Showing posts with label Brand repositining strategy. Show all posts
Showing posts with label Brand repositining strategy. Show all posts

TNT rebrands.

TNT Express is a division of TNT. The TNT Express company was formed when the TNT Group separated in 2011, creating two separate companies Post NL and TNT Express.
TNT Express kept the TNT name as part of the deal and TNT Post, (a Post NL company) agreed to rebrand by the end of 2014.
Design Bridge has rebranded delivery company TNT, positioning it as The People Network and creating a circular device which represents “perpetual motion”.

Design Bridge says it was asked to define a new strapline that would convey TNT’s new strategy and culture, and to design a new logo and brand expressions, which would “reflect TNT’s vision”.
A new strapline, “The People Network”, reflects the company’s aim to connect people and businesses in a “truly personal, rather than purely professional manner”, according to Design Bridge.
The consultancy hopes the new strapline will help “galvanise the ‘challenger’ spirit of those working internally at TNT”, as well as TNT customers.
TNT chief executive Tex Gunning, says: “Customers are not barcodes and we are not robots. We all relate to what drives our customers: business growth with a personal touch. Taking time to understand what customers really need distinguishes us from others. We are The People Network.”

The new identity is held within a cropped circle device giving the impression of being part of a journey and of “perpetual motion moving through the world” says Design Bridge.
TNT Post rebranded  earlier this month in a project led by Sutcliffe Reynolds Fitzgerald.

Postal service TNT Post rebrands as Whistl

The TNT Group separated in 2011creating two separate companies, Post NL – Whistl’s (TNT Post’s) parent company – and TNT Express. The deal meant TNT Express retained the TNT brand name and TNT Post agreed to rebrand by the end of 2014.
Sutcliffe Reynolds Fitzgerald managing and creative director John Sutcliffe says the consultancy has worked with TNT for 25 years and won the work on the strength of this.
Sutcliffe says that Whistl wanted its new brand to be “much more human, friendly and consumer facing”.
Whistl is already rolling out an expansion plan increasing its “end-to-end” delivery service, which it says means more postman on the streets making domestic deliveries as the company shifts its focus from a pure business-to-business service. 

Whistl hopes to increase staff levels from 3,000 now to 20,000 by 2019.

“That’s why Whistl needed to be softer and more approachable”, says Sutcliffe – “There are postmen walking up people’s drives.”
Senior designer Simon Grigg says that the name Whistl is musical and evokes “a posty’s whistle”.  The identity is based on the Tondo typeface and the typeface for headlines is a version of Gotham Rounded, which Grigg says works well for screen and print.
Sutcliffe says that the orange brand colour is being kept from the TNT Post brand as Whistl “wanted to keep something from the past” and because “orange fits – it’s bright, warm and human”.
Other brand and campaign elements include a 1.8m whistle built by a prop maker at Pinewood studios for Whistl ads, and the commissioning of David Morris, “the world’s top whistler”, Sutcliffe says. 

Tim Tam Orchard


The relationship between chocolate biscuit brand Tim Tam and consumers was changing. It was continually on special at retailers, the buy-one-get-one-free variety. Its ‘magic’ relegated to 30 second TV spots. That special place that Tim Tam held with consumers needed to be rekindled.Tim Tam was becoming what it always was, just a biscuit. It faced the challenge of increasing engagement and sales and wanted a campaign designed as a celebration of the love and happiness that Tim Tams created amongst Australians. The brand wished to achieve this through social media to grow sales by 23%.


Tim Tam realised it needed to convey to people that it was not just a product. Tim Tam was a feeling. It needed to rekindle the truly, madly feeling of Tim Tam by getting it out of supermarkets and into consumer lives.


In response to Tim Tam’s Facebook post, a fan ‘wished’ that Tim Tam grew on trees. There was a seed of an idea in this and the brand came up with Tim Tam Orchard. It built this orchard in the biggest square in Sydney - Martin Place with thousands of Tim Tam’s just waiting to be picked in an embodiment of the truly, madly Tim Tam feeling. It released a series of posts on Facebook detailing a mysterious event to be held at Martin Place on 2nd May 2012.
The brand also wanted the Tim Tam Facebook community to share the experience with their friends. So it asked them if they would like to be in the new Tim Tam ad. The brand had an idea to capture the spirit of the Tim Tam Orchard by making TV ads, hundreds and hundreds of them so that people could share the day with their friends.
On the day of the orchard launch, the brand didn’t sample Tim Tam’s to Sydneysiders, people picked them from trees - 110,000 of them. It drove attendance on the day with geo-targeted Facebook and Google ads, coupled with social media check-ins through Facebook. The brand used Sydney DJs to direct audiences to Martin Place on the event day.
Attendees generated high volumes of UGC and shared the experience with their social networks. The brand sent  influential bloggers to the Tim Tam Orchard event to tweet and post content.


