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1、06/06/2022INDEPENDEN T P U B L I C AT I O N BY#0868R AC O N T EU R.NE TMARKETING&CREATIVITYINFLUENCERS FACE NEW REGULATIONSM&S FOODS GEN-Z MARKETING ESSENTIALS1206THE SECRET OF NIKES MARKETING SUCCESS17M A R K E T I N G&C R E AT I V I T Y02A GLOBAL CREATIVE PRODUCTION POWERHOUSE.Brought to you by Ta

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4、k.KR A C O N T E U R.N E T03Reports editorIan Deeringhroughout his long career in advertising,Elliot Harris has helped to create many commercials,but none has gener-ated anything like the response achieved by one that he worked on recently for a common household cleaning product.The ad depicts a day

5、 in the life of a family with two teenage daughters,one of whom is living with autism.Her parents go to great lengths to ensure that she attends school,only for her to want to go home after an accidental bump into another pupil.In search of some comforting stimu-lation there,she plays the drums loud

6、ly enough to rile her sister,who takes revenge by hiding her favour-ite hoodie,which their father has just treated with Vanish stain remover and laundered.Until this item is back in her possession,she cannot face returning to school.The key message is that the brand,which is designed to make clothes

7、 last longer,understands how impor-tant particular garments can be to people with autism.“Weve never seen a response like the one to this ad,”says Harris,who is creative partner at Havas London.“People have been phoning to thank us for showing the world how autism affects their family life every day

8、.”The campaign forms part of a wider marketing trend in which companies are trying to show that they are decent corporate citizens who truly understand the lives of their consumers and the worlds they inhabit.“People will always want good products,but now theyre becoming increasingly concerned about

9、 how those products are made and how the brands behind them operate,”Harris says.“At the same time,viewers want to be made to feel like people,not consumers,by advertis-ing.Its a clear message and brands ignore it at their peril.”The idea for the ad originated from the Diversity in Advertising Award

10、,an annual competition in which Channel 4 offers 1m of free com-mercial airtime to a campaign that embraces diversity.The 2022 award brief sought content that would“tackle the ongoing lack of authentic portrayal and representation of visible and non-visible disabilities”.So,the team at Havas London

11、decided to work out how to do this with a stain remover.With help from the Ambitious About Autism charity,it learnt that people with the condition often become deeply attached to favourite garments.This was crucial,Harris reflects,because a brand has to establish a proper connection with a cause bef

12、ore it can promote that cause with any kind of credibility.Lending the Vanish campaign fur-ther realism,the autistic schoolgirl featured in the campaign actually does have autism and her on-screen relatives are members of her family.They even helped the com-mercials director,Tom Hooper(the Oscar-win

13、ning director of The Kings Speech,which centres on stammering),to piece together a typical day in their lives,informing his approach to the project.Harris recalls that the brief from Channel 4 advised competitors to consider not only the portrayal,but also the representation.“Portrayal means getting

14、 all the details right,while representation means giving viewers a sense that they could be there,”he explains.“If we couldnt get those two things right,people would wonder why on Earth we were talking about autism and a stain remover.”The idea of injecting a large ele-ment of realism into advertisi

15、ng isnt new,of course.Rachel Cook,managing director of brand consul-tancy Thompson,points out that the sector was doing this nearly 20 years ago when skincare brand Dove started featuring ordinary women in its ads,rather than relying on professional models.“Its just taken a long time for other brand

16、s to pluck up the guts and get more real,”Cook declares.“Instead of merely flogging cellulite cream and washing powder,they are now aligning themselves with social causes because its been proven by everyone from McKinsey to Mattel that consumers are more likely to choose and champion a brand that we

17、ars its purpose on its sleeve.The creative approach is therefore about finding a sense of humanity and connection.”She also believes that,in an era when people are becoming more concerned about computer-gener-ated material,consumers may be gaining a new appreciation for con-tent that clearly feature

18、s genuine human emotions.“Were not far from a time when entire ads could be AI-generated.But this is raising all sorts of inter-esting questions about originality,ethics and,of course,authenticity and humanness,”Cook says.“The more that we consumers are seeing unreal stuff in other media,the more th

19、at were craving reality especially from brands,which are trying to sell us things.”The increasing supply of and demand for ad content featuring the realities of everyday life comes down to the fact that were living in troubled times.Thats the view of Mick Mahoney,creative partner at brand communicat

20、ion consultancy Harbour and former chief creative officer at Ogilvy.He believes that the emotions that brands try to evoke in their ads to encourage peo-ple to like them and their products are more important than ever.“The most powerful way to reach people is through a recognisable human emotion.No

21、purchasing decision is ever made with the head.Its always with the heart,”Mahoney argues.“The reason were seeing a resurgence of real is the threat we find ourselves under,financially,technologically and physically.Were feeling vulnera-ble,so brands are tapping into our need for human connection and

22、 the reassurance this offers.”The trend towards realism has been bubbling under the surface.Its taken a few more campaigns to reveal the positive reaction from people when companies under-stand them and see them as more than mere sources of income.As the cost-of-living crisis grinds on,the time is r

23、ight for advertisers to show genuine empathy with con-sumers,rather than constantly push-ing products with no emotional con-nection or meaning built in.Affirmation beats aspiration:why gritty realism is sellingMARKETING&CREATIVITYAdverts depicting everyday scenarios that viewers can relate to as peo

24、ple first and consumers second seem to be gaining more traction than traditional escapist content.Whats behind this trend?Distributed inSean HargraveIndustry opinion byAlthough this publication is funded through advertising and sponsorship,all editorial is without bias and sponsored features are cle

25、arly labelled.For an upcoming schedule,partnership inquiries or feedback,please call+44(0)20 3877 3800 or email Raconteur is a leading publisher of special-interest content and research.Its publications and articles cover a wide range of topics,including business,finance,sustainability,healthcare,li

26、festyle and technology.Raconteur special reports are published exclusively in The Times and The Sunday Times as well as online at The information contained in this publication has been obtained from sources the Proprietors believe to be correct.However,no legal liability can be accepted for any erro

27、rs.No part of this publication may be reproduced without the prior consent of the Publisher.Raconteur MediaNeuroscience Marketing,2009A D V E R T I S I N GRohan BanerjeeA senior writer at Raconteur,covering business trends.He previously worked at the Daily Telegraph and the New Statesman.Katie Byrne

28、A freelance journalist with an interest in business and careers,with work published in BBC WorkLife,IPSE and Business Insider.Jonathan EvansA freelance journalist specialising in HR,SMEs and C-suite leadership,with work published in The Independent and Metro.Sean HargraveFormer Sunday Times innovati

29、on editor who now works as a freelance journalist covering tech,business,finance and digital marketing.Megan TatumAn award-winning freelance journalist covering business,tech and health for a range of business and consumer publications.Sarah VizardRaconteurs editor and a business journalist with nea

30、rly 15 years of experience.She is the former managing editor of Marketing Week.Jonathan WeinbergA freelance journalist,writer and media consultant specialising in technology,business,social impact and the future of work.Emma WoollacottA journalist writing about business,technology and science for mo

31、re than 20 years.She is a regular contributor to the BBC News website and Forbes.ContributorsTraconteurraconteur.storiesraconteur-media/marketing-creativity-EditorSarah VizardSub-editorChristina RyderChief sub-editorNeil ColeCommercial content editorsLaura BithellBrittany GolobDeputy reports editorJ

32、ames SuttonDesign/production assistant Louis NassDesignKellie JerrardHarry Lewis-Irlam Celina LuceyColm McDermottSean Wyatt-LivesleyDesign directorTim WhitlockIllustrationSara GelfgrenSamuele MottaCampaign managerMatthew McCullochHead of productionJustyna OConnellAssociate commercial editorPhoebe Bo

33、rwellZinkevychvia GettyImages31%16%of marketing campaigns with emotional content reported large profit gainsof campaigns with rational content reported similar successwhile onlyPublished in association withM A R K E T I N G&C R E AT I V I T Y04Never mind ChatGPT:inside marketings quiet revolutionhe

34、arrival of ChatGPT in November 2022 sparked an explosion of debate among marketing profesionals about how the advance of generative AI tools might affect their work.Yet this is not the only tech-driven upheaval the industry is facing.Happening alongside the rise of generative AI,but with origins str

35、etching back fur-ther than last year,is the creative automation revolution.As its name suggests,creative automation is the use of technology to mechanise various aspects of content generation.By combining elements of AI,design automation and data-driven decision-making,it streamline the production o

36、f mar-keting material.In doing so,crea-tive automation eases one of the biggest challenges that marketers face:how to deliver a reliable supply of relevant(ideally,personalised)content across several channels to attract and retain the attention of is a human plus machine relation-ship,where advanced

37、 technologies augment what people are doing.”The debate about whether AI and other tech will augment or replace human intelligence has intensified over the past six months.A recent report by Goldman Sachs has esti-mated that 300 million jobs could be lost to automation globally.PwC,meanwhile,has pre

38、dicted that 30%of all roles will be at risk of automa-tion by the mid-2030s.While Lecinski foresees a future in which the human-machine alliance is strong,Davies is less certain.Pointing out that the profits of many network agencies are bolstered by the fees they charge for asset pro-duction,he pred

39、icts the cost-effi-ciencies brought by automation will catalyse a structural overhaul of the whole marketing sector.“Automation does pose questions about the structure of the industry.Some are difficult to answer,be-cause theyre asking about the extent to which our methods are going to change,”Davie

40、s says.“The significance of automation is that,because it provides a cheaper way of producing assets,it could result in a tectonic shift in how agencies are constructed and what marketing itself looks like.”forming connections with consum-ers that last.Its not surprising that the idea of being able

41、to pump out content faster,with minimal human involvement,has been greeted with some scepticism.Felipe Thomaz,associate profes-sor of marketing at Oxfords Sad Business School,believes that the sceptics have little to worry about in this respect.He suggests that,by taking care of the aspects of conte

42、nt production that are simply about asset management,automation will enable and,indeed,oblige mar-keters to devote more attention to the creative side of their work.Thomaz explains:“Generative AI tools and creative automation have dropped the production cost floor to an exceptional degree.Because of

43、 that,were about to enter a market-place filled with high-quality noise.Here,the last bastion of value crea-tion is the big idea.While the floor has dropped,the ceiling remains that big C of creative thinking.Work thats not only beautifully pro-duced but also genuinely moving will still resonate mos

