New York. Gotham. The Big Apple. The city that never sleeps. Ever since I watched ‘Friends’ as a child of the 90s, I’ve wanted to live and work in NYC. So when 1000heads announced Heads across the Oceans, a scheme giving Heads the opportunity to work in another of our global offices, I jumped at the chance.
To apply for the role, we had to present to our CEO on why we should be sent across the pond to New York – a great opportunity to flex the marketing muscles! Inspired by my love of ‘Friends’, and in particular an episode about Sting, I based my campaign around the theme of #rosscan.
I put a word of mouth campaign into practice in the office, leaving drinks cans emblazoned with #rosscan on people’s desks, sharing the hashtag on familiar platforms such as WhatsApp, Snapchat and Twitter and new ones such as Plague. In fact, my post on Plague reached as far as North Korea, Alaska and New Zealand!
The campaign went down a treat and a couple of weeks later I was boarding a flight across to the U S of A as our inaugural Head across the ocean. Touching down to temperatures of -16°C was a bit of a shock, as was the US’ tipping etiquette! The views of Tribeca from my 20th floor hotel room were, however, absolutely stunning.
1000heads New York offices are based on Broadway, in the fashionable area of Soho (interestingly, our London offices are in London’s slightly less trendy Soho). The team made me immediately feel at home and went on to show me some of the best Manhattan has to offer during my two weeks there.
Work-wise, I undertook a mixture of my London-based accounts and pitches for the New York office. It was great to see, despite the ocean between us, the same company culture and hunger for great work pervading 1000heads New York and London.
And what about New York? It beat all my expectations – bustling, exhilarating, exhausting; every corner I turned was like entering a movie set. This was so much more than a tourist visit – the opportunity to live and work in the city made it feel like home and I would advocate anybody to jump at the chance to do the same.
Where next? Sydney? Dubai? Berlin? All of the above? Sign me up…
SXSW is always about many things. Yet this year, it felt more like many things trying to coexist with one another in an orderly way, which is to say that rather than disruptive technologies, we saw instead a clear display of digital evolution. Not an explosion of new tools per se, but rather how these new tools are trying to fit the world of today and tomorrow, going beyond wild imagination to concrete utility.
That is the main lesson we drew from SXSW 2015, which carries some important implications for brands and consumers. Which ones, you ask? Time to explore our latest SlideShare deck…
I first understood exactly how a creative campaign can help a company when the teacher of my high school film class showed us the following, multi-award-winning Spike Jonze directed IKEA advert:
The advert (teacher’s favorite) shows a woman dumping a lamp on the curb in favor of a newer model. While she, and the new lamp, live the high life back in her apartment, the old product lives out a sad, useless existence steeped in rain and scored by sad music. Just as you’re feeling bad for the lamp however, a Swedish dude pops up to proclaim: “Many of you feel bad for this lamp. That’s because you are crazy, it has no feelings and the new one works much better!”. Rug pulled, message clearly sent.
It’s an ad that plays with your emotions and clearly sets out IKEA’s point of view and ever since it’s been one of my favorites too.
“Hmmm” I thought. SO-MANY-QUESTIONS, not least: “Is this even acceptable?”
Can a brand just change their point of view? Or rather, should they?
This isn’t a brand swaying from a failed campaign hidden at the back of their PAX closet, nor is it a small venture away from a past campaign that isn’t really that relevant. This is IKEA telling their audience one thing: “Don’t attach feelings to your old objects because you can get newer better ones”, then 12 years later saying “No, actually feel all the feels for your everyday items and treat them like heroes”.
I was suitably invigorated to dig a little deeper.
So, armed with access to a local NYC networking group called Mosaic, I asked them what they thought of the topic:
Is there a statute of limitations on campaigns?
Is a decade long enough for a brand to make a 180?
Do campaigns expire?
Does anyone really care?
The opinions, as ever, varied. Some felt that in 12 years the landscape of the world can change, so how can you expect to target the same exact demographic? Others noted that agencies making the work change (not to mention staff at the company in question), while still others pointed to there being a more competitive landscape with different, even better mediums for communication.
There was reference to the Goldfish theory (that people have short memories, so you run minimal risk doing this) though this was countered when someone mentioned that people still refer to Orlando Jones as the 7up guy (yeah that one was a major throwback for me as well), which means that maybe our attention spans aren’t as short as we thought.
