IPA ADVERTISING EFFECTIVENESS AWARDS 1990
Now, if ever, is the time for the IPA's biennial Advertising Effectiveness Awards to come into their own. Since the first competition back in 1980, the advertising industry has enjoyed a decade of unprecedented growth. But today the picture is not quite so rosy. Clients, hit by higher interest rates, are keeping budgets static or cutting spend. Value for money and efficiency is becoming more crucial than ever before.
This, the sixth awards, sees a record number of entries - 87, or 300,000 words in all. And the man who read every entry, convenor of the judges, Paul Feldwick, says: "The quality has been high and is continuing to improve each time."
This year a new category has been introduced to take account of long-running advertising campaigns. "We were very pleased with the response to the new Longer and Broader category," says Feldwick. "We found there was no difficulty in giving four prizes in this section."
Most advertisers look to their advertising campaigns to give them a long-term benefit which will improve their brand's position and image in the market.
In the main, the really big advertisers who spend money year after year don't expect to see a sudden, dramatic increase in sales. Indeed, they may not expect to see an increase at all," explains Feldwick.
Winners in the new category reflect the aim of rewarding on-going campaigns which do not necessarily demonstrate an overnight jump in sales, but have contributed to overall brand positioning.
The First Prize goes to PG Tips, whose famous chimps campaign is in its 35th year, making it one of the longest-running ad campaigns ever. The BMP DDB Needham work also scoops the Grand Prix prize. These are just two of the eight awards which were picked up by the agency.
Other winners in the category - Croft Sherry, Silentnight beds and Lanson Champagne - are all advertising ideas born in the 80s. But without exception they have helped their respective brands to boost sales and brand image.
The second Marketing Award for Innovation goes to Lea and Perrin's Worcestershire Sauce and The Creative Business for its truly innovative approach to planning for an advertising campaign.
Director of Studies at the Institute of Practitioners in Advertising, Charles Channon, was until 1985 vice-chairman and director of research and planning at Ayer Barker. Prior to that he had worked at J Walter Thompson.
Stephen Ward is business development director of Cadbury and chairman of Jamesons, the chocolate confectionery company. He joined Cadbury in 1961, moving to marketing in 1973. For six years, he was marketing director.
Dr Stephen Buck is a specialist in the theory and practice of consumer panel research in such areas as TV, groceries, durable goods and finance. He is a main board director of AGB Research.
Paul Feldwick, convenor of the judges, joined BMP from Oxford University as a trainee in 1974. He is now a board member and head of planning. He is associated with accounts such as Dulux as well as British Rail and Texas.
Ann Burdus is senior vice-president, marketing and communications with property developer Olympia and York Canary Wharf. Her career in market research and advertising started with agency Ogilvy and Mather.
Sir Ronald Halstead is a former chairman and chief executive of Beecham Group, having joined the company in 1954. Knighted in 1985, he has been deputy chairman of British Steel since 1986.
Chris Baker is deputy head of planning at ad agency Saatchi and Saatchi. His main areas of responsibility include Allied Breweries. In 1986 he was an advertising effectiveness award winner with work for Castlemaine XXXX.
Ian Davis is a director of management consultant McKinsey's London office and he is leader of its European Consumer Goods practice. Before he joined McKinsey 11 years ago, he was consumer marketing manager with Bowater-Scott in the UK.
The 1990 IPA Advertising Effectiveness Awards Grand Prix goes to what must be one of the longest-running ad campaigns of all time - the chimps for PG Tips. Not only that, it has also scooped first prize in the new Longer and Broader category.
The success of this 35-year-old advertising idea has been its consistency through almost four decades of dramatically changing fashions, social values and mores. This consistency, not just in the creative idea, but also in advertising investment from Brooke Bond, reflects a consistent belief in the value of advertising among different marketing personnel over the years.
You may remember Pre-Gestive Tea, as PG Tips was known pre-1955. But you could be forgiven for not actually remembering it that well, since it was only number four in the market. Its relaunch in 1955 under the new name certainly modernised its image, but it still failed to shift its market position in the first year.
That was before the chimps hit the screen with their own very particular endorsement for the brand. Chimps' tea parties at London Zoo were all the rage at the time. By replicating in people's homes, the fun of the zoo, Brooke Bond hoped to establish a stronger relationship between brand, advertising and consumers.