The campaign culminated in 1,570 TVCs made on the day that captured the Truly, Madly, feeling of the Tim Tam Orchard. The other 1,569 were personalised TVCs created for the fans who stuck up their hand to be in the TV commercial (from the search and social ads) who supplied their details so Tim Tam could personalise the ads. They were then able to view and share their TVC from Tim Tam’s YouTube channel - generating over 475,000 views on YouTube with an average time spent of 6 minutes.
Most importantly the brand managed a 23% baseline sales uplift over the campaign period, with a national penetration gain from 19% to 21. There were 4,500,000+ PR impressions. An additional 60,000 Facebook fans signed up over the campaign.

Tim Tam
February - May 2012
Ambient,Branded Content,Experiential,Digital,Events,Online,Out-of-Home,PR,Print,TV

RIM: BlackBerry Unveils BB10

Any doubt that the BlackBerry 10 is central to the survival of Research In Motion was likely erased on Wednesday as the company not only unveiled its new operating system and phones, but changed its corporate name to "BlackBerry," too. "We have a fantastic brand, BlackBerry, and we are known as such all over the world, except in North America," CMO Frank Boulben said in a video interview at the launch. "We wanted to take full advantage of that global, iconic brand."
"We have redefined ourselves inside and out," said CEO Thorsten Heins, speaking to launch events held across the globe from New York to Jakarta. "RIM becomes BlackBerry. It is one brand, it is one promise." He declined to specify the company's marketing spend for the corporate rebrand and a global launch of BlackBerry 10 that includes Sunday's Super Bowl ad buy, but characterized it as in the "hundreds of million dollars."

Along with a radically different operating system, the company introduced two new phones — the keyboard-equipped Q10 and the touch-screen Z10 — which employ a gesture-based interface similar to Apple's pioneering iPhone. Yet the new BlackBerry OS offers a host of distinct features.
"Flow," for instance, allows users to move between apps with the mere swipe of a finger, while "Balance" partitions users' work and personal worlds into two distinct environments, keeping data and messages in each from intermingling. 

Both phones sport a sharp 4.2-inch screen display and sports 16 gigabytes of storage, a memory-card slot for expansion and front and back cameras that record in high definition (1080p back, 720p front). Popular BlackBerry Message software enables free phone and video calls while screencasting.
Other features include Story Maker, which automatically grabs photos and turns them into videos with music, and an ability to "learn" and mimic users' writing patterns. Time Shift, its photo software, allows selections to be made from a series of quickly shot images.
BlackBerry 10 will launch with 70,000 apps including Angry Birds, Skype, Yelp, Twitter, Spotify, Foursquare, Dropbox, the New York Times and Amazon Kindle, while noticeably missing are Netflix, Draw Something, Pinterest, Hipstamatic, Instagram and major airline and bank apps. 

Also on offer with the new Z10 and Q10, a vast range of entertainment options, including an integrated solution for music, movies and TV shows, with major content partners including Walt Disney Studios and Sony Pictures, Universal Music and Warner Music Group.

The Z10 will not be available in the U.S. until March, while the United Kingdom will be able to purchase it Thursday, Canada on Feb. 5 and the United Arab Emirates on Feb. 10. Verizon will sell it for $199 on a two-year agreement, with other carriers like AT&T and T-Mobile expected to offer similar deals.
Release dates and a price for the Q10 were not given on Wednesday. Asked about the delay in rolling out the phone in the U.S., 

"I really do believe that the consumer market as a whole is ready for something new," said Kevin Burden, head of mobility at Strategy Analytics, ahead of the BB10 reveal. "I have to believe that there is some level of user fatigue that plays into the longevity of some of these platforms," he added, referring to Google Inc.'s Android and Apple's iOS, which are both more than five years old. "RIM is probably timing it right.

