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Marketing Communications | Syndicate assignment

Case 1
Prius Launch: Harmony Installations
2011 Bronze | Media Innovation

Case 2
Canon Eos Cameras: Photography beyond the still
2011 Silver | Consumer Electronics

Case 3
Southwest Airlines: Grab your bag it’s on/ Bags fly free
2011 Gold | Transportation

Case 4
Ocean Spray Cranberries: Straight from the Bog
2008 Gold | Renaissance
2011 Silver | Sustained Success

Case 5
Sears: Don’t just go back. Arrive
2010 Gold | Retail¬

Case 1
Prius Launch: Harmony Installations
2011 Bronze | Media Innovation

GET: Echo/Tech friendly minded people
WHO: Are environmentally and technologically aware and enjoy innovation.
TO: Think Prius is the car they should buy versus the car they want to own. See Prius as an Icon of progress. Encourage consumers to put a Prius in the mainstream consideration set.
BY: Outlining that hybrid motoring is good for the environment, endorsing the idea of being proud to own a Prius.
LIKE THIS: By highlighting the “harmony between man, nature and machine”. Happiness, Optimism, Pride, Imagination
SUCCESS: Desired 20% increase in sales of Prius. Increase hybrid vehicle market share. Engage social media metrics. $4.5m in earned media desired through Solar flower installations/social media.

Market/Commercial insight
The reported market decline in the Automotive Industry for passenger cars has declined by 37% in FY2011. Financial modelling of passenger vehicle purchase history by Toyota identified that purchases of the Prius model is are correlated with fuel prices, which on an aggregate have been declining in the United States. This has been a problem for Toyota in launching the new model - (see Chart below). Consumer insight
Toyota’s Prius is an economic car appealing primarily to echo-conscientious consumers. Their insight came through realising that this segment of tech-friendly minded people enjoythis segment of tech-friendly minded people enjoys engaging with innovation. This became an opportunity to look at innovative ways of communicating with buyers. This was coupled with the realisation than many Prius customers bought the car as they saw it to be the right choice; “the car they should buy”. The desire to evolve this obligation towards the environment into a desire to purchase the car was an essential consumer insight leading into this campaign.

Competition
Honda is was the largest competitor to the Prius model. Honda hads grown its sales by not substantially differentiating the model. Newer entrants to the hybrid market included Ford and Lexus (subsidiary of Toyota), which are were also capitalising on technology developed by Toyota.
On a consumer level, research by Toyota indicateds that the consumer perception of additional features being introduced to the 3rd Generation Prius will add to the price tag of the car. Despite this finding, Toyota has continued to target a very broad product offering with a product with limited features, and “space-like” design. In contrast, Honda has continued to offer its Jazz and CRV models with hybrid capabilities without having a dedicated “hybrid” model and shape.

Brand
Toyota’s sales of its Prius dropped 20% as its competition rolled out its 2009/10 models. The Prius brand is was seen by the automotive industry as an innovative car for early adopters and environmentally conscience buyers, subsequently limiting the mainstream audience. Over the previous year, the introduction of similar sized hybrid models by Honda, Prius has suffered falling sales numbers. In launching the campaign, it became evident to Toyota that the company had lost its competitive and monopolistic advantage of being the first mover to launch a hybrid passenger car and the associated momentum. With new entries into the market, Prius looked to re-position themselves as a more mainstream offering.

Organisational alignment
The campaign was fitting with Toyota’s corporate objectives to increase awareness of hybrid vehicles being offered. This fitteds into the Toyota’s visions of its “future mobility society” (Toyota FY11 Annual Report), which is was highly contingent on hybrid vehicles. Globally Prius sales have increased by 297% since FY2008/09.

From a Toyota point of view, the move to increase demand and exposure for the Prius model, marks the upcoming introduction of an additional 10 hybrid models which can be expected from 2012 onwards (Toyota FY11 Annual Report).

Campaign strategy
Despite launching a highly creative campaign (disregarding the cliché to Honda See appendix 1d), Toyota failed to communicate a clear point of difference or innovative product offering to that of its nearest competitors Honda and Ford which may encourage an enquiry or transition to the Prius.
The use of OOH (out of home) advertising through its mobile Solar Flower Sculpture installations in public spaces in selected US cities (see Appendix 1c), designed to allow the general community to recharge their mobile communication devices and access free WI-FI (powered by solar energy) (see inset) was an innovative feature, but lacked features to interact with the Prius brand.

The underlying message behind the campaign was to make Prius an icon of success. Through this, it was assumed that Prius owners are to feel good about their contribution to the environment by the car they have chosen to buy. The strategy employed did not seem to address this highly personal underlying factor.

Media integration
Toyota’s use of television to drive its announcement of the Prius model was cliché to Honda’s previous campaign. The imitation of Honda’s campaign was right down to the style of music employed in the commercial. There was no clear call to action, or information provision to direct interested buyers to the company’s website or social media platforms.