And then this emerged: a formula and an example of how it can be used to figure out if you can change campaign directions.
Reach of original campaign, expressed as a % of people that were aware of it
Success of original campaign, expressed as a % measuring how completely it achieved the brand positioning desired
Time decay, which is probably a bit of an S-curve, but for the sake of argument let’s say it’s 1 divided by the number of years elapsed
Then you measure the current proposed campaign:
Reach (as above)
Success (as above)
Length (how long the campaign is proposed to run for)
Compare the two. If the current campaign out scores the previous, you’re onto a winner.
Let’s run through an example.
Brand X wants to completely change perceptions.
They put out a campaign 10 years ago about how puppies are evil, it was very successful, and half of America saw it.
Maybe the numbers look like this.:
R*S*T = .5*.7*.1 = .035
Now they want to be known as a brand that worships cute fluffy dogs.
RSL [present] must be greater than RST [past] for this to be successful.
So let’s put the new figures through the mixer. If they reach half of America (50%) and do so slightly more convincingly (80%), how long would they have to run the campaign for it to be successful? Let’s say we measure Length as years divided by 10. If they ran for two years, then we’d have:
R*S*L = .5*.8*.2 = .080
RSL > RST, so we’re onto a winner.
It’s an interesting theory, and fun to think about these things in different ways, but it doesn’t get to the heart of the issue: can a brand just undermine things they have said in the past and expect people to go with them? Me, I’m not so sure.
I logically see that Everyday Hero 365 is a great campaign idea. It used not only video but also twitter to give these household items their own personalities. But it still irks me deep down. Maybe, I am one of the few whose attention span lasts, or maybe if the commercial hadn’t been award-winning or one of my favorites I would be behind this campaign 100%. But I don’t know, I like to believe that a great brand has a consistent message running through its core.
Ah, Valentine’s day. That magical moment of the year where love is in the air, chocolates sell like mad and passion is the name of the game.
The keyword here being ‘passion’.
Passion is all around us. People are passionate about other people, about their lifestyles, about the things they own… and also about some brands they feel represent and enhance who they are. That, in short, is why we love word of mouth: for its power to facilitate those connections between brands and people.
And that’s why effective word of mouth marketing is remarkably similar to a great Valentine’s date. Don’t believe us? Just flick through our latest SlideShare…
It’s no secret that over the last few years, the growth of connected TV, internet TV and video on demand (VoD) has led to a decrease in real-time TV viewing.
There are now more than half a billion connected TV devices in use around the world. In the UK alone, connected Sky+ homes watch 33% more catch up TV and x3 more VoD than the unconnected Sky+ homes. In short, brands can no longer rely on live TV advertising to reach their mass audience.
Conversely, in Australia, real time TV still remains very popular, and sadly Netflix has yet to reach our shores (at least for those waiting diligently to obtain it legally). Not maybe not for long. A few weeks back, Cricket Australia launched an Apple TV channel, giving fans access to extra content and information beyond the live matches. It is the first Australian sport to launch on the platform, following suit from the US, which has already launched similar channels for the NBA and NFL.
In a similar announcement, Mamamia Women’s Network is soon to launch Mamamia TV. For those outside of Australia, Mamamia began as an independent Australian Mummy Blog and became a runaway social success story appealing to a high number of Aussie women aged 25-45. It also seen as a credible online venue for brands to activate campaigns and connect with their female target audience. An interesting development indeed.
According to their editor-in-chief, Jamila Rizvi, the aim of Mamamia TV is to produce snackable TV-style content for the web. Rizvi claims that, unlike other media companies, Mamamia isn’t having to shift to understand digital or what women want out of content, as their success is down to their online following in the first place. She said the extension of the platform to TV is due to increased demand for their content as they now receive over 420,000 views a day on their site, compared to 20,000 views, 2 years ago.
On a larger scale, Vice TV is also making a splash globally and showing how brands that are willing to be reactive and involve themselves in topical news are met with likes, shares and mentions of their content across the web.
This surge in connected TV usage, combined with the relatively low cost nature of online content production, suggests 2015 will see a sharp change in the way brands create and distribute their content. In many ways, this is the native advertising model for Internet TV – partnering with like-minded publishers to co-create content and in turn build trust and engagement with would-be customers.