It had a dramatic effect. Within two years, PG Tips had knocked Typhoo from the top slot, passing Brooke Bond Dividend and Lyons on its way up.
In the following years, the chimps helped PG Tips avoid losing much share to the growth of own-label teas and to hijack the tea-bag market by overtaking Tetley in 1972. This was despite having introduced its own tea-bags four years after its rival. Advertising can also claim to have enabled Brooke Bond to maintain its substantial price premium over key branded competitors.
BMP suggests that without advertising, PG Tips would, at best, have remained at its 1955 number four position. On this assumption the chimps have earned the company 2000m [pounds] (at 1985 prices) over the past 20 years alone.
THE `MARKETING' AWARD FOR INNOVATION
When Lea and Perrin's ad agency asked consumers how much Worcester Sauce they used, it discovered the UK claimed to be getting through eight times the amount actually produced by the company.
Clearly, some other way of assessing consumption patterns had to be devised if the reasons for the decline in sales of the spicy 150-year-old sauce were to be found. And this is what sets the winner of this year's Marketing award for innovation apart.
The Creative Business (TCB) came up with a calibrated bottle of Worcester Sauce which it placed in 350 homes along with self-completion diaries. The users were divided into those who used the product in cooking food, those who used it on food as a condiment, those who used it frequently and those who used it infrequently.
Research confirmed that Worcester Sauce was used far more frequently in food than on it - roughly twice as much, in fact. In addition, both frequent and infrequent users used roughly the same quantity of sauce per occasion. Finally, those who used the product frequently in cooking, had a much wider repertoire of dishes than those who used it only occasionally.
As a result, the advertising objective became to encourage occasional users of Worcester Sauce to use it more often. And, longer term, the aim was to position the brand as suitable for white meat, fish and vegetables as well as red meat.
Initial research had revealed that with its red meat associations, Worcester Sauce might be left in a "red meat ghetto" as the move to white meat continues. The brand risked being left with an ageing hard core of users that would decline over time.
Following the in-home research, it was decided the advertising should not concentrate on featuring new usages such as white meat and fish. It came as a suprise to infrequent users - the main target of the ads - that Worcester Sauce could be used in dishes like Spaghetti Bolognese and gravy. So the first press ads showed very basic ways infrequent users could expand their reportoire of dishes.
The ads - with the strapline "Add a little Worcester Saucery" featured various ways in which Worcester Sauce could be used in cooking. They ran in June and July 1989.
A 150,000 [pounds] TV campaign followed, between October and December, although the brand is only worth about 7 million pounds and TV would not normally be an option. The Midlands was chosen as a test market. Again 300 homes were given calibrated bottles and diaries. A further 300 homes outside the TV region acted as control. The effect of the advertising would be calculated by looking at the difference between the two samples.
The result of the commercials - which did also show new ways of using Worcester Sauce - demonstrated that in the Midlands, usage had increased by almost a third (32%). In terms of advertising recall, prompted awareness was 73% among infrequent users aged 25 to 34 and the versatility message came across loud and clear.
The TV advertising is now being rolled out across the rest of the UK.
ESTABLISHED CONSUMER GOODS AND SERVICES
The makers of Karvol, the decongestant, are able to sleep more easily these days. But back in 1988, the brand was seen as extremely vulnerable, mainly because of its "P" or "Pharmacy Only" status. This prevented it from competing head-on with rivals which were able to be positioned out front in the pharmacist's store or even sold in other outlets.
Originally a nasal decongestant brand for both adults and children when launched in 1951, Karvol was repositioned some 30 years later to encourage usage among very young children.
The relaunch went well, giving Karvol year-on-year growth by 1988, a static market, and making it brand leader in the pharmacy sector. But manufacturers Crookes Healthcare realised that the only way to compete more effectively and attract new users was to gain the "GSL" or "General Sales List" status of its competitors.
This would take at least two years. So Crookes decided to capitalise on Karvol's existing potential as a "P" status brand. The aim was to prepare it for wider distribution.
The advertising that BMP DDB Needham produced, which focused on the vulnerability of young children and exploited Karvol's brand values of "cosseting" and "preciousness", brought home a Lion D'Or at the 1989 Cannes Advertising Film Festival.
