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.
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.
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%.
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%.
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.
This article presents lessons of how best to approach branding and advertising in Canada, updated for 2012. This includes examples from the CASSIES case studies - Canadian Advertising Success Stories - over the years and how lessons cross over from one case to another.
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.
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.
Kraft Canada attempted to address years of declining share for the Cadbury's Caramilk chocolate brand with this campaign. Caramilk ads had for decades been based around the idea of the Caramilk Secret, a concept that the advertiser revived and updated. The new campaign was based around a competition allowing 10 Canadians the chance to find out the secret - which was contained in an envelope and locked in a safe. If the winner kept the secret for six months, they would win a large cash prize. The competition was promoted via TV, outdoor, packaging, POS displays and online media; it also helped Caramilk become Canada's #1 chocolate bar during the campaign.
Sales for the Aquafresh Kids range of toothpaste have increased by 144% in the UK market over the past four years. This success came through an understanding that for mums, getting their kids to brush their teeth and go to bed is a nightmare. Communications aimed to help mum win the Bedtime Battle. So the Nurdles, three lovable characters who helped make brushing fun, were created. Through songs, books, virtual worlds and instore events, Aquafresh permeated kids' culture. The campaign has driven incremental sales of £3.5m with a payback of £1.41, and is now the blueprint for Aquafresh Kids worldwide.