44、t with con-sumers and thats where brands will see the most value.”Before investing in creative auto-mation,brands will need to consider whether their marketing function needs to be restructured,given that parts of the content generation pro-cess will be mechanised.Jim Lecinski is clinical associate

45、professor of marketing at the Kellogg School of Management at Northwestern University,Illinois.He advises brands to ask themselves exactly what they want to achieve through creative automation,seek-ing views from all team members.“This is not only about tech;its also about people,culture,work-flow,m

46、easurement and leadership,”Lecinski stresses.“What were talk-ing about with creative automation“It typically allows you to generate assets 10 times faster than you would by using conventional man-ual processes and somewhere in the region of 80%cheaper.When you consider that much of the finan-cial be

47、nefit of working in an agency is driven by large-scale creative pro-duction,its clear that automation will reshape our industry in the coming years.”But despite such predictions,the World Economic Forum revealed in its Future of Jobs 2023 report that the global uptake of automation has not been as f

48、ast as it had initially expected.In the marketing sector specifically,this can be attributed to one key factor:a concern,held by many in the industry,that the adop-tion of cutting-edge tech could have a detrimental effect on creativity.This concern has heightened since the emergence of generative AI

49、 tools.For marketing campaigns,creativity and novelty are key to The rise of generative AI tools may have grabbed more attention in recent months,but it could be argued that creative automation has greater potential to reshape the sectormodern consumers in an always-on digital economy.Achieving the

50、desired quality and quantity of output is hard enough in normal economic conditions,let alone at a time when ad budgets are squeezed and beleaguered consum-ers tire quickly of monotonous mes-saging.For instance,a survey of US consumers by software developer Celtra found that two-thirds of respondent

51、s regarded brand ads as repetitive and didnt want to see the same material over and over.By removing the repetitive manual tasks involved in the production process,creative automation ena-bles marketers to create assets in the timely and cost-effective way required to deliver higher-quality content

52、on a global scale.Thats the view of Gareth Davies,CEO of crea-tive agency Leagas Delaney.“The reality of creative automa-tion is that it lets you deliver a prod-uct of consistent quality,”he says.This is not only about tech;its also about people,culture,workflow,measurement and leadershipJonathan Ev

53、ansT E C H N O L O GYTKlaus Vedfeltvia GettyImagesGROWTH IN MARKETING AUTOMATIONMarketing automation market revenue worldwide,$bnStatista,Polaris Market Research,20232021202320252027202920222024202620282030Forecast4.796.6210.765.197.4712.145.869.538.4413.71R A C O N T E U R.N E T05Commercial feature

54、here is perhaps no industry quite as ubiquitous as con-sumer health.Every home has its medicine cabinet of supplies:in spring,we stock up on allergy medica-tions,and in winter,cold and flu rem-edies,armed against every sort of res-piratory and inflammatory affliction.Despite its virtues,the sector h

55、as developed a reputation for clinical,take-one-pill-twice-a-day messag-ing that,while informative,reinforces the consensus that the consumer health category is impersonal.Or worse:boring.“It shouldnt be that way,”says Patricia Corsi,global chief market-ing and information officer of Bayers consumer

56、 health division.“Healthcare is predicated on improving peoples quality of life.So why is it struggling to connect with the very consumers it wants to help?”Corsi blames a yawning creativity gap which has become ingrained in medi-cal marketing.She argues that human-ising the industry is an essential

57、 first step towards breaking down barriers and engaging communities that are often overlooked or underserved by the system.That means companies need cre-atives at the helm who understand the real issues consumers face.“But theres a wrong way and a right way to be creative in this context,”Corsi says

58、.“Bold,inventive campaigns should be used to solve a problem.Marketing teams should never feel the need to invent a problem because someone thinks theyve had a brilliant idea.”Brands dont need big pots of money to deliver memorable and impact-ful campaigns.She continues:“I have seen amazing work com

59、ing out of brands that had very little budgets,and I have seen very poor work coming from brands with unlimited budgets.”Regardless,creativity should be seen as non-negotiable.Trust,respect and engagementAcross healthcare marketing,many industry professionals still fall back on instructive or direct

60、ive campaigns.But according to Corsi,the past 18 months have been transformational for the industry,with creativity hotting up.“This is an opportunity to keep asking ourselves why were striving to be more creative,”she says.“Whats the ration-ale behind it?Does it serve the com-munity,the people,and

61、the business?If not,it might be time to go back to the drawing board.”The industry is uniquely posi-tioned to deconstruct taboos around sensitive subjects,including womens health,mental illness,and ageing-there is a litany of deeply complex topics that deserve to be discussed.Being brave is key here

62、,Corsi explains.That philosophy led her to build Bayers Vagina Academy campaign for Canesten.As well as delivering busi-ness results,the project encouraged women globally to talk more openly about intimate health.Beginning in Brazil,the Academy has since expanded worldwide.In a groundbreaking turn o

63、f events,Corsis team even managed to offi-cially remove the censorship of the word“vagina”across a number of online platforms,marking a break-through in the movement to educate women and girls on the topic.Stories like this are a reminder that creative consumer health brands are capable of redefinin

64、g the status quo.Regulation and creativity go hand in handHealthcare marketing must remain in tight lockstep with regulation.The trick,Corsi says,is to engage strategic partners and regulatory teams early in campaign planning.Doing the work now and asking for approval later is a risky play that seld

65、om pays off.“Besides,”she continues,“when you involve brand partners and bring them on a journey with you,theyre more inclined to look for solutions versus being a yes or no function.This is where we see the strongest results.”Creative healthcare storytelling,done right,sticks with consumers and del

66、ivers life-changing lessons while keeping regulators happy.Corsi shares an example of a Bayer cam-paign for Aspirin predating her tenure at the company:the Hero Smiths campaign,targeting heart health.Leveraging the widespread pres-ence of the surname“Smith”in North America,the company crafted a nar-

67、rative around the idea that if every-one named Smith carried a single Aspirin with them,millions of people could potentially aid someone expe-riencing a heart attack.The campaign harnessed testimoni-als from individuals who had lived due to the timely administration of Aspirin.Corsi recalls:“You had

68、 very emotional stories,but they were linked to very powerful healthcare insights.”The pandemic marked a sea change in how consumers interact with healthcare.The industry,which has traditionally used science as a point of difference,took centre stage in a new way.“We need to make sure we dont lose t

69、his opportunity,”says Corsi.“Discussion of science-led self-care is more acceptable now among friends,family members,and co-workers.It makes sense for brands to go a step further and talk to people,not like theyre doctors,but like theyre informed citizens.”AIs role is expanding quicklyThe next front

70、ier for healthcare mar-keting is how it will co-exist with arti-ficial intelligence.Generative AI,text-to-image,and text-to-video capabilities could have a transforma-tive impact,allowing marketers to feel more comfortable breaking the mould.That said,Corsi jokes:“I havent seen any machine with a go

71、od sense of humour.And humour is one of the cornerstones of communication,business growth,and creativity.”AI will primarily tackle repetitive tasks offering teams more time to focus on research.This rigour of spending time understanding audiences,challenges,and contexts will pay the biggest divi-den

72、ds in the long run.“Without those things,you cant write a great creative brief.And with-out that,its much harder for crea-tives to do their job.Rigour is ingre-dient number one,”Corsi says.Brand building and creativity must also cater to short-and long-term outlooks.Theres an oppor-tunity when talki

73、ng about vitamins,for example,to help people think in terms of prevention and seek solu-tions before problems occur.“Every product in consumer health is meant to help someone live their lives better,to cure something,to help them enjoy life at its fullest.But we tend,as humans,to act after some-thin

74、g happens.We are reactive,”Corsi explains.“Because of that,messaging that leans too heavily on the positives or negatives can backfire.Theres a balance to be struck.”Looking to the future of healthcare marketing,Corsi is advocating for cre-ativity twinned with science.“We need to humanise the indust

75、ry,”she says.“Consumer health marketing has been waiting for a shot in the arm for some time.Were finally seeing progress.”For more insights,visit marketing mind behind healthcares creativity pushConsumer healthcare marketing has shouldered criticism for falling short of connecting with consumers.Me

76、et the chief marketing and information officer who says the industry is ready for a creativity overhaulT Discussion of science-led self-care is more acceptable now.It makes sense for brands to talk to people,not like theyre doctors,but like theyre informed citizens M A R K E T I N G&C R E AT I V I T

77、 Y06Both the UK Competition and Markets Authority and the Advertising Standards Authority are tackling sharp practice.Agencies,influencers and the brands they represent are all in their sights he recent furore surround-ing the endorsement of Bud Light by transgender comedian Dylan Mulvaney has highl

78、ighted the prominent part that social media influencers play in many firms marketing strategies.The Influencer Marketing Hub has forecast that the global influencer marketing sector will turn over$21.1bn(17bn)this year,represent-ing a year-on-year growth of 22%.Nearly a quarter of the marketing chie

79、fs responding to its survey said that they would be devoting more than 40%of their annual budgets to influencer marketing.But,as uptake has increased,so has the number of controversies and complaints.Many of these have con-cerned the lack of clear labelling on the commercial content that many influe

80、ncers upload.In 2021,the Advertising Standards Authority(ASA)published an analy-sis of more than 24,000 Instagram Stories.Of the 5,700 it considered to be marketing material,nearly two-thirds werent obviously identifiable as such.The watchdog described this situation as“unacceptable”.Kate Hawkins is

81、 a principal associ-ate at law firm Gowling WLG,where she specialises in advertising law.She says“compliance with labelling requirements remains low.In many of the published ASA cases,non-compliance was obvious because the content didnt use the#Ad hashtag.But what the ASA has been seeing is only the

82、 tip of the iceberg.There will be many more ads that havent been brought to its attention,including those where the non-compliance is less obvious and potentially more misleading to consumers.As a result of such cases,the UK Competition and Markets Authority(CMA)published guidelines late last year s

83、etting out criteria relating to ads and other paid promotions by social media influencers.The CMA expects social platforms such as TikTok,YouTube,Twitter,Snapchat,Pinterest and Twitch to give users tools to label commercial content and report suspected hid-den advertising.They must provide better gu

84、idance to content creators about what must be labelled as a paid-for endorsement.It also expects these platforms to use the advanced tech at their dis-posal to identify suspected hidden advertising and take remedial action when such cases are unearthed.Influencers,meanwhile,are to make it clear when

