Une publicité pour la filiale bancaire Webank, déclinée en 3 versions et mettant en scène des fruits comme une fraise, un ananas et une banane. Une baseline efficace “Forget what’s useless” par l’agence Cayenne Milan sur une direction artistique de Livio Gerosa.
Dans l’esprit de Wrangler – We are Animals, voici cette campagne pour l’organisation internationale de protection de la nature WWF. Une baseline efficace “Their extinction is ours as well” imaginée par l’agence Dkp Brazil, sur des clichés de Chico Barros.
Dans la continuité de la campagne Perrier Melting, voici ce travail de l’agence Colenso BBDO New Zealand sur des clichés et des retouches de Charles Howells. Une publicité destinée à la marque et à la chaîne de boutiques “Kapiti”, spécialisé dans les glaces.
Une campagne très réussie à l’approche de Noël pour le leader mondial des enchères sur Internet Ebay. Une baseline percutante “Christmas is happening” avec les présents achetés sur le site. Un travail de l’agence BETC Euro RSCG Paris, sur des photographies de Grégoire Alexandre.
La marque HTC vient de lancer sa nouvelle campagne de publicité à la fois en presse et en TV, autour de l’image du constructeur et de terme You. Une baseline efficace : “You need a phone that get’s you” et une série de spots très réussies. A découvrir dans la suite.
The recession has either changed the way advertisers do business or has forced us to reevaluate the ways in which we do business. The focus has shifted to the effectiveness and efficiency of an ad campaign rather than stressing the campaign or ad variables such as reach and effective frequency.
If you work in a media department, then measuring effectiveness and efficiency is something you’ve likely done for years with little to no fanfare from the client side. Well, the climate’s changed, and clients are concerned more than ever — with good reason — that their ads and campaigns meet efficient, effective, and measurable goals. Their priority is to connect with the target audience in a manner that’s more in-tune with a reduced budget. Clients are are requiring or searching for agencies capable of providing campaigns that work harder and smarter.
In addition, advertisers (namely P&G and Coca Cola), have instituted Value Based Compensation (VBC) arrangements made up of a pay-for-performance (P4P) layout that can be attained in addition to a base fee.
The Nielsen Company has just announced that a new software product, Rapid Campaign Evaluation (RCE), a fast and inexpensive means to review ad performance in just over a week. Due to the costs incurred when an ad or campaign is launched, RCE will give agencies information quickly so as to allow them to respond in an appropriate manner.
Richard Reeves, associate director of Consumer Research Services at the Nielsen Company, notes an agency not only will have the ability to evaluate their own endeavors but the ability to evaluate their competitor’s as well.
“Whenever a new commercial is executed,” Reeves says, “there is always that element of anticipation about how it will perform in the ‘real world.’ If it’s a competitor’s ad — you are usually left worrying about the damage it will do to your brand.”
RCE was designed and tested in Australia to measure the strength (or weakness) of TV spots. How many people saw or heard the ads or whether the audience was able to determine the advertiser and the take-away message will provide advertisers with almost “real-time” data they can then use to readjust their tactics such as:
In just over a week, agencies will be able to view data in order to evaluate effectiveness or lack thereof, ensuring clients get the biggest bang for their buck.
While advertising “gurus” have bandied back and forth as to the fairness or plausibility of the VBC model, companies, such as Coca Cola, have already put it into action. In truth, it’s the most equitable payment arrangement; agencies require media vendors to prove their performance. Why shouldn’t clients require the same from their agencies?
Nielsen’s new software is just another step in the ongoing evolution of the industry.
Jeff Louis has over ten years of brand-building, media strategy, and new business experience. His passion is writing, while his strong suit seems to be sarcasm. You can follow Jeff on Twitter or become a fan on Examiner.com.
It must be slow in the Capital these days; it seems that although our world is going crazy, the president and his staff have taken time out to wage a media attack on Fox News, making the rounds on all the Sunday morning talk shows, with one glaring exception: Fox. The gloves were certainly off as Obama’s team struck back at Fox News accusing the network of opinionated reporting. Some of the quotes from the barrage include:
Fox is “not really a news station,” said David Axelrod.
Fox, said Rahm Emmanuel, “is is not a news organization so much as it has a perspective.”
