74-75-77 Richard Pink.qxp_NEW LSB 2008 GRID 17/09/2018 17:47 Page 77
Below: The judges had nothing but praise for the partnership between Roald Dahl and Eden Project for ‘Halloweden’.
PINKEY’S POINTERS
CORE CAMPAIGN VISUAL & PASSPORT AND MAP
Left: Online and social media were a huge part of the Murder on the Orient Express campaign with Movember.
of the actors, including Kenneth Branagh, Below: The judges who used his character to promote this felt the Octonauts/ great cause and really helped to bring it to Swimming Teachers Award life. The judges thought that the execution Association programme was was seamless and the metrics in terms of an emotional campaign. reach and increased awareness were very strong indeed. Last year the He-Man and Moneysupermarket adverts were well liked by the judges, and this year’s extension of the creative idea that saw He-Man and Skeletor take on Dirty Dancing was equally good, as well as being hilarious. The concept was a brave one: a finance company, live versions of cartoon characters from 30 years ago and an iconic film dance routine. I can only imagine what went on in the creative meeting. The judges noted the excellent results and the extraordinary feedback the ad received when it first aired. It was a smooth, slick production and a totally unexpected execution. I bet they ‘had the time of their lives’ making it… The LEGO in-store promotion with Sainsbury’s was acknowledged as an excellent partnership by the judges. The concept was a simple collector card scheme, but it went well beyond this in terms of the use of the licence. The choice of LEGO was important as the licence had to have mass appeal and be able to sustain a medium-term loyalty campaign. The judges loved the multi-layered approach: great creative
Inset: The judges thought the Twirlywoos/RSPB partnership was a first class first foray into promotional licensing.
with a compelling educational aspect. It was deliberately designed to attract the core shopper (mums Inset: The LEGO in-store promotion with kids) and to particularly appeal with Sainsbury was to the younger element in that acknowledged as equation. The results showed growth an excellent in all areas of Sainsbury’s business partnership. and clear evidence that it had taken market share as a result. And so finally to the winner, and a truly exceptional campaign it is. The judges had nothing but praise for the partnership between Roald Dahl and the Eden Project; they went as far as to say that Dahl himself would have loved it. It was a fully immersive experience that showcased the best of Roald Dahl and drove footfall into the Eden Project over the Halloween period. The results themselves were exceptional, but in some respects this was no surprise as we have seldom seen a campaign where the licence chosen matched the business need so well. It was brilliantly thought through, integrated and executed. It thoroughly understood the target audience. Add to this a superb creative (using the villains in the creative was inspired) and you have a campaign that punched massively above its weight and was a worthy winner. This year proved beyond doubt that the use of a licence to add an additional element to a campaign can add enormous value and it is clear from the outcomes that promoters should never forget to consider it if they seriously want to drive results. LICENSING SOURCE BOOK EUROPE 2018
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