85、ever they are receiving a payment for posting content and when theyre doing so on behalf of a brand that they own or are employed by.By“payment”,the CMA is refer-ring to any form of reward,includ-ing free or discounted goods and services or even loans.It means anything offered on terms more favourab

86、le than those available to ordinary consumers.Where this is the case,social posts should use the hashtags#Ad or#Advert,rather than less clear ones such as#gift,#gifted or#spon.Crucially,the CMA holds brands responsible for ensuring that such content is labelled as advertising when it results from th

87、eir marketing and is being published on their behalf.They must check the posted content themselves for compliance.The CMA says that it has“worked hard to ensure that both brands and influencers clearly understand what is required of them under consumer legislation.Just last year,we issued three deta

88、iled guides one for brands,one for influencers and one for social media platforms to help them stay on the right side of the law.We know that most people and busi-nesses want to do the right thing by their followers and customers.These guides help them to do just that.The main set of rules covering

89、influencer marketing is the CMAs committee for advertising practice(CAP)code.Complaints are adjudi-cated by the ASA.If it makes a ruling that influencers or brands ignore,they may be found to have broken the law and face enforcement action by standards authorities,which may lead to criminal prosecut

90、ion.an increase in the use of social media influencers to promote investment products to younger users.The watch dog says that one influencer promoted unauthorised traders to their followers at least twice,using their personal profile and without mentioning that they were the sole director of a regu

91、lated firm with per-mission for secondary credit brok-ing.The FCA negotiated with that influencer to stop these promotions.But its not only UK regulations that brands must worry about.Take it from Thomas Walters,#BeClear:the new rules of influencer marketingEmma WoollacottThe CAP code contains speci

92、al guidance concern-ing the use of influencers in specific sectors,with new rules on gambling ads intro-duced last year.Gambling and lot-tery adverts must not“be likely to be of strong appeal to children or young persons,especially by reflecting or being associated with youth cul-ture”.Here,the rule

93、s specifically mention the use of influencers.Gambling firms cannot use:top-flight footballers or those with a sig-nificant following among under-18s on social media;sportspeople pop-ular with under-18s;or participants in reality TV shows popular with under-18s,such as Love Island.The Financial Cond

94、uct Authority(FCA)regulates advertising in finan-cial services.It reports that its seen The only real bite available to the ASA is to name and shame brands and influencers who fall foul of the code rulesR E G U L AT I O NTR A C O N T E U R.N E T07co-founder and European CEO of global influencer agen

95、cy Billion Dollar Boy.His firm recently sup-ported cosmetics brand Garnier by“launching an augmented-reality filter in the Nordics”.This campaign,he recalls,was“uniquely challenging because some markets in that region have strict laws on filters that affect the users face.So that the filter was comp

96、liant in all target markets,we adapted our approach and explored filters that provided an immersive experi-ence to communicate the efficacy of the product without falling foul of the various regulations.”The new rules and guidelines have been broadly welcomed by agencies and their clients.A recent i

97、nfluencer campaign for Amazon,for instance,involved videos of several activities ordering the product live,opening the box and sharing anecdotes all of which had the potential to break the new rules.“Working in the gaming space,and especially with a brand as familiar as Amazon,we find that our audi-

98、ences are mostly young,trusting and impressionable,says Marvin Winkelmann,managing director of talent management agency AFK.“In cases such as these,we find having clear regulations and guid-ance such as the CAP code to be a great measure for protecting against misleading consumers.”Despite the progr

99、ess the CMA has achieved,there are some people who would like to see even more specific guidelines.Among them is Sanchit Sareen,EMEA director of influenc-ers and creators at ,a partnership management platform.Sareen recommends more efforts to raise awareness of and address“scenarios that might not r

100、elate to a straightforward ad campaign with the ultimate goal of commercial growth”.What he has in mind are“topic-based influencing,where multiple brands are mentioned in one campaign;and de-influencing,whereby creators review products in a negative light.”Others are concerned that the guid-ance on

101、the use of certain terms such as ad,sponsored,PR and gifted still isnt as clear as it could be.“The inconsistency surrounding gifted partnerships is calling out for clarity.Many content creators and social media users find this con-fusing,”says Georgina Greenspan,managing director of agency Eat the

102、Fox.“While both traditional media and influencers are required to label paid partnerships and adverts,only influencers are required to label gifted partnerships.”Control over the use of influencers is set to get tighter.The UK govern-ment has confirmed that the CMA will be given the power to decide

103、independently whether consumer protection law has been breached and issue fines.For now,however,there is little that can be done to curb non-compliance.“The only real bite available to the ASA is to name and shame brands and influencers who fall foul of the code rules.Its done this by publish-ing it

104、s rulings and detailing the non-compliance on its website,”says Hawkins,but she adds that the authority“has made it clear that offenders will be held under moni-toring.Further non-compliance may result in more sanctions.”Cure Media,2022BRANDS OR INFLUENCERS WHO CONTROLS THE ADVERTISING?Level of cont

105、rol exercised by brands in B2C influencer marketing in the UKWhat the ASA has been seeing must only be the tip of the icebergFull creative controlSome creative controlLittle creative control50%45%5%Commercial featuretanding out from the crowd and capturing the hearts and minds of new customers is an

106、 increasingly diffi cult challenge for brands in a segmented world awash with competitors.Customers are more informed and vocal about a plethora of cultural,political and environmental beliefs,and engage with brands across a broad spectrum of platforms and not always to endorse their products.The re

107、sult is a crowded and often volatile market-place,with brands fi ghting to be heard and cut through the noise generated by likes,retweets and reels during a time of diminishing attention spans.Its a challenge Kristen Cavallo relishes.As the global CEO of MullenLowe,she helps brands adopt a pacesette

108、r mind-set.She says the key to success in 2023 is for brands to recognise the opportunity and responsibility to innovate because brands that do grow faster.What is a brand enemy?An enemy isnt a competitor;its normally a point of view and what you stand against as a brand.When Reed Hastings Netfl ix

109、co-founder was asked about compet-itors,he said his enemy wasnt a rival brand,it was sleep.Weve taken that kind of think-ing into the way we position brands.Maybe their worst enemy is stagnation or comfort,so we push against that.And we do so armed with research by Accenture which found that brands

110、with strong innovation cultures hugely outperformed those lacking them between 2018 and 2020.On average,these innovation pacesetters grew their revenues 6.5 times faster than stagnant brands over that period.Plus they were 4.2 times more cost-effi-cient and 2.2 times more profi table.Why is this app

111、roach important right now?Certain brands,such as challenger brands,can and should take a stand on something.They dont want to win in a game of inches.I educate my clients on the value of not settling into their comfort zone and the ROI of being in a constant state of push.Its not enough to be keepin

112、g the pace,they need to be setting the pace.If brand enemies are so important,is purpose overrated?Purpose isnt overrated,it just isnt enough to make a brand interesting.The purpose may be a companys sustainability goals.That works for Patagonia,but it may not be enough to make another clothing bran

113、d interesting to consumers because the number of competitors in their cat-egory has proliferated.This means they need to defi ne their enemy.Take Snickers.For years,it stood for satis-faction.When the business plateaued,it redefi ned its enemy as hunger and the business was rejuvenated.When a brand

114、has both a purpose and an enemy,it can decide which one takes priority,or switch back and forth.Are some brands fearful of taking risks?On social media,people feel like they have the right and the obligation to comment on everything youre doing and sometimes it seems like they only want you to stand

115、 for their values.But Im not convinced and the data doesnt seem to show it either that these voices are the majority.We have to give clients the courage to take risks,because a few critical voices on social media dont represent an entire audience.In fact,being debated is often a good thing,talk tran

116、slates into sales.I like clients that have the stom-ach to be debated.How do you recognise a great chief marketing offi cer?I look beyond their words to their past work.Have they ever made anything that I think is interest-ing and good?Did they protect it from the gauntlet of their own company or pr

117、ocess to ensure that the idea was still interesting when it was produced and arrived in the world?They also need to understand how brands grow.Businesses need to select CMOs that have an interest in creativity and con-sumer behaviour or psychology.The good ones do,and they also have an ability to ar

118、ticulate a point of view and sell it consistently to their own com-pany,their agency or the press.A good CMO is a storyteller,armed with crea-tivity,data and a point of view.For more information,please visit How positive dissatisfaction can be a brands allyQ&AKristen Cavallo,global CEO of MullenLowe

119、,explains why brands must adopt a challenger mindset and embrace change to keep the attention of modern consumersWhen a brand has both a purpose and an enemy,it can decide which one takes priority,or switch back and forthSHow positive dissatisfaction brands ally,global CEO of MullenLowe,explains why

120、 brands must adopt a challenger mindset and embrace change to keep the attention of modern consumersM A R K E T I N G&C R E AT I V I T Y08Defining your target audience can allow for more efficient expenditure,enabling you to maximise output across a range of channels.Focusing your marketing efforts

121、on a particu-lar demographic may sound obvious,but it can be a daunting prospect for firms that have not yet embraced niche marketing.“Businesses can be scared to niche down,because they believe that this would limit their pool of prospective customers,”says Allan Dib,founder of the Successwise cons

122、ultancy and author of The 1-Page Marketing Plan.“But if you try to target everyone,Guerrilla marketing surprise campaigns using unconventional and innovative methods out in the real world offers a high-impact way to capture the interest of potential customers.Marvin Foster is MD of Love Creative Mar

123、keting,which has recently overseen It could be time to make your email data-base work harder.“Email is a relatively inexpensive chan-nel for promoting products and services,which makes it valuable for marketers with limited budgets,”says Matt Moorut,director and analyst at Gartner.But he stresses th

124、at a spray and pray approach wont work when it comes to email marketing.Personalisation and segmentation are key.“In an ideal world,youd send a person-alised message to every contact you have,but no brand has that sort of time,”Moorut says.“The knack is finding the sweet spot,where youre tailoring m

125、essages at a level that truly improves business perfor-mance.A strong segmentation strategy is vital here,as it helps marketers to priori-tise where and how they personalise.The good news for those with smaller budgets is that this work,if done well,can save you time and money in the long run.In ess

126、ence,segmentation can be a way for marketers to punch above their weight.”Its also crucial to take the time to understand what your audience wants,says Molly Ploe,director of search-engine Nail your nicheyoure effectively targeting no one.Rather than attempting to be all things to all people,targeti