In Australia, where the general population is often segmented and hard to reach en masse beyond traditional TV, Mamamia TV and Cricket Australia will offer brands that do not have huge mainstream media or creative budgets, a cost effective way of reaching their audience in a relevant and credible manner.
Conversely, brands that cling to traditional TV advertising may find that while they can still achieve mass reach, their message has little social resonance when compared to brands that are early to adopt and integrate with the bite sized, reactive and topical content publishers like Mamamia and Vice create.
The Consumer Electronics Show takes place in Vegas each January, and with it comes a strong indication of the impact that technology will have on consumers and how they will soon be spending their precious time.
The variety of tech on show – and hype that surrounds it – can be overwhelming at times, and so too is the process of identifying and interpreting how tech will impact people’s behaviour.
To combat this, applying an intelligent filter to the tech news pouring out of Vegas helps structure thinking around the subject. And so, in an effort to extract a meaningful interpretation of the implications for brands, we asked a series of questions of each product announcement or trend identified.
What problem is this solving?
Where/how will it change the way people spend their time?
How does it allow people to discover new things?
How might it bring connected or like-minded people together?
How does it empower people to change the way they are perceived by others?
Though there are rarely definitive answers to all of the above, the process helps solidify thinking in a manner that can help brands avoid a panicked rush among their peers to ‘do something cool’ with the latest tech. Rather, this thinking can help in allowing them to spot opportunities that can add genuine value, utility or fun to people’s lives.
If that sounds like something you’d like to get on board with, here’s a SlideShare that summarises 1000heads’ take on trends emerging from CES 2015 and their implications for brands…
With 1000heads offices located in places as far flung as Sydney, New York, London – and indeed Dubai – we’re lucky to be able to cultivate a globally rounded view of social media marketing. Today we hear from Yazeed Khalaf, one of our team working with clients in the Middle East and North Africa, who takes a brief look at how social and digital marketing has developed in the region.
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As with the rest of the world, the importance of social media in the Middle East and North Africa (MENA) has seen a steady rise to the point where it is a now a key factor in both people’s personal lives and the way businesses choose to engage with their audience. In 2014 however, it wasn’t just a growth in the social and digital marketing space that was notable, but a clear step change in how companies in the MENA region are approaching and investing in campaigns on social media representing a new level of maturity in the market.
To highlight this trend, I’ve outlined two examples of how companies and organisations in the MENA region positioned themselves using social and digital media to achieve improved results.
THE POWER OF THE COMMUNITY
At the end of 2013, Dubai was successful in its bid to host #Expo 2020 AKA The World Expo, and a direct descendant of 1851’s Great Exhibition. In looking to both secure the bid and kickstart interest in the lengthy run-up to the Expo, the Dubai bid team saw real value in social and digital media. Dubai dominated social channels, compared to competing cities and at the time of the bid, its Facebook page had an impressive 854K fans while its Twitter followers exceeded 94K (and has many more of both now) and among the four candidate cities, Dubai amassed 45% of the total number of Twitter mentions related to the Expo.
With an increasing number of locations seeking to host global events, the power of social media will become more and more important in which candidates receive those events, how the events are perceived by the wider public and indeed the overall success of the event when they actually happen. Dubai’s Expo 2020 campaign is a great case study as such and shows a sophistication of thinking that is a credit to the region.
After Egypt suffered a disappointing 6-1 loss to Ghana in qualifications for the 2014 World Cup, tournament sponsor Coca-Cola had to rethink their strategy to reaching football fans in Egypt. Their solution? To embrace the negative side of this situation and turn it into something positive. In doing so they ended up with this comic ‘EPIC FAIL’ ad starring Egypt international Wael Gomaa.
The ad resulted in over 2.5 million views on Youtube, but it didn’t stop there. Twitter also played an important role in the World Cup campaign by engaging with users on a daily basis to extend the tone of the campaign throughout the tournament and offer Egyptians a chance to go to the World Cup, even if the players weren’t…
The confidence to activate integrated campaigns like this in social and digital media is another shift in the region that has fully matured over 2014 and something we’ve long worked towards, and are excited to be part of.