Agency management and creative execution
The imitation of the television advertisement by Honda earlier in the year utilising the floral landscape appeared to provide mixed messages to the communications audience. Despite the Prius campaign being well choreographed, the integration of more than 200 extras into the backdrop of the television commercial in flower formation imitated the campaign executed by Honda promoting its Jazz Hybrid model. The campaign utilising the “floral scape” stereotypically positioned the Prius hybrid as a green car for environmentalists and early adopters rather than appealing to a broad market as per Toyota’s initial objectives. The use of green and an artificial world appeared to perpetuate the stereotype purchaser of the Prius. This stereotype undertone in the creative execution of the campaign predisposes potential switching customers to perceive the car to be ultra green and not what could be considered normal looking.
Given Toyota’s preference to push its marketing communications through television advertising, the decision to install solar flowers became a central component of the campaign’s strategy to encourage dialogue between its current and future customers.

Earned & Social Media
Both Twitter and Facebook were used to encourage dialogue between current and potential Prius owners. Unfortunately the below the line strategies employed failed to live up to its expectations to generate interest after the initial launch date.
News reports of a local band using the solar power to power an outdoor popup concert at the solar installation attracted localised media attention raising more than $26m in media PR value, equating to a five time multiple above the forecast 3 times.
Just over 400,000 people utilised the solar recharge platform. No indications of forecast users were published by Toyota.
The floral installations proved to be the most effective tool for developing brand advocacy, with Mayors noting the efforts as city beautification, and even a Museum requesting inclusion in an exhibition named “Advertising becoming art and inspiring culture”. This is an interesting position when coupled with Bogusky’s views on culture infusing with branding efforts.

Performance evaluation
Overall, Toyota’s campaign was successful in achieving its objective to increase sales of the Prius model by 20%, with an actual return of 21%. However, the objective to increase interest from mainstream buyers failed to materialise which may have been due to the creative execution utilising a green/flowerscape theme to promote the hybrid capability of the car.
The campaign failed to succeed in generating dialogue in its below the line communications strategy. During the launch period only 300 individuals used the Web 2.0 platforms to discuss the new Prius.

Case 2
Canon Eos Cameras: Photography beyond the still
2011 Silver | Consumer Electronics

Brief
GET: Target Audience: photographers, aspiring or professional
WHO: Want the best equipment with the newest technology
TO: Think of Canon as the innovative leader for image capture equipment
BY: Rethinking digital imaging as not just a still, but also a moving picture
LIKE THIS: Inspiring and informative, developing aspirations. Emotional pull of a story being told through the events leading up to that still, and beyond it
SUCCESS: Measured by capturing points of unit & dollar market share in the HD DSLR segment, and regaining the lead market share

Business Problem
The business problem that Canon faced leading into 2010 was simple; how could they regain the lead market share in an increasingly complacent, mature and fragmented DSLR Camera market. Canon knew it was the technological and innovative leader in the market, but didn’t know how to successfully convey such a message, and convert it back into being the sales leader. Customer and Market Insight
The decision by Canon to undertake segmentation studies is an essential element to their eventual success. The insight that there was the low awareness around High Definition (HD) video capabilities of some camera models, was an essential learning in the development of the brief. By crafting a point of differentiation around innovation that Canon already owned, they successfully leverage the brand and HD advances that Canon worked so hard to achieve. It is implicit that previously Canon had segmented using more generic measures such as age.
Secondary to this, the decision to target one particular group within the diverse set of segmented groups was essential. While not given in the case, it could be assumed that some of these segmented groups may sit at different places along the consumer adoption path. The campaign needed to get the innovators and early adopters on board first before this would filter down to the various remaining sectors.

The Competition
The still camera segment was becoming more saturated with not only traditional photographic companies like Pentax and Sony, but also crossover products like flash-based video recorders and high-resolution smart-phones. In order to maintain the innovation that Canon had come to represent, it needed to better convey its newest technologies over all the competitors’ background noise.

The Brand
Canon had the brand power to be the market leader in DSLR photography. This positioning afforded them the opportunity to stake claim to a premium price for their product. While Canon had strong brand health, this campaign was successful in aligning the product assets of the brand and reinforcing their value proposition as technological and innovation leaders.
Canon’s decision to concentrate solely on regaining market share from Nikon is an essential decision in positioning the brand. Out of a lot of market noise, with a strong existing brand, Canon re-asserts its value proposition that photography has evolved, and only with Canon the consumer un-lock their full innovative and creative potential.