Saudi Airlines Welcome to your world

With any product, branding and building influence is a key component for the 
development of airlines – especially in today’s competitive world with new lowcost carrier entrants. When combined with the pressures of the rising costs of 
operating an airline and increasingly lower consumer price expectations, the 
market is ultracompetitive. Airlines are awakening to the need to build their 
brands to maintain and shape their market position, which can create loyalty 
beyond price.

Is this great ad by @Saudi_Airlines will wash away hundred of stories about corruption and help in rectifying a bad image of the most used domestic airline in Saudi?

An airline brand is essentially the sum of the experiences that passengers have when they fly with that carrier

This ad -at least- was not horse driving although it appears in a scene or two however the ad and treatment presented a story i hope the brand can meet and deliver.

Building brand value and influence in the airline industry means constructing 
communities around the product, the service and the experiences that lead to a 
strong, trusted relationship. This includes much more creative, and often less expensive, methods to further shared interests and drive innovation.

Cartier| Odyssee de Cartier

To celebrate its 165th anniversary, jewelry brand Cartier unveiled this heavy, opulent short film starring the brand's emblem, the panther, who travels through Cartier's history, brushing against some of the world's most iconic locations and moments. He lands up at in Paris, where he meets supermodel Shalom Harlow at the Grand Palais, where Cartier was born. Agency was Marcel Publicis, director was Bruno Aveillan of QUAD, with postproduction from Digital District.

To live to Odyssee>>>

Full Credits

Bruno Aveillan
Patrick Duroux
Production Company:
QUAD Films
Post Prod:
Digital District
Mathieu Lauxerois
Nataly Aveillan
Flame Artist:
Jean-Cl�©ment Soret
Coralie Rubio
Fred Olszak
Assistant Editor:
Anthony Ornecq
Assistant Editor:
R�©mi Nonne
Martin Coulais
Claudia Traeger
Pierre Adenot
Design Dragon:
Stephane Levallois
Graphic Research:
François Peyranne


Mar 05, 2012

The Story of Keep Calm and Carry On

Barter Books created a short film that tells the story behind the iconic ‘Keep Calm and Carry On’ poster. From it’s creation to it’s rediscovery to it’s meteoric rise to global icon.

Union Insurance - The Pink Squad.

Objective: Launch Union Insurance company as the 10th car insurance company on the market of mandatory car insurance.
The challenge was how to engage people and attract their attention towards the brand while being in a low involvement category in which the price of the product is the main differentiator.

Solution: the first part of the campaign we created a sort of secret organization that took justice on the roads into its own hands. The Pink Squad a movement against irresponsibility on the road. The media were offered a story of a"Vigilante", who in his own specific way punishes irresponsibility on the streets. In the moment, when The Pink Squad and their actions became known nationwide, we connected them with Union and its products.


A great case study for injecting fun into a brand....

Chiquita. Their bananas easily identifiable by the blue sticker, which has been placed by hand on every single banana since 1963, and has been used as a promotional tool over the years. The latest sticker campaign, created by DJ Neff uses the shape of the sticker to create more than twenty kooky characters and serves as the basis for a significant online attraction.
chiquita banana stickers detail
Chiquita's latest ad campaign imbues its audience with an instant sense of wonder. Using playful illustrations on stickers juxtaposed to the iconic Chiquita stickers, the product and brand become more engaging to the consumer—plus they just look cool. The cornerstone of the campaign relied on the little blue stickers, the biggest icon for the brand, and the biggest way to get the word out. 

"Dont Let Another Good Banana Go Bad" was the through line of our campaign and it was incorporated into all of our work. The idea grew into a fully immersive microsite that contained viral videos, a sticker generator, and a completely unique 3D flash game called Banana Boogie Battle. This experience gave the users opportunities to create their own banana sticker personality and breakdance battle against bananas that have turned to the dark side.

chiquita banana redesign

chiquita banana redesign

chiquita banana redesign

chiquita banana redesign
chiquita banana skateboard graphicsAbove: skateboard graphics

eat a chiquita

chiquita banana outtakes

Client: Chiquita Banana
Campaign Name: Eatachiquita
Creative Direction: DJ Neff, Mark KrajanArt Direction: DJ NeffDesigners: Hillary Coe, Luis GonzalezContributing Designers: Dyanna Csaposs, Nick Perata, Roscoe FergusonDevelopers: Neil Katz, Chris Isom, Isaac DettmanCG Developers: Kyle Figgins, Ryan Kaplan, Steve Han, Gene ArvanProduction Company: The Famous Group

Guinness brand| repositioning “Bring it to life”

Diageo is to reposition its Guinness brand as a drink to be enjoyed in group situations at the pub or at home.

