In a rather classy venue, ironically nestled under a railway bridge close to London’s Borough market, during Social Media Week (Sept 11-15), I went along to discover how major brands, publishers and agencies are working to reinvent storytelling and how they plan to deal with ever-changing modern consumption habits.
A diverse panel helped jumpstart discussions. Luisa Mauro from LADbible-owned site, Pretty 52, sat alongside Charles Ubaghs from Global, and OMD UK’s XMP digital manager Charles McNeill, armed with a media perspective and case studies from arguably the greatest storyteller of all, Walt Disney himself.
I went to quite a few talks this year at SMW (to the dislike of my liver but the benefit of my brain) and above all else retained two clear points. which were echoed by nearly all of those presenting; that of personalized experiences and ensuring your audiences was the right ones. Unsurprisingly, these two points formed the backbone of the talk and some of the guiding principles that kept coming up during the week.
Don’t talk to the masses – get up close and personal.
Millennials and Gen-Zers came up in conversation – as these buzzword age groups always seem to – and highlighted the need to address the boom in mobile consumption and the many mediums that younger audiences use. The new screen is the mobile screen and it’s key for brands to stop employing old TVC habits of marketing and embrace mobile-ready content campaigns. It’s by using new social media and tech platforms in creative and out of the box ways to deliver content, says Ubaghs, that will help keep storytelling at the heart of digital content and maintain that coveted essence of authenticity that brands seem to all want.
We’ve been hearing this from Facebook too: best practice recommendations suggest that the effectiveness and resonance of content is largely dependent on whether the content is optimized for social media or not. Largely, brands that are still opening up to being more present on social media need to ensure that they don’t simply slap a traditional, long format TVC on their social channels and instead re-edit and re-cut content to suit the social platform they are deploying their content on.
McNeill also says that it’s essential that content is digested by the right audiences, and that different KPIs are associated with each group – this seems to be particularly valuable to the Walt Disney Company. At the heart of his talk was the importance of custom campaigns for each audience, thereby allowing the story to flow as naturally as possible.
Storytelling is an integral part of the work that we at OMD Create, a specialist social and content arm, undertake for The Walt Disney Company. Leading on social analytics across 26 markets with more than 17-million combined fans, we have huge volumes of content we report on and help develop in conjunction with Disney. Moreover, we operate within the vast Kid’s Entertainment space which this year to date has generated more than 15-billion views alone. What we find across multiple content themes is that telling a story is as every bit relevant to an unboxing video as it is to a song compilation; this is how we captivate our audiences and ensure they always come back for more.
Talk with your audience, not to them.
As marketers, we sometimes get too focused on driving results and forget about the consumers we’re trying to impact. a human audience that’s not focused on CPC metric but about how a brand makes them feel and what a brand can do for them. McNeill adds that we need to ensure we know what content has already been served to our custom audiences – have they previously re-engaged with our stories and if so, to what extent does this dampen their opinion of us? We strive at OMD Create to do exactly this, by keeping our partners such as Facebook close to us when working on the optimization of campaigns to keep our metrics close, and our audiences closer.
What all panelists did solidly agree on was on the primary way of measuring how successful their storytelling has been. Their golden metric as described by the moderator was shares. Why? In the eyes of the panelists, people sharing content was synonymous to putting their name on it, to regarding it as something worthy of their own friends and audience and something that has generated enough interest to spark conversation.
So what about the future? It’s a space that marketers can win in if agencies are able to help their clients tell stories while using insights to help guide content. Also if they are able to ensure that this content is customized to suit the audiences they are trying to reach while at the same time embracing ever-changing technology. The only limitations lie within ourselves, whether we dare experiment with the tools and process we have in place.
We’re not always going to win, but we won’t lose by keeping on our toes.
For more information regarding OMD EMEA or anything you’ve read here please contact us at [email protected]
In a rather classy venue, ironically nestled under a railway bridge close to London’s Borough market, during Social Media Week (Sept 11-15), I went along to discover how major brands, publishers and agencies are working to reinvent storytelling and how they plan to deal with ever-changing modern consumption habits.