Campaign Strategy
Increasingly important in any high-impact communications is the role that multi-media outlets can play. Understanding this challenge, Canon developed a strategy to bring awareness to its newest innovation HD video, not only to reach its professional markets but also its aspiring and amateur photographers. The clarity of the delivered message was an essential component of the campaign. Canon found something compelling to get involved in. By setting the scene for their own arrival, Canon answers their own rhetorical question. The first step was to inspire the market, and second was to endorse the message: Canon is the only brand capable of delivering your creative potential.
Canon interacted with participants through playing a teacher role within the online dialogue. This allowed Canon to communicate its position as knowledge leaders in the field, while also familiarising participants with the newest features of HD Video capture. This essential link between the aspirations of the brief set by Canon to consumers, and the product offering available from Canon helped close this loop into a virtuous cycle. By not only asking for a creative dialogue through film, but also engaging and assisting consumers face-to-face, Canon stood to further solidify its brand as the innovative expert in digital photography. This strategy looked to draw people into the brand and its product offering, engaging users not only with the brand but also with the products, while also aligning with the cultural fit of photography lovers and their passion for the art.

Media Integration
The plan included traditional TV and Print spots, as well as targeted online integration to address the new prevalence of web media content. The choice for Canon to integrate across so many media touch points was essential. The theme of the campaigns informed consumers that HD Video was the next evolution, directing further attention to Canon’s website, home to an interactive contest to help Canon create a movie. This not only pulled in consumers, but also in connected them back to a knowledge base where they could ask questions and engage with the brand. It is essential in many ways when selling a message of innovation to consumers; they need to use innovative new communication methods to align with this value proposition.

Social Media
Although Grey directed Canon to host the video contest, “Beyond the Still”, on a social media platform called Vimeo, its campaign was relatively limited to only that site. Vimeo, though popular with the photographic market, was not mass-market, and the campaign ran the risk of operating in obscurity, only followed by photography aficionados and early adopters. Youtube and Flickr were almost completely ignored, even though they are ubiquitous with user-generated video and still imagery content, respectively. Evidence of this: the Vimeo partnership only resulted in almost 670,000 video plays, a number attainable by many a witty teenager with a webcam. This however aligns with their target market and campaign strategy, hitting photography enthusiasts and innovators.
Earned Media
Mostly through its collaborative appeal to create a feature, high-definition video, Canon gained much recognition for its brand while at the same time shining a spotlight on its consumers. Sharing in the publicity of such a user-completed film was an innovation in itself; no brand had ever come together with its market to create such high-quality content. In January, 2011, The Sundance Film Festival picked up Canon’s collaborative film, “The Story of the Still,” and what ensued was not just good publicity for the brand; changes to the industry have taken hold, and many new films are now shot using DSLRs made by Canon.

In-Store Communications
Although the travelling educational Canon team could be similarly classified, this campaign did not explicitly include any level of retail and channel and education on Canon’s HD Video capabilities. Relying on the channel to be aligned to this push is a huge assumption that could’ve stood in the way of Canon’s sales targets.

Performance Evaluation
Canon had an overall goal of growing its sales in the DSLR market enough to regain the lead position. This goal would require a gain of 2 percentage points to dethrone the new number one, Nikon. Additionally they wanted to grow their unit and dollar share of the HD DSLR market by seven and five percent, respectively. The investment that Canon faced was sizeable, $20-40 Million over 2009, and realizing revenues and profits would be essential to their success.
According to the report compiled by Effie, Grey helped Canon to realize these goals. Canon took a 10 point lead over Nikon in unit share, and raised HD DSLR unit and dollar shares by 13 and 10 points, respectively. When probing the financial reports for Canon, these sales numbers showed through, but the profit numbers were less spectacular. As shown in the below chart, Sales Revenues did indeed grow; at the highest media budget of $40 million the ROI in terms of revenues was a staggering 1,112%. The profits derived from this where simply less exciting, generating only a 2.5% ROI on the same campaign investment. Although Canon regained its prominent lead in the consumers’ minds and wallets, and re-established itself as a true innovator, changing the way video is made, it paid dearly for such a market lead in an increasingly fragmented segment that is sure to see ongoing pressure. *Revenues in Million JPY unless otherwise noted

Case 3
Southwest Airlines: Grab your bag it’s on/ Bags fly free
2011 Gold | Transportation

GET: Vacation and business travellers
WHO: Feel resigned to the tyranny of travel
TO: Choose Southwest Airlines
BY: By giving consumers the freedom to fly with their bags flying free
LIKE THIS: Through a sense of urgency and driving an immediate response
SUCCESS: Measures for the campaign:
• Business Strategy: Clear objective to gain between 0.56 and 6.5% Revenue Passengers Carried market share
• Make estimate annual revenue between $450 - $500m
Measures for the brand:
• Increase brand awareness
• Increase consideration / preference for the Southwest brand among other travellers.

