Consumer Goods, including FMCG and household products
Title:
PROTECTING FUTURES
Advertiser/Client:
PROCTER & GAMBLE
Product/Service:
FEMININE HYGIENE
Entrant Company:
MS&L New York, USA
PR/Advertising Agency:
MS&L New York, USA
2nd PR/Advertising Agency:
LEO BURNETT USA Chicago, USA
Creative Credits
Name
Company
Position
Katie Mccue
MS&L
Vice President
Karen Kearns
MS&L
Account Supervisor
Describe the campaign/entry:
From students hosting high school lock-ins to New York City Mayor Bloomberg announcing a city-wide product drive, the Always & Tampax Protecting Futures program has inspired people across the country to get involved and spread awareness about a little known issue affecting girls in sub-Saharan Africa.
The feminine care category is known to be a low consumer involvement category: women simply do not form an emotional connection to their sanitary protection products; the topic of feminine protection is also one that is very infrequently covered by traditional media. UNICEF research revealed that one in ten African girls do not attend school during menstruation because of the lack of clean and private sanitation facilities in schools. This disturbing finding was used as the campaign's platform. After assessing the category climate and extensive proprietary research, we conceptualized and led the launch of a multi-agency, holistic program for Always and Tampax called Protecting Futures - a campaign committed to raising awareness about the impact the lack of sanitary protection has on a girl's education in developing countries. Program results include a double digit increase in product shipments, funding for improvements to African schools and communities and global expansion of the campaign.
Describe the brief from the client:
Research:
1-5 million girls in Africa miss school during their period due to the lack of sanitary facilities and access to sanitary protection. (UNICEF, 2005; World Bank 2005)
A survey by Girl Child Network on Gender Equity and Equality in Free Primary Education in Kenya revealed that girls' attendance and performance in school is adversely affected by lack of sanitary protection.
Target: ages 16 - 28: Likely to purchase brands that support causes they believe in.
Objectives:
Drive awareness:
Get 100 million media impressions.
Boost beinggirl.com site visits by 15%.
Try to achieve 75,000 visits to ProtectingFutures.com
Initiate 1,500 downloads for 2008 the HERO Youth Ambassador program.
Drive sales:
Increase sales by 10 percent within first six months.
Results:
We wanted to drive awareness, eventually leading to:
A New York Times exclusive that secured 115 MM impressions in 163 outlets, with online discussion reaching 19.3MM consumers on 110 Web sites and blogs.
Site visits to beinggirl.com/hero jumping by 450% during November.
Achieving 990,000 site visits to ProtectingFutures.com in the first month.
More than doubling applications for the 2008 Youth Ambassador program to over 4,100.
Protecting Futures reaching approximately 115,000 girls in 17 countries by 2009. We also remain committed to reaching 1 million girls by 2012.
Secondly we wanted to develop an emotional connection with consumers:
We motivated a Colorado girl to create a Facebook group supporting the program that engaged 650 individuals.
Received 70 program inquiries from consumers inquiring about ways to help.
Mayor Bloomberg's 'Products of Hope' hosted a pad donation drive in support of Protecting Futures.
Massachusetts teens established "Month for Change" and raised money in support of the program
Sales:
While P&G does not release specific sales information, confidential sales reports indicate a double digit increase in product shipments.
Execution:
Campaign Announcement
We built upon an existing partnership between beinggirl.com and the UNA-USA HERO campaign to develop a larger cause platform across the entire FemCare brand portfolio.
We launched an aggressive media and influencer campaign to introduce the programme and boost WOM.
Targeted top outlets covering health, education, and philanthropic beats and leveraged the national call-to-action for 2008 HERO Youth Ambassadors for additional media interest.
Youth Ambassador Program:
We announced a national search inviting students to apply to become 2008 HERO Youth Ambassadors and volunteers in Africa to work on school-based projects funded by Protecting Futures, including on-site construction, classroom teaching and recreational activities with students which contributed greatly to the girls' education and provided much needed resources to area schools.
We reached out to local print and broadcast media about the students consumer activation.
As a direct result of ongoing PR initiatives and outreach, consumers were inspired to engage in grassroots organic support projects.
We capitalized on all consumer response inquiries by encouraging fundraising activities and engaging local media to cover consumer generated participation.
The Situation:
Many girls in sub-Saharan Africa miss up to five days of school each month because they don't have access to sanitary protection. In some cases, these girls fall so far behind in their studies, that they ultimately drop out.
To help tackle this issue, Always and Tampax created the Protecting Futures program.
Protecting Futures works with partner organizations to provide puberty education, sanitary protection, and sanitary facilities to help vulnerable girls stay in school. In addition, Protecting Futures, along with its partners, works to raise awareness and build advocacy for vulnerable girls' educational needs.
The Strategy:
Develop a multi-year campaign that attracts program advocates and ambassadors, engages the prime prospect, and elevates the brand's reputation while creating an ownable platform for Always and Tampax that would serve as a sustainable vehicle for communications and outreach.
WORLD'S FIRST EPHEMERAL MUSEUM
Type of Entry:
Sectors & Services
Category:
Consumer Goods, including FMCG and household products
Title:
WORLD'S FIRST EPHEMERAL MUSEUM
Advertiser/Client:
DIAGEO PORTUGAL
Product/Service:
PAMPERO RUM
Entrant Company:
LEO BURNETT LISBOA, PORTUGAL
PR/Advertising Agency:
LEO BURNETT LISBOA, PORTUGAL
2nd PR/Advertising Agency:
ARC WORLDWIDE LISBOA Lisbon, PORTUGAL
Creative Credits
Name
Company
Position
Chacho Puebla
Leo Burnett Lisboa
Creative Director
Juan Christmann
Leo Burnett Lisboa
Copywriter
Ricardo Toledo
Leo Burnett Lisboa
Art Director
Tura
Leo Burnett Lisboa
Creative Advisor
Cristina Almeida
Leo Burnett Lisboa
Production Director
Antonio Junior
Leo Burnett Lisboa
Graphic Producer
Antonio Franca
Leo Burnett Lisboa
Graphic Producer
Federico Bosch
Arc Worldwide Lisboa
Digital Producer
Ines Almeida
Leo Burnett Lisboa
Account Director
Francisco Silva
Leo Burnett Lisboa
Account Executive
Monica Rocha
Arc Worldwide Lisboa
Digital Producer
Hugo Lage
Leo Burnett Lisboa
AV Producer
Marta Guimaraes
Leo Burnett Lisboa
PR Director
Describe the campaign/entry:
To Launch Pampero Rum in Portugal we focused on a young social tribe consisting of trendsetters. Traditional advertising just doesn't get to this public, Art does.
Using Pampero Fundacion, a foundation that supports alternative artists, we've created the world's first Ephemeral Museum.
First, the best pieces of street art at the Bairro Alto district were tagged. Then we created a website where you can download an audio-guide and a map with the pieces location. So you could go out with your mp3 player and walk the museum streets. The site MUSEUEFEMERO.COM was constantly updated and soon became a cult place where artist and people interested in street art share opinions, information and fresh pieces of art.
With an annual budget of only ? 30,000 we generated visibility of more than ?240,000. And it keeps growing. According to Millward Brown in a few months Pampero reached the sales expectation for the whole year, duplicated the Trial, and tripled the Top of Mind.
Describe the brief from the client:
The aim was to create an experience. Something new and trendy to get the INDIE tribe involved. We had to make the brand interesting for them, so that they in turn would make it interesting for the public in general.
Results:
With an annual budget of only ?30,000, we generated visibility of more than ?240,000. And it keeps growing. According to Millward Brown in a few months, Pampero reached the sales expectation for the whole year, duplicated the Trial, and tripled the Top of Mind.
Before Pampero was launched, the market leader was considered as a category itself. People just drink that brand. Nowadays Pampero has matched this competitor in sales numbers and in the awareness level (which is remarkable, considering that the competitor has been in the market for 15 years).
The campaign was a topic in several national and international medias such as The New York Times, Metro, Diario de Noticias, Publico, El Pais, La Repubblica, BBC online, Guardian.co.uk, LeCool, Time Out, among others.
Also the museum became a tourist MUST in Lisbon, appearing in several tourist guides such as Lonely Planet, Trip advisor, among others.
Execution:
First, the best pieces of street art at the Bairro Alto district were tagged. Then we created a website, MUSEUEFEMERO.COM, where you can download an audio-guide and a map with the pieces location.
The site MUSEUEFEMERO.COM was constantly updated and soon became a cult place where artists and people interested in street art share opinions, information and fresh pieces of art.
To record the audio guides we called Bondage, an ex-graffiti artist well known by everyone in the street art scene.
For the inauguration day, journalists received a different direct marketing: a tile (typical on Portuguese walls) decorated with a piece of street art.
We also held events in bars presenting different artists painting live, to promote the museum.
The Ephemeral Museum was communicated with traditional media too, such as magazines, online, and with posters in every bar and street in Bairro Alto.
The Situation:
We had a challenge. To launch Pampero rum in Portugal - a place where rum is for old and boring people. We needed to make Pampero cool.
We conducted research to delimit the target. We realized that among young people there are different social tribes. We separated them in: Skater, Latino, Electro, Punk, Hip Hop, Emo, and Indie.