A diverse panel helped jumpstart discussions. Luisa Mauro from LADbible-owned site, Pretty 52, sat alongside Charles Ubaghs from Global, and OMD UK’s XMP digital manager Charles McNeill, armed with a media perspective and case studies from arguably the greatest storyteller of all, Walt Disney himself.
I went to quite a few talks this year at SMW (to the dislike of my liver but the benefit of my brain) and above all else retained two clear points. which were echoed by nearly all of those presenting; that of personalized experiences and ensuring your audiences was the right ones. Unsurprisingly, these two points formed the backbone of the talk and some of the guiding principles that kept coming up during the week.
Don’t talk to the masses – get up close and personal.
Millennials and Gen-Zers came up in conversation – as these buzzword age groups always seem to – and highlighted the need to address the boom in mobile consumption and the many mediums that younger audiences use. The new screen is the mobile screen and it’s key for brands to stop employing old TVC habits of marketing and embrace mobile-ready content campaigns. It’s by using new social media and tech platforms in creative and out of the box ways to deliver content, says Ubaghs, that will help keep storytelling at the heart of digital content and maintain that coveted essence of authenticity that brands seem to all want.
We’ve been hearing this from Facebook too: best practice recommendations suggest that the effectiveness and resonance of content is largely dependent on whether the content is optimized for social media or not. Largely, brands that are still opening up to being more present on social media need to ensure that they don’t simply slap a traditional, long format TVC on their social channels and instead re-edit and re-cut content to suit the social platform they are deploying their content on.
McNeill also says that it’s essential that content is digested by the right audiences, and that different KPIs are associated with each group – this seems to be particularly valuable to the Walt Disney Company. At the heart of his talk was the importance of custom campaigns for each audience, thereby allowing the story to flow as naturally as possible.
Storytelling is an integral part of the work that we at OMD Create, a specialist social and content arm, undertake for The Walt Disney Company. Leading on social analytics across 26 markets with more than 17-million combined fans, we have huge volumes of content we report on and help develop in conjunction with Disney. Moreover, we operate within the vast Kid’s Entertainment space which this year to date has generated more than 15-billion views alone. What we find across multiple content themes is that telling a story is as every bit relevant to an unboxing video as it is to a song compilation; this is how we captivate our audiences and ensure they always come back for more.
Talk with your audience, not to them.
As marketers, we sometimes get too focused on driving results and forget about the consumers we’re trying to impact. a human audience that’s not focused on CPC metric but about how a brand makes them feel and what a brand can do for them. McNeill adds that we need to ensure we know what content has already been served to our custom audiences – have they previously re-engaged with our stories and if so, to what extent does this dampen their opinion of us? We strive at OMD Create to do exactly this, by keeping our partners such as Facebook close to us when working on the optimization of campaigns to keep our metrics close, and our audiences closer.
What all panelists did solidly agree on was on the primary way of measuring how successful their storytelling has been. Their golden metric as described by the moderator was shares. Why? In the eyes of the panelists, people sharing content was synonymous to putting their name on it, to regarding it as something worthy of their own friends and audience and something that has generated enough interest to spark conversation.
So what about the future? It’s a space that marketers can win in if agencies are able to help their clients tell stories while using insights to help guide content. Also if they are able to ensure that this content is customized to suit the audiences they are trying to reach while at the same time embracing ever-changing technology. The only limitations lie within ourselves, whether we dare experiment with the tools and process we have in place.
We’re not always going to win, but we won’t lose by keeping on our toes.
For more information regarding OMD EMEA or anything you’ve read here please contact us at [email protected]
In 2013 we learned that 232M people lived outside their country of origin, with each successive generation becoming more multicultural.
Millennials are the most diverse generation in history. Only 59% are Caucasian and 27% have an immigrant background (Deloitte 2015). So it’s no surprise they’re causing a huge shift in attitudes to diversity and inclusivity.
Once, the diversity issue was moral, and brand responses were tokenistic. Now, millennials see it as empowering. They define it by how it relates to a mix of unique experiences, identities, ideas and opinions. They expect brands to reflect this ‘omnicultural’ mind-set in their media and marketing.
80% of parents say they like seeing diverse families in marketing. 41% of millennial parents are more likely to buy products from brands that use diverse family types in their advertising.