127、ng a spe-cific niche enables you to craft a message that resonates deeply with the recipients.”Adopting a highly focused mar-keting approach can help your brand stand out in a sea of“generic marketing”,he suggests.“You need to know where your customers hang out,what drives their pur-chasing decision

128、s and how to build their trust.What are their hopes,fears and desires?What do they dream about?”If businesses invest enough time and money in understanding their campaigns for SpaceNK and The Gym Group.He says that“audiences are always looking for exciting new approaches.A good experience goes a lon

129、g way and is remembered for a lifetime.”Whether youre aiming to reach a cer-tain number of app downloads or plan-ning to measure uptake of a discount code,its important to set realistic goals for a guerrilla campaign,Foster stresses.“This tactic can prove effective,as it enables you to interact with

130、 target audi-ences and create more buzz,”he adds.“Face-to-face guerrilla marketing and brand experiences will generate more conversion,social media awareness and word of mouth.These will in turn lead to more qualified leads and sales.You just need to make the follow-up connections.”If you think that

131、 this approach could help you to achieve your desired out-comes,theres value in consulting spe-cialists,with details such as locations requiring careful planning.“You might pay tens of thousands for advertising space in a shopping centre,whereas going out on the streets for a guerrilla campaign coul

132、d cost a third of that amount,”Foster says.“But youll still need to know the limits of what you can do and where you can do it.”optimisation and demand generation at Brafton,a content marketing agency.“Because email is such an intimate channel,its incredibly easy to turn peo-ple off,”she warns.“Too

133、many emails,or the wrong tone of voice,can lead recipi-ents to unsubscribe.The only way to overcome this is by planning your cam-paigns strategically and paying close attention to the response.”Ploe adds that the task of standing out in a crowded inbox is a multifaceted chal-lenge that starts with a

134、 great subject line.A/B testing will help you to understand the kinds of initial messages that are most likely to persuade people to open your emails.It ends with a user experi-ence that considers factors such as the reading device being used and whether the emails content lives up to the promise of

135、 the subject line.Frustratingly or perhaps reassuringly instant wins are rare in email market-ing.The method can require much initial experimentation and refinement to get it right.As Ploe says:“This is all about how the medium is wielded to capture the attention of your audience.Trial and error wil

136、l be a huge part of figuring out whats going to work for your brand.”core audience,the returns will be handsome,argues Dib,who adds:“Rather than trying to find people for your stuff,your job is to tell stuff to your people.”n December 2022,a survey of chief marketing officers by the Chartered Instit

137、ute of Marketing(CIM)revealed that 18%were facing a year-on-year reduction to their annual budgets.While that may seem bleak,it is still a significant improvement on the equivalent figure published by Although research suggests its an unwise move,marketing investments are often slashed in tough time

138、s.For teams with less to spend,here are some relatively low-cost but high-impact optionsThree ways to make your budget go furtherKatie ByrneM A R K E T I N G M E T H O D Sthe CIM the year before:47%.“Marketing chiefs are actually more optimistic about the global economy than they were a year ago,acc

139、ording to our research,”reports the institutes chief executive,Chris Daly.“Tighter budgets are encour-aging many to focus on below-the-line channels,which require a comprehensive understanding of customer needs and that lies at the heart of professional marketing.”If youve found yourself among the 1

140、8%or are simply keen to investigate ideas that might help you spread your message more efficiently,heres a trio of methods that could work well over the coming months.IIf you try to target everyone,youre effectively targeting no oneGo for guerrillaEmbrace email1Roberto Machado Noa via GettyImagesvin

141、ce-flemingvia unsplashNico De Pasquale Photography via GettyImages23R A C O N T E U R.N E T09Why is creative effective-ness so important for marketers?If the goal of marketing is to support sales and brand,then creative effectiveness is real-ly the proof in the pudding.It makes us consider what we a

142、re driving for,the outcomes we want to see,the mindset shift we want to achieve and how to measure the impact.Creative effectiveness is the bedrock of the business of creativity.Its about proving the long-term growth value of creative campaigns and brand building.We know that,as the economy contract

143、s,marketers are under increasing pressure to show their impact on the bottom line;thats where creative effectiveness really comes into play.In our recent State of Creativity study,which polled several thou-sand marketers and creative adver-tising professionals globally,24%felt there was more focus o

144、n prov-ing the effectiveness of creativity within their organisations.How can a brand create the right conditions internally for creativity to flourish?At Microsoft,were measure-ment-oriented because we believe the more you can prove impact,the more likely people are to come along for the ride.We me

145、asure across the cycle of a cam-paign,from the inception of an idea,to the execution and then marketplace reception.The brands in attendance at Cannes Lions each year,from McDonalds and Heineken,to AB InBev and Apple,have invested in creative effectiveness over the long term.These compa-nies clearly

146、 demonstrate the cor-relation between winning awards for their creativity and driving business results.ness and why it matters in terms of business outcomes.This is the crux of the challenge most market-ers face today:ensuring the C-suite understands metrics like lifetime value or the value of brand

147、 love,as well as financial impact.We carried out a piece of research with effectiveness expert James Hurman and mar-keting consultant Peter Field to better understand why,when it came to effectiveness,brands and agencies arent on the same page.The research showed that what was clearly missing was a

148、common language to talk about creative effectiveness one that could be understood by the entire market-ing chain from internal brand marketers to the agencies they work with and the C-suite.Thats why we established the effectiveness code,which shows the impact that creative marketing has.This code i

149、s a great starting point for senior marketers who want to communicate where they are and how they need to progress to the rest of their C-suite team.Why are events such as Cannes Lions,which focus on creativity and effectiveness,important for the industry?Cannes Lions is vital because it sets the ba

150、r for great crea-tivity by showcasing the creative work being produced across the industry.It offers an opportunity to get out of our worlds and experi-ence different categories,frame-works and thinking.Marketing is a relationship busi-ness,so the festival allows us to reconnect and inspire each oth

151、er in person through conversations and connections.After Cannes Im recharged its a creative boost.Cannes Lions is where the industry meets to discuss the creativity that drives effective-I N S I G H T Creative effectiveness is the bedrock of the business of creativitySenior marketers convene at the

152、Cannes Lions International Festival of Creativity every year to gain insight into how to build a business through creativity.Here,Kathleen Hall,chief brand officer at Microsoft,and LIONS CEO Simon Cook discuss how brands can harness creativity that drives effectiveness and business growthTheir model

153、s may look different,but when you dig into their approach there are plenty of mir-roring components that enable creativity to thrive within their companies.These include a com-mitment to investing in creativity as a means of delivering broader corporate objectives and the abili-ty to translate that

154、commitment into a common language that is understood across the business.In addition to this,these businesses adopt tools and processes within their teams that mean effective creativity is inevitable.How can marketers prove the long-term value of creative investment?This is something I have fought f

155、or throughout my career.To demonstrate the long-term value of creative investment,look at case studies of brands,such as Apple and Nike,and the value they have created through invest-ment in brand building over time.They can charge a premium for their products and people are far more likely to try t

156、he product because they have an affinity with the brand.This is where creative effec-tiveness really comes into play and its why were centring the entire Cannes Lions festival around the theme this year.Our sister company Warc carried out extensive research around cre-ative commitment.It found that

157、it takes three years of investment to see a return on a campaign.Case studies prove it and Microsofts success is a case in point.Creative effectiveness awards,like the Cre-ative Effectiveness Lions,enable brands to benchmark and meas-ure the effectiveness of a piece of creative work over an extended

158、 period of time.What tools do senior marketers need to drive growth through creativity?Marketers must have a pack-age of meaningful measure-ment tools.Theres always a lot of emphasis on short-term ROI and revenue impact,but we also have to look to the future.That means we also need a suite of measur

159、e-ment tools that are longer term and can track emotion,connectedness and how were building the brand over time.From the senior brand mar-keters we spoke to in the State of Creativity study,we identi-fied the core areas for marketers to drive growth.These include build-ing an in-depth understanding

160、of creativity and how it achieves business impact,and benchmark-ing creative effectiveness against peers to raise the bar.Developing a company culture thats focused on investing and nurturing talent is also key,alongside adopting and adapting proven processes,from frameworks to measurement tools,to

161、deliver effective creative work.How can marketers ensure that creative effectiveness is better understood by the rest of the C-suite?Marketers need to educate the C-suite on the multiple ways to measure creative effective-ness and growth.This year,weve added a creative impact content stream designed

162、 to help senior marketers build creative capabili-ties and take them back to their own organisations.The event will focus on actionable insights and real-life examples from brands that have built businesses that nurture creativity and have experi-enced success as a result.Is there a key moment at Ca

163、nnes Lions that changed your thinking?Its the work winning Lions awards every year that really inspires me.A key moment was when I saw the multi-Lion winning The Next Rembrandt,by JWT Amsterdam,which leveraged tech-nology to create what would have been the next work of art from the Dutch painter.Wha

164、t jolted me was that it was about much more than just being creative in the tradition-al sense.In this new era,creativity has a significant experiential com-ponent.Creativity today is about effecting social change,shifting stereotypes and having a signifi-cant impact on issues in the world.It opened

165、 my eyes.For me,there are so many key moments its difficult to list just one,but Im going to share something that someone cleverer than me once said.Les Binet,head of effectiveness at adam&eveDDB,who is speaking at the festival this year,said:“If you want long-term growth,youve got to change peo-ple

166、s minds in some way and build up memory structures that will bias their behaviour.Brand build-ing is about getting a long-term flow of sales,revenue and profit,now and into the future.”That has stuck with me.Find out more about attending Cannes Lions 2023 at Marketers need to educate the C-suite on

167、why creative effectiveness matters in terms of business outcomes.This is the crux of the challenge most marketers face todayM A R K E T I N G&C R E AT I V I T Y10ASPIRATIONS OF CONTENT CREATORSPercentage of content creators looking to become and influencer or make a business of shared contentTHE BUS

168、INESS OF CONTENT CREATIONMarketing through shared online content has become a big business.The market for influencer advertising is projected to exceed$21bn in 2023,and a third of companies in some of the most active markets spend more than$5,000 per month on content marketing.But who are these cont

169、ent marketers?What are their aspirations?And how can they help brands grow and reach new consumers?USAGermanySouth KoreaBrazilFranceSpainJapanUKAustraliaUSABrazilSpain Current goal of becoming an influencer Current goal of owning a business to make money from creative content shared online Current g

