The Philippines’ analgesics market was dominated by Biogesic and Medicol, two brands manufactured by the largest pharmaceutical company in the country. Comparatively, Bayer’s Saridon, was a small, relatively unknown brand with a measly 3 per cent market share. With the objective of increasing sales in the Visayas and Mindanao regions of the Philippines, Saridon made waves through a simple but highly relevant campaign that appealed specifically to the regional market’s sensibilities, playing on a poignant understanding of the working-class’ experience of headache pain.
While the competition stuck to campaigns that relied on celebrity endorserments and hard science, Saridon conveyed the benefits of headache relief in terms of regular working people, something the target not only understood but also appreciated. To bring the idea to life, the brand crafted materials that were as sensible and straightforward as the consumers themselves, providing a no-nonsense take on headaches. For instance, a TV execution creatively visualised the painful experience of headaches, depicting a carpenter hammering a nail into a wall while a second carpenter simultaneously hammered away at the first carpenter’s head.
With only 0.3 per cent of competition’s advertising budget, the brand grew by 77 per cent, exceeding its sales targets for the launch period and outpacing the growth of the category.
NAB sought to rebuild customer trust by revamping their portfolio of credit cards — abolishing unfair fees, restructuring the way interest rates were calculated and creating simple contracts customers could understand — undertaking a physical product overhaul. National Australian Bank set out to prove what Australians believed about themselves and wanted from their credit cards — honesty.
NAB filmed live experiments that quickly sparked a national conversation around honesty and banks. The bank documented unsuspecting peoples’ behaviour as they encountered situations such as finding lost wallets; receiving too much change and watching cash accidentally fall out of someone’s pockets — 91 per cent of the time, Australians did the right thing and returned the money to its rightful owner. NAB posted its ‘Honesty experiments’ through TV and online videos, while print, radio and digital executions extended the conversation.
Not only did the target audience connect with the message, the media could not stop talking about honest Australians. NAB successfully broke the category rhythm, strengthened NAB’s fair value platform, significantly exceeded its goal of new credit card openings by 309 per cent, while spending 168 per cent less per new card opened than its goal and delivered a projected ROI of 236 per cent in year three (credit card campaigns are never profitable in year one, three-year forecasts are standard ROI measures).
Australians had always believed their four biggest banks, Commonwealth, ANZ, Westpac and NAB worked together fixing fees and eliminating competition. The reality for one of the four however was the opposite. NAB had invested two years in making dramatic changes to be considered fairer and more competitive by their customers, but these changes had limited impact because of the perceived collusion between the ‘big four’.
On Valentine’s Day 2011, NAB publicly called off its ‘relationship’ with the other major banks, thus acknowledging and rejecting Australians’ conspiracy theory. The ‘Break up’ was front-page news for months. The strategy was to make the brand synonymous with fair value in banking.
During the ‘Break up’ campaign, 180,000 new customers joined NAB, while customer defections reduced by 27 per cent delivering a 61 per cent net growth. Over the past 12 months this delivered a 205 per cent ROI based on acquired and retained customers. All of NAB’s brand perception scores increased considerably, more than doubling its reputation for being different and its fairness reputation gap grew fourfold over the competition. ‘Break up’ cemented NAB in the public consciousness, but beyond the campaign itself, its real legacy has been to create a platform that’s delivering a financial performance well above market growth.
Cadbury Favourites was losing ground in the boxed chocolate battle, as Aussies increasingly looked to more ‘upmarket’ alternatives. What’s more, the brand was operating in a category where growth was increasingly driven by price deflation. Kraft Australia had to increase the purchase frequency of Cadbury Favourites by associating the brand with more varied social occasions and to drive revenue for the brand and category value for customers by maintaining average price per kilogram.
The creative approach to position Favourites as the solution to the social dilemma ‘what to bring when you’re told not to bring a thing’. The line was brought alive through a TVC that showed mom at her stoic best, with dad envisioning an increasingly ridiculous list of ‘things to bring’ when invited to a family get-together, until mum saves the day by plumping for a good old box of Favourites. This was supported by online activity.
