Showing posts with label Experiential. Show all posts
Showing posts with label Experiential. Show all posts

Dove: Real Beauty Sketches

Director : John X. Carey
TIME Magazine named Dove: “Real Beauty” the best commercial of 2013 |
"Dove Real Beauty Sketches Becomes The Most Watched Ad Ever" -MASHABLE
WINNER: 2013 Titanium Grand Prix at the Cannes Lion Festival.
WINNER: In total of 19 Cannes Lions -- including 5 Gold Lions.
WINNER: 2013 One Club Emerging Directors Showcase - GOLD
WINNER: 2013 One Show Gold Pencil.
WINNER: 2013 Cannes Young Director Award.
YOU are more beautiful than you think! Most of us don’t recognize the beauty others see in us. Women are their own worst beauty critics. Imagine a world where beauty is source of confidence, not anxiety. This was a compelling social experiment to prove to women that they are more beautiful than they think. Great measures were taken to insure total integrity in our process. For a follow-up with the women on the Today Show go here:
Executive Producer : Jamie Miller @ Paranoid US
Executive Producer : Claude Letessier @ Paranoid US
Client : Dove
Agency : Ogilvy
Editor : Philip Owens |
Original Music : Keith Kenniff |
Director of Photography : Ed David |
Production Company : Paranoid US
Producer : Stan Sawicki @ Paranoid US
Creative Director : Anselmo Ramos
Copywriter : Hugo Veiga
Art Director : Diego Machado
Agency Producer : Veronica Beach
Sound Mix : Luke Bechthold @ Subtractive |
Production Sound : Tim O'Malley @ The Impact Pros |
Color Grading : Sean Coleman @ Company 3 |
Additional Editorial : Rock Paper Scissors

Statistics show that only 4% of women actually believe they are beautiful. The biggest barrier to women’s self-perception of beauty is their own minds.
Dove’s intention via this campaign was to inspire the remaining 96% of women, to make them feel this way too.
The basis of the campaign was an experiment intending to encourage women to reconsider themselves and their beauty. In order for the campaign to reach women from all over the world it was necessary for the campaign to be talkative, and for the medium used to be contagious, fast-moving and sharable. What better way of doing this than by using women themselves?
By asking an FBI- trained sketch artist to draw a woman’s portrait according to their own self-description, Ogilvy aimed to make women and the world around them rethink real beauty and self-perception.
Firstly, the artist who never laid his eyes directly on the women instead relied on the description of strangers to create their portraits. He then sketched them again by just listening to their own description of themselves.
 The two portraits looked entirely different. Women who took part in this campaign admitted that the first sketch reflected more beautiful, happier and accurate descriptions of them, striking proof that they were more beautiful than they thought they were.
Using YouTube True View Platforms, Tweets and trends on Twitter, and Facebook video-sharing along with Dove’s 14 million Facebook fans, it was ensured that the video was seen and shared online.


Unprecedented levels of sharing and engagement were achieved. “Real Beauty sketches” was the most shared link in’s history and with 1.9 million aggregated shares on Facebook. Brand Passion increased by 1000% and the link itself was responsible for over 90% of the video content shared within the peer group category.
April 2013 - ongoing

Ben & Jerry's Sundae Sessions


“Ben and I built Ben & Jerry’s on the idea that business has a responsibility to the community and the environment,” Jerry Greenfield, co-founder of Ben & Jerry’s.
Ben & Jerry’s ice-cream had cult status. The quality of ingredients, the combination of flavours and the irreverent names (Chunky Munky) made it unlike any other. At the very core of the brand was a social mission to give back to the community. Despite the genuine love people had for the brand, it was not without its challenges. Ben & Jerry’s was a premium product, priced higher than its competitors. Pricing wars at the freezer further exacerbated this price difference. With limited distribution, you would not find tubs of Ben & Jerry’s within every freezer.
Therefore whilst people always loved Ben & Jerry’s, it was becoming easier to forget what it was like to sit and eat a tub of the finest. Because of this challenge, the brand set aside $200,000 to increase sales by 23% with a very big caveat – the brand also wished to benefit the local community.


The Sunday Session was a key part of Australian culture. The term ‘Sunday Session’ was coined by a young working professional when describing that ritualistic moment during the week: “you know, when you realise you only have a few more hours to properly relax, hang out with your mates and have a bit of fun before Monday rolls in again.”
This notion of making the most of the last few hours of the weekend linked perfectly to the brand.  A tub (or even scoop) of Ben & Jerry’s is not something people liked to rush, people wanted to spend time indulging in every mouthful.
So the brand saw a synergy between the Sunday Session and a Ben & Jerry’s Sundae.