More importantly for Crookes, it doubled the number of Karvol users - a third of whom admitted to choosing the brand because of the ads. VAG spent the six years between 1982 and 1988 improving the image of Audi and repositioning the brand as one of a club of prestige marques, alongside BMW and Volvo. The objective was not to increase sales dramatically but to introduce a new range of more expensive cars.
This was achieved. But the market grew at such an unprecedented rate during this period (1984 to 1989) that Audi's share dropped from 1.13% to 0.82%.
In 1989, therefore, the tactic switched to advertising for volume. Higher sales and production targets were agreed with the factory in Germany and VAG prepared to import a new range of cars to the UK, equipped with catalytic converters.
The target was to increase sales while maintaining a premium position.
As soon as the campaign broke in October 1989, sales rose dramatically, showing the direct impact of the ads, since the cars were already available.
During the six-month advertising run, sales shot up 13%, reversing a decline of 11% from the previous six months. And that was achieved in a market which was down by 5% in that half year. Sales growth of the particular car featured in the TV ads - the Audi 80/90 - outstripped that of the overall marque and the model took a record share of its sector in January 1990.
As well as generating brand awareness and communicating that Audi was at the forefront of building environmentally-friendly cars, the campaign attracted double the usual number of consumer enquiries.
PHOTO : Life's tea party for PG Tips... thanks to its enduring and profitable chimps
PHOTO : Lea and Perrin's... ads put a little saucery into the brand's bid to halt slipping sales
PHOTO : Karvol... sleeping more easily after repositioning the brand
ESTABLISHED CONSUMER GOODS AND SERVICES
Thirteen years on, CPC, makers of Knorr stock cubes, is able to look back on a long-running campaign which has finally knocked Oxo off its top spot in Scotland.
The original idea from agency BMP DDB Needham has lasted throughout and is still running, although two new executions have been added.
In the mid-70s, however, CPC faced a tricky problem which required a brave plan of action. In the UK, Knorr had a small, profitable 8% niche, but attempts to grow share through national advertising had met with little success.
The British had great loyalty to Oxo and saw no reason to switch to a more subtle-tasting alternative such as Knorr.
In Scotland, however, the position was radically different. There, Knorr had already built up a 35% market share, based on the suitability of its cubes in soup-making - a traditional Scottish habit.
But still only 25% of all home-made soups in Scotland were made with a stock cube - leaving massive potential for Knorr. Nevertheless, the flip-side of this was that fewer people were finding time to make soups and Knorr stood to lose its market base.
The bravery in CPC's strategy was in developing new advertising for Scotland, while retaining the existing campaign for the rest of the UK.
BMP is convinced that only by developing ads specifically targeted at Scotland, was CPC able to protect and grow a vital proportion of its business. In 1876, Ellen Warburton started baking and selling her own loaves in her husband's corner shop in Blackburn Road, Bolton.
Today, the bakery which is still run by the same family produces over 40 different types of bread, although it is best known for its large, wax wrapped, white, sliced loaf which accounts for 23% of its sales.
In 1986, Warburton's sales were "doing fine" (with growth of about 2% a year), but the brand had little or no emotional imagery associated with it and the trade felt that while its products were of good quality, the company lacked marketing skills.
In July of that year, new marketing director Jonathan Warburton and new agency Still Price Court Twivy D'Souza set out to imbue the brand with an image based on the people who made the bread.
In linking the traditions of expertise and family involvement to the product on the shelf, rather than talking about product attributes directly, it was saying: "You can taste over 100 years of family baking in Warburton's bread."
The advertising had a measurable effect on increasing consumer demand and was directly responsible for shifts in brand imagery, which led to it becoming brand leader in its heartland of Lancashire.
It also provided a focal point for a trade re-evaluation of the company which led to greater distribution. And in establishing strong brand values for Warburton's it helped it resist the unanticipated launch of a direct competitor - Kingsmill Top Grade from Allied Bakeries.
NEW CONSUMER GOODS AND SERVICES
Crown was in that classic catch 22 situation - a number two brand standing in the shadow of the leader, Dulux, and under attack from cut-price, own-label competition. Crown paints had maintained an average 19% share from 1980 to 1987, but to grow they needed something more.
Then in 1988, enter Crown Solo, a gloss paint with a creamy consistency and a key feature which meant that on most surfaces it did not need an undercoat.