The brand successfully repositioned Favourites from the box of chocolates you only buy at Christmas to something that’s relevant every weekend — by offering it up as the perfect ‘thing to bring’ to casual social get-togethers when you’ve been told not to bring a thing.
As the apparel sponsor for the Indian cricket team, Nike wanted to cement its association with the sport by building a deep emotional connection with its target audience. It wanted to win the hearts of India’s cricket-crazy youth and establish itself as the authentic cricket brand in India. ‘Bleed blue’ aimed to unite India through “players and fans, on- and off-pitch, inspiration and innovation, authenticity and excitement, online communities and off-line media, fearless cricket and limitless passion”.
‘Bleed blue’ was intended to be more than just an advertising campaign, but a months-long “emotional journey and integrated consumer experience”, which Nike undertook in the build-up to the Cricket World Cup 2011 in India.
The campaign got 162 million views on YouTube, 1.2 million fans in just six months, 12 million blue hand-prints, ensured a 98 per cent sell-through of the Nike Team India merchandise, helped Nike’s cricket business to double year on year, and was awarded the Effies Gold and the NDTV Campaign of the Year. Most importantly, the phrase ‘Bleed blue’ entered popular culture, with celebrities and fans alike using it to pledge their support for the team.
In a category crowded with new entrants and very little differentiation between offer and products, Sportsbet.com.au had to be able to rise above the pack through the most fundamental of creative strategies.
The idea was simple — blokes who love betting as entertainment bet with Sportsbet.com.au. The approach amplified the aspects of sports betting that blokes love the most. Not the odds, complex products and calculations, but the love of sports, betting and the internet. Once the brand’s personality was clearly established, it extended the campaign into a tactical extension taking a swipe at the TAB to position it as old fashioned, inconvenient and sometimes downright unpleasant. For decades, the only game in town was the government owned TAB, a monopoly on off-track betting. Also, through buying the right media properties, the campaign gained heavy support across major sporting events such as the Spring Racing Carnival, AFL and NRL coverage.
The results speak for themselves: 423 per cent increase in profit over the period for Sportsbet.com.au to $26.5 million and a 25 per cent increase in online market share. This submission was a Gold Effectiveness Award (Effie) winner in Australia in 2011 and a finalist for the Grand Prix ‘best in show’ award.
In a fast-paced city where teenage consumers are obsessed with ‘new’, Coca-Cola had to continue to inject excitement in everything they do and seize every opportunity they could to connect with the teen audience.
With less people tuning in to traditional TV, Coca-Cola Hong Kong set out to transform the traditional TV experience in the new digital age with its summer promotional campaign “Chok! Chok! Chok!” The expression “Chok!”, meaning rapid motion, was the latest slang word to be used by Hong Kong teens. Riding on the popularity of this new slang word, Coca-Cola created a smartphone app to let teens catch tumbling bottle caps straight from the TV screen to win instant prizes, turning a traditional TVC into Hong Kong and Asia’s first ever, interactive gaming promotion. The campaign broke down what was defined as ‘a medium’ and enabled users to interact with an otherwise one-way communication channel.
In just six weeks, the app was downloaded over 400,000 times and the ad has been watched and played over nine million times making “Chok! Chok! Chok!” the most successful promotional campaign in the history of Coca-Cola in Hong Kong.
To revive growth and create appeal, Astro was keen to explore buying famous international content formats and producing Malaysian versions. The first test of this strategy was the globally acclaimed Masterchef TV series. However, the Masterchef brand had no traction with the Malay-speaking Malay masses. The objectives were to create public excitement that increased viewership of Masterchef Malaysia, and a degree of involvement that led to Astro subscription growth amongst the Malay segments.