The strategy and idea came to life through creating Ben & Jerry’s own branded event platform - The Ben & Jerry’s Sundae Session. 
The brand identified a series of key partners that it wanted to bring together - partners that understood the mission behind the strategy and understood that this was more than just selling ice-cream.
The first was a sponsorship of the Open Air Cinemas which provided an outdoor space to attract the target group through a series of movies to play after sunset. In keeping with the social mission, the brand then partnered with ‘Tunes For Change’ which gave it access to the best artists in Australia ensuring it provided live performances from the likes of The Cat Empire, Kate Miller-Heidke and Hungry Kids of Hungary amongst others.
An album featuring the artists who performed was later released by Ben & Jerry’s with all proceeds again going to charity.

Through an MTV partnership, the brand captured content from these Sundae Sessions and created branded vignettes that ran across MTV’s online and TV platforms bringing the events to life for a wider audience. 
The selected local charities including Animals Australia and Life Options were able to use the weekly Sundae Sessions events to chat to the crowds about what they did and how this community could help support the cause.


Through the platform Ben & Jerry’s provided local charities, raised an additional $30k for Tunes For Change, Animals Australia and Life Options and generated $580,000 worth of PR.
93% of people recalled Ben & Jerry’s as the primary sponsor of Open Air Cinema (unprompted) and 65% were aware of the Ben & Jerry’s social mission at the Sundae Sessions and 68% are more positive towards the Ben & Jerry’s brand as a result of their experience.
With a budget of just $200,000, Ben & Jerry’s smashed sales goals by 347% across Sydney and Melbourne.
• Sydney: 321% (i.e. 23% goal to 74% increase)
• Melbourne: 374% (23% goal to 86% increase)
• (Brisbane increased substantially, however the client is unable to isolate how much is due to store expansions in this market)
This truly exceeded expectations particularly as this was the only activity running (there were no other changes to price, distribution or promotion during this period).

Ben and JerrysBen and Jerrys
October 2012 - April 2013

    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

    Ecco: World's longest catwalk


    Shoe brand Ecco had gone from strength to strength in its homeland of Scandinavia. In Australia however, Ecco had just 3.7% unaided brand awareness. Those that were aware of the brand thought the shoes were comfortable but only 9% saw Ecco footwear as stylish. And that was a challenge area as style always came first for Australian women.  They were choosing to sacrifice comfort for that pair of heels they simply-couldn’t-live-without and resorting to a range of tactics to help take the edge off the pain.  88% of women admitted to lining their shoes with bandages or tape to protect their toes and heels. A small number even admitted to shoving toilet paper in their shoes during a night out. Ecco set out to prove to women that Ecco footwear could solve their shoe-related problems.
    The key objectives were to make women see Ecco shoes as both comfortable and stylish – increasing the style perception from 9% to 15%, turn Australian women into Ecco advocates – increasing the volume of online conversations by 50% and positivity by 5%, and finally, drive a 10% YOY increase in sales.


    Australian women had been conditioned by fashion brands to believe that comfort and style cannot coexist. To make it even tougher, experts were inundating women regularly with fashion and beauty claims that did not translate in the real world. This led to the consumer insight: Australian women wanted to believe that style and comfort was possible in a shoe but needed to hear it from ‘women like them’ before they could trust the claim.
    The strategy was to use real women to change the conversation by giving undeniable proof that style doesn’t have to be sacrificed for comfort.


    The idea was to host a chic catwalk in one of Sydney’s most iconic locations, a catwalk so long that no one would be able to fake comfort. Ecco’s catwalk event had two notable differences from a regular fashion show. The first was that the end of the catwalk couldn’t be seen and the second, that there was not a model pout in sight. Ecco’s real models smiled for the entire 2.812 kilometres as they experienced first-hand the comfort and style of Ecco shoes. Ecco then amplified their smiles to the masses through magazine and online executions plus its audience’s Facebook, Instagram and Twitter feeds.  
    In the weeks leading up to the catwalk Ecco built excitement by publicly recruiting for an unusual type of model: one with absolutely no experience. Ecco’s model for the day competition allowed real Australian women to vie for a spot on the record-breaking catwalk through their social media assets. The competition winners were accompanied by other, better-known, everyday women - bloggers, stylists and fashion writers. These women were invited to walk and then talk. Each brought attention to Ecco and the world’s longest catwalk editorially.
    They let their readers, clients and friends know that comfort and style can coexist - in the form of Ecco shoes.  
    Exclusive coverage of the record-setting event was sold into one of Australia’s top-rating morning TV programs. In a 4-minute segment The Morning Show brought the catwalk to a broader group of Australian women, further validating Ecco’s promise of comfort and style. 


    Ecco’s 2.812 km catwalk smashed the world record and grabbed media attention.  Ecco secured a 263% return on investment through the coverage alone. 35% women thought Ecco shoes were stylish. The catwalk sparked a 117% increase of online Eco conversations. The most common talking points were the record-breaking catwalk and Ecco’s latest range of shoes. Positivity of the conversations increased by 8% as women shared the good news of a shoe that is both comfortable and stylish. Ecco saw a 16% YOY increase in sales during the campaign period.