They also urged the other networks not to treat Fox News as a news station because the White House certainly did not think of Fox as news-oriented. A week ago, communications director Anita Dunn opened the White House offensive on Fox on a Sunday show: “Let’s not pretend they’re a news organization like CNN is.” She then stated that Fox was the communications arm for the Republican Party.
The cable news networks are highly competitive, and Fox is not only the second highest- watched cable TV network, but it carries 9 of the top 10 cable news shows as of Q1 of 2009. Despite the heavy competition, the White House’s attack has actually begun to backfire.
Helen Thomas, the senior White House reporter in Washington (serving from JFK to
present) warned the Obama administration: “Stay out of these fights,” and Washington Post’s blog stated: Where the White House has gone way overboard is in its decision to treat Fox as an outright enemy and to go public with the assault.
Some have even called the attack “Nixonian” in nature. However, the White House has an out. If the strategy fails, Anita Dunn can be tucked away easily, as she is expected to leave the administration by the end of the year.
While Fox has not attacked Obama directly, they’ve unloaded on his aides, especially Dunn. Her statement naming Mao Tse Tung as one of her favorite politicians did not help nor did her speech explaining the censorship-like control exercised during the election. If team Obama felt they couldn’t control the message, or the press, they would use YouTube, Twitter, or Facebook to communicate.
While America thought that the Obama Campaign was tech-savvy, it was really just an exercise in message management.
Jeff Louis has over ten years of brand-building, media strategy, and new business experience. His passion is writing and his strong suit is sarcasm. You can follow Jeff on Twitter or become a fan on Examiner.com.
Life just keeps getting weirder and weirder. One day, boobs are good; the next, they’re banned in Britain on billboards for their portrayal of headlamps. Britain is the last place you would think the girls would be put away. Britain is (in)famous for its portrayal of plunging-cleavage shots on TV shows such as “Benny Hill” and “Ab Fab” (”Absolutely Fabulous”), but is also the same country that publishes topless women weekly in newspapers, notably, The Sun’s “Page 3 Girls,” and the Daily Star’s “Babes”
While both of the papers are entertainment and celebrity gossip-type tabloids, they’re given huge amounts of leeway with topless models. However, other nude or semi-nude ads seem to spark controversy: Last month, American Apparel ran a print ad that took readers through unzipping a Flex Fleece Hoodie. The model eventually gets to point where a portion of her nipple is exposed. The ad ran in Vice Magazine, caused public outcry, and was banned subsequently.
Whether right or wrong (and I have no stance on British standards in advertising), the only difference I detect between the topless shots in the papers versus the questionable billboard is that the billboard is free while the papers require payment or subscription.
What’s all the hoopla about with this billboard campaign? It’s not any more or less, racy than a Victoria’s Secret ad or outdoor display.
Understandably, there are regulations to ensure no young minds are corrupted by breasts and marketers’ efforts to use breasts to sell stuff, and we’re well aware of the fact that sexually based ads and campaigns sell. This leads to the dilemma of morality and advertising, which is way too big to cover here.
However, my question is this: Whether used to sell headlamps in Britain or promote men’s awareness of breast cancer in North America, is it a fair advertising practice to approve or deny an ad based on the intent of the advertiser?
Rethink Breast Cancer’s spot, “Save the Boobs,” (below) follows a voluptuous woman in a bikini as she bounces her way through a swimming area.
Does this commercial merit approval based on the fact it supports a cause that could save a life, whereas the banned billboards are for headlights? Not using your headlights while driving could kill you, so don’t headlights save lives, too?
I would argue that if society’s intent is save the youth from corruption, both ads should be banned.
Here is where it gets weird: The headlight ad seems to succeed in purpose where the breast cancer spot fails. Why? Inciting controversy was the whole idea behind the cancer spot; stir people up, get them to react, get the spot on the news, and thereby raise awareness. Besides receiving accolades as being a great PSA by every 16-year-old with an Internet connection, it made but a ripple. The billboard got banned. Go figure.
Jeff Louis has ten years of brand-building, media strategy, and new business experience. His passion is writing and his strong suit is sarcasm. You can follow Jeff on Twitter or become a fan on Examiner.com.