Most people buy gloss paint to renew surfaces, produce a durable coating and provide protection. While Crown Solo is as good as other paints in this respect, it is not significantly better. The advertising, therefore, had to reassure consumers that, while the paint could fulfil all the expected functions, there were other features which would promote trial and justify the price premium of almost 1 [pound] when compared to Dulux gloss paint.
Later advertising would be aimed at gaining repeat purchase and establishing Solo as a brand, to protect it from me-toos which would copy its thicker formulation.
But consumers tended to believe that application benefits could only be achieved at the expense of quality, and the prejudice in favour of Dulux quality still persisted.
The advertising brief therefore became to tell gloss paint users that everything they believed about gloss paint is changed by the arrival of Crown Solo. The idea was to so intrigue consumers that they would be forced to go out and try the product.
The commercial, filmed in an aircraft hangar, shows the traditional rules about gloss painting, written on a wall, being painted over with Crown Solo. The style is hard and challenging with a surreal quality. Its tone conveys the message that this is a serious, high-quality, durable paint. Initially, the strapline was Crown Solo is the gloss paint that "rewrites the book". This later became the "paint that rewrites the rules".
Solo achieved 20% of the white gloss market when it was advertised and total Crown gloss sales increased from less than 20% of the market to more than 30%, despite being more expensive than Dulux. Crown is now brand leader in value terms in the white gloss paint market.
Despite spend on Crown advertising being less in 1989 (2.5m [pounds]) than the previous year (4.2m [pounds]), J Walter Thompson points out that focusing spend on one product can achieve brand leadership in that sector and benefit the entire range as well.
NEW CONSUMER GOODS AND SERVICES
Love it, hate it (and most people hate it) there is no denying the key role advertising has had to play in the remarkable success of Lever Brother's newest detergent, Radion.
Within just six months of its October 1989 launch, Radion could boast a 7% share of the UK's biggest grocery sector worth 638m [Pounds].
The launch came at a time when Lever was losing market share to arch-rival Procter and Gamble (P and G). In 1980 it had held a 61% share of the market by value. Four years later this plunged to 43% as its flagship brand Persil lost out - mainly to P and G's Ariel. By 1988 Lever's share was under 40%.
Clearly, it needed to stem the decline and regain market leadership. And to do this it looked to Unilever's empire abroad. Detergents marketed on a dirt and odour removal platform had proved successful in both the US and Europe.
But how could Lever attract customers away from established brands without eroding its own existing brands? The answer lay in the advertising.
For Radion, Lever adopted an uncharacteristically brash, aggressive, hardsell style of advertising, designed to draw away traditional P and G consumers, while repelling loyal Persil buyers.
The ad campaign achieved high awareness. It was top of Marketing's Adwatch prompted chart for 21 weeks. The agency points out that although the campaign was much criticised, the very assertiveness which provoked such dislike has undoubtedly been a key factor in its effectiveness. "Renault 19 - designed without compromise, tested without mercy" became the strapline for the launch campaign of a product which was to take the French car maker into "a new era for the Renault Group". And according to ad agency Publicis, the advertising played a key role in achieving this objective.
Renault's previous forays into the "lower-medium" sector of the car market - dominated by Ford Escorts and Vauxhall Astras - had lacked sparkle. The advertising brief for the Renault 19, which had been built to higher standards, was to encourage respect for the car by building a perception of quality, solidity and modernity and to attract a younger clientele.
A sales target of 27,000 was set.
The campaign itself began with a poster teaser showing the car's hallmark, a yellow and white car-shaped logo symbolising modernity and dynamism. The TV campaign depicted the car coming to life during the design and testing processes.
Publicis claims the commercial broke with traditional car advertising by concentrating on the vehicle's development rather than just glorifying the finished product.
The spend in the first year was 7.5m [Pounds] - 70% on TV, 23% on press and 7% on posters.
After just one burst, Renault 19 was number two in the lower-middle car sector in terms of ad awareness.
Renault 19 achieved its sales target despite a downturn in the market. The new younger buyers agreed that advertising had played a part in their decision to buy.
In 1987, sun-care brand Uvistat had a problem: market share and volume sales were falling and it did not have a distinctive brand image.