We focused on the social tribe who named themselves as INDIE. Why them? Because they represent a considerable percentage of the young people in Portugal and what's more important, because they're opinion leaders, trendsetters, they say what is cool and what's not.
The Strategy:
The strategy was to use the Pampero Fundacion, a foundation that supports alternative artists, to connect the brand with the public.
But first we needed to gain credibility, to get into the target skin. That's why we contacted a group of underground artists, to give us some "inside" information.
Sei Bessho/Yuji Iwatani/Satoshi Kaneko/Motozumi Kitsunai/Maiko Ohta/Shigeki Adac
Ergo Japan/Ios/Doctor Plus/Doctor Plus//Doctor Plus//E-Spirit/E-Spirit
Driver/Driver/Trainer/Trainer/Trainer/
Koji Torigata/Ryota Sugawara/Koji Tanaka/Yoshitada Hirobe
Bilcom/Bilcom/Bilcom/Bilcom
PR
Ryuichi Sakamoto
Music
Iori Abeno (a Woman)/Shohei Kawasaki (a Man)
Cast/Cast
Describe the campaign/entry:
The Challenge:
At 0.02 mm, Sagami Original is the world's thinnest condom. We wanted to increase awareness of Sagami Original and acquire a positive perception of the brand. But it's difficult to broadcast TV advertisements of condoms in Japan.
Solution:
We created a month long TV ad by using the internet instead. After a month, the product and the client would be revealed.
Describe the brief from the client:
We used a long distance couple who were actually dating for 2 and a half years, chosen from the entries.
We planned an event to have the couple run a 1,000,000,000 mm (1,000 km) marathon, one from Tokyo and the other from Fukuoka.
Images of the two were broadcast live on the internet for one month until the moment they met and embraced at the midpoint.
The two were not allowed to have their own PCs and cell phones but were allowed to keep contact through the internet site blog, and TV phone and SMS mails sent through the cell phones provided to them by the project.
Thus all correspondences between the couple were displayed to the public on the internet.
We wanted to create buzz and excitement among target groups about the ultimate finale when they would meet each other.
Results:
After the product name was revealed on December 24th, Sagami Original's sales rapidly increased, with December and January bringing in record sales.
During the one month when the client and product names were not revealed, users started speculating on the client and the product through SNS's and blogs.
There were days when the Japanese SNS received 3000 messages in just one day.
TV programs featured this event and created a buzz, which not only spread in Japan but spread abroad as well. There were over 100,000 users accessing the site on the day of the reveal, as all were eager to know the name of the client and the product.
Execution:
The couple's locations were marked on an internet map through GPS and users could go and cheer them on the streets and send them fax messages via the internet to show their support.
This also provided a simulation experience of a long distance relationship for the users.
The men's site and the women's site were created separately. Users, unaware that once their gender is chosen, would not be able to share the other gender's site, due to answering the gender question asked of them when they first visited the site.
On Christmas eve, the day of the finale, the men's site and the women's site came together as one, as the couple embraced each other.
And that is when the name of the client and the product was revealed.
The Situation:
At 0.02 mm, Sagami Original is the world's thinnest condom. We wanted to increase awareness of Sagami Original and acquire a positive perception of the brand. But it's difficult to broadcast TV advertisements of condoms in Japan.
We created an interesting and intriguing campaign over the month leading up towards Christmas to generate interest and a cult following before revealing the brand and the product on Christmas Eve.
The Strategy:
Virtually experiencing "long distance relationship"
Moving internet live broadcasting was used, an out of the ordinary idea for most of the world. A real couple starts to run for each other: the man from Fukuoka, the woman from Tokyo. Both were selected after auditioning, are broadcast live over the internet. Viewers can see the long distance love relationship between the two in real-time by visiting the interactive pages set for each gender.
Blind Branded Entertainment
This documentary was actually an advertisement. On the night before Christmas, the client was revealed at the same time the man and woman finally met each other. Viewers would look forward to finding out who the client was and in the meantime, enjoy the contents. The documentary would be used as a video planned to be broadcast on December 31st.
ZURICH'S BEING SOLD
Type of Entry:
Sectors & Services
Category:
Media, Arts and Entertainment
Title:
ZURICH'S BEING SOLD
Advertiser/Client:
CABARET VOLTAIRE
Product/Service:
CABARET
Entrant Company:
SPILLMANN/FELSER/LEO BURNETT Zurich, SWITZERLAND
PR/Advertising Agency:
SPILLMANN/FELSER/LEO BURNETT Zurich, SWITZERLAND
Creative Credits
Name
Company
Position
Martin Spillmann
Spillmann/Felser/Leo Burnett
Executive Creative Director
Martin Spillmann
Spillmann/Felser/Leo Burnett
Creative Director
Patrick Dubach
Spillmann/Felser/Leo Burnett
Copywriter
Reto Clement
Spillmann/Felser/Leo Burnett
Art Direction
Pam Hugli
Spillmann/Felser/Leo Burnett
Account Director
Describe the campaign/entry:
Zurich's Cabaret Voltaire (est. 1916) needed to win the September 28 - 2008 ballot for a continuation of their subsidized credit of CHF 945,000 - by Zurich city taxpayers.
Our strategy was to take the central thought of Dadaism to the streets. Since with Dadaism everything is art - we took just that and made everything art, declaring everyday objects regardless if it being a park bench, a public phone booth, a public toilet or a trashcan as art.
And so said we made everything art, declaring everyday objects as art objects.
The objects where auctioned and sold over www.alles-ist-kunst.ch. The objects were marked with a big red sold sticker, declaring them as, as sold artwork. Shortly before the election we cleared up the teaser by freezing the sales and stating - stop with the cultural clearance and selling-out of the city - vote for Cabaret Voltaire.
The campaign resulted in more than 13,000 visitors online at www.alles-ist-kunst.ch, over 400 sold objects and a ballot won; with 65% Yes votes for Cabaret Voltaire, the birth place of Dadaism.
Describe the brief from the client:
The aim was to create a campaign to ensure that Cabaret Voltaire would win the ballot and secure their subsidy, which would ensure the existence of Cabaret Voltaire Zurich.
Results:
The campaign resulted in more than 13,000 visitors online at www.alles-ist-kunst.ch, over 400 sold objects and a ballot won with 65% Yes votes for Cabaret Voltaire, the birth place of Dadaism.
Execution:
The everyday objects which were declared as art were auctioned and sold over www.alles-ist-kunst.ch. The objects got marked with big red sold stickers, declaring them as, as sold artwork. Shortly before the election we cleared up the teaser by freezing the sales and stating "stop with the cultural clearance and selling-out of the city - vote for Cabaret Voltaire".
The Situation:
How do you familiarize the general public with such an abstract art form like Dadaism (a type form of art and literature), ensure their sympathy for Zurich's Cabaret Voltaire (est. 1916) and also win the September 28 2008 ballot for a continuation of their subsidized credit of CHF 945,000- by Zurich city taxpayers.
The Strategy:
Our strategy was to carry out the central thought of Dadaism and take it to the streets: everything is art. And so said, we made everything art, declaring everyday objects as art objects.
With a debt of $353 million, Yubari City in Hokkaido, Japan, went bankrupt in 2007. Our challenge was to promote Yubari, reenergize its citizens, and help erase the debt burden.
Our PR strategy focused on the fact that Yubari boasted the lowest divorce rate in the whole of Japan and as such we created the idea, 'Yubari, no money but love.' In expanding this idea we created a couple of loveable, yet slightly ironic characters called 'Yubari Fusai'. "Fusai" means both "debt" and "married couple" in Japanese. Then we collaborated with the City Government to create a series of schemes positioning the city as a destination for happy couples - one of the many promotional schemes we initiated was the formation of Department of Happily Married Couples issued official Happily Married Certificates.
Important to our strategy was the need to be upbeat and positive, protecting the sensitivities of the local residents, ensuring that our efforts didn't demean them in any way. The idea of "no money but love" was an honest, yet endearing articulation of the situation they faced. Added to which, and in a country obsessed by cute characters such as Hello Kitty, the Yubari Fusai icon, proved to be a potent vehicle in generating WOM, print and broadcast PR.
Describe the brief from the client:
Our ultimate goal was to help relieve Yubari of its' debt burden by fueling a sustainable increase in tourism.
Results:
The PR activities generated $1.5 million in unpaid media value including 100 newspaper mentions, 100 online media mentions, 30 TV segments, and 53,100 blog entries (source Google search). In addition, the annual number of visitors to Yubari increased by 10% year-on-year since the start of the project. Better still $30 million has been generated toward alleviating the city's debt. But perhaps more importantly, the people of Yubari can once again take pride in their city - an intangible benefit that defies measurement.
Execution:
A press conference announced the launch of the 'Yubari Fusai' characters. The slightly ironic characters provoked a nationwide debate on the dire state of Yubari. Citizens groups and companies collaborated with the City to launch the Yubari Fusai Project. On 'Happy Couples Day' the mayor declared Yubari a city of Happy Couples and the first 'Happy Couple Certificate' was issued to a newlywed couple; the story was covered nationwide through television and newspapers. Limited pressings of the characters song CD went on sale and the song was distributed to Karaoke lounges nationwide. Branded local beer, dumplings and confectionary went on sale. A famous husband-and-wife comedic duo sang 'The Yubari Fusai Song' at a press conference. A Yubari Local Products Fair was held in Tokyo and Yubari Fusai stuffed toys boosted coverage and quickly became the toy company's best selling line. The characters were reproduced as photo booth stickers, and licensed to appear in children's comics.