Michelin launched its first global advertising campaign last week to shine its headlights on Michelin’s USP high beams, illuminating the many
benefits derived from its distinguishing characteristics. Its theme, “The right tire changes everything,” aims to drive this point home.
Michelin tires simultaneously deliver enhanced braking power, greater longevity, and superior fuel efficiency. The campaign illustrates by using the right tires, consumers can reduce fuel consumption, increase safety, and extend tread life.
The campaign features the iconic Michelin man, Bibendum, in an animated world, assisting troubled motorists and replacing their defective tires with Michelin tires, which he pulls from his body. I know what you’re thinking: Why can’t I get rid of the tires around my waist as easily as Bibendum? To answer that, you’ll have to take the advice of Esurance’s ad campaign, and “get animated.” Bibendum apparently has all the answers.
Created by TBWA, a New York-based agency that gained Michelin’s worldwide account last summer, Michelin’s campaign will appear across TV, print, and online outlets in the United States first, then in Europe and Asia in early 2010, and in Africa, the Middle East, India, and South America at a later date. The U.S. campaign features an enhanced digital strategy that introduces the official Michelin Man Facebook page and YouTube channel.
Visit michelinman.com/the-right-tire for more information.
Rohan Raj. Syrupy schmaltz. Finessing perpetual cadence. Boundless behemoth. Absence of mutual exclusivity? Priceless. Reach him via Twitter or LinkedIn.
Before delving into the main portion of this article, I’d first like to clearly define what I mean by the term ‘great’ in the title.
‘Great,’ in the sense of advertising, is in reference to an ad or campaign that transcends time and trend. ‘Great’ describes a truly creative and inspiring idea that has enough emotional, logical, or persuasive rhetoric to consistently move large portions of consumers to act. Simply put, it’s got zing.
Alright. Now that we’ve got that out of the way, we can really get to the “meat and potatoes” of this article; what great marketing campaigns can truly achieve for a brand.
Walking down the figurative Advertising Hall of Fame, you’d run into “Mean” Joe Green, an old woman inquiring about the absence of dietary cow product, and a swooshing symbol telling you to “Just do it.” But what do these ad campaigns that have stayed in our mind through the decades actually do for their respective brands? They’re cute, inspiring, and fun, but after the millions of dollars are spent and a few more million are made, can an ad campaign have a lasting effect?
Short answer: absolutely, yes.
For almost any ad campaign, a company will yield a moderate ROI for a short term period (i.e. – Placing an ad in the local paper, doubling your sales for a week). But a great campaign can truly stick with consumers and implements a lifelong brand perception.
Look at Volvo. What is the first thing almost everyone thinks when asked about the vehicle brand, Volvo? Safety. This is a result from their influential campaign from decades ago that touted Volvo as the number one safety vehicle on the market. At the time, that was true, and people were receptive to the great ad campaign. Now, 20 years later, people still think Volvo releases the safest vehicles on the market, when in fact, they’re no longer even in the top five.
Now that is one amazing campaign.
More recently, Pabst Blue Ribbon, amid the recession, zero advertising spending in 2009, and a product price increase, has reported a 25% sales increase. (Ad Age) How could this have happened while other sub-premium beers cost less, advertise more, and have reported much smaller sales increases?
Experts told Ad Age that is was likely due to a word of mouth (WOM) campaign that Pabst Blue Ribbon initiated in 2004 as an anti-establishment beer, of sorts. It has its own niche of young drinkers who don’t conform to the premium or big name brands. And PBR did an amazing job at taking their campaign to the streets to find their niche.
Benefits? Well, five years later, PBR is growing during a recession without an ad budget to speak of, against all odds.
Great campaigns have the power to shift, solidify, or revitalize brand/product perception. They have the ability to transcend time or place by remaining relevant through the fads and trends. It’s about reaching down to the core of what your brand can do for a group of people.
A good ad campaign can make people think, ‘Wow, I think I want that.’ A great ad campaign will make people realize, ‘Wow, I didn’t know I needed that.’
Stu Haack is a Copywriter & Social Media Guru at Aviatech. He likes long walks on the beach and scary movies. Learn more about him and his writing.