Yet in 1988, following a successful 231,000 [pounds] advertising campaign through Butterfield Day Devito Hockney (BDDH), volume sales rose by 31% for the period January to October, compared with a market increase of just 8.5%.
Ex-factory sales soared by 46%. And all this despite the media spend being at its lowest level for three years. In addition, the range had been cut by one product and price rises were ahead of the market.
Indeed, this remarkable success continued through into 1989, when volume sales rose by 9% (the market increased just 6%) and ex-factory sales increased by 30%, following a 311,000 [pounds] campaign.
So just how did the advertising achieve this feat which makes it not only winner in the Small Budget Category, but also picks up the IPC magazine prize?
Until 1984 Uvistat was a prescription-only brand and recommended for people with particularly sun-sensitive skins. Its strength lay in protection.
In 1984, Windsor Pharmaceuticals took over marketing the brand and for three years, advertising was broadly similar to other fashion and tanning brands.
Its strapline was "Find yourself a sunspot", and it used glamorous sunbathing shots. In consequence, after two years of running the campaign, the brand still had low awareness and usage.
The advertising objective when BDDH took over the account in September 1987 was to gain awareness and also to generate trial of the product. This would be done by positioning it as the "definitive product range for sun-sensitive skins".
Because Uvistat's origins were in the medical and protection areas, it was in a position to become an authority on sun-care. It could communicate information which BDDH's research showed was demanded, particularly by mothers of young children. Previously sun-care brands had concentrated on either protection or tanning. Now Uvistat would encompass both.
The strategy closely identified the user with the brand and positioned the brand as specialist (protection) not generalist (tanning and cosmetic).
The key was that by using Uvistat, the consumer was in control and could make the most of being in the sun.
Aimed at ABC1 women aged 25 to 44, "the gentle art of sun control" campaign ran from late April to early August 1988 in the women's press.
The new campaign came in the same year that distribution in Boots increased from 600 stores to 1000. But the increase in sales did not take place until the advertising started - distribution had been broadened in January.
And although the range was extended in 1989, sales of the products which had been around since the previous year accounted for the same proportion of sales in both years. So the additions alone were not responsible for sales growth.
PHOTO : Knorr ... CPC made brave move to develop a campaign just for Scotland
PHOTO : Warburton's ... looked to an image of traditional values in its ad push
PHOTO : Crown Solo ... rewriting the rules gave its paint a glossy future
PHOTO : Radion ... coming up smelling of roses after an uncharacteristically brash campaign
PHOTO : Renault 19 ... breaking the mould of traditional car advertising
PHOTO : Uvistat ... succeeded in positioning the brand as both tanning and protecting at the same time
Human rights charity Amnesty International can gauge more precisely than most how effective its advertising has been. It calculates that 4718 new members were recruited by returning coupons in direct response press ads.
And this comes in an increasingly competitive climate for charities.
BMP DDB Needham was appointed in 1988 and the advertising objectives became to recruit new members off-the-page; raise awareness of Amnesty's activities and raise additional funds in the form of donations.
By identifying its existing membership - educated, young, liberal, professional and middle class - the advertising aimed to recruit new members from this section of the population. And it did so by emphasising Amnesty's point of difference from other charities - membership which gives people a feeling of value for money rather than just throwing cash at a problem.
Most Amnesty members are aged between 22 and 44 and joined because they felt they didn't do enough "worthwhile" things. So the first ads which ran in 1988 - when the budget stood at just 30,000 [Pounds] - used extracts from real prisoners' letters to achieve a personal communication with readers and build on awareness of the letter-writing activities of Amnesty members.
The budget for the campaign was raised to 50,000 [Pounds] last year and 150,000 [Pounds] this year.
The advertising has achieved a return on media spend of 106% against a 29% average for the charity sector. Get them while they are young is a maxim especially pertinent in the tampons market. Once women have chosen a brand they tend to stick with it until menopause.
For Smith and Nephew-owned Lil-lets, this was proving a problem. In 1987, it saw its fifth consecutive year of share decline, primarily because it was not actually recruiting new users.
Lil-lets is the major player in the smaller (35%) digital (inserted using a finger) sector of the tampons market. It competes against Tampax which dominates the much bigger applicator sector.
Lil-lets was perceived as more difficult to insert than its rival. This, coupled with less advertising and smaller distribution, contributed to its decline.