Business Problem
In 2008, the airline industry faced with the worst recession in aviation history – fewer flights, fewer passengers and fewer airplanes. A world wide credit crisis and astronomical jet fuel prices lead to an economic collapse and as a result the market position was diluted. In the summer of 2009, Southwest Airlines (SWA) had the decision to make – to charge or not to charge bag fees?
Customer Insight:
• Societal & cultural considerations: Fear of flying became rampant and rising security concerns with the airline industry in general
• SWA needing to identify strategies for Southwest to position its image alongside competitors

Market Insight:
• Diluted Market position
• An industry, where the 9 major passenger airlines in the US, had a collective loss of $19.5 Billion in 2008 and $3.4 billion in 2009, explained the situation
• Growth potential declining
Brand
SWA was founded on the principles of low fares, low costs, and great Customer Service. They continue to position themselves from their competitors by not charging for things they believe should be free.
Value Proposition:
Customers hated bag fees and SWA does did what’s right by the customer. This is was born out of SWA’s insight that many consumers feel wronged by big airlines. Their decision to align with consumers empowered s their existing base, while also building brand advocacy. It aligneds with their brand positioning and therefore builds on the existing brand equity.
Organisational Alignment / Campaign Strategy
The SWA corporate strategy focused on obtaining more of the low-fare segment of the airline industry, rather than entering into other segments of the airline industry. The business level strategy focused on the current customer market, which was looking for a low-cost airline to get them to their destination at a reasonable price. Ideally, they needed to get into the consideration set of the passenger at the time of booking the tickets. By reaching people right when they were angriest about bag fees, SWA was in a position to leverage this discontent and create new alliances with customers. Their message ‘WHY DO OTHER AIRLINES HATE YOUR BAGS?’ calls out to their competitors while also building share of heart and relevance with passengers, appealing to their needs as someone who is willing to listen.
This aligns with their strategy; differentiating themselves from other low fare carriers by offering a point of differentiation not through price alone, but through increased added value and service. One would hope that in the future, SWA may be able to stake claim to a small price premium within the low fare carrier segment in collecting on this POD and developed brand equity.
Developing the Media Plan
SWA media objectives were to get the “Unique Selling Proposition” (USP) to the market – ‘Bags fly free’.
Use of Social Media / Earned Media
• ‘Get people prior to their purchase’:
SWA wanted to be in the initial consideration set for the purchaser, so the ideal media mix of social and earned media was imperative. Facebook and Youtube helped SWA engage in conversations –spreading the message while also gaining access to new consumer sentiments and insight. Using a push strategy through traditional campaigns like TV and Radio and using a pull strategy through online media ensured maximum interaction with consumers.
• ‘Reminder / Advocate message for their next trip’

Focussed in and around the airport, Jet bridge posters, gate banners to outdoor boards enforced the message post purchase. The media plan was communicated effectively, advertising a compelling message from a credible source, told in interesting ways, at low cost, at the right time to the right people. It was repeated and reinforced, driving demand from consumers. The Brief
Objectives can only come to life through communications. SWA developed a clear concise brief with key consumer insights essential to the delivery of the strategy. This assisted in their management of the project through the agency. Southwest Airline’s Chairman; Gary Kelly drove the initiativethe initiative for this campaign, making the brief even powerful. This involvement ensured there were less politics in delivering the brief, however also relied on clear transfer and understanding of underlying strategy to the project manager from SWA to maintain control and direction over the agency.
Research uncovering the key customer insight, also identified their target audience: Resignation Nation. These were vacation and business travellers spanning a wide range of demographics yet sharing a single common frustration –feeling resigned to the tyranny of travel. This set up an opportunity for SWA to communicate a new point of differentiation against their key competitors. By aligning an emotional pull and generic message of freedom, this brand association if successfully conveyed puts them in a strong position both now and into the future. With a product offering to support this claim: “Bags fly free”, Southwest has the tools to generate a strong and compelling message.
The clear communications strategy and integrated mass media made the brand relevant to passengers, coupled with a sense of urgency, this drove immediate response. The integration of this message beyond the point of purchase and onto the tarmac further builds the authenticity of their brand message. (See Appendix c)

Organisational Alignment / Campaign Strategy
The SWA corporate strategy focuses on obtaining more of the low-fare segment of the airline industry, rather than entering into other segments of the airline industry. The business level strategy focuses on the current customer market, which is looking for a low-cost airline to get them to their destination at a reasonable price. Ideally, they need to get into the consideration set of the passenger at the time of booking the tickets. By reaching people right when they were angriest about bag fees, SWA was in a position to leverage this discontent and create new alliances with customers. Their message ‘WHY DO OTHER AIRLINES HATE YOUR BAGS?’ calls out to their competitors while also building share of heart and relevance with passengers, appealing to their needs as someone who is willing to listen.
This aligns with their strategy; differentiating themselves from other low fare carriers by offering a point of differentiation not through price alone, but through increased added value and service. One would hope that in the future, SWA may be able to stake claim to a small price premium within the low fare carrier segment in collecting on this POD and developed brand equity.
Developing the Media Plan
SWA media objectives were to get the “Unique Selling Proposition” (USP) to the market – ‘Bags fly free’. The USP was able to be reflected across all media as they had a clear customer insight.
Use of Social Media / Earned Media
• ‘Get people prior to their purchase’:
SWA wanted to be in the initial consideration set for the purchaser, so the ideal media mix of social and earned media was imperative. Facebook and Youtube helped SWA engage in conversations –spreading the message while also gaining access to new consumer sentiments and insight. Using a push strategy through traditional campaigns like TV and Radio and using a pull strategy through online media ensured maximum interaction with consumers.
• ‘Reminder / Advocate message for their next trip’

Focussed in and around the airport, Jet bridge posters, gate banners to outdoor boards enforced the message post purchase. The media plan was communicated effectively, advertising a compelling message from a credible source, told in interesting ways, at low cost, at the right time to the right people. It was repeated and reinforced, driving demand from consumers.

