Campaign Poster Advertising Awards 1997: Effectiveness Awards - Most Effective Use of Posters as the Main Medium - Sponsored by the Council of Outdoor Specialists

Gold Award

Gold Award



ORANGE



Orange’s success was based on value-for-money credentials and innovative

pricing packages. By the first quarter of 1996, Cellnet and Vodafone had

largely eliminated these competitive advantages by copying Orange’s

pricing packages and cutting their prices. Although Orange had limited

coverage compared with Cellnet and Vodafone, for many consumers the

value-for-money benefits outweighed the coverage limitations.



While the brand’s coverage reached 90 per cent of the UK population in

February 1996, people’s perceptions of Orange’s coverage lagged well

behind the reality. With imminent stockmarket flotation ahead, Orange

did not wish to restore the value message by cutting prices, so it

needed to raise perceived coverage in line with reality. The objective

was to change perceptions of Orange as a network with wide coverage.



The advertising strategy depended upon an innovative and creative media

strategy using outdoor as a lead communications medium for the coverage

message, rather than its ’traditional’ role in generating intrigue and

interest for the rest of the campaign. The two-week poster campaign,

which ran from 12 to 28 February 1996, featured almost 50 of the more

obscure places in the country, such as Milngavie, Snodland and

Llansantffraid Glan Conwy, covered by Orange.



Underneath the place name was the strapline: ’90 per cent coverage of

Great Britain’s population and growing.’



Millward Brown’s tracking study of the brand was adopted to incorporate

tracking of ’wide coverage’. Post-campaign awareness of 43 per cent was

the highest level since launch. Following the poster campaign there was

a major leap in perceptions of Orange’s wide coverage and an increase in

connections to the Orange network.



Since the coverage campaign there have been around 3.7 million gross

connections in the total market. Research by Orange shows that

approximately 12 per cent of new subscribers entering the market are

primarily influenced by the coverage - 444,000 subscribers over the

period in question. The long-term effect has been to increase

perceptions of Orange’s coverage by around 7 per cent, in other words an

additional 30,000 subscribers who would otherwise have not considered

the brand. Estimating conversion to Orange at 25 per cent, given that

there were four networks to choose from at the time, with various cost

and coverage advantages and disadvantages, this will have had the effect

of delivering 7,500 new subscribers. Allowing for the cost of

acquisition, and assuming average revenue of pounds 37 per month, the

net value from these 7,500 connections amounts to pounds 15.7million - a

return of 25 times that of the advertising investment of pounds

640,000.



Gold Award

Product: Orange

Agency: WCRS

Client: Rob Furness, head of marketing services, Orange Personal

Communications

Account Director: Will Harris

Media Director: Priscilla Rogan

Account Planner: Cameron Saunders

Creative Directors: Larry Barker, Rooney Carruthers

Art Director: Vince Chasteauneuf

Copywriter: Paul Kemp

Typographer: Barry Brand



Commendation



CHANNEL 4



Channel 4 has been advertising its programmes on posters since 1983. The

objective is to generate audience ratings and share and contribute to

successful selling of its airtime.



Poster advertising for the comedy programme, Drop the Dead Donkey, gave

BMP4 a rare opportunity to examine what advertising could do. Drop the

Dead Donkey was not new, it had had four previous seasons, five repeat

series and in the autumn season there had already been three episodes

before the posters went up.



The programme’s target audience is ABC1 16- to 44-year-old adults.

Posters are particularly relevant to this audience as this group does

not spend many hours watching TV. They go out a lot and are not as

exposed to on-air trailers as much as other audience groups.



The 1,094 posters went up on 16 October last year for two weeks. When

they first went up, the ABC1 16 to 44 ratings for episode four rose by

399,500 from 1.85 million to 2.3 million and the share rose by 7.5

points from 23.5 per cent to 31 per cent. In fact, the programme

attained its highest ABC1 16 to 44 audience share during the advertising

period.



Commendation

Product: Drop the Dead Donkey

Agency: BMP4

Client: Wendy Lanchin, head of advertising, Channel 4

Account Director: Sarah Myland

Media Director: Mike Bambrick

Account Planner: Liz Boothby

Creative Director: Alistair Proctor

Art Director: Richard Lovell

Copywriter: Martin Cox

Typographer: Richard Lovell

Photographer: Rory Carnegie



Commendation



MADAME TUSSAUD’S



Madame Tussaud’s is one of London’s top attractions. Its target audience

is extraordinarily diverse, drawn from more than 40 countries worldwide.

The most important division to be made is between UK residents and

overseas visitors.



For many foreign visitors, Madame Tussaud’s is usually on the list of

places to visit while in London. Domestic residents, however, retain

certain deeply embedded negative perceptions of the attraction,

regarding it as a rather old-fashioned and boring institution.

Consequently, the overall objective of the advertising was simple - to

increase the volume of visitors year on year, using a very small

budget.



The agency decided the advertising should try to replicate the kinds of

conversations - lively, gossipy and funny - that visitors had exchanged

with each other when they were at the exhibition. Posters were the

perfect medium for this. Not only did they reach both the target

audiences, but they enabled the agency to make bold and very public

statements that would stimulate interest in Madame Tussaud’s.



The long-term drive was launched in July 1994 and there are strong signs

that the campaign is working. Visits were up 4 per cent in 1996 over

1995; individual visitors from London were up 53.5 per cent in the first

part of 1997 over the same period in 1996. And, according to the TDI

Visitors to London survey, 35 per cent of London visitors were aware of

the campaign.



Commendation

Product: Madame Tussaud’s

Agency: J. Walter Thompson

Client: Nancy McGrath, head of

marketing, Madame Tussaud’s

Account Director: Angus Fear

Media Director: Charlotte Khan

(Manning Gottlieb Media)

Account Planners: Ian Leslie, Bridget Angear

Creative Director: Jaspar Shelbourne

Art Director: Paul White

Copywriter: Trevor De Silva

Photographers: Malcolm Venville, Dean Marsh