170、oal to become both a business owner and an influencer35%34%14%16%17%30%21%18%24%37%47%35%32%40%35%49%38%37%15%20%6%6%8%12%13%9%12%CONTENT CREATORS ACROSS THE GLOBECreators in selected popular creator markets worldwide and current state of content creators 9%10%36%19%16%26%26%50%14%InfluencersBusines

171、s ownersCreator share of populationKEYR A C O N T E U R.N E T11 THE BUSINESS OF CONTENT CREATIONWHO ARE THE CONTENT CREATORS?Gender and generational makeup of content creators in selected countriesWHAT CAN CONTENT CREATORS DO FOR BRANDS?Leading metrics successfully delivered by influencers according

172、 to marketers worldwide USBrazilJapanGermanyFranceUKSouth KoreaSpainAustraliaUKFranceGermanyJapanSouth KoreaAustraliaIncreased brand engagementSocial media traffic increaseBrand metrics liftConversionsIncreased web trafficIncreased positive sentimentSales liftMore efficient ad spendLower content pro

173、duction costOther32%19%11%10%9%6%5%3%3%2%Male Female15%19%12%12%16%14%11%13%11%48%42%39%45%38%44%39%43%45%26%28%31%29%34%27%37%30%27%14%15%13%14%12%15%18%10%15%53%53%43%42%49%43%45%48%51%47%47%56%58%51%57%55%51%49%Gen Z Millennial Gen X Boomers23%21%19%11%10%34%17%24%25%25%15%12%15%19%23%11%15%15%Br

174、ands are increasingly using creators in their marketing strategy.This data defines creator as someone who participates in creative activities and posts,shares or promotes those activities online with the goal of growing their social presence.Influencers are creators who have more than 5,000 follower

175、s on their main social channel and currently earn money through posting social contentM A R K E T I N G&C R E AT I V I T Y12ver her five and a half years as marketing director of M&S Food,Sharry Cramond has earned a sector-wide repu tation for increasing the brands recogni-tion among younger people.

176、On Cramonds watch,each store has established a unique presence on social media platforms,from TikTok to Instagram to Facebook,repre-senting a combined weekly reach of about 4 million people.TikTok has proved particularly important in engaging gen-Z shop-pers.The M&S store in Romford,east London,used

177、 the platform to promote its own charity Christmas single,which reached number two in the iTunes charts.Meanwhile,the M&S Foodhall at The Springs retail park in Leeds has a TikTok page that has attracted more than 700,000 views,thanks largely to videos featuring a member of staff called Michelle,who

178、 recommends her“monthly must-haves”from the stores shelves.Its little wonder that TikToks marketing team has praised the brands efforts as some of the best uses of social media by a retailer.“What you have to do is speak to gen Z on the channels where theyre spending most of their time,”says Cramond

179、,who became director of marketing and hospitality in April 2022,taking responsibility for 300-plus cafs.“Thats why TikTok is particularly important to us.When we started on the platform,a lot of people were asking:Whos running this?Is this M&Ss account?It felt quite un-M&S to be leading the way on T

180、ikTok,but now people are abso-lutely embracing it.”Cramond believes that a key rea-son for the brands TikTok popular-ity is that the accounts are managed in house.She trusts store colleagues to post content without seeking approval from head office,although they do receive a template of sub-jects to

181、 focus on each week.Her own department is also able to capitalise on social media trends quickly.This has been a big factor in the success of its Percy Pig and Colin the Caterpillar confectionery brands.Content featuring the#per-cypig hashtag has delivered more than 96 million views on TikTok,for in

182、stance.“The team in the office keep a close eye on whats emerging.They can get straight into costume and have a post uploaded within an hour,”she says.Transparency has become a much more prominent part of the market-ing mix too.Food provenance is now an important consideration,given young shoppers a

183、ttention to environmental issues.“More and more customers are becoming interested in where their food comes from,”Cramond says,explaining that this concern led to a documentary-style TV campaign called“Farm to Foodhall”,in which Michelin-starred chef Tom Kerridge visits suppliers and interviews them

184、.As the cost-of-living crisis wears on,she believes that demonstrating value and uniqueness has become far more important for brands when communicating with consumers.“In the UK,89%of all marketing is ignored,”she says,noting that prov-ing the value of your offering in a market as crowded as food re

185、tail is becoming harder for all players.To address this problem,her team cre-ated the Remarksable Value label,under which the firm sells a range of lower-priced items.“This has been about finding a way to talk about value in a way thats compelling,engaging and,most crucially,unique to M&S Food,”she

186、says.“It is about fantas-tic prices,of course,but we make a point of talking about whats unique about those products.”Cramonds willingness to innovate and challenge conventional market-ing wisdom has won recognition from the M&S board and industry peers alike.She talks of how the mar-keting chiefs r

187、ole has changed since the turn of the millennium,from“creating brilliant ad campaigns”to being“the voice of the customer in the whole organisation”.A key part of doing the latter is“getting the organisation closer to customers”.To this end,M&S Food had been holding regular sessions M&S Foods marketi

188、ng director,Sharry Cramond,explains how shes leaving no stone unturned in attracting gen Z to a brand thats traditionally appealed to older consumers TikTok is particularly important to usJonathan WeinbergI N T E R V I E WOFor us,it has been about finding a way to talk about value in a way thats com

189、pelling,engaging and most importantly,unique to M&S FoodR A C O N T E U R.N E T13FacebookInstagramYouTubeLinkedInTwitterTik TokSnapchatwhere the leadership team chats with about 20 shoppers.It recently augmented that by forming a panel known as The Collective,with the aim of attracting 10,000 M&S Fo

190、od“super-fans”.But only hours after an email highlighting the opportunity was sent,the number of sign-ups reached 43,000 and the retailer had to stop accepting them.“We can put a question to The Collective and have the answer within a couple of hours,”Cramond says.“That shows us how customers truly

191、want to influence the decisions the organisation is going to make.”She thinks that marketers would be well advised to stay focused on dif-ferentiation to separate their brands from the pack,but adds that,just because there might be a gap in the market,there wont necessarily be a market in that gap.C

192、ramond sug-gests that a possible way forward is for teams to finish the following sen-tence:“X is the only company that”Her team could feasibly complete that statement with“embraces the power of social media influenc-ers as an authentic extension of the brand.”It works with pop musician Matt Willis,

193、TV presenter Rochelle Humes,YouTube influencer Zoe Sugg and boxer Tommy Fury,its most recent recruit.“These are people with a real pas-sion for M&S.They genuinely shop with us,”says Cramond,who explains that each of them is asked to pick a favourite product to get behind.“I think about half of their

194、 followers didnt follow M&S on our social channels,so this has intro-duced us to new audiences.”Influence is not only the preserve of celebrities,though.M&S Foods colleagues act as“micro-influencers”pivotal work that began in 2020 during the first Covid lockdown,when every store was asked to create

195、a Facebook page on which it could update customers on the availability of key products.Each store now has its own social media champion,who is often a jun-ior member of staff.Cramond notes that this has helped to attract younger customers.“People believe those who look and sound similar to them,”she

196、 says.“Our colleagues live in the same communities as our customers and know many of them by name.When our social media champions talk about the latest new product or deal on TikTok or Facebook,that mes-sage is translated in a much more compelling way.”Cramond points to M&S Foods highly engaged cust

197、omer base.The brands recent marketing emails have been inducing an 81%open rate,for instance.She attributes this to the authenticity of the mes-sages being sent.For instance,she stresses to her team that they“can-not write cheques that the stores cant cash”,suggesting that cus-tomers can see straigh

198、t through any marketing hyperbole.Data lots of it has become fun-damental to the M&S marketing teams decision-making.For exam-ple,Cramond has established an econometric modelling system in partnership with the firms finance and insights teams,which shows the return on marketing investment.The system

199、 enables M&S to deter-mine which factors are influencing the sales of any given product,including its“in-store location,the number of stocking points and the temperature that day”,she explains.“Its very robust.”Cramond also points to a database of 16 million customers that can,within an hour,send so

200、meone an email containing information about the provenance of a recent purchase.If thats a chicken,for instance,the message may even include a simple recipe created by Kerridge.The business is clearly keen to use all the tech at its disposal to deliver a personal touch at every opportunity.When a me

201、mber of staff in the support centre sends an email in response to a customer query,the signature on that message will even include a product recommendation of theirs.“The marketing team has to bring a real passion for products in the organisation,”Cramond says.“I pick my favourite M&S product every

202、day on Instagram.Its I pick my favourite M&S product every day on Instagram.Its amazing how many people say:“I bought that because I saw it on your pagearketing excellence has never been more urgently needed as companies see the value of long-term brand suc-cess,and the potential to drive cus-tomer-

203、centric businesses.But how do great marketers manage the pace and the pressure?And how do ambi-tious change-makers deal with the need to move faster?Anyone in a marketing leadership role over the past few years has ex-perienced pressure to increase the pace of innovation.After emerging from the grea

204、t acceleration in busi-ness,driven by tech disruption,we were then hit by pandemic panics,followed by economic and supply chain challenges.Now,as we face the next tidal wave of seismic change the rise of AI the role for smart marketers in busi-ness is more important than ever.Lets start with a simpl

205、e observa-tion:those of us in marketing,me-dia and advertising dont need to feel alone in the innovation race.Marketers have continued to in-crease their skills and professional understanding.Theyre getting bet-ter at demonstrating their ability to deliver business success.For the first time,marketi

206、ng pro-fessionals have access to clear evi-dence of the positive impact of brand building through difficult times.That was not the case in previous re-cessions,so if we do face tumultuous organisational economics,we now have data with which we can demon-strate value.The success stories have been sha

207、red and we have the proof that gives us power.So,if you as a marketer feel over-whelmed,or if the non-marketers in your business think youre speaking a different language,you are not alone.You can turn to others in your profession to access research,insights and ideas to demonstrate the success of c

208、onsistent brand in-vestment and showcase what great marketing can do.Great leaders have always recog-nised the power of connections be-tween ideas and people.Anyone who likes to go faster loves a short-cut,and taking lessons from the ex-periences of others helps speed up decision-making and increase

209、s the chances of success.Coders looking at tech platforms say the way to speed up progress and access is through networks;thats also true in life and in busi-ness.But many are understandably uncomfortable with networking.Communities like The Marketing Society make it easier to build con-nections for

210、 those who want to make an impact.But there are many different opportunities for those who work in marketing,media and advertising to learn together.We must continue to collaborate,to share stories of the human power behind business success,to analyse the data and celebrate the creativity of our pro