Performance Evaluation
There were clear and reasonable measures for the campaign. They linked metrics to marketing outcomes.
• Business Objective:
 Achieved 1 % growth, 1 % market share in 2009
 Market share rose from 12.9 % to 13.8 % at a time when other Airlines dropped their market share
 They achieved revenue of $800 million and maintained a positive market share.
 SHORT TERM goal of increasing SALES & REVENUE was achieved
 Communication Objective:
 The campaign increased brand awareness
 Awareness of the taglines went upto 69% and exceeded other travel-related tag lines
 Increased consideration / preference for the Southwest brand among other travellers.
 Went up every quarter from Q3 2009 to Q2 2010. From 28 % to 35 %, went up thro all the 4 quarters, was the highest in the BRAND MONITOR as compared to the other brands
 LONG TERM increased Brand equity measures
 Can see through the consistent growth across all the quarters
 MEASURE POST HOC Post Hoc Measures of Marketing Effectiveness
 Brand Recall/ Awareness

This creative and integrated campaign aligned with broader corporate and marketing decisions. Their consideration of the buying environment with the buying process of the consumer in mind included targets beyond the consumer. They had different target customers through different media as outlined in the media plan.
A quick analysis of their current trends, looks to deliver profitable growth profit for SWA, not just revenue. (Appendix 3a & 3b) Net income has gone up by 363.6 %.
In summary, this campaign increased brand commitment and won customers through offering the “freedom” of no fees. While the agency has done a commendable job in delivering the execution, the clear brief and strategy, and simple customer insight is what ultimately drives the success of this campaign.

Case 4
Ocean Spray Cranberries: Straight from the Bog
2008 Gold | Renaissance

GET: Boomer women
WHO: Are health conscious and anti-carb
TO: Buy Ocean Spray Cranberry juice
BY: Highlighting the inherent health benefits of cranberries
LIKE THIS: Convincing consumers that they possess “Powerful nutrients that cleanse and purify your body and help strengthen your immune system’’ in an amusing, wholesome way
SUCCESS: measured through brand awareness, sales, market share, website visits, new memberships, media impressions
Business problem
Market insight: o The overall juice category sales were down 20% between 2000 and 2005. Over the same period, Ocean Spray’s sales were down over 22%.
Consumer insight: o Consumers were avoiding juice due to bad publicity which linked juice to obesity, the development of cavities as well as a myriad of other problems. America was facing an obesity epidemic and consumers were carb-conscious.
(Source: Ocean Spray Proprietary Information).

Brand
The brand’s household penetration dropped over to an all-time low of 30.7, dropping 13 points in 10 years. Interestingly, one of the notable goals of this campaign was to get noticed not only by consumers but also by other big brands. Brand awareness was down, and Ocean Spray saw the importance of not only returning to the consumer’s consideration set, but also becoming industry recognised and part of the competing big brands set.
While the product had many health benefits, these had never been communicated before, and so this was also an opportunity to spruce some product benefits in defining their POD, and aligning these with the brand.

Competitors
Their competitors were other drink companies such as Motts and Welch’s, Capri Sun and Hi-C.

Organisational alignment
Ocean Spray is a cooperative founded in 1930, now representing over 600 grower families across North America. Marketing is a part of the value proposition of the co-op, and the “Straight From The Bog” campaign was truly aligned with the organisation and its strategy which embodies taste, health and heritage. The cranberry bog, where the brand was born, was a prominent feature in the campaign while the TV characters represented the generations of hard-working growers of the co-op who have been responsible for bringing tasty, healthy, natural products to consumers. This campaign represented the people and their brand remarkably well, managing to strengthen their market based assets as well as their bottom line.

Campaign strategy
The strategy involved encouraging consumers to rediscover the cranberry through highlighting its inherent powerful health benefits to Americans. The aim was to create a health story that was both relevant to consumers and in line with the co-op. In a climate of increased product and nutrition awareness, their message was clear: That cranberries possessed “Powerful nutrients that cleanse and purify your body and help strengthen your immune system”, the benefits of which outweighed the carbohydrates and calorie content.
Based on the case study, there was no obvious distinction of whether the creative agency or the company came up with the campaign strategy. Nevertheless, it was a very successful and effective campaign that revitalised the humble cranberry.