Given the difficulty of swaying brand loyalties, the Bartle Bogle Hegarty solution was to concentrate its entire 453,000 [Pounds] budget in 1988 on the Lil-lets Mini. The result was a year-long campaign in the teenage press for a spend which would have bought just two to three months in the adult press.
The aim was to raise awareness and understanding of the product and encourage trial using direct response coupons and increasing retail distribution.
Spontaneous awareness among the target group rose and distribution of Mini increased in 1988 and 1989 to such an extent that it overtook Tampax's trial variant, Slender, in multiple grocers. By the end of last year volume share had risen by 5% among girls under 15, taking share from the arch-rival.
Just three insertions of an ad in two quality daily newspapers, with a total spend of 41,700 [pounds], contributed to obscure malt whisky Aberlour selling three years' supply in only six months.
In addition, it regained listings in two retailers following a gap of a year, and was picked up by Tesco for the first time. In the first five months of this year, this extra distribution accounted for 48% of sales.
So how was this achieved? Aberlour was virtually unheard of outside a small circle of connoisseurs. Annual sales were just 1800 cases or 0.38% of the malt whisky sector.
Then the distillery Campbells developed a promotion inviting consumers to invest in a hogshead (360 bottles) of Aberlour which would mature in 1999. The cost of 1350 [pounds] would be payable on order, and duty, shipping and VAT on delivery.
The marketing objectives of the brand were changed. The aim became to accelerate development of Aberlour, by increasing brand share and securing distribution.
The advertising strategy was through BMP DDB Needham and the medium chosen for the colour one-page ads was the quality press - specifically two editions of The Times and one of The Independent.
Of the 175 people who bought hogsheads, 64 used the coupon in the ad. Another 97 were attracted by the PR activity which was based on the advertising. Give us a national advertising campaign for 300,000 [pounds]. That was what Spillers wanted ad agency Bartle Bogle Hegarty (BBH) to come up with to support last year's relaunch of its Choosy brand of catfood.
In response, BBH devoted the entire spend to a medium not normally associated with catfood advertising - four-sheet posters and Superlites - which were concentrated around supermarkets.
There were two executions, neither of which featured a cat (unheard of in catfood ads). The star of the campaign was a dog who wishes he was a cat so he could eat the relaunched Choosy. This quirky approach was necessary because of the objective to prompt non-users to re-evaluate the brand.
Sales shot up following the relaunch in September 1989. In September, October and November, Choosy recorded its highest brand shares for more than four years. Indeed sales outstripped volume targets.
Two months after the end of the campaign, sales were 31% up on the previous year, while the market was only up 1%. BBH research suggested that the increase in sales was purely down to the ad push and not other elements of the relaunch, such as new packaging.
The advertising helped boost the rate of sale and to safeguard listings in the multiples. Spillers is re-running the campaign this year with an additional execution and a bigger budget.
During 1988, the boom year for mortgages, things started to look bad. All forecasts pointed towards a bleak 1989 with mortgage demand plummeting and profitability of building societies seriously threatened.
To cushion this fall-off in overall mortgage business, the Alliance and Leicester building society decided to home in on first time buyers (FTBs) and persuade them to come directly to Alliance and Leicester branches for their mortgages.
FTBs are attractive since they represent about 50% of the market. They make a homogeneous group and are more than twice as profitable as any other mortgagees. This is primarily because the building society retains the considerable commission earnings on the endowment and household insurance policies.
The Alliance and Leicester developed a "Smarter Starter" mortgage package and then asked BMP DDB Needham to attract FTBs to the company's branches through advertising the scheme.
Piles of research later, BMP came up with the "Young Ones" ad, showing two 12-year-old boys discussing their mortgages and highlighting the fact that you can get a mortgage before you find a house. The voices of comedy actors Stephen Fry and Hugh Laurie - the stars of the campaign which had been running since 1987 - were dubbed over.
The misconception that you have to find a house before you get a mortgage had been held by most FTBs, BMP discovered. As a result of the advertising, many people inverted the purchasing process and made Alliance and Leicester their first stop, instead of a building society being their last. About 95% of "Smarter Starter" mortgage holders had "sorted out their mortgage before they found a home" and about 75% of them were surprised they could do that.
In a market that was down by 13%, the Alliance and Leicester attracted 30% more direct FTBs than in 1988. The proportion of its total FTB business that came direct, grew from 34% to 52%.