The Situation:
Once a proud mining town, Yubari saw its mines close as oil replaced coal. The city attempted to convert to traditional tourism (theme parks etc). But these efforts left the city further in debt and by March 2007 it was sanctioned for fiscal reconstruction. The city was given 18 years to clear its debt, but with a declining population of just 12,000 citizens, 40% of which were senior citizens, Yubari faced a monumental struggle.
The Strategy:
Introduce the umbrella strategy of "No money but love" and launch the Yubari Fusai characters to the media and the residents of Yubari. Phase two would involve mobilizing the Yubari residents and encouraging them to create revenue-generating ideas based on the Yubari Fusai characters. In Phase three we would set out to publicize their efforts - the nation would become aware that residents were taking action, and this news in turn would generate further business. In Phase four, work with the local government to create additional schemes that would help position the city as a destination for happily married couples. Finally publicize the predicted rise in tourism, which in turn would trigger more visits.
BEST JOB IN THE WORLD
Type of Entry:
Sectors & Services
Category:
Travel, Tourism & Leisure
Title:
BEST JOB IN THE WORLD
Advertiser/Client:
TOURISM QUEENSLAND
Product/Service:
ISLANDS OF THE GREAT BARRIER REEF
Entrant Company:
CUMMINSNITRO Brisbane, AUSTRALIA
PR/Advertising Agency:
CUMMINSNITRO Brisbane, AUSTRALIA
Creative Credits
Name
Company
Position
Cristian Staal
Cumminsnitro
Art Director
Merrin Mccormick
Cumminsnitro
Copywriter
Ralph Barnett
Cumminsnitro
Art Director
Darren Mccoll
Cumminsnitro
National Strategy/Planning Director
Anne-Maree Wilson
Cumminsnitro
Account Director
Edwina Gilmour
Cumminsnitro
Account Director
Nancy Hartley
Cumminsnitro
Creative Director
James Burchill
Cumminsnitro
Creative Director
Jason Kibsgaard
Cumminsnitro
Senior Digital Producer
Adam Ford
Cumminsnitro
Account Director
Matt Farrugia
Cumminsnitro
Senior Digital Producer
Horia Traian
Cumminsnitro
Head Of Technology
Glen Peterson
Cumminsnitro
Senior Developer
Anton Ward
Cumminsnitro
Senior Developer
t
KHEDE KASRA
Type of Entry:
Sectors & Services
Category:
Charity and not for profit
Title:
KHEDE KASRA
Advertiser/Client:
HARIRI FOUNDATION
Product/Service:
WOMEN EMPOWERMENT PROGRAM
Entrant Company:
LEO BURNETT BEIRUT, LEBANON
PR/Advertising Agency:
LEO BURNETT BEIRUT, LEBANON
Creative Credits
Name
Company
Position
Bechara Mouzannar
Leo Burnett Beirut
Regional Executive Creative Director
Chermine Assadian
Leo Burnett Beirut
Creative Director
Tania Saleh
Leo Burnett Beirut
Art Director
Nayla Baaklini
Leo Burnett Beirut
Art Director
Reem Kotob
Leo Burnett Beirut
Art Director
Roula Asmar
Leo Burnett Beirut
Art Director/Designer
Yasmina Baz
Leo Burnett Beirut
Art Director
Rana Najjar
Leo Burnett Beirut
Copywriter
Rana Khoury
Leo Burnett Beirut
Copywriter
Nada Abi Saleh
Leo Burnett Beirut
Deupty Md
Dima Kfouri
Leo Burnett Beirut
Account Executive
Ghada Oueidat
The Post Office
Director
Ahmad Awad
The Post Office
Music
Marwan Ziadeh
The Post Office
Editor
Farah Fayed
The Post Office
Editor
Describe the campaign/entry:
A simple "kasra" accent was used to inspire Lebanese women to bring about gender equality in society.
Describe the brief from the client:
The client, The Hariri Foundation, wanted to address the imbalance of gender roles in Lebanese society through their "Women Empowerment Program", by raising awareness on women's status and rights in Lebanon and incorporating gender equality in the social culture.
Results:
With increased buzz and the heightened interest of reporters, the campaign enjoyed substantial share of newspaper and magazine coverage with articles appearing in major regional publications. The result was a total estimated PR value of $1,814,235. Bloggers online adopted the campaign. Articles appeared in the press. It became the talk of the town and many adopted the "Khede Kasra" phrase in their everyday conversations. The campaign sparked debates and roundtables about female regulations in the Lebanese judicial system. All in all, awareness on gender inequality was spread.
Execution:
The integrated campaign demonstrated how all men and women read words as being automatically addressed to men. The "kasra" accents on revealers twisted their meanings. To reach the whole country geographically and all women demographically, a moving interactive billboard as well as posters were set up, whilst stickers were distributed, in rural and upscale areas on the streets of Lebanon throughout November, to engage the public and physically get them involved. The campaign also hit the digital circuit, through emails, YouTube, and Facebook, reaching the Lebanese internet population, who found the forum an outlet for their opinions. On the occasion of International Women's Day (March 8, 2009), TV personalities were contacted to wear the "kasra" on air and endorse the campaign during that week. As the highlight of the campaign, during a filmed event, the Minister of Education distributed stickers and encouraged prominent women in society to get metaphorically involved with the interactive billboard as well as literally involved on the ground.
The Situation:
Lebanese women cannot give their nationality to their children if married to a foreigner. Lebanese women automatically lose custody of their children above 9 years of age in any divorce battle. Domestic violence against women is widespread. Lebanese women need to actively participate in society and stand up for themselves. We designed a campaign that would help to raise awareness about the inequalities and disadvantages suffered by women that would hopefully lead to widespread cultural reform.
The Strategy:
The agency chose to tackle gender inequality in the Arabic language. Spoken and written words in the media which would otherwise be addressed to men by default, were altered with a "kasra" accent, making them addressed to women. This was extremely relevant to the client which had been heavily researching the depiction of women in the media. With a call for action line that encouraged women to "make your mark", the target audience that included every Lebanese woman from every possible demographic, was inspired by such a simple idea. The meaning behind literally changing the word empowered them to actually change their reality with their own hands. Knowing that the Lebanese watch a lot of television, their favorite shows were used as yet another channel to communicate the campaign.
SELLING HOPE
Type of Entry:
Sectors & Services
Category:
Charity and not for profit
Title:
SELLING HOPE
Advertiser/Client:
PORTUGUESE RED CROSS
Product/Service:
CHARITY AWARENESS
Entrant Company:
LEO BURNETT LISBOA, PORTUGAL
PR/Advertising Agency:
LEO BURNETT LISBOA, PORTUGAL
2nd PR/Advertising Agency:
ARC WORLDWIDE LISBOA Lisbon, PORTUGAL
Creative Credits
Name
Company
Position
Chacho Puebla
Leo Burnett Lisboa
Executive Creative Director/Copywriter
Erick Rosa
Leo Burnett Lisboa
Copywriter/Creative Director
Renato Lopes
Leo Burnett Lisboa
Art Director/Creative Director
Daniel Palma
Arc Ww Lisboa
Designer
Cristina Almeida
Leo Burnett Lisboa
Production Director
Antonio Junior
Leo Burnett Lisboa
Graphic Producer
Antonio Franca
Leo Burnett Lisboa
Graphic Producer
Federico Bosch
Arc Worldwide Lisboa
Digital Producer
Ines Almeida
Leo Burnett Lisboa
Account Director
Renata Ferreira
Leo Burnett Lisboa
Account Executive
Marta Guimaraes
Leo Burnett Lisboa
PR Director
Tura
Leo Burnett Lisboa
Creative Advisor
Monica Rocha
Arc Worldwide Lisboa
Digital Producer
Hugo Lage
Leo Burnett Lisboa
AV Producer
Describe the campaign/entry:
The Red Cross needed to raise money for its main causes this Christmas. We came up with an idea that could change the way people donate. Two factors played a great role in this: it is during the Christmas Season that people buy more and feel more compassionate. And a Store that sells Hope was born. Nothing you can touch, see, wear or hear. But feel.
We built an actual retail store in one of the most popular malls in Lisbon. A Store like any other, with hangers, windows, fitting rooms, salespeople, bags-- but with one difference: people left with their hands empty but with their hearts full. This idea was communicated across several channels, from radio to features on the Internet and print. Some of the best known celebrities were sponsors and a massive public relations campaign was developed during the course of the Store. First we generated interest and later on TV, newscasts, radio interviews, magazine features, and newspaper articles-- to sustain the momentum.
The Store exceeded all expectations, reaching the Mall's top 10 in sales in the first day. And there are now solid plans to open new ones wherever there's a Red Cross - All selling Hope.
Describe the brief from the client:
The PR campaign identified three major targets: opinion makers, people who shop more during the Christmas Season and those who donate to causes such as the Red Cross.
To the first group we structured a plan where the sponsor would go on the Radio, TV and print articles and talk about the Store. Simultaneously, through carefully designed materials, we targeted shoppers with a campaign to visit the Store. And to those who donate regularly we used both the Internet and print to gather volunteers, potential buyers and to spread the word. Hope would quickly become a valuable and desired product.