Guinness introduces a new strapline “Bring it to life” to its brand advertising in its latest television campaign. Epic ad telling public to 'Bring it to life' moves away from drinks firm's famous 'Good things come to those who wait' line

A new strap line “Bring it to Life” has been introduced in a new brand advertising campaign breaking today (4 November) with the aim of bringing “more life, vibrancy and communality” to the brand’s positioning.
Guinness World Grassland

Paul Cornell, marketing manager for Guinness, says he wants to reposition the brand from one to be enjoyed on a “low tempo” occasion – people drinking on their own or with a handful of people – to a drink to enjoyed on “mid tempo” occasions, for example weekend get-togethers with four or five friends.
He adds the campaign aims to drive those who love the brand to drink it more on relevant communal occasions such as while watching sporting events.
Cornell adds that the changing nature of alcohol consumption, the declining on-trade and rise of at-home drinking, has also influenced the shift, adding that the “Good things come to those wait” strapline, which emphasised the two-part pour,lent to the on-trade and could suggest cans or bottles bought off-trade “were inferior”.
Diageo is looking to grow its 2% share of the off-trade beer category and is targeting 10% annual growth for the brand.

The TV ad, called "World", focuses on how the famous stout looks like it comes alive when a pint is poured.
Guinness's epic ad was shot in locations including New Zealand, Canada, Fiji and the UK.
It features a group of men who bring life to a barren landscape by populating the ocean with fish, dragging fields of grass into place and supplying fresh water.
As the 90-second commercial unfolds Guinness aims to draw a parallel with the famous "surge and settle" motion that typifies the pouring of a pint and introduce the new strapline "Bring it to life".
Created by the Diageo brand’s long-standing agency Abbott Mead Vickers.BBDO, the commercial will first air in high definition on ITV1 during the Champions League clash between Liverpool and Lyon tonight from 7.45pm.
Guinness has linked up with Google Earth to allow web users to "bring an imaginary planet to life" in a simplified version of games such as Civilization or Sim City called "Guinness World".
The drinks brand has not said how much the commercial cost, but the project required three months of preparation and more than 8,000km of scouting before filming began in Canada.
The production crew included the set designer from the third Lord of the Rings film. The set for the underwater scene took three months to build and the shot where grass is dragged into place, filmed in New Zealand on a disused bombing range, required army assistance.
Johnny Green, the director of the TV ad, described it as "one of the toughest" jobs he has ever worked on.
"We wanted to create a truly amazing campaign which will graphically illustrate the life, energy and passion of the brand," said Paul Cornell, marketing manager for Guinness.
The initial November and December push will be followed in the new year with Six Nations themed activity that will also emphasise the new positioning by focusing on the celebration around the sport.    

Guinness celebrated its 250th anniversary this year with a global campaign devised by Saatchi & Saatchi with the theme “Arthur’s Day” commemorating the founder of the brewery.


The World campaign was developed at AMV BBDO, London, by creative Paul Brazier, and agency producer Yvonne Chalkley.
Filming was shot by director Johnny Green via Knucklehead, London, with directors of photography Joost Van Gelder and Wally Pfister, producers Tim Katz and Fergus Brown, and set designer Grant Major.
Editor was Ted Guard at The Quarry.
Post production was done at The Mill, London, by producers Lucy Reid and Ben Stallard, colourists Aubrey Woodiwiss and Adam Scott, shoot supervisors Russell Tickner and Michael Gibson, lead 2D artist/Flame artist Rich Roberts, lead Flame artists Barnsley and Pete Rypstra, Flame assist Gareth Brannan, lead 3D artists Russell Tickner and Jordi Bares, 3D artists Teemu Eramaa, James Spillman, Andy Nicholas, Rick Thiele, Adrien St. Girons, Laurent Makowski, Ed Shires, Tom Blake, Andy Guest, Aidan Gibbons, Sergio Xisto, Suraj Odedra, Jules Janaud, Francois Roisin, matte painters Dave Gibbons and Lee Matthews.