The building society had a record year, making more profit from FTBs than ever before. Calculations suggest that the 3m [Pounds] advertising spend generated about 16m [Pounds] additional gross profit for the society.
PHOTO : Amnesty ... most members joined because they wanted to do something more worthwhile
PHOTO : Lil-lets ... aim was to encourage trial, using direct response coupons
PHOTO : Arberlour .. a total spend of only 41,700 [pounds] saw three years' supply sold in just six months
PHOTO : Choosy ... a dog's dinner comes up trumps for catfood. Sales shot up by 31%
PHOTO : Alliance and Leicester .. smart thinking helped grab profitable FTB business
LONGER AND BROADER
When IDV moved into the Spanish sherry market in 1966 with Croft Original, it faced two main difficulties.
To start with, as the first pale cream Spanish sherry on the UK market, it went against the received wisdom that cream or sweet sherries were dark in colour.
Secondly, it faced the mighty brands of the three main shippers - Domecq, Harveys and Gonzalez Byass.
For the first ten years, Croft Original built its share gradually in a growing sector, but by 1976 it was still little more than a brand which appealed to the more experimental sherry drinker. And the concept of paleness was still something of an anathema in a traditional and conservative marketplace.
Jeeves To The Rescue! A new advertising campaign featuring PG Wodehouse's famous duo Jeeves and Wooster - the ever-tireless butler who continually has to explain the subtleties of life to his naive aristocratic master - served to solve this paradox.
In five years (1977 to 1981), the niche player had become pretender to Harveys Bristol Cream's crown as number two.
The 80s saw the Spanish sherry market decline dramatically while own-label rose swiftly to grab a large swig. Retailers' brands had more than 25% by 1985.
Yet through all this, Croft Original - supported by the long-running and well-liked Jeeves campaign - further increased its share and narrowed the gap between the top two brands.
LONGER AND BROADER
Contrary to what sitcoms would have us believe, beds rate as low-interest items in consumer awareness.
Five years ago, bed manufacturer Silentnight had achieved pole position in the market through extremely competitive pricing and an excellent delivery service. But the market was static and the company realised it could only reap profitable growth by increasing its market share and trading up with higher-priced, better quality beds.
It was a difficult task in a sector where brand loyalty was virtually non-existent.
Previous advertising had failed to deliver. But a new product offering significant advantages, that were easy for consumers to relate to and not too wrapped up in technical jargon, provided just the right vehicle for a new attempt.
Thus the idea of the hippo and the duck which can sleep side by side without "rolltogether", because of the bed's spring system in both mattress and base, was born. Launched with a three-area TV test, supported by national colour press, the campaign's results were so encouraging that the planned roll-out was replaced by national TV in February 1987.
The new range of beds is now the UK's best seller - even though it is more expensive than previous Silentnight products. It now accounts for about 50% of the company's turnover. When Lanson took on its first advertising agency in the UK and a new distributor (JR Phillips), it had low-awareness, and thus a relatively weak price.
The year was 1985. The company's sales were reasonable but could have been much greater given the quality of the product and its Grande Marque heritage.
So Saatchis set about developing a clearly distinct identity for the brand. It aimed to appeal to a new "flexible" champagne drinker by appropriating the intrinsic emotional values of champagne rather than by using the obvious generic, status-related imagery employed by its competitors.
These "flexibles" were identified as affluent men and women, aged between 25 and 40 who liked champagne and the emotion it triggers, enough to drink it on other than the traditional special occasions.
The result, the "Why Not?" campaign, has run since 1986 with four magazine executions and a TV and cinema commercial, "Lanson d'Amour" which played on the hit song "Chanson d'Amour". Media budgets were limited, rising gradually to just under 500,000 [Pounds] in 1989.
Five years on, Lanson has managed to greatly improve its price position (by 10% relative to the total market). It has more than doubled sales and grown share in an increasingly competitive market. It has now established meaningful brand values in the minds of both consumers and the trade.
MIRROR GROUP NEWSPAPER PRIZE
Most of British Gas' turnover comes from the sale and supply of gas in the UK. More than half of the gas sold goes to the domestic sector where central heating is the main consumer (taking 78% of all gas used in homes). The sale of new (first time) central heating systems therefore is the key to building gas sales.