In case you were unaware, the competition for the 2016 Olympics host city’s been won and the waiting is over.
It was a controversial ride, but in the end, Chicago got knocked out immediately and Rio de Janiero was bestowed the honor, marking the first time a South American country’s been chosen to host an Olympic Games. The news is bittersweet in Chicago; the city was split 54% For, 46% Against according to recent polls. The city’s debt, added traffic on over-burdened streets, and additional taxes were main contention points that kept Chicagoans from supporting the bid. Plus the knowledge that recent host’s were still paying off Olympic-sized debt.
Skepticism rose to National levels last week when President Barack Obama, and wife Michelle, agreed to attend the final stage of the Olympic pitch in Oslow, adding their political weight to a field filled with political, and royal, notables: A King and Queen (Madrid), Prime Minister (Tokyo), and another President (Rio).
Competition between Rio and Chicago was especially fierce, and accusations of unfair play were voiced by both sides: One of the larger controversies a website Chicagoans for Rio 2016. The Chicago Olympic Bid team accused Rio of setting up the site (makes sense), but it turned out that it was an inside job…really inside.
Meanwhile, a Chicagoan named Kevin Lynch is confessing that he’s the man behind the cheeky ChicagoansForRio.com, the Web site that’s been anonymously trashing Chicago’s prospects in the past couple of weeks.
Okay, so he was from Chicago. No biggie. The real impact of the story is that Kevin Lynch is one of the top creative execs at Energy BBDO’s Proximity Unit. Energy BBDO, and owner Omnicom, were both in support of Chicago’s bid for the games, providing creative services as part of their endorsement. Plus, there’s the fact that Energy BBDO’s largest client, Wrigley (Wrigley Field, Wrigley Gum, etc), supported the city’s bid.
Which led to “Drama, drama, drama”! Energy BBDO released a statement to Ad Age last week:
“I want to be clear: The agency is and has been fully behind the Chicago 2016 bid,” said Energy BBDO CEO Tonise Paul. “Our clients are aware of our position and understand the situation. The individual acted on his own accord without the agency’s knowledge.”
Kevin Lynch, the “instigator” of the controversy, said he had stopped supporting the Olympic bid for Chicago when Mayor Daley’s statements that Chicagoans wouldn’t be taxed for the games were reversed. (Chicago already carries the heaviest sales tax in the Nation at 10.25%.)
Now that the host city’s been decided, it will be at least a week to discover what becomes of Mr. Lynch…
Jeff Louis: Strategic Media Planner, Brand Project Manager, blogger, and aspiring writer. Please leave a comment or contact him on Twitter. As always, thanks for reading!
Agencies’ Fear of Client Disapproval Handcuffs Creativity
You’re just a few short hours from deadline.
Every tick on the clock is a jab at your creative confidence.
The client has already told you to simply use what works, don’t be too creative.
That offer becomes more and more tempting.
We’ve all been there. The client knows what they want: safety. But you, the advertising and marketing specialist, know what they need. And we need to fight for that!
However, the “line-in-the-sand” between agency and client creative control is becoming less defined and turning into a morphed, unrecognizable blur because of today’s economic climate. Agencies, in fear of losing clients and subsequent billings, are pushing the envelope less to ensure client approval.
We’re playing it safe.
Clients are in the same fear of losing business that agencies are. They don’t want to scare off consumers with a new campaign, the same way that we don’t want to scare off clients with an extremely out-of-the-box idea. So, often times, the client will be weary of change and will try to stick with the old, so that’s what we’ll give them.
When that happens, we are not only selling ourselves short . . . we are selling our clients short. The client has hired your agency because they saw the creative intuition, marketing savvy, or media know-how that is going to push their brand/product/service to the next level of innovation and sales.
When we play it safe, we’re not giving our clients innovation, we’re giving them mediocrity.
We chose to be in advertisers and marketers because we are the early adopters and thought leaders. We revolutionize ideas and shift paradigms, and when we settle into that “client-approved mediocrity,” we lose what makes us and our industry great.
So when you find yourself asking whether you should use that same headline, that old layout, that played-out tagline, remember why you’re here . . . as an individual and as an agency. The client may tell you to go with what works, but they hired you because they need ‘innovative.’ Safety is the enemy–give them something great. It will remind them why you’re here.