Last month Alexander Wang unveiled his new collection in collaboration with high-street retailer H&M, via a fashion show live streamed on his website. From 1st October to 17th October, there were 12,584 mentions of #ALEXANDERWANGxHM on Twitter, reaching an estimated 240 million people (Sysomos, 17.10.14).
The digital landscape is alight with conversation, images, video and desire, and the buzz is set to continue in the build up to his collection going on sale today.
But amid all the hype, I can’t help but think that Wang and H&M missed a trick. Nowadays, if you’re going to release a high/low fashion collaboration that will bring your label to a new audience, it seems a no-brainer to put that customer at the heart of the story.
According to a recent IBM Customer-activated Enterprise study, 82% of CEOs plan to use digital technology to interact with customers in the next 3-5 years (Vision Critical blog,). Most businesses have already woken up to the important role that social media can play when it comes to engaging customers. But are they making the most of it?
Raymond King, CEO of Top Level Design, told Business News Daily that, ‘The fact that many companies use social media in a superficial way, basically as a public feedback forum that never finds its way into decision making, limits its effectiveness’. And this is where the real opportunity lies – to allow customers to actually influence business decisions.
Brands like Topshop and platforms such as Cut on Your Bias are already experimenting with this approach. So what could a truly customer-centric, socially-driven fashion collaboration look like? Here’s one vision:
A brave fashion-forward retailer could launch a collaborative campaign to crowd-source next season’s guest fashion line; a YouTube video with all the information could be posted at the start of the campaign with shorter teaser videos fed out on Instagram and Vine inviting the community to participate
The customers could be given the chance to vote for their mentor for the collaboration from among three incredible designers and this person would help guide the campaign from start to finish, working with the community at every step of the way
Customers could create mood boards on Pinterest as the inspiration for the collection and using various social platforms they could vote on colour palette, select the types of clothes items to be included, input on fabric choice and finishing details or even send in textile patterns they designed for use in the collection
Social competitions could be run to find five or ten members of the community to actually go to the designer’s atelier to help pull together the ideas and make decisions on the collection, and these people could take over the social channels of the retailer to provide a behind-the-scenes look at creating the collaboration
All interviews could be held via Q&As on Twitter or Facebook or as Google+ hangouts
Once the collection was ready, the retailer could source models from the community and live stream the show via social channels with special attendees live tweeting the event
Select items could be made available for purchase only through social channels, and using gamification techniques the retailer could reward certain social behaviour with points that could be redeemed for discounts on purchases made online
There is always some risk when you let customers be so involved in your brand, but the resulting connection and engagement the brand developed with their customer would be worth it. That would be a collaboration truly worthy of the buzz.
Pinterest isn’t for everyone – and that stands for both brands and consumers. It’s a beautiful place to visit when design, style and aesthetics are integral to your product (or piece of almond sponge). It’s not, however, a platform that every business should immediately incorporate into their social media strategy.
When Pinterest was launched back in the dark days of 2010, t was a place to go when you needed tips for making your home beautiful, your cakes prettier, and your style more… tastefully dishevelled.
It’s still great for the above. However, over the past four years (and that’s a huge epoch when it comes to the social sphere), Pinterest has got serious.
Crucially, it’s become a place for brands to mix creativity with sales and show their consumers how they fit comfortably and effortlessly into their lifestyle. Through the power of the click-through (and Pinterest has better click-through rates than most other social platforms), the user just needs to be intrigued by a brand’s pin to leave the network and start exploring the brand’s website. You don’t need me to tell you that that, in itself, is valuable.
But Pinterest offers more than that. Take Topshop for example. The fashion giant worked with Pinterest under its Dear Topshop campaign last year, when its pins were heroed according to certain gift types on Topshop’s website. Via the pins, consumers were encouraged – and helped via a clear user journey – to share the products via Facebook, Twitter or Pinterest – ultimately spreading the word about the brand and encouraging a wider audience to interact, and buy, the products.
Still not convinced that Pinterest has the potential to offer real business value? Well, last year, the platform rolled out its paid ads (aka Promoted Pins) to a small group of businesses. Through Promoted Pins, businesses can select the pin they’d like to promote and specify which search keywords they want to attach to it, as well as the gender, device, location and language of their target audience.