Results:
The objective was to have people donate to the Red Cross in a way that had never been done before. A Store that sells Hope had the potential to do just that. And to make sure the public understood they would leave the store with empty hands but with the heart full, the PR campaign was vital. It forever changed the way people saw the act of donating.
The results indicated it was the perfect idea for the current world we live in. Reaching the mall's Top 10 in sales in the first day. Increasing the number of volunteers, and the number of people who had never donated before. It also brought other companies to partner with the Red Cross. And the most promising result of this idea is to know that there are plans to open new stores in other places. All of them selling Hope. Lots of it.
Execution:
After the tone of the campaign was decided during the planning stage we set out to chart each medium and target according to the schedule of the Store.
The schedule can be divided in three parts: the informative and teaser stage, the opening stage during the firs two weeks and the final stage that lasted up until the last day of the Store. This was carried out with specific channels suited for each stage. The Internet, radio features, interviews from celebrity sponsors were used to spread the idea of a Store that sells Hope.
The best part of it all is that the message did spread faster than our wildest expectations. With all channels working to keep Hope a best seller during Christmas, the PR campaign showed to be a success indeed.
The Situation:
At a time when the world has the biggest demand for Hope, this PR campaign fell into place perfectly. The biggest challenge was to communicate in a clear and emotional way, a product that can only be felt. It had to sound as genuine as the intentions behind the idea. Hope became the biggest selling point. The PR campaign was able to reconnect people with the act of donating once. Through carefully placed ads, interviews and more importantly, the constant feed of information in all channels the Red Cross Store soon had people lining up to see it first hand.
The Strategy:
The Christmas Season is the most important time for any retailer, a time when people buy more than ever. We concentrated all of our efforts to dramatically increase demand for Hope, starting in early November - with the peak of the campaign on the two weeks prior to Christmas Eve and a major effort on the actual Christmas Eve. Since we were aiming for different targets, we designed a plan in a way it would reach all channels gradually at first and simultaneously once the Store was opened. The tone of the campaign was aimed to be genuine, with just the perfect balance of the emotional side and the realities facing the causes supported by the Red Cross. The PR campaign also was planned in a way to maximize the number of media partners to unveil the Store's idea of selling Hope and sustain momentum up until the very last day.
BRING BACK PEACE
Type of Entry:
Sectors & Services
Category:
Public Affairs
Title:
BRING BACK PEACE
Advertiser/Client:
CAMARA DE COMERCIO DE COSTA RICA/ASOCIACION DE FAMILIARES VICTIMAS DE HOMICIDIO
Product/Service:
ANTI-CRIME CAMPAIGN
Entrant Company:
DDB COSTA RICA San Jose, COSTA RICA
PR/Advertising Agency:
DDB COSTA RICA San Jose, COSTA RICA
Creative Credits
Name
Company
Position
Manuel Travisany
Ddb
General Creative Director
Carlos Redondo
Ddb
Art Director
Jose Manuel Chacon
Ddb
Copywriter
Ariel Arburola
Ddb
Designer
Esteban Mcclean
Ddb
Copywriter
David Tencio
Omd
Media Planning
Aixa Saborio
Porter Novelli
Public Relations
Describe the campaign/entry:
Rarely can you witness a public relations campaign that changes a country's legislation and actively involves more than a third of its population. This is one of them.
We started off with a campaign that included graffiti, brochures, and some mass media. The intention was to wake up people to the reality that Costa Rica lived under the laws of fear. This struck the entire nation; demonstrations began taking place. Organisations got together to protect the families of crime victims. The voice of twenty four rock bands could be heard through a series of concerts all over the country. Art exhibits with famous painters, photographers, musicians, and poets toured the nation. Their work was shared with everyone who entered the Bring Back Peace site.
By the end, we accomplished our objectives: the government reformed Costa Rica's Criminal Law; in a country of 4.5 million - the "Bring Back Peace" registered 1.5 million clicks in only one month; and most important, crime rates began to decrease.
Describe the brief from the client:
We needed to create a social phenomenon that could influence a government while breeding a change in attitude and behaviour among the people. This would in turn, foster peace and respect for life. Our audience was the entire world. Our ultimate client was the country of Costa Rica. We needed to generate a massive PR campaign for a country whose image was plummeting due to crime. Thus, we needed to involve the people and the media in Costa Rica in order to make them feel that our cause was their cause. The fact that the country's Criminal Law was obsolete was more than evident: one person in Costa Rica died every day due to violence caused by crime. Immediate action was needed.
Results:
A year after the government signed the Bring Back Peace bill:
- The budget for security increased 80%
- The law to protect victims and witnesses was approved to combat retaliation
- Criminal sentences, for criminals caught red-handed are now decided immediately. Sentencing used to take two years
- A new traffic law was approved mandating for the first time that a drunk driver be sent to jail after killing someone
- During the first "Bring Back the Peace" march, the Victims' Family Relatives Association was formed to support the victims
- 14 out of the 15 cases presented in "The Value of Life" exhibit were brought to investigation
- The laws against terrorism and organized crime are about to be approved
- At all times the campaign received free support from the media and from all parties involved
- The Government, which initially distanced itself from the campaign, in the end supported and recognized its contribution towards the solution of the problem.
- And the most important accomplishment: a year ago: there was nothing.
Execution:
Stage 1. Up to the Head (The Authorities). Everything began when we launched the message "We live under the laws of the criminals".
The message was embraced by the media and it brought people to demand the right for peace in such manner that the government signed the "Bring Back Peace" Bill.
Stage 2. Straight to the Heart (The Artists). To involve the younger crowd (crucial in every social movement) we invited local and international artists, to donate their work to the Bring Back Peace cause. Their artwork could be downloaded for free from the Bring back Peace website. In only one month, the site registered 1.5 million clicks, an impressive figure considering the country has 4.5 million people.
Stage 3. Down to the Body (The People).
Finally, we inaugurated a series of exhibit where the lives of 15 crime victims were showcased. These claimed the respect for life as the central principle to bringing back peace. The most important exhibit took place in Costa Rica's National Gallery. The exhibits are still touring the nation.
The Situation:
Costa Rica, historically peaceful, was the first nation not to have an army. However, crime, from being almost inexistent, was now taking over people's lives. The government, led by Nobel Peace Prize Oscar Arias, ironically blamed the legislative power for the increasing crime rates.
The Strategy:
Business strategy: Force the national government (the Supreme Court of Justice, the House of Representatives, and the President) to strengthen laws against crime.
Marketing Strategy:
To generate an influential campaign where a social wave could pressure the government to sign a new bill against crime.
Communication Strategy:
Tell people upfront, that Costa Rica was no longer a peaceful nation and that if people wanted to Bring Back Peace, they needed to fight for it.
Describe the target audience and their relationship with the brand:
We speak to every Costa Rican who is proud about the country's peace and natural landscapes.
Explain the unique insight that shaped the idea - How was it relevant to both the client and the target audience? The core insight of the campaign was "we live under the laws of the criminals", a very powerful concept that touched people's hearts. It got the government to assume its responsibility. Furthermore, it made everyone aware that sadly, the spontaneity of every Costa Rican was shadowed by the laws of fear.
THE GREAT SCHLEP
Type of Entry:
Sectors & Services
Category:
Public Affairs
Title:
THE GREAT SCHLEP
Advertiser/Client:
JEWISH COUNCIL FOR EDUCATION AND RESEARCH
Product/Service:
PRESIDENTIAL CAMPAIGN
Entrant Company:
DROGA5 New York, USA
PR/Advertising Agency:
DROGA5 New York, USA
Creative Credits
Name
Company
Position
David Droga
Droga5
Creative Chairman
Andrew Essex
Droga5
Chief Executive Officer
Ted Royer/Duncan Marshall
Droga5
Executive Creative Director
Jeff Anderson
Droga5
Art Director
Isaac Silverglate
Droga5
Copywriter
Craig Batzofin
Droga5
Director Of Digital Services
Scott Witt
Droga5
Creative Director Of Digital Media
Sarah Silverman
Writer
Wayne Mcclammy
Oil Factory
Director
Heidi Herzon
Oil Factory
Executive Producers
Rhet Bear
Oil Factory
Director Of Photography
Josh Reynolds
Editor
Gabriel Connoly
Liberty Concepts
Producer
Pascal Rettig
Liberty Concepts
Programmer
Oil Factory
Oil Factory
Production Company
Describe the campaign/entry:
Our assignment was to help Barack Obama win the Presidency of the United States. Our target audience was any large group of voters in a key battleground state. We knew that Florida was one such key battleground state, and that in 2008, Florida was up for grabs. An important voting group in Florida is its 400,000 elderly Jewish residents. But Obama was unpopular with elderly Jews, who were reluctant to elect an African American, and also mistakenly believed he was Muslim.
So, to get elderly Jews to vote for Obama, and to bring attention to the issue, we targeted the one group they'd listen to: their beloved grandchildren, and encouraged them to visit their grandparents in Florida to educate them about Obama. We launched our campaign, called the Great Schlep, with a website featuring videos, talking points, and an online "Schlepper" community. We also made a viral video.
