INTEGRATED: REVIEW

‘It’s not about knowing the right answers, it’s about asking the right questions.’

‘It’s not about knowing the right answers, it’s about asking the right

questions.’



Who said that?



Whoever it was should have done Private View, because Private View is

all about answers. It’s about the ill-informed routing out the ill-

conceived. We say ill-informed, because the venerable creatives passing

judgment do so with little knowledge of the brief, the marketing

problem, the client and, often, the consumer environment. What they are

doing is simply giving their opinions on the creative content of an ad.

Entertaining, but problematic, because the superficial nature of this

criticism typifies much of what is wrong with advertising today. These

days ‘it’s a good ad’ can exist without ‘it had good results’ - form

has been separated from function.



Thus came integration.



But what is integration? When you hear that some agencies have separate

floors for the ‘integrated people’, you begin to suspect that not

everyone has entirely got to grips with the concept.



Is integration about the ability to create better marketing solutions

and communicate them as powerfully as possible across appropriate media?

Or is it merely a euphemism for all that crap in envelopes which the

client now expects us to do?



Examine your consciences, adland. How you assess this work will depend

on your answer. How we assess it is another matter. We are as ill-

informed as our advertising counterparts. So, since we have no answers,

here are some questions.



You get a brief to excite Umbro’s staff about its sponsorship of Euro

’96. How do you approach it? Do you produce this? Is it wrong? Or is it

just, well, all right?



Next, a brief to tell the trade about a new boot. You do a mail pack

with a widget that screams ‘GOOOOOAAAAAL’. It’s interesting, it captures

the passion of the brand, but is that the reason you’ve no money left to

shoot the product properly? And is it wise, having spent most of the

money on a screaming widget, to take a sanctimonious tone in the copy

and criticise your competitors for using ‘hype’. Also, is your

integration delivering a seamless brand message if you use a different

endline for the trade?



Next, Heinz. You’ve made a brave marketing decision, but are you

cushioning that by relying on a reasonably traditional Readers Digest

technique? We wanted to like this work, the copy is nice and chatty, but

why is it so messy inside? Why does it tear badly when you open it,

making it look so untidy you want to put it straight in the bin? Why

didn’t you try something a little more exciting? Or did you?



Next, Scandinavian Seaways. Do they think we’re as fascinated by their

product as they are? Do they think this work has a strong idea capable

of translating into any media? Or do they think it’s integrated because

they’ve used the shots from the ads in the mail-pack? And do they

honestly think that people like being referred to as ‘valued previous

customers’?



Finally Eagle Star. Could this be a campaign that knows what it stands

for? A campaign which bangs that message home, through a number of

media, as powerfully as each media will allow? It could. Eagle Star, do

you know how pleased we are to see you?



Shaun McIlrath and Ian Harding are the joint creative directors of

Impact FCA



UMBRO (STAFF)

Agency: IMP

Client: Umbro

Objective: To enthuse Umbro’s 700 staff about the company’s sponsorship

of Euro ’96, and to make the whole company feel that they all have an

equal chance of seeing a Euro ’96 game

Account handling: Ian Milner, Steve Bell, Graeme Harrison

Copywriter: Marcus Park

Art director: Andy Regan

Creative director: Dave Harris

Printer: Billington Press



UMBRO (TRADE)

Agency: IMP

Client: Umbro

Objective: Alert the trade to the launch of Umbro’s new range of boots

and the massive marketing campaign supporting it

Account handling: Ian Milner, Steve Bell, Graeme Harrison

Copywriters: Andy Hepburn, Ed Richard

Art director: Carl Eatson

Creative director: David Harris

Printer: Billington Press



HEINZ

Agency: WWAV Rapp Collins

Client: Heinz

Objective: Encourage customer loyalty and boost sales across the whole

range of Heinz products

Account handling: Steve Grout

Copywriter: Paul Kendal

Art director: Andy Mawson

Creative director: George Bowter

Printers: Vesa Direct, Spain

Maul Belser, Germany



SCANDINAVIAN SEAWAYS

Agency: Davies Little Cowley

Client: Scandinavian Seaways

Objective: Present a fresh perspective on Scandinavia and generate

response

Copywriters: Linda Goodman, Jeremy Clarkson

Art directors: Alan Herring, Gordon McKee

Creative director: David Little

Printer: Carlton Barclay



EAGLE STAR LIFE

Agency: O&M Direct

Client: Eagle Star Life

Objective: Position Eagle Star as the honest, straightforward pensions

company, with a range of modular products that consumers can readily

understand

Account handling: Brian King

Copywriter: Simon Sinclair

Art director: Callum McGregor

Creative director: Steve Harrison

Repro house: Premlux



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