Stu Haack is a Copywriter & Social Media Guru at Aviatech. He likes long walks on the beach and scary movies. Learn more about him and his writing.
I just finished watching a Twitter reality-show pitch, and I have to say, I’m interested. The reality show, @whoisthebaldguy, has viewers following him on Twitter and making suggestions on what he should do next. It’s a great concept and could be the wave of the future for entertainment, leaving traditional TV in the dust.
Facebook has had some similar shows broadcast, as well. The first made-for-Facebook series, Ashton Kutcher’s KatalystHQ, debuted in February, detailing the day-to-day events happening at Kutcher’s production firm, Katalyst Media.
Perhaps the most interesting part of the show is the traditional integration of products, such as Cheetos and Hot Pockets. According to an article on Real-Time Advertising Week, Kutcher opined that when product placement is done in funny and tasteful ways “people are happy to consume it.”
I can’t help but feel we are getting closer and closer to making a real-life version of The Truman Show.
Both of these new shows could signify the end of television as we know it and put advertising in a whole new, but good, ball game. Where will this lead us? We’ll just have to wait and see.
Megan Green is a freelance propagation planner who has had her work published on PR News Wire, as well as many other outlets. Contact her on LinkedIn, Facebook, Twitter, or at megankategreen@gmail.com.
Just how many advertising messages are we exposed to on a daily basis? In Data Smog, author David Skenk writes that the average American’s exposure to advertising has grown from “560 daily advertising messages in 1971. By 1997, that number had increased to over 3,000 per day.”
While the figures are controversial due to the definition of the word “advertising,” even 200 hundred messages a day is more than we’ll remember. Be thankful for that, because most of them are crap that shouldn’t have made it past the concept stage.
While the number of victims stricken by “Crapvertising” is unknown, there is a place where those who have fallen prey can expose the offender(s): The Tracy Awards. Based on the premise that advertisers produce a lot of ”bad ads,” the First Annual Tracy Awards are accepting submissions for the Worst in Advertising 2009. Its call to action:
“There’s a lot of bad advertising out there. Let’s make fun of it.”
Noted as the first competition of its kind, The Tracy’s provide those exposed to terrible advertising an opportunity “strike back” at advertisers who produce crap. The press release goes on to explain:
Every ad we receive will be judged. Harshly. And if it’s bad enough, it will win a Tracy, which will be sent to the people responsible for creating the abomination in the first place. Plus, all ads that win Tracy’s will be nationally publicized as the Worst Advertising of 2009.
The Tracy Awards were conceived by Salt Lake City ad agency Crowell Advertising and are named for agency founder, Tracy Crowell.
Take a few minutes to view the crap or submit some. If you are like me, making fun of others’ work will make the day so much better.
Jeff Louis: Media Planner, Brand Project Manager, blogger, and aspiring writer. Please leave a comment or follow him on Twitter. As always, thanks for reading.
Football is here, the glorious season of games, players, stadiums, grill-outs, and beer. What many people don’t realize is that it’s also the beginning of the newest advertising campaigns. Yes, we all know that the Superbowl is a haven for new, witty commercials, but what about the rest of the season?
You may be surprised to know that many of the greatest commercial campaigns have been started during football games during the typical season, and for advertising companies, this is the perfect time to showcase their top A-game commercials (pun intended).
Football is something everyone watches, and it’s seen as a reason for everyone to get together. This makes it the perfect time not only to target an audience, but to also reach out to even more people that may not usually be interested in your product.
Take, for example, the coming of the Geico caveman. More than likely, this first commercial was aimed at men (hello, caveman?!), but because it was broadcast during football, female viewers also saw this commercial and found it funny. It was witty, unique, and most importantly, it started a conversation.
I know what you’re thinking – Wait, guys don’t watch commercials, they flip through channels on breaks – but hold on, they do watch commercials when they don’t want to miss those first few moments after the break when the game comes back on, especially if a call or penalty will be made. What better time to target that demographic?
