, Russia, Ukraine and Argentina in radio and TV advertising as variations on a male-female relationship. This case study describes a number of creative executions developed from this idea.
This case shows how Ovaltine moved from being second (of two) in the UK's malted sleep aide market to gain over 1% of the £1.65bn daytime hot drink market. Faced with a category in steep decline, Ovaltine needed to recruit younger drinkers and enter a new market space. Using a sixmonth sponsorship of ITV3 daytime and various creative solutions, Ovaltine established itself in a different occasion and grew rapidly as a consequence. It has been estimated the campaign will generate up to £1.12m in additional gross profit in the long term, resulting in a ROMI of 5:1. In this hugely mature category, the judges admired the courageousness of the repositioning of such a well-known brand against a new occasion and the positive ROI achieved in the face of significant competitor investment.
Johnnie Walker has an almost unparalleled global reach, but - in spite of its title as 'The world's most popular whisky' - had also hit a sales decline, with its market share beginning to fall. The 'Keep Walking' campaign transformed the brand from being a well-known whisky producer into a global icon, based on the simple, but powerful, proposition of reinventing the 'striding man' on its bottles. The campaign has run in over 120 countries, and has produced sales growth of around 48% in its first eight years, generating some $2.21 billion in incremental sales.
O2 has taken the former Millennium Dome from a national joke to a national treasure, and made it the most popular music venue in the world. But what really sets The O2 apart is that it sets a new blueprint for effective sponsorship. By following four principles of success – putting customers first, being integral to the business, breathing rather than badging, and demonstrating accountability – the sponsorship has achieved greater, and more demonstrable effectiveness for the business. Based on projected incremental new customers over the expected lifetime of the communications, the ultimate contribution to profit will be £639m, giving a ROMI of 14.5:1.