Within weeks, the viral video was viewed 4 million times, the Great Schlep was reported on by every major new organization and newspaper in the US (342 million media impressions; source Optimedia), and our talking points were downloaded 1.2 million times. 25,000 people signed on to become Schleppers. In the end, Obama received the highest percentage of Florida's Jewish vote in 30 years (78%, 351,000 votes) and won Florida by 170,000 votes.
Describe the brief from the client:
Our goal was to help Barack Obama win the Presidency of the United States, and in a tight race, that meant winning a key battleground state. We decided to focus on Florida because of its recent history in the previous two presidential elections.
Florida was trending Republican, McCain was leading slightly, so Florida was a critical state for Obama to win. We targeted the elderly Florida Jewish vote because it can win or lose an election there, and despite usually voting Democratic, was polling against Obama now. To reach these elderly Jews, we targeted their grandchildren. We did this because elderly Jews would be more likely to listen to them, than to us.
Results:
Within a few weeks, The Great Schlep Facebook group had 25,000 members, and the Great Schlep talking points had been downloaded 1.2 million times. The Great Schlep was featured in every major American newspaper and on all major television stations. Networks such as CNN and ABC followed "Schleppers" to Florida from all over the country. The Great Schlep video featuring Sarah Silverman was hosted on thousands of blogs gaining more than 4 million views. The Great Schlep campaign received 342 million media impressions. On Election Day, Obama received the highest percentage of Florida's Jewish voters in 30 years, and won Florida by 3 points. (Source: Optimedia)
Execution:
A month and a half before the election, The Great Schlep viral video was seeded on a few video-sharing websites, such as YouTube and Funny Or Die, as well as on the Great Schlep homepage. Over the next week or so, the media took over and coverage of the Great Schlep exploded to every major TV station and newspaper. This increased awareness amongst both young and elderly Jews, not to mention the rest of the United States as well.
The Situation:
Months before the election, Obama and McCain were virtually tied in the national polls, and Obama was behind in Florida. A large reason for Obama's deficit was his being unpopular with elderly Jewish voters in South Florida. They believed (falsely) that we was anti-Israel, and had doubts about electing a black president. However, their grandchildren were largely pro-Obama. So having these grandchildren visit Florida seemed like a way to change minds; and what grandparent doesn't like a visit from their grandchild? In addition, the mere fact this intergenerational event was taking place would bring light to the issue of Obama and the Floridian Jewish vote.
The Strategy:
We launched the campaign with a website aimed at inspiring, educating and connecting young Jewish people about the Great Schlep. The website consisted of Obama information/videos, a Great Schlep Facebook community component, talking points for engaging Jewish grandparents about Obama, and an online store. In order to drive traffic to the website, we also created a viral video about the Great Schlep featuring Jewish comedian Sarah Silverman.
HONEY, LET'S LICK THE PROBLEM
Type of Entry:
Sectors & Services
Category:
Corporate Responsibility and Environmental Issues
Title:
HONEY, LET'S LICK THE PROBLEM
Advertiser/Client:
THE HAAGEN-DAZS BRAND
Product/Service:
FROZEN DESSERT
Entrant Company:
KETCHUM San Francisco, USA
PR/Advertising Agency:
KETCHUM San Francisco, USA
2nd PR/Advertising Agency:
GOODBY SILVERSTEIN & PARTNERS San Francisco, USA
Creative Credits
Name
Company
Position
Ching-Yee Hu
The Haagen-Dazs Brand
Brand Manager
Crystal Hubbard
The Haagen-Dazs Brand
Communications Coordinator
Diane McIntyre
The Haagen-Dazs Brand
Senior Public Relations Manager
Dori Sera Bailey
The Haagen-Dazs Brand
Director, Consumer Communications
Josh Gellert
The Haagen-Dazs Brand
Brand Manager
Katty Pien
The Haagen-Dazs Brand
Brand Director
Kerry Hopkins
The Haagen-Dazs Brand
Brand Manager
Tonya Iles
The Haagen-Dazs Brand
Manager Interactive
Allyson Savage
Ketchum
Vice President, Group Manager
Anna Tiedeman Irwin
Ketchum
Account Supervisor
Daniel Acker
Ketchum
Interactive Specialist
Dave Chapman
Ketchum
Partner/Director, Ketchum West
Erica Saviano
Ketchum
Senior Media Specialist
Jean Ziliani
Ketchum
Vice President, Senior Media Specialist
Jen Parsons
Ketchum
Media Specialist
Jon Bellinger
Ketchum
Senior Account Executive/Interactive Strategist
Margo Schneider
Ketchum
Vice President, Senior Media Specialist
Matt Stearns
Ketchum
Vice President, Media Strategist
Nick Ragone
Ketchum
Associate Director
Rita Gorenberg
Ketchum
Account Executive
Sara Kerns
Ketchum
Senior Account Executive
Andrew Bancroft
Goodby, Silverstein & Partners
Copywriter
Asya Soloian
Goodby, Silverstein & Partners
Creative Coordinator
Brooks Jackson
Goodby, Silverstein & Partners
Copywriter
Christine Chen
Goodby, Silverstein & Partners
Deputy Director of Communication Strategy
Corinne Wolford
Goodby, Silverstein & Partners
Senior Communication Strategist
Cris Logan
Goodby, Silverstein & Partners
Designer
Dharnesh Kaur
Goodby, Silverstein & Partners
Communication Strategist
Erin Fromherz
Goodby, Silverstein & Partners
Account Manager
Hilary Coate
Goodby, Silverstein & Partners
Senior Broadcast Producer
James Horner
Goodby, Silverstein & Partners
Executive Broadcast Producer
Jenny Taich
Goodby, Silverstein & Partners
Senior Print Producer
Jim Elliot
Goodby, Silverstein & Partners
Group Creative Director
John Thorpe
Goodby, Silverstein & Partners
Director of Brand Strategy, Associate Partner
Joshua Spanier
Goodby, Silverstein & Partners
Director of Communication Strategy
Kelsie Van Deman
Goodby, Silverstein & Partners
Interactive Producer
Leslie Barrett
Goodby, Silverstein & Partners
Group Account Director
Margaret Johnson
Goodby, Silverstein & Partners
Art Director
Matt Rivitz
Goodby, Silverstein & Partners
Copywriter
Mike Geiger
Goodby, Silverstein & Partners
Director of Interactive Production
Rebecca Stambanis
Goodby, Silverstein & Partners
Co-Deputy Head of Brand Strategy
Stephanie Charlebois
Goodby, Silverstein & Partners
Communication Strategist
Tanner Shea
Goodby, Silverstein & Partners
Art Director
Tyler Magnusson
Goodby, Silverstein & Partners
Art Director
Describe the campaign/entry:
The Haagen-Dazs brand (HD) was getting stung by stagnating sales and declining consumer interest. To reconnect with its consumers, HD decided to make its first foray into cause marketing. It found a highly relevant cause upon which 40% of its all-natural ingredients depended for their very existence: honey bees. HD would champion the "disappearing honey bees" by raising awareness of and trying to help solve the underreported issue known as Colony Collapse Disorder.
HD loves HB (Honey Bees) was launched with a new flavour dedicated to honey bees, a new logo on all products dependent on the tiny pollenators, a new consumer education website, and print and TV advertising. But the biggest lever was public relations. The PR program added gravitas to the campaign's tone, formed an expert advisory board, directed donations to research and created a way for thousands to plant bee-friendly habitats to help save bees.
The campaign exceeded all expectations. HD saw its highest sales increase in 12 months, garnered 277+ million impressions with $1.5 million in advertising equivalencies, and increased consumer brand advocacy by 13%, reaching 69%, the highest level among 19 different ice cream brands measured.
Describe the brief from the client:
Business: Increase overall revenue growth by 1% over 2007.
Awareness: Increase branded media impressions by 25% over 2007 levels (total goal of 125 million impressions in year one; increase awareness of the issue and the campaign).
Behaviour: Motivate consumers to plant one million bee-friendly flowers; drive visitors to helpthehoneybees.com; increase brand advocacy over Q1 levels.
Research: No major food brand had adopted the issue. The best target audience would be highly educated, active, affluent urban/suburban parents, 35-54 people who support brands that help them and their children learn and practice sustainable living.
Results:
Business:
April sales spiked 5.2% (largest in one year). Sustained 4% revenue growth (April-July 2008).
Awareness:
277 million earned media impressions with paid advertising equivalency of $1.5 million
1,097+ unique news placements (CNN, AP, NPR, WSJ, Today, NYT, Everyday with Rachael Ray)
93% of media coverage was overwhelmingly favourable; 100% mentioned brand name
12-point increase in PR and "buzz" level over previous quarters
In one year, 8-point increase in consumer awareness of issue; 6-point increase in identification of issue; and highest unaided consumer brand recall among companies working to help bees (Omnibus)
Behaviour:
1.2 million Consumers planted bee-friendly habitats with free seeds
469,798 unique visitors swarmed helpthehoneybees.com (76% above industry average); average of eight page views per visit (82% above average)
Brand advocacy rating jumped 13% between Q1 & Q2 to 69% (highest in category, exceeding rival Ben and Jerry's).
Execution:
Donation: Awarded $250,000 to Pennsylvania State University (PSU) and the University of California, Davis (UCD) for CCD research; and $10,000 to The Pollenator Partnership.
Bee Board: The brand created an advisory board of PSU/UCD scientists and two beekeepers to guide communications and serve as media spokespeople.