Media integration
The media used in this campaign was so well integrated that no touchpoint was left untouched. It started off with series of breakthrough commercials aired on national TV with simultaneous circular distribution and print advertising in magazines ranging from Health to Women’s Day to Cooking Light. Below the line marketing was employed by building life sized bogs in the major American cities LA, New York and Chicago in their “Bog Across America” event featuring celebrities and healthcare professionals which got both consumers and the media alike engaged in the brand which was critical for its success. Radio remotes and outdoor advertising were carried out to promote the events while guerrilla marketing in the form of the “Bog Squad” saw street teams distributing samples. All this was accompanied by digital media initiatives to grow the brand and establish an online community through Twitter, Facebook and its website. The seamless integration of all forums strengthened not only brand awareness but also product awareness. The creativity of the campaign and unusual installations helped create memorable interactions with consumers. See Appendix 4 for examples. Agency management and creative execution
Theirre only minor shortcoming identified was the lack of accountability when it came to determining who had control over the media strategy and its execution. Their target market was initially identified as boomer women who were increasingly interested in nutrition. The print ads were mostly factual, highlighting the benefits of cranberries which appealed to this segment. The TV and PR campaign however, seemed to appeal to a broader audience as the brand was communicated via a series of commercials presented in an educational, consumer friendly way involving families and children, who were the predominant juice drinkers in the community. The brand was subsequently featured in TV programs which targeted different consumers, leading to a more mass market audience. Additionally, innovative events were held in key markets which were not previously identified before the strategy was executed.
Despite that, the campaign was well managed and well executed by the creative team. The agency, Arnold Worldwide saw the campaign as a means to celebrate and embrace the uniqueness of Ocean Spray as an authentic, grower-owned company that delivered great-tasting, healthy cranberry products that came ‘Straight from the Bog’ which was completely different from its previous theme ‘Crave the Wave’.
The theme played out into a realistic, humorous advertising campaign that portrayed two cranberry growers interacting in a cranberry bog. This concept translated well into print and Web 2.0 advertising. The campaign was supported through events and promotions such as the "Bogs Across America" and the "Bog Squad" which attracted a lot of earned media coverage. Part of the campaign involved transforming the children’s book "Cranberry Christmas” (by Wende Devlin) into an animated film which became a holiday classic on TV.
Eventually, the campaign went global and currently about one-quarter of the company’s total sales are generated by its international division operating in Africa, Asia/Pacific, Europe, and the Middle East. Amazingly, the campaign is still going strong after 5 years, earning its sustained success award in 2011.

Use of earned media
The campaign was successful in garnering earned media on TV through news coverage, features in Iron Chef America, Martha Stewart, and The View among others. In print, the brand and its products were featured in NY times, Time Out NY, PR Newswire and Marketing Daily. Online, the brand was mentioned in various websites such as brandchannel.com, adweek.com, worldnews.com and advertising age.com. These features focus attention on the brand and made its way into daily conversations, building its reputation and strengthening awareness.

Use of social media
Instead of sticking to traditional push marketing, a pull dialogue was established through Facebook and Twitter, giving consumers a platform to participate and contribute their opinions, submit recipes and access promotions. The campaign was occasionally mentioned in blogs and its commercials were uploaded onto YouTube. By opening this channel, Ocean Spray has developed a direct line with consumers, facilitating future consumer insights and creating relevance for what could be seen as a mundane product.

Use of in store communication
In-store merchandising was implemented to give that final push during the crucial moments at the point of sale.

Performance evaluation
Ocean Spray was the best-selling brand name in the shelf-stable juice drink. They won back their customers with their base volume increasing 6.4% during campaign and today, overall sales of Ocean Spray are up 14% in a category declining by 5%. The company posted fiscal 2007 gross sales of nearly US $1.7 billion. Their volume share grew to 9.0% and they were 1.0 point ahead of their main competitors Capri Sun (Source: IRI).
During the campaign, web traffic increased 12% while Cranberry Club membership increased by 314% which was way above their goal to double their membership (Source: Ocean Spray). The TV campaign reached 84% of women aged 35 – 54 with over 268,679,000 impressions (Source: IMS Data based on actualized Media GRPs) while PR efforts garnered over 1.3 billion media impressions within two months of the tour (Source: PR impressions from Cision Data & Nielson Net Ratings).
There was an increase in brand awareness as their commercials were among the AdWeek Top 10 recalled spots. They also won multiple industry awards -
2009 AME Grand Trophy winner for Integrated Marketing
2008 Hatch Awards Marketer of the year
2007 Gold David Ogilvy ARF Award in Beverage
2007 Reggie for Best Local Promotion for the Bog Tour
(Sources: Adweek, Boston, AdClub, Ogilvy ARF Award Committee, PMA ReggieAward Committee).

Case 5
Sears Back-to-School Campaign 2009: Don’t just go back. Arrive
2010 Gold | Retail¬

GET: Tweens (aged 8-12 years)
WHO: Do not see Sears as a destination for Back-to-School and who think Sears is a bit old- fashioned and out of touch
TO: Put Sears in the consideration set for tween fashion purchases
BY: Making Sears the coolest place to shop for Tweens during the back-to-school period; using music as the showcase for their back-to-school fashion and engaging Tweens through interactive online and social media.