211、fession.Even during the busiest times we need to create time and space for this networking and collaboration to happen.We will go faster together,but we must allow ourselves to slow down and build communities that will foster continuous learning,whether thats meeting up at inter-national creativity

212、festivals like Cannes Lions or simply making mo-ments to celebrate progress.Awards ceremonies and their summaries al-low us to admire the hard work of teams and build respect for the tal-ent in our industry,and case studies help us improve as a profession.Ambitious marketers have to keep their perip

213、heral vision sharp,con-stantly looking up and around to gather insights about their custom-ers and their industry.There are some incredible people in this pro-fession who can help you go further and faster.By joining together we can all run at a more sustainable and enjoyable pace.Learning from the

214、experiences of others helps speed up decision-makingI N S I G H TSophie DevonshireChief executiveThe Marketing SocietySophie Devonshire,chief executive,The Marketing Society and author of Superfast:Lead at Speed,explains why marketers must make time for creative collaboration to keep up with the pac

215、e of changeMamazing how many people say:I bought that product because I saw it on your page.”Having worked around the world in her previous roles,including as group marketing director at Tesco,Cramond would advise her fellow professionals to look far and wide for inspiration.Good ideas can come from

216、 anywhere and it doesnt always require big money to convert these into effective campaigns.“Creativity always cuts through,”she says.“And the lower the budget,the more creative marketers will have to be.”M&S Foods move into ad-funded TV programming appears to have been a good idea.In 2021 it co-cre-

217、ated the popular ITV1 series Cooking with the Stars,which is entering its third season this year.M&S retains half of the intellectual property.The competing celebrities use its ingredients to create their dishes and the programme is aug-mented by in-store marketing that points shoppers to the items

218、fea-tured in their recipes.Also on ITV1,a documentary offering a peek behind the scenes at M&S last Christmas attracted 5.3 million viewers.A three-part ver-sion has been commissioned for this December.Finding points of differentiation from the competition will always be a cornerstone of M&S Foods m

219、arket-ing strategy,says Cramond,who advises her fellow marketers to never stop searching for the unique features of their organisations.If such things arent to be found,she says,“its the role of the modern marketing chief to create and shape unique customer propositions”.MARKETING ON SOCIAL MEDIASoc

220、ial media strategies among marketers worldwide,by social channelSocial Media Examiner,2022IncreaseStay the sameDecreaseNo plans to utilise41%41%13%5%61%25%5%9%57%23%3%17%54%25%3%18%28%33%7%32%37%8%3%52%7%9%4%80%M A R K E T I N G&C R E AT I V I T Y14lthough marketing teams are often asked to produce

221、material detailing their firms sustainability initiatives,a growing proportion feel ill-equipped to do so because they think they dont have a strong enough grasp of environmental matters.More than a third(35%)of market-ers responding to a global survey by the World Federation of Advertisers(WFA)in A

222、pril admitted that their knowledge of the subject was patchy.Only 20%had given that response when asked the same question two years ago.But despite this,94%said they were aiming to be braver when communicating their organisations efforts to become more eco-friendly.This dangerous mix of boldness and

223、 ignorance poses clear risks to them and their companies.The knowledge gap urgently needs to be closed,then,but how best should marketers and their organisations go about this?The first thing to consider is why the gap seems to have been widen-ing.The WFAs latest findings could be interpreted as an

224、increase in awareness that sustainability is a wide-ranging and highly intricate subject that many respondents now realise that they probably hadnt growing number of regulations for companies to comply with when reporting publicly on their environ-mental performance.Last year,for instance,plcs and l

225、arge private firms in the UK were legally required to issue statements in line with the framework set by the Task Force on Climate-Related Financial Disclosures,an international body established by the G20 and the Financial Stability Board.Lucy Klinkenberg-Matthews is head of environmental,social an

226、d corporate governance at marketing consultancy Paragon Customer Communications.She believes that“marketers are being bombarded with new developments,with sus-tainability issues and regulations developing at an increasing pace.They need to account for these hot topics when creating campaign messagin

227、g or contributing to any kind of sustainability report.”Klinkenberg-Matthews adds that,“until very recently,all the atten-tion was on carbon reduction and net-zero targets.While these emis-sion-cutting goals are still vital,tackling biodiversity loss has also become a key consideration.”Given the gr

228、owing regulatory pressure,marketing teams that are ill-equipped to handle sustainabil-ity issues especially those that dont realise they are have the potential to harm the organisations they represent.Even if the content they produce does tick all the compliance boxes,consumers are becoming ever mor

229、e sceptical about corporate environ-mental claims.Any hint of hypoc-risy is likely to be highlighted swiftly and publicly on social media.“A lack of sustainability knowl-edge can jeopardise a brands credi-bility and reputation,”says Akin Garzanli,chief marketing officer at household appliances giant

230、 Arelik.“If marketers dont have the neces-sary skills and information to sup-port their sustainability claims,their brands may face accusations of greenwashing or insincerity.”A lack of knowledge and/or confi-dence may even make firms feel unable to put out any sustainabili-ty-focused marketing mate

231、rial.This phenomenon has become such a trend that a term has been coined to describe it:greenhushing.“This can also be harmful,as it may signal a lack of commitment or transparency,”Garzanli says.Dreblow points out that market-ings knowledge gap can also deter an organisation from seeking the functi

232、ons potentially useful input into its work on sustainability.Marketing teams could be using their strong understanding of con-sumer behaviour to inform more eco-friendly new business models,Megan TatumAs weve learnt more about all the sustainability challenges,we naturally feel less sure about how t

233、o navigate themfully grasped two years ago.Thats how Robert Dreblow,the federa-tions global head of marketing ser-vices,sees it.“With the previous survey,it was a case of we dont know what we dont know,but now theres a better understanding of the complexities relating to sustainability,”he sug-gests

234、.“As marketers have come to realise that it can quickly become a complex area,theyve learnt that the knowledge gap is bigger than theyd first thought.”Dreblow adds that it was only rela-tively recently that sustainability was bumped up the corporate agenda.That reprioritisation may have triggered a

235、greater appreciation of the scale of the marketing chal-lenge and of how much more there is that the function ought to know.This is a view is shared by Kirsty Hunter,chief marketing officer at Innocent Drinks.She observes that sustainability matters are“complex and continually evolving”,which makes

236、communicating about the topic difficult,even for the experts.“It can be incredibly overwhelm-ing,”Hunter admits.“With climate specialists and other scientists still trying to understand all the issues and work out the changes we need to make,its not surprising that mar-keters are feeling at a loss.T

237、he real-ity is that,as we learn more about all the sustainability challenges over the years,we naturally feel less sure about how to navigate them.”Adding to the challenge is the Theres been a general decline in the professions understanding of sustainability issues in recent years.Whats behind this

238、 trend which presents significant business risks and how can it be reversed?The wrong kind of greennessS U S TA I N A B I L I T YATom Werner via GettyImagesR A C O N T E U R.N E T15for instance.Or they could be apply-ing their creative communication skills to encourage internal and external stakehol

239、ders to help the firm spot areas in which it could easily improve its environmental performance.Lastly,“at a macro level,funding is being made available to busi-nesses that demonstrate strong ESG credentials”,notes Natalie Burns,strategy partner at branding agency UnitedUs.A lack of knowledge in the

240、se areas could,she warns,“block a firms access to such capital”.At an industry level,closing the knowledge gap will require a con-certed effort from numerous stake-holders,according to Hunter.She believes there is a need for clearer guidance providing a set of stand-ards for marketing professionals

241、to follow when communicating about sustainability matters.“Achieving a consistent approach to best practice requires collabora-tion between those who assess and certify sustainability credentials,advertising regulators and the industry,”Hunter says.That would require open conver-sations between bran

242、ds,agencies,sustainability specialists,industry bodies,NGOs and wider business networks to identify the knowledge and skills that marketing teams need to possess.At an organisational level,closing the knowledge gap will require marketing and other key functions in the business to break out of their

243、silos,says Klinkenberg-Matthews.“There needs to be closer coopera-tion between marketing teams and those who are responsible for driv-ing their organisations ESG initia-tives,”she argues.“These people live and breathe sustainability,and they will have in-depth knowledge of the latest regulations.Som

244、e of the most forward-thinking organi-sations are combining roles in sus-tainability and communications to achieve this change.”Garzanli reveals that Arelik has created a committee that brings legal and manufacturing managers together with their marketing col-leagues“to share knowledge and ensure cr

245、edibility on sustainability issues.This way,marketers can catch up with the latest develop-ments and best practices in sustain-ability and become more confident and effective.”Organisations looking to educate their marketing teams also have a range of courses available to them.These include the WFAs

246、 training for members and signatories to its Planet Pledge and marketing-spe-cific courses offered by Ad Net Zero and the Cambridge Institute for Sustainability Leadership.But there is also an onus on mar-keters to accept responsibility on an individual level for self-improve-ment,demonstrating thei

247、r profes-sionalism by taking the initiative,according to Dreblow.“Its easy to say that companies should be training all their employ-ees in sustainability matters,”he says.But,rather than waiting for that to happen,marketers need to“help improve themselves in terms of what theyre reading and where t

248、heyre being trained”.Any marketer who can stay on top of developments in sustainability will be of significant value to their employer.In doing so,theyll also set themselves apart from the many whove failed to come to grips with the subject,which will surely only increase in importance over the comi

249、ng years.Sortlist,2022THE MOTIVES BEHIND SUSTAINABLE MARKETING STRATEGIESReasons why companies invest in sustainable marketing strategies in select European companies according to marketers As marketers have gained more understanding,theyve realised that the gap is bigger than they first thoughtFor

250、the brand imageTo increase salesBecause its the right thing to doTo target a wider audienceTo avoid receiving backlashTo avoid being cancelledBecause its trendyPeer pressureBecause their stakeholders care about it20.8%18.3%13.4%10.8%9.9%8.7%7.4%6.4%3.9%Commercial featuref speculation is to be believ

251、ed,the future of advertising will be a better one.Campaigns will be greener,cleaner and more equi-table.Personalisation will prove a boon for audiences and brands alike-and agencies will embrace,with open arms,a spate of oncoming innovations.Musing on the possibilities is one thing,but that vision o

252、f the future isnt so far off,says Peter Huijboom.A former data,insights and research entrepreneur and the CEO of media international markets at advertising network Dentsu,Huijboom notes that economic and geopolitical insecurity has shaken the sector.We need look no further than the media and tech in