Focusing on the drama and suspense part of the show, instead of the actual cooking, led to the creation of the campaign line ‘Drama, suspense and a dash of cooking’. The campaign was executed with ‘shocking’ revelations on print and outdoor, TV commercials with intriguing storylines and startling endings, witty wordplay on radio and use of tongue and cheek in below the line (BTL) point of sale materials in grocery stores, billboards and also on the roadshow. Even in social media, Astro’s Facebook page always stayed in character.
The campaign drove Masterchef to be the most watched show on Astro during that period. It also helped increase Astro new subscriber numbers to the highest ever in the past two years.
Fox crime, apart from being the 496th entertainment channel in the country, was also a very late entrant in the English general entertainment space (GEC) — 102 English channels already existed before Fox crime was launched. The brand had to give viewers in India a compelling reason to view crime shows on Fox Crime. The objectives were to increase subscriptions by 25 per cent, increase time spent by at least 50 per cent and finally increase reach by at least 5 per cent.
Fox Crime looked beyond a conventional campaign and launched a digitally-led, integrated campaign, with interactivity and participation at the heart of it. The brand invited viewers to put on their detective hats and challenged them to solve a murder. The communication model consisted of a three-pronged approach, including: invite, challenge and evoke. ‘Invite’ inspired the detective in people to checkout www.foxcrimeindia.com, ‘challenge’ got India to play detective and solve the photographs case, and ‘evoke’ got people to share their experince of playing detective.
The Photographs Case helped the channel brand grow its subscription by 37 per cent, its reach by 5 per cent and average weekly time spent by 91 per cent, while others either diminished or grew lethargically. It also helped in growing a brands fan base on Facebook by 400 per cent.
Vodafone was the last of the large players to enter the 3G race in India. All key competitors including Airtel, Reliance communications and Idea cellular, had a three month lead in launching 3G services. Vodafone needed to get into the leadership spot in the 3G category, without any superior product offering.
The brand understood that though the market was abuzz with the new 3G technology, only a very small section of consumers understood its relevance in their daily lives. What Vodafone needed to do was simplify the technology so consumers could adopt it into their daily lives. The telecom brand did this by promoting the 3G services with its much loved two year old communication icon – The Vodafone Zoozoos. For the 3G campaign Vodafone refurbished these lovable characters and gave one of them super powers — all emanating from the functional benefits of a superior quality 3G service. A Super Zoozoo who was ‘faster, smarter and better’. Vodafone told the superhero story seamlessly across a wide range of media.
By September 2011, the Vodafone3G surpassed its set objectives. Of five million 3G-ready Vodafone handsets, the campaign penetrated 40 per cent of the total addressable base with over two Mmillion trials and quickly established Vodafone in the leadership position in the 3G category.
A hugely successful online campaign in 2010 brought the experience of impaired vision to donors and helped ORBIS turn around three years of decline, generating a 120 per cent jump in individual donation revenues. Following this for 2011 was always going to be a challenge, especially in a year of such economic uncertainty.
ORBIS started with their core instrument of fundraising: the pins themselves. These pins were designed as a collectable series, to incentivise repeat donations as people tried to complete the set. The charity then created an advertising campaign to support the pin sales. The ads were rendered with distinctive visual treatments inspired by different visual impairments. Now, just trying to read an ad would give you a glimpse of how tough it is to be visually impaired. These ads ran in out-of-home media including bus panels, tram shelters, outdoor billboards and in the press. Finally, ORBIS created a digital experience that would allow individuals to experience visual impairment via their mobile device.
ORBIS took the challenge on, redoubled their efforts and not only met expectations but surpassed them, breaking donation records. The campaign quickly caught the public imagination which translated into actual donation revenues worth HK$1.8 million (US$232,000).
This case demonstrates how Coca-Cola and its agencies regained relevance in a highly competitive beverage market. The brand’s objectives were to increase consumption and get people talking about Coca-Cola again.