LIKE THIS: Relevant and exciting, using celebrity teen endorsements (Selena Gomez)
SUCCESS: Increased sales in Sears domestic stores during the back to school period Engagement and dialogue with Tweens Improved perception of relevance

Business Problem
During the planning phase for the year of 2009, Sears were extremely conscious of turning things around. The retail climate was weak as a result of the Global Financial Crisis and consumer sentiment was at a low. In 2008, the Sears department store group, comprised of 2,162 domestic stores, experienced a drop in revenue of 9.1% on the previous year and operating income was down $1 billion. It was critical that they made some improvements on their performance (Sears Annual Report, 2008).

Retailers rely heavily on the fourth quarter sales which includes the all important Christmas trade. The back-to school period after the summer vacation in the US (around August) is a critical time for retailers as it is an early indicator of how successful the fourth quarter will be. Sears had been experiencing a decline in back-to school sales over a 10 year period, which fed into the fourth quarter performance.

Sears business objectives for addressing the decline in back-to-school sales was to reverse the 10 years of dwindling sales; to drive engagement with Tweens where it matters – using online and Social Media and to regain some relevance with the back-to-school target customer.

The Brand
The task they faced was enormous. Sears was suffering from an identity crisis. Over time, Sears had lost the Tween demographic as they perceived them as old-fashioned and not hip enough. Sears was simply not in their consideration set when it came to fashion. They had successfully captured the ‘Mum’ demographic, but were struggling to convince the youth market that they were a credible alternative for their fashion purchases. See Appendix 5c for examples.

The Competition
Sears department stores operate within the mid-level department store industry and its main competitors in the US include Target, Kohl’s and JC Penney.

The Customer
The target customer for this campaign was the Tween demographic, aged 8-12 years. This age group is highly impressionable and they value the opinions of their peers greatly. It is at this age that Tweens start to develop their own sense of style, becoming more and more interested in fashion. These consumers are highly influenced by teen celebrities and their clothing purchases are guided by what teen celebrities are wearing. Although Mum is still the primary purchaser of their clothing, Tweens are having a greater say in what they want and where they want it from, directing parents to the right places to shop. At this critical age, Tweens identify themselves through the clothing they wear. This is a key consumer insight for Sears in developing a compelling communications strategy.
At this age, kids are beginning to discover music and are forming strong opinions about what type of music they like. Music also plays a big part in the formation of their identity. Tweens are fully conversant with technology and use the internet for a variety of activities from communicating with friends to researching their favourite teen celebrity to downloading music. Many kids in this age group own mobile phones and use this technology to engage with friends through social media such as Twitter and Facebook. It is essential that Sears touches all these engagement points for maximum effectiveness.

The Brief
Sears brief for the 2009 back-to school campaign was as follows:

Target Tweens aged between 8-12 years who do not see Sears as a destination for back-to-school and who think Sears is old-fashioned and out of touch with the youth market.

We want Tweens to put Sears in their consideration set for back-to-school shopping and to make Sears a ‘cool’ place to shop for fashion.

We will achieve this by making Sears a ‘cool destination’ for fashion purchases for the Tween market by using music to engage the target customer.

Sears will engage the Tween customer through interactive and user-generated online media strategies and social media, using language and visuals that appeal to the Tween set.

Success will be measured by an increase in back-to-school sales on 2008, improved engagement with the Tween demographic and an increase in the target customer’s perception of relevance.

Creative
In the Summer of 2009, Sears launched the “Arrive Lounge” to attract the Tween demographic back to its stores. The premise of the campaign was “you don’t just go back-to-school – you should ‘arrive’ back-to-school”, preferably dressed in fashions purchased from Sears. The main driver of the campaign was Disney Channel star - Selena Gomez.

Sears used Owned Media such as their corporate website – sears.com and their micro-site – arrivelounge.com. Arrivelounge.com had a focus on music, dancing, backstage passes, behind-the-scenes footage, an Air Band contest and allowed viewers to upload videos onto the site. Sears cross-promoted with social media sites such YouTube and Facebook and allowed the audience to communicate with Selena Gomez via Twitter and were invited to enter a competition to win an experience with her. These creative decisions were made in an effort to gain relevance within the tween audience. The layers of involvement and extent of the promotion ensured their creative efforts were easy to engage with and helped consumers themselves get involved in rebuilding the brand image.

Media Implementation & Integration
The campaign commenced as a teaser just before the summer vacation on the arrivelounge.com website. A phased approach was used over a 12 weeks period, allowing for new and interesting content on the website on a weekly basis. Shortly after the teaser campaign, the ‘Arrive Air Band’ was launched on the website, inviting viewers to cast their votes for their favourite video auditions and send shout-outs to their favourites (http://designkitchen.com/arrivelounge/)
Four members of the air band were announced in the subsequent week and an interactive ‘Style Room’ was launched on the website where Tweens could browse fashions from Sears. Just to add a little excitement to the campaign, an announcement was made that Arrive Lounge was looking for a 5th member for the Air Band. Viewers also had the opportunity to style the Air Band through the interactive website using Sears’s fashions and viewers were invited to design the logo for the Air Band (http://designkitchen.com/arrivelounge/). See Appendix 5b and 5c for examples.