Industry outreach: Prior to launch, the brand announced the campaign to beekeepers/scientists at an industry conference, engaging experts who became brand ambassadors.
Media Outreach: As a media multiplier, the team first went to CNNMoney.com, feeding hundreds of Web outlets and driving local broadcast/print.
Million Seeds Challenge: The team challenged supporters to help HD plant one million seeds for bee-friendly habitats, giving enthusiasts "HD loves HB" seed packets.
Ice Cream Social on Capitol Hill: During Pollinator Week, the brand and The Pollinator Partnership hosted a Capitol Hill briefing and ice cream social; the HD Brand Director testified before Congress on behalf of CCD.
The Situation:
The iconic HD brand is distinguished by its long standing commitment to all-natural ingredients. For years, HD had enjoyed 7-10% annual sales growth, but by 2007 it was at risk of becoming just another mature brand with stagnating sales and a host of new competitors. As several competitors were proving, brand advocates were becoming increasingly important in the industry. HD needed a long term business solution, something that would make it relevant again to consumers and re-ignite sales. Cause marketing seemed like a smart answer, but HD had no experience in the area.
The Strategy:
Overall Strategy
1) Give target consumers compelling ways to engage frequently with the brand, educating them about the honey bee plight, HD's concern and the brand's authentic reliance on honey bees
2) Establish HD as the first national consumer brand to support the issue and put the cause on consumers' radar in a major way; strategically use the brand name to raise awareness and underscore the brand's "all natural" brand essence by inextricably linking honey bees with HD.
Media Strategy: To expedite mass awareness, launch the story with a "media multiplier." Expand media targets beyond the usual food and lifestyle outlets to include scientific, agricultural, environmental, gardening and beekeeping trade outlets.
ONE THOUSAND CASMURROS
Type of Entry:
Technique
Category:
Best Use of the Internet, Digital Media and Social Media
Title:
ONE THOUSAND CASMURROS
Advertiser/Client:
TV GLOBO
Product/Service:
TV MINI-SERIES
Entrant Company:
LIVEAD Sao Paulo, BRAZIL
PR/Advertising Agency:
LIVEAD Sao Paulo, BRAZIL
Creative Credits
Name
Company
Position
Mauro Silva
Livead
Executive Creative Director
Lucas Mello
Livead
Creative Planning Director
Eduardo Menezes
Livead
Copywriter
Joao Cavalcanti
Livead/Box
Executive Creative Director
Gabriel Rosemberg
Livead
Strategic Planner
Isabela Rodrigues
Santa
Designer
Thiago Avancini
Livead
Creative Technician
Ian Black
Livead
Digital Planner
Solon Brochado
Livead
Digital Planner
Martina Valle
Livead
Art Director
Mariana Gutheil
Livead
Account Manager
Cristiano Salimen
Livead
Account Manager
Karina Rehavia
Livead
Project Manager
Pedro Perurena
Livead
Art Director
Paula Coelho
Livead
Executive Producer
Describe the campaign/entry:
To pay homage to one of Brazil's most respected writers, Machado de Assis, the largest TV network in Brazil was launching a mini-series based on one of his books, Dom Casmurro. Through the launch of the mini-series, we needed to build up TV Globo's reputation with a new generation, disconnected from the television. We created a website with the book, divided into one thousand extracts. In the website, people could choose and record pieces in real time with their webcam. We enabled a large scale collective reading. At the same time, we hid one thousand DVD's with unique scenes, in public places for people to find them and hide them again once they had seen it.
In less than a month, the reading was completed. Influential admirors talked about it in public and contributed to show the new image of TV Globo.
33 million viewers watched the series first episode.
The media called it the best Machado de Assis' homage of the year.
A new quality standard on Brazilian television was estabilished.
Almost 106 million people were exposed to press notes related to the mini-series.
Spontaneous media exposure cost was the equivalent to 6,7 million dollars in advertising.
Describe the brief from the client:
The goals and objectives of the campaign were to engage the new generations of youngsters, make them watch the series, make them to be interested in Machado de Assis' works and even change their perception that always related TV Globo to the mass audience.
Our target was very critical of the television content, didn't watch television very often and was up to new entertainment medias and content.
We did an inspirational research among the target who wasn't interested in the content. This was all to identify the problems in the interaction between young people and television.
Results:
33 milion viewers watched the series first episode.
The media called it the best Machado de Assis'homage of the year.
We estabilished a new quality standard on Brazilian television.
We achieved the world's first completed online collective reading project.
Almost 106 million people were exposed to press notes related to the mini-series.
The espontaneous media exposure cost was the equivalent to 6,7 million dollars in advertising.
Execution:
We invited 50 Brazilian celebrities and opinion leaders to participate in the first online collective reading project. 33 of them embraced the idea and recorded an excerpt directly from their webcams. They started to put the website www.milcasmurros.com on focus, for people to get involved with it. The media made a big buzz of it, drawing attention on literature and the author himself.
Some issues concerning how to record excerpts were faced, but we managed to solve all the doubts in real time, through Twitter and emails.
At the same time, inspired on bookcrossing.com, we also placed 1000 DVDs with unreleased scenes from the mini-series in public places in the main Brazilian cities, with the instruction that after viewing it, the DVD should be left at another location. So that whoever found it could watch it and then post their opinion on the serie's website.
The Situation:
The campaign was created for TV Globo, fourth largest TV network in the world and the leader for 40 years in Brazil. The channel had been losing space to younger competitors. In this context, they needed to improve their reputation among the most critical viewers.
On Machado de Assis' death anniversary that year, Globo needed to introduce literature classics to the young generation and hence, created a mini-series based on the work of Machado de Assis. But how to launch a mini-series and target viewers that are not into television? That was what challenged us to create the project.
The Strategy:
We started searching for the target audience and engaging them where they usually were: on the internet.
The strategy was to embrace opinion leaders so as to make them believe in the project for its quality. Once they were hooked on this innovative way of interacting with literature content, they would dissemitate the idea on their blogs and websites.
Having done that, a positive context on the web was set. The next step was to present this information to a great deal of people through media crossing, enabling the big audience to see massively what was being validated by opinion leaders.
BEST JOB IN THE WORLD
Type of Entry:
Technique
Category:
Best Use of the Internet, Digital Media and Social Media
Title:
BEST JOB IN THE WORLD
Advertiser/Client:
TOURISM QUEENSLAND
Product/Service:
ISLANDS OF THE GREAT BARRIER REEF
Entrant Company:
CUMMINSNITRO Brisbane, AUSTRALIA
PR/Advertising Agency:
CUMMINSNITRO Brisbane, AUSTRALIA
Creative Credits
Name
Company
Position
Merrin Mccormick
Cumminsnitro
Copywriter
Cristian Staal
Cumminsnitro
Art Director
Ralph Barnett
Cumminsnitro
Art Director
Darren Mccoll
Cumminsnitro
National Strategy/Planning Director
Anne-Maree Wilson
Cumminsnitro
Account Director
Edwina Gilmour
Cumminsnitro
Account Director
Nancy Hartley
Cumminsnitro
Creative Director
James Burchill
Cumminsnitro
Creative Director
Jason Kibsgaard
Cumminsnitro
Senior Digital Producer
Adam Ford
Cumminsnitro
Account Director
Matt Farrugia
Cumminsnitro
Senior Digital Producer
Horia Traian
Cumminsnitro
Head Of Technology
Glen Peterson
Cumminsnitro
Senior Developer
Anton Ward
Cumminsnitro
Senior Developer
t
BEAUTIFUL GAME
Type of Entry:
Technique
Category:
Best Launch or Re-launch
Title:
BEAUTIFUL GAME
Advertiser/Client:
SPORTECH
Product/Service:
THE NEW FOOTBALL POOLS
Entrant Company:
RESONATE London, UNITED KINGDOM
PR/Advertising Agency:
RESONATE London, UNITED KINGDOM
Creative Credits
Name
Company
Position
Graham Drew
Resonate
Director
Nicola Gibb
Resonate
Associate Director
Gavin Lewis
Resonate
Media Director
Lisa Crawford
Resonate
Account Manager
Rachel Branton
English National Ballet
Press Manager
Michelle McGing
English National Ballet
Head of Sponsorship
Describe the campaign/entry:
Our challenge was to re-launch The Football Pools of Sportech.
We wanted to cause reconsideration of an 85 year old brand, extending awareness beyond established customers, and marking the brand's 85th anniversary whilst communicating the CSR message of the ?1.1bn the organisation has donated to arts and good causes.
To do this we decided to create a vehicle that would take the brand beyond the sports media and into the mainstream, carrying both our launch and CSR messages across all media platforms.
We created The Beautiful Game, a fusion of 'The Arts' and Football, choreographed and performed by the English National Ballet. It involved the recreation of 10 iconic moments of football history as voted for by more than 20,000 football fans via The New Football Pools website.
The outcome was that our client Sportech reported a 39 percent increase in full-year profit for 2008 due to the re-launch activity. Over 100 pieces of coverage- including spreads in five national newspapers- with a media value of over ?1.1million were achieved.
Describe the brief from the client:
The goal of The Beautiful Game was to surprise people. To make people reconsider the Pools and get it talked about- not just in football grounds but in coffee shops, offices and at bus stops. We needed a 'bang' that would cause people to reconsider what is an 85 year old institution.