With a small branded logo below the caption, Promoted Pins are designed not to be disrupt the user journey, and to sit comfortably within the feed. It’s still early days, but it’s likely brands will need to respect the platform here and produce suitable content emphasising quality rather than quantity.
The platform has also introduced guided search, which makes it easier to target specific content more effectively. Want a red apron with a flower pattern? No problem; guided search has got your back. This alone is the perfect way to discover new brands and businesses relevant to your needs. No wonder Pinterest has been coined the new Google…
Armed with analytics now available to businesses on Pinterest, marketers will also soon be able (these Promoted Pins are not yet available to all) to quantify the success of their Pinterest campaigns. Through analytics, it’s possible to see valuable insight, including the average daily impressions of pins, average monthly viewers and average daily impressions. It’s also possible to see the amount of clicks, repins and likes – important metrics to test how active your community has been when it comes to engaging with content.
This all being said; don’t let me tease you to get ahead of yourself. Yes, it has 70 million users and counting – that’s a tempting figure when it comes to opening brands to a new audience. However, it’s vital to question if these pinners are useful to you. Currently, approximately 80% of users are women, with the largest demographic aged between 35-54 years old. Not only that, most popular topics include cooking and dining, and DIY and crafts.
But f that’s the audience you already know like the back of your hand (whether that’s via social or in the real world), Pinterest is becoming an increasingly powerful platform to drive interest, engagement, and ultimately – sales. Considering with how much the platform has developed over the past year with business value in mind, it’s only going to become even more so.
For you, it really is time to join the visual revolution. Get pinning.
If you’re a user of social mobile apps (and who isn’t), you’ll be well aware that the swipe is emerging as the next like – sibling to our other ugly social verbs the poke and the favourite.
Executed in less than a second, our beloved new one-handed digital gesture leaves a flurry of digital footprints in its wake.
Annabel Sampson likes your photo.
Annabel Sampson has poked you.
Annabel has favourited your tweet.
You’re a match with Annabel!
Annabel is omnipresent, permeating all social platforms, and it’s not yet 8am.
How does the swipe impact our attitudes and behaviours? The swipe delivers instant results paired with instant gratification, making it hopelessly addictive and hugely empowering. So easy in fact, it seldom involves pause for thought.
Tinder was the tipping point for the swipe. The light-hearted hook-up app that allows us to swipe through potential matches based on age, location and gender has turned the agony of dating into a ruthless gladiatorial game and it continues to grow at a rate of 10% a week.
So is the swipe the solution to millennials’ fish-like attention span? A conveyor belt of opportunity grasped with next to zero kilojoule output – and hardly any intervention from our more sophisticated ‘system two’ brain (to use the terminology of behavioural economist Daniel Kahneman?)
Other start-up teams certainly seem to think so. Tapping into the success of the swipe interface are JobrEstately and Daily; gamifying the fields of recruitment, real estate and news reading in an attempt to entice addiction in different, somewhat drier landscapes. All attempt to match you with your perfect fit and sell themselves as the Tinder of their field.
But is this a logical adaptation? Tinder lends itself to the swipe because it’s immediate, visual and shallow. It’s a snap decision, comparable to a burst of attraction in a bar. But applying this instinctive gesture to more complex areas risks trivializing them. Do you really want to swipe to find your perfect home, job, even pet (see bark buddy)?
The swipe is inherently fickle with overtones of callousness. Should gamification be left in the realms of Grand Theft Auto and Super Mario Kart or is it normal to build real lives, real conversations and real relationships through a sloppy thumb-slash?
For brands, the rise of the swipe reflects the need for them to provide instant visual appeal and improve clumsy purchasing processes. In our increasingly impatient culture, consumers expect action with one casual move. Shopping in a click, same-day delivery services, contactless payments, storage within a digital “cloud”, answers on tap through Siri, movies and TV shows streamed in seconds, smart phone apps that eliminate the wait for…cabs, dates, food.
We expect our products and services to jump to attention, and content from brands must be ever more easy to consume and share. Of course, there’s room for businesses to subvert the swipe, to insist that their offering requires more deliberation and appreciation than a few seconds, but that would be a bold game to play and the goods have to be worth the investment of attention and finger-power.
This would be a good time for brands to assess how swipe-friendly their processes and content currently are. Because if social runs true to form, this tap dance is only going to get more frenetic.