253、dus-try layoffs that made headlines earlier this year to see that,he points out.Pressing forward,the industry approach will be one that prioritises technology,data,sustainability,and purpose.“The media landscape is investing in its reinvention,”says Huijboom.“Theres a climate emergency to contend wi

254、th,so agencies will be backing more sustaina-ble media.Infl ationary pressures are reinvigorating ad-funded video-on-de-mand plans and boosting TV invest-ments.And AI is already being tested to maximise media effectiveness.”Excluding 2009 and 2020,which bore the brunt of the fi nancial crisis and th

255、e Covid-19 outbreak,respectively,digital media has witnessed strong dou-ble-digit growth over the past two dec-ades.However,this year will mark the beginning of a three-year cycle of sin-gle-digit growth for digital.These steadier gains suggest its reaching maturity in the marketing mix.“The future

256、will tell if this is a tempo-rary slowdown or a true infl ection point toward a structurally slower growth pace for digital,”says Huijboom.Investing in reinvention:advertisings next actA new media landscape is emerging,one that balances effi ciency and innovationNaturally,advertising is settling int

257、o a new rhythm.Rapid growth in retail media and connected TV(CTV)is sup-plementing more subdued growth across traditional digital avenues such as search,banners and video,which collectively account for a high propor-tion of total spend.With that,digital is projected to experience almost consistent i

258、ncre-mental growth over the next three years,accounting for about$3 in every$5 spent in advertising worldwide,according to the latest edition of Dentsus Global Ad Spend Forecasts.As businesses pay closer attention to their bottom lines,campaigns will con-tinue to become more measurable in the year a

259、head,with retail media,CTV,and social all vying for a greater pro-portion of ad spend.Addressable models offer targeted advertising based on user data and preferences that let marketers assess results and adapt content in real time.“The good thing about that is brands can deliver valuable experience

260、s more effi ciently.But advertisers must work to preserve the value exchange with audiences,”Huijboom warns.“Many consumers feel the traditional value exchange in advertising,where people enjoy free content in exchange for their attention,has been damaged through trade-offs with their privacy.”From

261、a macro perspective,the global outlook suggests the industry is gearing up for dynamic growth.The United States remains the worlds largest advertising market,set to reach$300.6bn in 2023.That being said,Brazil will take home the title of the fastest-growing market in the Americas,having reached rela

262、tive stability following a drawn-out pan-demic recovery.Meanwhile,in Europe,the UK emerges as both the largest advertising market at a projected$42.4bn and the fastest growing in 2023,with digital accounting for more than 70%of the countrys ad spend.China,Asia-Pacifi cs largest advertis-ing market,i

263、s forecast to hit$123.4bn in light of the economys recent reopen-ing.The regions most dynamic player,however,is India,which will see its third consecutive year of double-digit growth.Where smart devices and inter-net connectivity bumps up in the region,marketing dollars are sure to follow.With this

264、headway,advertising has a chance to nurture innovation.“Climate change is an important issue,and the continuous growth of ad spend high-lights our role in moving society toward net zero starting with its carbon foot-print,”says Huijboom.He expects carbon management solutions to gain traction as mark

265、eters reconsider the environmental impacts of what,where and how advertising is placed.By the same token,developments in generative AI will herald a new era in advertising,particularly for search.“Applications like ChatGPT have the potential to profoundly change how people access information online

266、and how they interact with brands,”Huijboom continues.“The market dynamics will not change overnight,”he adds.But the founda-tions for a reimagining of the sector have been laid.Download Dentsus 2023 Global Ad Spend Forecasts at ADVERTISING WILL CONTINUE TO WIELD CONSIDERABLE INFLUENCE GLOBALLYRegio

267、nal ad spend forecast for 2023A SETTLING OF SPEND:A THREE-YEAR CYCLE OF SINGLE-DIGIT GROWTH FOR DIGITAL PROJECTEDPast and projected ad spend by channel($bn)AmericasEMEAAPAC$151.6bn$334.9bn$241.5bn56.2%55.6%63.3%500040030020010020212025202220232024CinemaTotal ad spendDigital ad spendRadioOOHPrintTele

268、visionDigitalDIGITAL REACHES MATURITY IN THE MARKETING MIXM A R K E T I N G&C R E AT I V I T Y16Commercial featuren a recent survey on the state of video marketing,91%of businesses reported using video,with 96%valuing it as an impor-tant part of their strategy.Its clear that almost every marketing d

269、epartment understands that video is a key tool in their arsenal,a medium to connect with their customers across different channels,in myriad different ways.However,though there may be a top-level understanding that video is impor-tant,theres a big gap between that and understanding how to get the mo

270、st out of it.Video can be seen as an expensive cost and time-sink,so its important to understand how to maximise the return on what you put into it,rather than treating it as a necessary evil.The most obvious way that video drives revenue is as part of the sales process-helping to sell even when you

271、 dont know who the buyer is.“The sales process doesnt start when someone speaks to sales”,says Meta Karagianni,vice-president of enterprise advisory practice at Brightcove,a platform that obviously important in terms of reach,but can leave much to be desired in terms of what you can learn from your

272、video content and whats engaging your customers.Especially as privacy laws have started to(and will continue to)come into play,depleting the amount and quality of data available through third par-ties,video can be an opportunity to collect first-party data and ensure youre not missing crucial insigh

273、ts.If you can get customers to engage with content that you host,using a platform that provides you with in-depth,one-stop analytics,you can understand which elements of your content theyre engaging with across all distribution channels-for example,where do they drop off?What do they skip?This can n

274、ot only help you refine the video content youre pushing out,but potentially even help you to under-stand which parts of your product offering theyre interested in.And the better you understand whats working about your video con-tent,the more efficient you can make it-if your customers are responding

275、 to a certain type of content,you might want to create more of it,or look to repurpose existing examples of it when pushing content out into new channels.Karagianni points to a different way of thinking about this kind of content.“Often video is treated as a monolithic asset thats expensive and cumb

276、er-some to produce but,once you have that video,you can slice it and dice it and use it throughout the sales journey or the customer lifecycle to meet spe-cific audience needs and objectives,having positive impact on the buyer or customer experience.”Rather than viewing each video as a single costly

277、 asset,see it as the starting point for multiple potential assets that could serve you and your customers in mul-tiple different ways.Demonstrating the ROI of video has traditionally been thought of as a nebulous exercise,but collecting the right data and paying attention to what the data is telling

278、 you can abso-lutely drive revenue and reduce costs.In Karagiannis view,its important to treat video as part of a wider strategy.“If you integrate the data and analytics youre collecting through your video into your other marketing platforms,it becomes a signal,a piece of the data puzzle that you ca

279、n use to decode intent and optimise your campaign,messaging and content strategies”.Customers of all sorts consume a massive amount of video;around 96%of people report having used an explainer video to learn about a prod-uct or service.If your customers are engaging with you via video,thats where yo

280、u can get key insights about what theyre interested in.Where companies use metrics like the Net Promoter Score to understand cus-tomer satisfaction,they could equally be looking at what percentage of an audience is watching different videos to completion and what percentage continue their journey af

281、ter watching.CMOs could be leaving real money on the table by not taking advantage of the potential of video.In a study run by research company Forrester,Brightcoves customers reported an average ROI of 225%for what theyd invested in improving their video experience,analytics and operational efficie

282、ncy.What has been seen as a difficult and costly endeavour can and should be a key part of a marketing strategy:video can reap real returns if you ensure that you are presenting it at the right time,in the right way,with the right data,to the right audience.Instead of making the case for what they n

283、eed to spend on video content,CMOs should be making the case for just how much rev-enue video can drive.For more information please helps companies leverage the possibil-ities of video.“In a B2B environment,a very small percentage of buying decisions are taken by one or two people-typi-cally they ma

284、y involve five,six or even more stakeholders.You may be directly engaging one of those people,but you dont have direct contact with the others;increasingly key parts of the buying group will be unknown and video is often the way these anony-mous buyers engage with a potential supplier.”But its impor

285、tant to understand that video isnt just about pushing out your message-it can also help you under-stand who your customers are,what they want,and where your products are meeting,or failing to meet,their expectations.Rather than seeing video as an unfortunately necessary expense,CMOs should look at i

286、t as a potential driver of cost savings-if they can use it in the right way.Pushing out video to third party plat-forms like YouTube or social media is Stop looking at video as a cost-it can be a real revenue driverVideo content is now an all but ubiquitous tool for marketing teams,but can be seen a

287、s an expensive investment of time and money.With the right approach,however,you can turn video into something that drives revenue and accelerates other critical business objectivesRather than seeing video as an unfortunately necessary expense,CMOs should look at it as a potential driver of cost savi

288、ngs-if they can use it in the right wayI95%225%of B2B buyers say video plays an important role in deciding to move forward with a purchase.Average ROI by improving the video experience with analytics and operational efficiencyBrightcove,2022Brightcove,202120%Improvement in conversion rates when appl

289、ying video data insightsR A C O N T E U R.N E T17The secret of Nikes marketing successn Hollywoods apparent quest to present movie-go-ers with things they know they already like,Aprils Air,repre-sented a refreshing change of pace.Rather than yet another reboot or reimagining of a superhero,the bio-g

290、raphical sports drama directed by Ben Affleck offered a different sort of origin story:that of the worlds most successful line of sneakers.According to Forbes,Nikes Air Jordan line generated nearly$5bn in sales last year alone.With an ensemble cast featuring Affleck himself,Matt Damon,Jason Bateman

291、and Viola Davis,the movie is an ode to masterful marketing.Nowadays,its hard to think of Nike as anything other than a sportswear giant.In 2022,Brand Finance ranked it as the most valua-ble clothing company in the world,worth an estimated$33.2bn,ahead of Louis Vuitton($23.4bn),Gucci($18.1bn),and Cha

292、nel($15.3bn).But the 1980s didnt start well for Nike.After the it went public,the company posted its first losing quar-ter and Wall Street,at one point,even had the share price down to single digits.Things got so bad that Nike had to dump millions of pairs of shoes for as little as a dollar each jus

293、t to stay afloat.Budgets were cut.Workers were laid off.But attack,they say,is sometimes the best form of defence.Where Nike might have been tempted to con-tinue a strategy of scaling back,it chose instead to gamble on one really big deal.Sonny Vaccaro,who is played in the film by Damon,was a Nike m