The power of the first name and the world’s most iconic brand brought people together and re-united Australians with the idea of getting together over a Coca-Cola. Specifically, the campaign gave teens and young adults an exciting reason to reintroduce ‘Coca-Cola’ into their repertoire. By printing the 150 most popular Australian names on Coke bottles the brand reminded Australians not only of those people currently in their lives, but also people they may have lost touch with, and gave them a reason to connect.
In a sparking category that is decreasing by 0.7 per cent, Coca-Cola grew sales transactions across bottles and cans of Coke by 3 per cent, increased volume by 4 per cent, and 5 per cent of Aussies began to put Coca-Cola back into their lives again. Specifically, young adults’ consumption increased significantly during the campaign, increasing 7 per cent.
The condiment category in China has more than 3,000 brands, characterized by price wars and similarity. Lee Kum Kee (LKK) stood out, costing 27 per cent more than its rivals on the basis of quality. In recent years, LKK struggled to improve on its small market share of around 7.5 per cent because it hadn’t given people an answer to the question: “Why pay more?”
The strategy was to reinforce the importance of using quality condiments to send a message to those you care about. The brands’s big idea was ‘Taste the love’, and their TVC/OOH creative work, focused on the tension between the demands of family life and modern life. LKK’s 2011 brand campaign aimed to redefine value in its category, moving perceptions away from price. ‘Taste the love’ was spearheaded by a New Year event, which collected people’s messages to their loved ones through social media, and projected them onto the face of a giant skyscraper overlooking the Shanghai river.
Driven by this campaign, LKK’s sales growth outperformed category growth by 25 per cent. The company sold 45 million more bottles of soy sauce in 2011 than in 2010. LKK’s campaign was two-and-a-half times more effective than its nearest rival, JiaJia’s.
To achieve the objectives of generating call volumes, NRMA Insurance needed a strategy that would redefine what they stood for.
The repositioning campaign idea ‘My car is your car’ became the thread that cohesively delivered the key message: NRMA Insurance covers anyone who drives your car even if you haven’t nominated them, across the full gamut of traditional and new media channels. At its heart, this was an activation idea with a strong call to action: ‘Call NRMA Insurance to take Tom’s car for a drive’, that encouraged consumers to get involved. By doing so, they understood the brand’s point of difference and reason for its premium price.
This case study proves that when a unique brand truth is leveraged to inspire tangible proof points that become pillars of support in its repositioning, the business returns far exceed expectations — to the tune of 433 per cent more effective and 350 per cent more efficient with just 28 per cent of the preceeding campaign’s media budget. This innovative approach of using a proof point to reposition the leading insurance brand in Sydney Australia, exceeded the business’s expectations, decreasing the cost per call generated from A$30.54 to $8.68 – thereby exceeding its key objective by $14.93.
The challenge was to attract 25- to 39-year-old customers with A$20,000 in savings with the Big5 banks (Westpac, NAB, CBA, ANZ, ING Direct). The key overarching objective was to raise $2.2 billion between 10 April and 21 August, 2011 by advertising RaboDirect’s High Interest Savings Account (HISA). More specific campaign objectives were to increase web traffic by 25 per cent, web conversions by 50 per cent, weekly customer online applications by 200 per cent, weekly deposit inflows by 200 per cent and target average new customer deposit inflows of $100,000 versus $190,000 in 2010.
By positioning itself as a straight-talking online (small challenger) bank, RaboDirect highlighted what savers were missing out on by leaving their hard earned saving with the ‘big five’ — a boat, a holiday, a car, a new home. This led to the straight-talking campaign idea ‘the big five are stealing your dreams, steal them back with a high interest savings account from RaboDirect’.
RaboDirect’s campaign convinced risk-averse savers to deposit their savings into RaboDirect, resulting in $2.654 billion raised in savings; exceeding its objective of $2.2bn by $454 million or 21 per cent. An incredible result considering RaboDirect’s share of voice (SOV) was just 1.7 per cent of the finance category, versus 78 per cent combined SOV for the ‘big five’.