The communication of the strong CSR heritage of the brand was also very important. Specifically the ?1.1bn the company has donated to arts and good causes.
Another key part of the brand's reinvention was taking the brand online- we needed branded content that could thrive across the internet.
Results:
Quote from Reuters 24/3/09:
"LONDON (Reuters) - Football-pools operator Sportech reported a 39 percent increase in full-year profit...
Sportech said the rebranding and relaunch of the New Football Pools: had driven increased resilience in customer numbers".
We achieved the objective of taking the brand from the niche sports pages to the mainstream audience. We created a huge debate, some loved it, some did not, many passed it onto friends - above all people talked about and are still doing so. All of which is impossible without mentioning The New Football Pools.
In total, we generated over 100 pieces of media coverage with a media value of over ?1.1 Million.
Coverage highlights include:
Print - Large spreads in The Guardian, The Independent, Daily Telegraph, The Times, Metro
Broadcast - BBC Breakfast News, Sky Sports News, Football Focus, BBC 5 Live, Talk Sport, XFM London
Online - The Sun Online, Telegraph online, The Times Online, ITN online, MSN, Reuters, Sky Sports News Online, + '1000's of blogs and fansites
Execution:
May: Secured partnership with English National Ballet, giving crucial credibility to the event.
May/June: Hosted the 'Greatest Moments' poll, achieving 20,000+ votes, and a top 10, on The New Football Pools site. Poll was seeded in over 180 websites, fansites, blogs and forums to drive discussion and voting.
July/August: In secrecy, the top 10 moments are choreographed into a performance, including Maradona's Hand of God, Gordon Banks' amazing 1970 World Cup save and Beckham's heart stopping free kick against Greece.
September: The resulting performance is staged at two theatres, beneficiaries of Pools funding. The first- a special press preview at the Unicorn Theatre in London attended by 40+ international media. This was filmed and immediately sold to all on-line contacts (News, Sports, Arts and Features).
Five days later we held a public premiere at the Everyman Playhouse in Liverpool, the original home of The Pools.
The Situation:
The Football Pools is a national institution. In its heyday, dreams of life changing financial gain hinged every week on those Saturday teatime football results for over a third of the population. However, since the advent of the UK lottery and a succession of newer, exciting online gaming platforms (poker, bingo, fruit machines), the Pools customer base has been in decline.
In 2008 funding was secured to re-launch the business as 'The New Football Pools'. A new brand identity was devised and an entirely new online proposition and suite of games were devised to recruit a new generation of players.
The campaign needed a focal point, beyond the new website to provoke debate and drive discussion.
The Strategy:
We needed a vehicle which would carry both our launch and CSR messages across all media platforms, particularly the mainstream news and online. We know that content is king in today's digital world so therefore we needed some killer content that could live both on and offline.
The 'good causes' and 'arts' message was what led us to our eventual creative idea, a unique fusion of The Arts and Football, a footballing ballet. Ballet and football are not easy bedfellows and it is this conflict which was the power behind the idea.
We would involve people in the debate at the ground level- hosting a web poll on The Greatest Football Moments of All Time. The voted for top 10 would then give us a user generated script outline- recreating all ten moments in the ballet. The eventual performance would be filmed to give us dynamite online content, but also be performed to the public to access the maximum range of media.
PIGS ARE WORTH IT!
Type of Entry:
Technique
Category:
Best PR led integrated campaign
Title:
PIGS ARE WORTH IT!
Advertiser/Client:
BPEX
Product/Service:
PIG INDUSTRY PRICES
Entrant Company:
WEBER SHANDWICK London, UNITED KINGDOM
PR/Advertising Agency:
WEBER SHANDWICK London, UNITED KINGDOM
Creative Credits
Name
Company
Position
Tamora Langley
Weber Shandwick
Director
Samina Ansari
Weber Shandwick
Account Manager
Sophie George
Weber Shandwick
Senior Account Executive
Amy Finlayson
Weber Shandwick
Account Executive
Phil Brady
Good Relations
Director
Anna Terrell
Good Relations
Senior Account Manager
Ekta Sopal
Good Relations
Senior Account Executive
Charlie Elliott
DDB UK
Account Director
Ben Tollett
DDB UK
Creative Director
Emer Stamp
DDB UK
Creative Director
Will Lowe
DDB UK
Copywriter
Victor Monclus
DDB UK
Art Director
John Hay
HD Communications
Managing Director
Describe the campaign/entry:
A disastrous wheat harvest meant British pig farmers faced high feed prices and crippling losses. British pig farmers' body BPEX asked its team of consumer PR, public affairs, trade PR and advertising agencies to work together on its first integrated campaign to highlight the crisis and raise the price of pigs. Ultimately, this was a campaign to save the British pig industry.
"The Pigs Are Worth It!" campaign reflected the very high standards of animal welfare in British pig farming, and put pressure on supermarkets to raise the price paid for pigs. Activity ranged from a report into the effect of feed prices, to pig farmers recording an anthem. The 'Pig-o-meter Tour' featured a giant pig counting farmers' mounting losses, and a rally on Downing Street involving hundreds of farmers. 'Winnie the Pig' culminated in the presentation of a 13,000-signature petition.
Media backing underpinned widespread support from MPs. Thanks to the truly integrated campaign, from a low point of around ?1.06/KG, by September 2008 the price of pigs had risen to around ?1.40/KG, the tipping point that enabled British pig farmers to break even and help some to make a profit. This amounted to a total increase for farmers of ?5.1m per week.
Describe the brief from the client:
The ultimate objective was to raise the price of pigs from ?1.06/KG to ?1.40/KG to enable farmers to break even. The principal organisations with the power to ensure these increases were the supermarkets. To apply pressure on them, the team needed to demonstrate support from consumers for higher welfare, unity among producers and political pressure for fair pricing to reflect farmers' costs. Research included: consumer polling that established support for the farmers and willingness to pay more to protect high-welfare production and a 'Global Feed Commodities Market' report to quantify the costs to farmers.
Results:
The price paid for pigs rose from ?1.06/KG to the target ?1.40/KG, with consumer purchases remaining strong. This amounted to an extra ?5.1m per week for the industry.
The campaign reached a consumer audience of 104 million through print alone, and resulted in 187 pieces of television and radio coverage totalling 18.6 hours. A survey for trade title The Grocer showed 50% of consumers were aware of the campaign. The website logged 115,000 visits, and in total more than 20,000 people signed the petition. Prince Charles expressed his support during his presentation at a key 2008 industry fair.
Over fifty MPs had photos taken with 'Winnie the Pig' and wrote to retailers expressing their support. Twenty-two parliamentary questions, two debates in the House of Lords, and an Inquiry by the Environment, Food and Rural Affairs Select Committee ensued. This prompted the Government to establish a 'Pig Industry Task Force' and Ministers spoke out in support.
Execution:
National 'Pig-o-meter Tour' illustrating the mounting losses: November '07
Media relations for "Stand by Your Ham" anthem: February '08
National press advertising and London Underground poster campaign: winter '07-spring '08
500 farmers, 'Winnie the Pig' and 50 Parliamentarians attended the Pigs Are Worth It! rally, Downing Street received 13,000-signature petition: March '08
'Global Feed Commodities Market' - high feed prices report presented to journalists, financial analysts and MPs: April '08
'Is the Government Buying British?' report calling on the public sector to buy more high welfare pork products: July '08
Celebrity chefs "The Chefs Choose Pork" interviews and recipes booklet: July '08
www.pigsareworthit.com carried the petition throughout '08
Relentless pressure on retailers and caterers via trade title briefings
Jamie Oliver took up the cause with the "Jamie Saves Our Bacon" Channel 4 documentary, endorsing the high welfare standards featuring MPs, consumers and farmers: aired January '09
The Situation:
The core challenge for BPEX's roster of agencies was to win support from the national media, consumers and politicians for a rural issue, in a heavily urbanised country, and in turn compel the supermarkets to act. Together with the in-house team and BPEX executives, they developed the first integrated campaign to raise awareness of the crisis and increase the price paid to farmers for their pigs.
With higher welfare standards and, therefore, costs than the rest of Europe, many British pig farmers were close to collapse. The survival of the British pig industry was on a knife-edge.
The Strategy:
In a climate of economic uncertainty and rising fuel and food prices, an argument based on the vested interest of pig farmers was unlikely to win support. The "Pigs Are Worth It!" campaign was therefore developed to demonstrate the high standards of animal welfare in British pig farming, communicate the state of crisis and give key stakeholders a reason to support price rises.
The integrated approach:
Consumer PR: making the emotional case for high welfare pork and exposing lower welfare practices behind imported pork
Trade PR: trade and food service media relations and partnerships with key titles showcasing the solidarity of the sector
Public Affairs: development of evidence base through robust reports, mobilisation of farmers to lobby MPs and photo-opportunities for scores of parliamentarians
Advertising: targeting consumers and retailers to shift attitudes to prices and high welfare pork
In-house press office: communicating with pig farmers through agricultural press and online industry forums
GUINNESS RALLY
Type of Entry:
Technique
Category:
Best PR led integrated campaign
Title:
GUINNESS RALLY
Advertiser/Client:
DIAGEO-GUINNESS USA
Product/Service:
BEER
Entrant Company:
TAYLOR New York, USA
PR/Advertising Agency:
TAYLOR New York, USA
Creative Credits
Name
Company
Position
Jim Sias
Taylor
Senior Account Supervisor
Mike Costabile
Taylor
Vice President
Dan Sanborn
Diageo
Senior Director/Marketing Communications And Corporate Relations
Describe the campaign/entry:
In 2008, we were challenged with helping Guinness solidify its market position and enhance sales in an increasingly competitive market. The PR agency developed a marketing communications program to positively impact occasionality among consumers leading up to St Patrick's Day- a national movement to make St. Patrick's Day an official holiday. Public Relations led an integrated marketing approach to rally support amongst consumers, media and key distributor partners through national and localized programming. This experiential and through the line campaign enlightened consumers on Irish heritage through the Guinness experience and enabled the brand to take ownership of the season.
