Integration hasn’t really taken off, has it? Direct marketing agencies are sticking resolutely to large volume direct mail, and ad people are staying with TV commercials and 48-sheets.

Integration hasn’t really taken off, has it? Direct marketing agencies

are sticking resolutely to large volume direct mail, and ad people are

staying with TV commercials and 48-sheets.

For them, that’s where the easy money is, and few agencies are

recommending that their clients spend budgets prudently across a mix of

complementary media.

Simons Palmer is, however, having a go by running a phone number on its

Nike poster. No clue is given as to why you should call, but if you do,

you get the chap in the poster telling you to ‘just do it’. Leave your

details and you are rewarded with a copy of the poster.

For name gathering, using posters wouldn’t have been my first choice. I

suppose the team started with a great poster and came up with the other

stuff later.

At least the starting point was a good idea. The Renault Megane launch

shows what happens when a thin idea is stretched through the line. As

with most integrated car launches, the ‘below-the-line’ chaps probably

didn’t get wind of the brief until the bike came round with the U-Matic.

As you know, it’s about a blokey, jokey car that’s like a best mate to

you. This is about as compelling as the (hopefully apocryphal)

proposition that once appeared for a Ford: ‘So good you don’t need a

reason to buy it.’

Anyway, in the name of integration, every feature is preceded with the

words, ‘Talk about...’, and virtually everything (even a car on the

dealer’s forecourt) is encased in large inverted commas. If this speaks

my language, perhaps it can manage a few expletives in a Lancashire


On Varilux lenses, someone at Team Saatchi ticked every box on the media

menu, thus pointing up a danger of integrated advertising. It can devour

budgets. Here we’ve got one TV commercial and a cut-down, one radio

spot, numerous smallish space ads, brochures, leaflets, decals, point-

of-sale stuff etc and a great idea for the front cover of Optometry


Was a little bit of everything absolutely necessary? Likewise, was the

creative team also spread too thin? It’s a lot of work for two people

and more time on the original idea and how it looks might have helped.

Still, ‘Varilux Lenses let you see objects at any distance’ is clear


There’s other stuff but this was the best. Which indicates that direct

marketing and advertising agencies aren’t just sticking to their

knitting because it’s more lucrative. They also realise that integration

is difficult and skills - among account and media planners and creatives

- are not much in evidence. Perhaps I’m wrong. If you’re sitting out

there bridling, send your stuff to Anne-Marie Crawford at Campaign so

the next person doing this column has an easier job.

Steve Harrison is creative director at Ogilvy and Mather Direct


(poster, answerphone)

Agency: Simons Palmer

Client: Nike

Objective: Use the disabled athlete, Peter Hull, as an inspiration for

people to take up running and enjoy a sense of achievement

Account handling: Peter Bracegirdle (group account director, Robert


Copywriter: Phil Cockrell

Art director: Graham Storey

Creative directors: Andy McKay, Paul Hodgkinson

Printer: Campaign Posters


(direct mail, phonecard, postcard)

Agencies: WWAV Rapp Collins

Client: Renault

Objective: Present the Megane as the driver’s accomplice and alter ego

Account handling: Natalie Bell, Sarah Bennett-Baggs

Copywriter: Nick Kavanagh

Art director: Theo David

Creative director: George Boyter

Printer: various


(press, magazine cover, small space ad)

Agency: Team Saatchi

Client: Essilor

Objective: Inform the target audience that Varilux lenses let you focus

clearly and naturally

Account handling: Sarah Shaw, Joe Macgregor, Will Platt-Higgins

Copywriter: Kevin Millicheap

Art director: Jim Salter

Print/production: Nick Lunn