294、ar-keting executive with the task of seeking potential sponsorship deals.And in 1984,he stumbled upon a miracle:a rookie basketball player by the name of Michael Jordan.At the time,Nike was primarily viewed as a running brand.The bas-ketball market,meanwhile,was led by Converse,Adidas and Reebok,whi

295、ch were worn by most of the top players.instrument to make those dreams come true.”The fines were a drop in the ocean compared with the money Nike was making.The company even incor-porated the rule-breaking message it was sending into its advertising for the brand.In the years since,Air Jordan has e

296、volved both on and off the court.As well as shoes,Nike has launched various Air Jordan clothes.With the help of the iconic Jumpman logo,which depicts a sil-houette of MJ leaping for a slam-dunk,Air Jordan has become as much a fashion symbol as the lead-ing choice for basketball players.Early Air Jor

297、dan trainers are viewed as rare collectibles,with some pairs selling for thousands of dollars.Bahar Shahidi,a senior strategist at DesignStudio,a branding agency,says the Air Jordan logo succeeds because“its complex,detailed and alive at odds with the simplicity that most modern brands today adopt,a

298、nd unusual within sports-wear,too,where you tend to find cleaner,geometric shapes.Instead,this logo shows motion.Its unex-pectedly real rather than abstract.”Nike resisted the so-called“bland-ing”trend of the late 2010s,she explains,which involved removing the noise and detail in logos,with a focus

299、instead on clean lines,simpli-fications,blending in,and uniform-ity.This can be seen as overly sani-tised and nondescript by critics.”What can other businesses learn from Nikes success?For Kampff,its helpful for compa-nies to think small and act big.“Embracing the underdog mentality enables you to r

300、eassess your brand strategy in search of hidden oppor-tunities that may not be visible when youre on top,”he says.He also urges firms to take more calculated risks.“In todays ever-changing markets,standing still is usually a losing bet.Which are the bets your brand is willing to place to stay releva

301、nt for tomorrows cus-tomer,in tomorrows market?”And on logo design,Shahidi adds that the key lesson to take from Air Jordan is to strive for“originality,individuality,texture and points of interest that bring soul to a brand”.The most successful companies,Shahidi suggests,will be those that escape t

302、he algorithmic“homogene-ity”of overcrowded marketplaces,particularly in the digital age.She points out that luxury fashion brand Burberry has recently reverted to an older logo and typeface,featuring its Equestrian Knight illustration in favour of the text-only logo that was introduced in 2018.Still

303、,it would take something truly special to scale the heights that Nike has attained.Nike co-founder Phil Knight has said on record several times that signing Jordan was the best decision the company ever made.Given the evidence,it would be hard for anyone to disagree.Ben Afflecks recent film,Air,tell

304、s the story of how the sportswear company overcame its struggles in the 1980s with a marketing slam-dunk that any business can learn fromVaccaro saw this as an opportu-nity.Nike could offer Jordan some-thing that the other brands couldnt:a line that was just for him,built on his own unique style and

305、 image.Patrick Kampff,senior strategy director at branding and experience consultancy Siegel+Gale,explains that Nike did well to position itself as a“challenger”.He adds:“Who doesnt love an underdog?Weve seen the meteoric rise of startups that,through technology,displaced established players in pret

306、ty much any category.Thats investing in the potential of change and a willing-ness to update the status quo.”Nonetheless,it wasnt an easy sell.Vaccaro had to convince his bosses,Phil Knight and Rob Strasser,to risk what money the company did have on an unproven,unknown athlete.And he had to convince

307、 Jordan,who was being courted by Adidas,to sign for Nike.He managed to,and in doing so he sealed an unprecedented deal.Jordan was given a five-year con-tract with a base salary of$500,000 a year more than triple any other such agreement in the NBA at that time.Crucially,Nike also gave him a 5%royalt

308、y entitlement on every pair of Air Jordan trainers sold.Initially,the company forecast that Air Jordan would earn about$3m over the first four years of the contract.But so meteoric was MJs rise that this figure ended up falling laughably short.After one year,Air Jordan revenue was$126m.In his first

309、season playing for the Chicago Bulls,Jordan won the NBA Rookie of the Year award,and his exhilarating,high-octane perfor-mances made him one of the most popular players in the sport.The Air Jordan brand did hit an early snag.The first shoe,the Air Jordan 1,had a red and black colour scheme that didn

310、t conform to the NBAs uniform rules.As a result,Jordan was fined$5,000 for every game that he wore it.But Nike was so invested by this point it just decided to foot the bill.“The NBA ban,”Kampff says,“made Jordan seem like a larger-than-life hero whose legendary sta-tus went much beyond the basket-b

311、all court.Everybody wanted to be like Mike.And the shoe was the Embracing the underdog mentality enables you to reassess your brand strategy in search of hidden opportunities that may not be visible when youre on topRohan BanerjeeI N N O VAT I O NISourceUniqloCartier H&MZARA HermsAdidasChanelGucciLo

312、uis Vuitton NikeAIR JORDAN HAS HELPED NIKE TO BECOME THE MOST VALUABLE CLOTHING BRAND GLOBALLYBrand value of the leading clothing companies in 2022,$bn Brand Finance,20229.612.412.71313.514.615.318.123.433.2M A R K E T I N G&C R E AT I V I T Y18The Long and the Short of It was not an instant success

313、.When Les Binet and I wrote the book,the marketing world was still infatuated with per-formance marketing and the wild promises of big data.Five years of being told that mass-audience brand building was outdated,unnecessary,inefficient and expensive had led to the relentless defunding of brand build

314、ing in favour of short-term sales activation,epitomised by perfor-mance marketing.At the heart of the new short-ter-mism was the belief that a selling Were still talking about The Long and the Short of It 10 years on because it is on a topic that market-ers still struggle with and perhaps always wil

315、l:how and how much to invest in brand building.The long and short gave us a language to use for this debate and crucially some evidence to rely on.This was basi-cally helpful to marketing people who know brand building is impor-tant,because theyve seen it work,but find it hard to explain to people i

316、n their business.A decade later,the conversation has shifted but one really critical area is how to do brand building the long in a world where media consumption has changed.TV has long been the go-to channel for this,but less people watch ad-funded TV content now;my kids generation may never.So wha

317、t can replace it?Is it possible to build brands online?And if so,how is the craft different?What works in the new situation?Im personally very optimistic.Weve learned a lot about how to use online channels effectively to convert people who are shop-ping or researching online into customers.And we ar

318、e learning how to use these channels in different ways for brand building.There is also ts been 10 years since the godfathers of effective-ness,Peter Field and Les Binet,published The Long and the Short of It.At the time,it was promoted as an“eagerly anticipated update”to pre-vious work on accountab

319、ility in marketing.Its aim:to examine the impact of timescales of effect,explore the tension between long-and short-term strategies and pro-vide recommendations on how to approach advertising investment.It did all this by examining the IPA databank,a series of detailed case studies entered into the

320、organisa-tions Effectiveness Awards.By ana-lysing the data,Binet and Field pos-ited a theory for how companies should split their marketing spend between advertising spend meant to drive immediate sales(the short of it)and brand building that drives sales over a longer period(the long of it).Its imp

321、act was not immediate.The advent of digital advertising meant many eschewed its recommenda-tion to invest 60%of their marketing budget on brand building,prefer-ring instead to focus on the promise of data and targeting to drive sales.But over time,global brands from Adidas to Airbnb admitted they ha

322、d got the balance wrong and upped their brand investment.The study has its critics.The source data is selective,comprising message delivered at the moment of decision was a better substitute for pre-built mental availability and for the brand advertising that creates it.It is not so,for reasons we e

323、xplored in the book.Brands need both long and short activity to prosper.By 2013 we could see the rapid growth of short-termism and were acutely aware of the dangers.The Long and the Short of It was written to alert marketing to a threat that few perceived or took seriously.Only as the decade wore on

324、 and brand sup-port eroded further,along with the strength of the brands,did busi-nesses start to ask where the growth had gone.Evidence of the danger from brands like Adidas,alongside Mark Ritsons citing of our work,helped to drive a widespread reap-praisal of the short-termism doc-trine.Suddenly o

325、ur 60:40 rule for balancing brand and activation started to resonate with marketers.We dont kid ourselves that the argument has been won Covid has demonstrated how short-termism returns to marketing whenever the going gets tough.And a new wave of AI-powered technology will no doubt be used to repack

326、age perfor-mance marketing for a new genera-tion of marketers.But the essential truth of The Long and the Short of It will remain:strong brands matter to business success.a lot of evidence that online brand building works,from studies such as the IPA and Magic Numbers ARC database,which brings econo

327、met-rics findings together.Another reason for optimism is continued improvement in meas-urement.We have some of the best access to data and brilliant minds on the job.The evaluation work that goes on behind NDAs in our indus-try is phenomenal.A decade on from its publication,this“enduring”study stil

328、l forms the bedrock of many marketing strategies and has helped marketers reframe why investing in advertising is good for business10 years of The Long and the Short of ItSarah VizardA D S P E N Dwork deemed good enough by its contributors to be entered into the IPAs effectiveness awards.The idea of

329、 long spend and short spend has proved difficult to unpick.And its headline 60/40 budget split is obvi-ously a simplification,which later work has attempted to address.But it has done more than almost any other piece of research to help marketers understand the impor-tance of short-and long-term inv

330、est-ment and explain it to the rest of the C-suite.A decade on,top marketers at some of the worlds biggest brands,still reference it in their marketing strategy and budget allocation.Here,we talk to four marketers,including one of the report authors,on its impact and what the future holds for market

331、ing effectiveness.IGrace KiteFounder and economist,Magic NumbersPeter FieldMarketing consultant and author of The Long and the Short of It The Covid pandemic demonstrated how short-termism returns to marketing whenever the going gets toughR A C O N T E U R.N E T19Ross FarquharMarketing director,Litt

332、le MoonsHaving co-authored the slightly less prominent prequel New Models of Marketing Effectiveness from Integration to Orchestration in 2011,which explored the effective man-agement of creative and campaign assets,Im in awe of the significance of The Long and Short of It.When US CMOs and Swedish t

333、ech CEOs start referencing the 60:40 rule,it signi-fies a global impact.The study serves as a counter-weight to the growing short-termism in marketing.It correctly refocused marketing teams not just on reaching people currently seeking a solution(a small niche group),but also reaching future prospects not yet in the mar-ket(a much larger group reachable via different media channels).This is signif