Describe the brief from the client:
- Maintain depletions from January-March 2008 versus that period in 2007
- Increase brand awareness (278MM earned media impressions in February-March 2007 to 300MM in 2008) and outpace coverage of competitors; CPM < $9
- Communicate brand's authenticity and alignment with St. Patrick's Day season
The PR Knowledge Centre conducted a landscape analysis to gauge competitive trends revealing that competitors were attempting to gain market share. Primary research of adults ages 21+ revealed that most consumers (57%) believed "everyone is Irish on St. Patrick's Day" and 40% planned to celebrate during the weekend/holiday itself.
Qualitative research of the target consumer (metro/urban M25-34) revealed that Guinness is considered mainly for special occasions, and while top of mind during St. Patrick's Day, other brands are associated with the holiday.
Results:
Estimated 7.4% increase in volume sales from January-March 2008 versus previous year; growth rate higher than that of January-March 2007 (4.0%), and the highest of all quarters year on year
More than 50 interviews for Murray including: CBS Saturday Early Show, FOX Business Happy Hour and CNN
More than 35 interviews for Daly including: Late Night with Conan O'Brien, InTouch Weekly, Adam Carolla and NY Daily News
More than 2,419 placements including US News & World Report, USA Today, AP; increase of 2,179 (primarily due to popular ANR) from the previous year
More than 330 million media impressions; 16% increase from 2007
Coverage in all 15 top Guinness markets, and 18 of the top 20 DMA markets
Outpaced competitive media coverage nearly 6:1 during February-March timeframe
More than 352,000 petitioned signatures post February 14 launch
CPM < $2.15 (target < $9)
Execution:
We led all-agency sessions developing a through-the-line marketing program containing multiple consumer touch points. PR became the primary program driver supplemented by television spots, digital media, www.Proposition317.com and point-of-sale materials.
The PR agency launched a national tour with Guinness Master Brewer Fergal Murray engaging consumers, media and key distributor partners/retailers. Murray spoke to consumers' desire for authenticity as he is directly ingrained in product development.
"Pour the Perfect Pint" experiential on-premise events were coordinated in priority markets wherein consumers and bartenders learned to pour a perfect pint of Guinness with Murray. Proposition 3-17 teams also collected consumers' signatures.
After Murray presented Congress with signed petitions, the program culminated with a media event and public rally at Manhattan's Herald Square. Celebrity spokesperson Carson Daly led the rally, selected for his Irish roots, brand affinity and appeal to the target audience. The result was a groundswell of media and consumer support and a significant spike in online petition signatures.
The Situation:
The single biggest sales day for Guinness beer is March 17: St. Patrick's Day. In 2008, the holiday fell on a Monday, which posed a serious challenge for the brand. On a weekday that consumers are less likely to consume alcoholic beverages, forecasts projected a decrease in sales for Guinness and the entire adult beverage industry. We sought to turn this "challenge" into an "opportunity." While sales on Monday, March 17 might be down, could this be an opportunity to turn a one-day celebration into a five-day celebration by making the holiday relevant with consumers from Wednesday through Monday?
The Strategy:
The St. Patrick's Day timeframe (February- March) accounts for nearly 25% of Guinness' annual volume, the holiday providing the largest sales spike. 2008's goal was to maintain the season's volume despite anticipated challenges and to own the season with two inherent advantages over competitors: a natural link to St. Patrick's Day for consumers/ media, and its authentic Irish heritage.
Our research found adults ages 21-34 want more holidays as 39% would sign a petition to Congress to make St. Patrick's Day a nationally-recognized Federal holiday. This insight, combined with secondary research revealed 1) American's envy the number of European and 2) President's Day to Memorial Day is the longest period without a Federal holiday in the U.S, led to Proposition 3-17: Make St. Patrick's Day an Official Holiday; the name a tribute to March 17.
Our program would engage adult consumers in a national movement they could collectively embrace, thereby strengthening the brand's association with the holiday and keeping Guinness top of mind throughout selling season.
EARTH HOUR
Type of Entry:
Technique
Category:
Best International PR campaign
Title:
EARTH HOUR
Advertiser/Client:
WORLD WILDLIFE FUND FOR NATURE
Product/Service:
GLOBAL WARMING AWARENESS
Entrant Company:
LEO BURNETT SYDNEY, AUSTRALIA
PR/Advertising Agency:
LEO BURNETT SYDNEY, AUSTRALIA
Creative Credits
Name
Company
Position
Andy Dilallo
Leo Burnett Sydney
Executive Creative Director
Jay Benjamin
Leo Burnett Sydney
Executive Creative Director
Michael Canning
Leo Burnett Sydney
Copywriter
Kieran Antill
Leo Burnett Sydney
Art Director
Amanda Quested
Leo Burnett Sydney
Group Account Director
Sam Mcgown
Leo Burnett Sydney
Account Manager
Katrina Wong
Leo Burnett Sydney
Planner
Shepard Fairey
Studio One
Artist
Masataka Kawano
Designer
Describe the campaign/entry:
In 2009 it was time to turn the symbol of switching off the lights for Earth Hour into real action against global warming. To achieve this we targeted a meeting of world leaders in Copenhagen this December, which will determine if policies are made to take action against global warming.
We set ourselves an ambitious target - reaching 1 billion people. Our creative idea was to transform the light switch into a vote - and hold an election between Earth and Global Warming, with the goal of presenting the votes to world leaders as a mandate for change. A reported 1 in 7 people worldwide switched off their lights to make their voice heard as a global vote for action.
Describe the brief from the client:
To make Earth Hour the largest environmental movement in history, we set ourselves an ambitious target of reaching 1 billion+ people, across 50+ countries and over 1000 official cities. We needed to unite people of the world regardless of their age, race, religion, gender or social standing.
But first, we needed people to believe that switching off their lights could make a real difference. Research showed that interest in the environment went down between 2007 and 2009, with people supporting the economy over the environment. What's more in 2009 we faced the highest levels of scepticism about global warming in more than a decade.
Results:
Earth Hour became the largest social movement in history:
Over 4000 cities across 88 countries took part including China, India and the Middle East for the first time. 1059 world icons switched off.
18 of the G20 countries, and 38 of the C40 cities participated.
There were 87 million online mentions with 300 per second during the 24hr period of Earth Hour.
Earth Hour was the No.1 topic on Twitter and YouTube on the day.
The campaign reached over 1 billion people.
World media generated immeasurable unpaid PR - approximately $11m in Australia alone.
A reported 1 in 7 people switched off their lights as a global vote for action.
Execution:
The Vote Earth campaign was created in 4 stages:
The Candidate: With Earth as our candidate we created a global election campaign across integrated media channels including TV, outdoor, print, direct, online, stunts, live events and ambient media.
The Voters: Next, we created a Vote Earth website (in 35 languages) where people everywhere could download and locally adapt campaign material such as stickers, window posters and online banners for use in homes, shops, restaurants, offices, schools and websites. The site also featured Earth Connect, a social networking application developed in collaboration with Google, to help spread the word.
Election Media: We then enlisted the support of Vote Earth ambassadors such as UN Secretary-General Ban Ki-moon, Yvo de Boer, Coldplay, Georgio Armani, Francesco Totti, Kevin Rudd, Archbishop Desmond Tutu, and even web icon Obama Girl.
The Vote: And finally, on March 28th, the world voted.
The Situation:
In 2007 Earth Hour was responsible for 2.2 million people in Sydney turning off their lights for 1 hour. Then in 2008, 50 million people worldwide took part. In 2009, it was time to turn the symbol of switching off the lights into real action against global warming.
This December, world leaders will meet in Copenhagen to determine if policies are made to take action against global warming. We targeted this meeting as a critical opportunity for the people of the world to make their voice heard. To achieve the level of worldwide scale and reach which the issue deserved, we needed to capture the attention of the world media.
The Strategy:
Our communication strategy was to transform the light switch into a vote, and hold an election between Earth and Global Warming. We asked the world to Vote Earth by switching off their lights for Earth Hour, with the goal of presenting the votes to world leaders in Copenhagen, as a mandate for change.
To launch the campaign with maximum PR, we enlisted the support of Shepard Fairey - the creator of the iconic imagery for Obama's Presidential Election campaign - to provide imagery for our campaign. The Vote Earth message was launched just 3 weeks after the inauguration of Barack Obama. We also created stunts to give the story momentum and maximise coverage. We approached high profile supporters to commit to the cause to amplify the PR. We also made Earth Hour a truly open source to maintain the contagious nature of the campaign and to rally further support in the build up to Earth Hour as a global vote.
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