Probably one of the most notable commercials broadcast during football season is Budweiser’s frogs. Remember? “Bud. Weis. Errrr.” An epic commercial. And because everyone watches, the campaign can then expand and become bigger, targeting those who didn’t catch the game or those who don’t watch football (weird, but true). There was a plethora of Budweiser frog commercials after that aired, it was so huge. It also prompted other talking animals – Quiero Taco Bell, anyone?
A few things to remember when airing or planning to air a commercial during football is this:
Let me end this post with this one remark: plan a commercial or new campaign during football season, and it’s sure to be a touchdown (I didn’t say it wasn’t cheesy).
Justin Timberlake is not one to let the grass grow under his feet. An extremely popular solo artist, he’s also launched several “brand extensions” of himself that have been well received by critics, fans, and the public. His first new venture was Tennman Records, which began in 2007. Then, in February of 2009, he and best friend Trace Ayala announced William Rast, a clothing line that “is an extension of you.” Unlike most new designer lines, William Rast not only gained notice, but also received praise from the fashionistas.
His latest venture? 901 Silver Tequila.
901 Silver is either named in tribute to the area code in which Timberlake grew up (Memphis) or for “that moment when your evening ends but your night is just beginning.” However, more than the Timberlake name is attracting attention. The tequila has been reviewed favorably by those who know tequila. According to the NY Daily News:
Timberlake’s new tequila, called 901, passed the sip test – and then some – among three New York tequila aficionados with very discerning tastes.
What makes 901 Silver Tequila unique is the method they chose to kickoff the first major promotion. Known as 901at901on901, and translated to 9/01, at 9:01, on www.901.com, it’s an invite to the public to creatively craft ”The Big Idea” to aid the launch of this relatively new brand. The winner will become Executive Vice President of Big Ideas for 901 Silver Tequila.
To the victor go the spoils, which include the lengthy job title, a trip to Vegas (round-trip airfare for two, hotel stay and, of course, two tickets to the Justin and Friends concert), VIP access to all parties, $25,000 in “bonus” money, plus the chance to show off his or her creative skills among an elite group of people.
According to Kevin Ruder, President of 901 Silver (Timberlake is CEO):
We like to incorporate consumer feedback as part of our normal business practice at 901 Silver. We’ve turned that premise into a contest.
The following video outlines the challenge:
The contest ends on November 30th and the winner will be chosen by a panel of experts on December 4, 2009.
Jeff Louis: Media Planner, Brand Project Manager, blogger, and aspiring writer. Please leave a comment, follow him on Twitter or check LinkedIn for his profile. As always, thanks for reading.
Anheuser-Busch InBev has thrown down the gauntlet. Consumers in China must answer. An opportunity has presented itself for Budweiser enthusiasts to play creative director and develop an ad to commemorate the 2010 Chinese New Year.
There is one rule in this contest: the ad must feature ants. For the past decade, A-B InBev has incorporated the ant motif in every ad campaign for the Chinese New Year.
Paul Wong, the director of the Budweiser ants TV spots since 2003, said the ants depict “the Chinese national spirit of diligence, solidarity and intelligence.”
The digital contest was developed by A-B InBev’s marketing team in Shanghai to better engage the Chinese people by utilizing the Chinese video-sharing site, Tudou.com. The site will allow participants to write, draw and edit storyboards for a TV spot.
“We realized user-generated ideas and online video are both very popular among internet users at this stage, so this is the area that we want to use as well,” said Vivian Yeh, A-B InBev’s Shanghai based new media manager.
The grand prize winner will receive 100,000 RMB ($14,637) and will help produce the ad.
Note: I’d submit my own Budweiser Ants TV ad if it weren’t for my locale. I actually have a great idea for a spot. But to maintain the peace of mind of the contestants, I won’t divulge. However, I’ll tell you this… it involves myriad ants, an ant farm that extends across China, a sea of Budweiser brew, an eccentric panda and O’Hara from Enter the Dragon. Now, let it play out in your head…
Rohan Raj. Syrupy schmaltz. Finessing perpetual cadence. Boundless behemoth. Absence of mutual exclusivity? Priceless…Reach him via Twitter or LinkedIn.
In June, Beyond Madison Avenue ran a post about designer Rachel Nasvik, a New York City designer famous for chic, custom-made handbags, and the “scavenger hunt” in New York city where consumers followed clues published on social media sites to discover where she had hidden 96 of these designer handbags around the city. The campaign was a great success, and displayed a great use of social media as well as a natural knack for getting noticed.