In 1986, however, British Gas realised that while it was the dominant fuel, it was losing its share of the new systems to electricity - particularly at the bottom end of the market.
Initially it seemed merely to be the result of consumers trading off the superior quality of the gas product for the cheaper electric version (though the latter cost more to run).
A new, cheaper product and advertising to appeal to the price-conscious were therefore launched in the autumn of 1987. The sales response was disappointing.
The TV ad was seen as just one of a number of heating campaigns running at the time, and failed to convey the idea that a new product was being launched. Apart from this, research showed that, although price was important, it was not the only persuasive factor. There was a great deal of inertia to overcome in the market. A dramatic and radically different appeal was necessary.
Firstly, British Gas added to the product, even though it made it more expensive. Secondly, the core target audience was reduced, by defining it according to attitudes, as well as socio-demographic profiles. And, thirdly, Young and Rubicam produced advertising it hoped would "break the mould" of normal heating ads by communicating the proposition clearly but in an irreverent, entertaining way.
Hopefully this would capture the imagination of even the most resistant consumers. A major part of this strategy was the switch from television to press - with the addition of a direct response coupon.
The ads, which played on the humour of British seaside postcards and Page Three pin-ups, ran in autumn 1988 and generated a level of interest way above expectations. More than 2000 requests for information were received in the first week and British Gas met its sales targets for the entire winter period a month ahead of schedule.
The advertising had worked. It provided the price-conscious with the basic proposition and at the same time motivated the more inert sectors of the target market to request more information.
CHAIRMAN OF THE JUDGES PRIZE
This is the story of a 350,000 [Pounds] poster campaign confined to just one London borough, which played a key role in the success of a single-issue political party contesting a local election.
The party is the Valley Party and the issue was Greenwich Council's refusal to allow Charlton Athletic Football Club to develop its former ground - the Valley - to make it commercially viable.
Charlton had moved to share Crystal Palace's Selhurst Park Ground in 1985, much to the disgust of the supporters. Gates slumped and Greenwich Council withdrew its financial aid.
Two years later, the decision was taken by Charlton to return to Greenwich. The Valley was repurchased.
To make the plan viable, the ground needed to be substantially developed to cater for activities other than just football. And here was the rub. At the beginning of this year, the council's planning committee rejected Charlton's application to make the ground a modern all-seater stadium.
Supporters were outraged at the council blocking its return to the Valley. And one group founded the Valley Party to fight all of the 36 seats at the forthcoming May 1990 local elections.
The party's objective was "to bring political pressure on the council so that it becomes politically desirable to reach an agreement on the Valley application which is acceptable to the club".
This would be achieved by running a credible, high-profile campaign which generated a lot of national media coverage.
Supporters could only muster a small budget, so much of the work was done by volunteers at ad agency BMP DDB Needham. The advertising strategy focused on the emotional appeal of the club as a symbol of local pride. It adopted a recognised political advertising style in an effort to draw in candidates to fight the seats, give them the confidence and morale to stand and to go out campaigning.
Posters were the obvious choice of medium, given the budget. They could also be bought within the borough and are recognised as a legitimate means of political and issue advertising.
As a result, the Valley Party polled 14,838 votes or 10.8% of the votes cast. Its gains were to the detriment of existing big parties - all three main parties saw shares fall against 1986 and the Chair of Planning also lost his seat.
Apart from prompting voters to choose the Valley Party, candidates admit they were inspired and motivated by the advertising. And journalists agree national media coverage was sustained at a level which would not have been possible without it.
So the ad campaign succeeded on three fronts, although whether it is successful in ever getting Charlton back to its Valley ground is not yet known.
The club - now relegated to the second division - has submitted a revised planning application. This follows the acknowledgement by the leader of the council that he would like to see Charlton returning to the Valley.
PHOTO : PG Tips ... a campaign marked by consistency, both creatively and in investment
PHOTO : Croft Original ... Jeeves ads solved the conundrum facing the sherry
PHOTO : Silentnight ... its beds sprung into sales action courtesy of the hippo and the duck
PHOTO : Lanson ... toasting its success in doubling sales and boosting brand awareness
PHOTO : British Gas ... turning up the heat on the low-cost electric competition
PHOTO : Charlton FC ... found grounds for optimism in its political campaign…