    July - November 2012

      Maoam mixer

      This is an excellent example of a seamless online-offline integration achieved with an accessible game mechanic.

      Maoam uncovered a sticky situation surrounding the name of its chewy sweets. Children weren't choosing or asking for the brand as they were unsure how it should be pronounced. The Maoam brand has been around since the early 1930s, so rather than change the name, Maoam opted for a campaign that would allow children to recognise the word 'Maoam' and let them play with its unusual sound.

      Kids could play the Maoam Mixer online via Facebook, or download it from the iTunes store for the iPad. The Maoam Mixer also took to the road on a tour of shopping centres around the country, bringing the app to life in a live competition environment.
      The bright colours and cartoon graphics that appear on packets of Maoam sweets disguise the fact that children have been enjoying the fruit flavour chews since the 1930s. Although acquired by Haribo in the mid-1980s, the Maoam brand name was retained and is still a popular confectionary across Europe, especially in its native Germany.
      Haribo become a popular and easily recognisable brand and in the UK is almost synonymous for any kind of gummy sweet, but Maoam has struggled to achieve the same connection with consumers.
      What's in a name?
      Insight revealed that children were choosing other sweet brands over Maoam as they were unsure of how to pronounce the name when asking for it. Rather than go through the time and expense of changing the brand name, Maoam decided to launch a campaign that would educate children how to pronounce the name, let them have fun with the word and raise the brand's social media profile.
      Maoam: The game
      Maoam Mixer, a game that helped children play with the brand name was designed and became the central pillar of a campaign that would combine online and real world activity. The game allowed children to create a track featuring different expressions of the word 'Maoam'. These could be enhanced with animal noises, percussion, musical stings and other sound effects. The app, hosted on Facebook, allowed users to create their own Maoam avatar, play the mixer and post their finished track on their Facebook profile.
      Each week, ten mixes from the Facebook app were selected to win prizes. One winner took home an iPad2, with goody bags for the other nine.
      A downloadable version of the app was made available through Apple's iTunes store.
      Maoam roadshow
      Two experiential hit squads travelled the country over a period of 10 weeks in branded 4x4 vehicles delivering samples in city centres, local attractions etc.  They delivered Maoam Giant Strawberry stripes along with relevant messaging, literature etc pointing the consumer to the Maoam Mixer app on Facebook.
      This street-sampling ran in conjunction with the Maoam Mixer Experience Tour - a 6x6m stand that resembled a giant stereo that visited major shopping centres across the country.  This offered an extended brand experience and allowed consumers to try out the Maoam Mixer app on iPad stations via their Facebook pages, or they could try their skills on the competition stage where two wannabe DJs went head-to-head on Maoam Mixer touch-screens to create the most popular mix track. The stand was designed to be very bright, colourful and an engaging space for children. Experienced staff and an MC were on hand to make guide the brand experience.


      The Maoam sampling campaign was extended due to its early success. The sampling target was increased from 800,00 to 1,052,000 packs.
      As of September 2011, the Maoam UK Facebook page has 432,594 fans, which represents an approximate 20% growth over the past six months.
      The app was made available on the iTunes store 14/9/11.
      Facebook records the Maoam Mixer as having nearly 12,000 monthly active users.
      Social baker figures indicate that the Maoam Facebook page acquired more than 5,500 fans in the first two weeks of September 2011.

      Haribo GmbH & Co. KG
      United Kingdom
      July 2011 - ongoing
      i2i Marketing
      Crab Creative

      A masterpiece in wine

      Wine labels are similar to luxury brands in that as a group, they have been collectively resistant to marketing innovation, believing that the quality of the product is good enough marketing in itself. This interactive billboard and the wider art project it comes from is a beautiful idea supported by a clever use of SMS technology.

      They don't drink a lot wine in Latin America. Drinkers in France and Italy happily quaff between 50-60 litres of the stuff annually per capita, which makes the Colombian average of 0.26 litres seem a particularly restrained amount.

      But the local market for wine has been steadily increasing over the past decade, and Argentinean label Bodega Navarro Correas has been capitalising on this trend and celebrating the work of local artists with its 'Arte por dentro y por fuera' campaign. Translated as 'art inside and outside', this campaign is based on the idea that if Bodega Navarro Correas produces a masterpiece inside the bottle, its consumers can produce masterpieces on the outside.

      This amazing billboard in Colombia is the latest expression of 'Arte por dentro y por fuera', and proves that you can create an arresting work of art with wine, robotics and a little bit of SMS technology.

      BRAND: Bodega Navarro Correas
      BRAND OWNER: Diageo
      CATEGORY: Drinks (alcoholic)
      REGION: Colombia
      DATE: August - August 2011
      AGENCIES: Alpha 245, Leo Burnett