Well, Rachel Nasvik has again taken to the streets, but in an entirely different manner.
New York City (NYC) is known for many things, one of them being a place where consumers can purchase merchandise that has been pirated from well-known designers. Basically, knock-offs sold on the street for nothing that look like the original.
Well Nasvik and team turned the tables on the design pirates by using their fly-by-night grocery carts as a means of promoting original Nasvik designs. In what could be called a second scavenger hunt, Nasvik sent clues to her 1,000+ followers on Twitter, alerting them that the game, once again, was a-foot. This time she was hiding her designer goods amidst the copycats roaming the streets of NYC. The cost for a Nasvik original off the cart was an affordable $10, while down the street at Saks, the same bag brought in $300. This obviously was not going to make Nasvik any money.
Yet, what she lost in terms of dollars was replaced by her gains in public relations, love from her fans, earned media coverage, and a creative use of distribution channels. She has taken social media to a whole new level, interacting with her fan-base personally with a fun and competitive game that was not online, but in the “real” world.
Plus, her brand is now being copied by pirates…meaning that Nasvik’s designs have truly “made it.”
Jeff Louis is a Strategic Media Planner, Brand Project Manager, blogger, and aspiring writer. You can reach him on Twittter or LinkedIn. He is always searching for great ideas and new friends.
I was speaking with a co-worker today and we began talking about how, with the recent major decrease in the economy and spending, companies have stopped using their employee’s brains and are doing the bare minimum to keep themselves afloat. This is probably the worst idea companies could do at this time.
Businesses are no longer buying marketing and advertising spots in order to save money. This move has killed off corporations and lesser known counterparts have taken their places. Why? Because the smaller companies didn’t forget to use a strategy.
It doesn’t necessarily mean that one product was better than another. It’s because the little guys took the money that they had reserved for advertising and marketing and actually used it for… surprise, those very things. They created a campaign and a strategy. While the big guys sat on their hands and saved their money, the lesser known of the two became the top seller.
Here’s another analogy to put it into perspective. Remember the guy in your high school that every girl had a crush on, but he really wasn’t that great? Well, he had a strategy… and it worked. Whether it was being rude to girls, ignoring them, or playing some other mind game, he had a strategy. The rest of the male population only knew they liked a girl and that was as far as they got.
Advertising and marketing are the same. It’s all about the strategy. And in the eyes of the consumers, when a relatively unknown product becomes better than the more well-known and ubiquitous substitutes, a great advertising campaign and strategy could really establish brand equity.
Perhaps the best strategic campaign is HBO’s “True Blood.” Not only did it have fantastic print ads, but it also introduced interactive sites, games, and a carbonated drink called “Tru Blood” that is portrayed as a synthetic blood drink in the actual show. It even brought in other vendors such as BMW’s MINI Cooper.
Let’s go back in time to the 1680’s, where the word strategy was developed. The term, meaning “to lead,” originated from the field of battle. It’s the science or art of combining and employing the means of war in planning and directing large military movements and operations.
A business could have the best product or idea, but if there’s no strategy, there’s no competition. So go to war, strategize, and be victorious.
Megan Green is a freelance propagation planner who has had her work published on PR News Wire, as well as many other outlets. Contact her on LinkedIn, Facebook, Twitter, or at megankategreen@gmail.com.
It’s that time of year again – Cannes is coming. Does the lure of hardware, sunshine, and glamour call you like a siren song? Are you dying to add a trophy to your office or brag to clients that you were nominated the umpteenth time for an award? If so, perhaps you’re in the wrong business.
Don’t get me wrong – I love awards. I have a box in my basement, full of old trophies and ribbons from high school standing as a monument to a time in my life when I lived for my work (at the time, my work was drill team, but you get the idea). There is nothing I like more than being singled out for being the best. Now that I’m a lot older and, hopefully, a little wiser, I’ve finally gained some perspective and would like to bring you back to reality, even if for just a moment:
Sara Barton is a copywriter, social media strategist, and avid blogger who is in search of her next opportunity. Contact her via twitter, LinkedIn, or her blog.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
