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
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