Selena Gomez was featured on the Sears website modelling Sears’s fashions and Tweens were invited to e-mail their parents with their favourite looks. Members of the Air Band were also photographed wearing various looks from Sears and viewers were able to vote for their favourite band look. The final video of the Arrive Air Band had them decked out in the most voted for looks by viewers.

Using Earned Media, on 13 September 2009 the Arrive Air Band performed in front of a live audience and was telecast to over 26 million viewers at the MTV Video Music Awards (VMA’s). Sears cleverly wrapped up the campaign with four different TV commercials of footage from the MTV VMA’s.

The increasing intensity and visibility of the campaign relied on early buy-in. A high element of risk was undertaken when developing such an extensive campaign, however the diversity of touchpoints may have also acted as an offset to this risk. The genius lies in the consumer’s role in the re-building of the brand, providing Sears not only with direct feedback and product line extensions, but also the workforce and advocacy to support it. Through providing a stimulating online platform, the brand is re-built for them using their target market.

Use of in-store communications
In-store, Sears ensured that the campaign was supported by in-store signage and point-of-purchase collateral as well as in-store promotional offers for coupons downloaded from the arriovelounge.com website.

Performance evaluation
The ‘Arrive Lounge’ back-to-school programme was a huge success for Sears. Sears managed to achieve all of their business objectives as a result of the campaign.

Firstly, Sears were successful in reversing the perpetual decline in back-to-school sales and achieved growth across all back-to-school categories and achieved double digit growth in three out of the five back-to-school categories.

Secondly, Sears achieved their quest for engagement with the Tween demographic. The arrivelounge.com website had 1.6 million unique visits over the two month campaign period. There were over 390,000 click-throughs to the sears.com website and over 167,000 sweepstake entries submitted. Over 101,000 visitors viewed airband videos from 2,293 videos submitted on the website and 265,000 visitors cast votes for their favourite band members.

One of the most important objectives of the campaign was to gain relevance as a back-to-school destination. This would almost certainly assist Sears in retaining their younger customers for subsequent back-to-school campaigns, providing Sears with longer-term growth opportunities. The positive impact on ‘relevance’ as a result of the campaign with the target customer can be seen in Table 1 below. In all instances, the research shows that the campaign markedly improved the image of Sears as a destination for back-to-school clothes and improved the ‘cool factor’ of Sears in the minds of the target consumer.
Table 1: Gain Relevance as a back-to-school destination Control (Didn’t see “Arrive”) Test (Saw “Arrive”)
Would ask parents to shop at Sears for BTS 45% 61%
Sears BTS clothes are cool 56% 72%
Sears is one of my favourite stores for BTS 23% 35%
Sears clothes are the best BTS clothes 5% 21%
Sears is cool 17% 39%

In summary, the Sears ‘Arrive Lounge’ back-to-school campaign revived the Sears brand, making them more relevant within the youth market. The marketing department at Sears successfully managed to create organisational alignment through a campaign that focussed not only on short-term goals such as increased sales but also long-term objectives such as increased brand awareness which would ultimately lead to longer-term profitability.

References Case Study - Effie Awards, 2010 Gold Effie Winner – Sears: “Don’t Just Go Back. Arrive”.
Case Study - Effie Awards, 2011 Bronze Effie Winner – Prius Launch: Harmony Installations
Case Study - Effie Awards, 2011 Silver Effie Winner – Canon Eos Cameras: Photography beyond the still
Case Study - Effie Awards, 2011 Gold Effie Winner – Southwest Airlines: Grab your bag it’s on/ Bags fly free
Case Study - Effie Awards, 2008 Gold Effie Winner – Ocean Spray Cranberries: Straight from the Bog
Sears Annual Report, 2008, http://www.searsholdings.com/invest/financial_info.htm http://designkitchen.com/arrivelounge/ http://www.southwest.com/
2010 SOUTHWEST AIRLINES ONE REPORT

APPENDIX 1a
Online appearance Appendix 1b APPENDIX 1c
Pasadena Museum of California Art

APPENDIX 1d
Honda Advertising

APPENDIX 2a
Online presence

APPENDIX 2b
Print advertising APPENDIX 3a:

APPENDIX 3b:

APPENDIX 3c:

APPENDIX 3d:

APPENDIX 4a
Print advertising APPENDIX 4b
Earned Media

APPENDIX 4c
Online appearance

APPENDIX 2a
Insitu installations

APPENDIX 5a
Branding

APPENDIX 5b
Online appearance

APPENDIX 5c
Product interaction online

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