In the past, the term inclusivity primarily implied acceptance and tolerance of gender, race and ethnicity. Now, the focus in on using collaborative tools to drive business impact. Multicultural consumers see themselves as part of a new mainstream. They have access to an infinite combination of choices and products to suit their lifestyles and tastes.
There is now a higher value placed on teamwork – millennials value a culture of connectivity. They feel empowered when they believe their employer fosters an inclusive nature.
They love to share their experiences and explore the cultures of others. In doing so, they influence mainstream consumers and expand the multicultural market opportunity. Their increased social media and technology adoption has accelerated this.
Brand implications
Multicultural consumers tend to gravitate to brands, products and activities that reinforce their cultural roots but also allow them to explore new identities.
Millennials are demanding that brands, assets and campaigns are more creative, provocative and challenging. Brands, therefore, need to recognise that inclusivity starts in-house. They need to deviate from accepted story lines around identity, for example.
Brands can go further than just reflecting a broad range of identities in their advertising. There are huge opportunities in constructing a narrative around a ‘no normal’ mindset. Brands are increasingly representing disabled, homosexual and gender fluid consumers in their advertising.
A great example is US bank Wells Fargo’s #WhyIWork campaign. Their ad featuring a lesbian couple learning sign language before adopting a young deaf girl garnered 1.6m views on YouTube.
A year later, Channel 4 launched its ‘Superhumans Wanted’ initiative. It encouraged brands to creative innovative advertising featuring disabled people. The winning ad was shown during the first ad break of the 2016 Paralympic Games in Rio de Janeiro.
Finally, OMD was proud to broker a partnership between QuidCo and LGBT+ publication Attitude earlier this year. Timed to coincide with London Fashion Week, it provided Attitude’s readers with a new way to get the catwalk look for less.
Want to explore this talking idea more? Contact us at [email protected]
Most of us realise that the world of marketing is constantly changing. Unless we understand our customers’ shifting desires, our attempts to reach them will inevitably fall flat. Many times these changes are temporary, caused by short-term trends. However, over the last few years a fundamental, long-term shift has arisen in consumer behaviour that has wide-ranging implications.
Due to recessions and economic uncertainty, people are reassessing their priorities and asking themselves what they truly value. As a result, we are moving towards a new economy that values experience over possessions. In recent research: [ctt template=”1″ link=”Tv647″ via=”yes” ]3 in 4 millennial’s chose to spend money on an experience or event, rather than purchasing a desired object @HarrisCorp @OMD_EMEA[/ctt] [ctt template=”1″ link=”jzCVA” via=”yes” ]Consumer spending on recreational & cultural services has risen 85% in Western & Eastern Europe over the last 5 years @Euromonitor @OMD_EMEA[/ctt]
This shift is impacting a multitude of industries and has the power to transform even the most established markets.
In fact, Airbnb’s co-founder, Brian Chesky, has observed:
“No longer do consumers want to show off, on Instagram or Snapchat, the wheels of their car or the clothes they wear. But they want to show off the experiences that they’re having. I think, more and more, we’re living in an experience-based economy”.
Material possessions are no longer enough
As a society, we are spending more money to do things, rather than to have things. We then share these lived experiences via social media, in effect, elevating them to the position of status symbols. Whereas once the designer handbag was a sign of success, now a memory from a faraway land is the marker of a good life. We aspire to turn our leisure time into social capital spent on moments that are unique, fleeting and personal.
At Live Nation, the world’s largest event company, two in five (40%) attendees share content on social media directly from their venues and three in five (59%) upload pictures afterwards (Source: WARC Consumers value brand experiences – 13 May 2013).
Plenty of research has shown that experiences bring more happiness than possessions. In fact, even the moments preceding and following an experience are more positively charged than those surrounding the purchase of a product. Experiments have shown that participants elicit more happiness and excitement when anticipating experiences. Whereas, waiting times for possessions are often fraught with impatience. Further research indicates that people also tend to talk more about experiences than they do products and derive more value from doing so.
This has led renowned psychologist Thomas Gilovich to conclude that “spending money on experiences provides more enduring happiness.”
Using this insight, OMD created an immersive theatre experience to launch HTC VIVE. We partnered with Noma Labs to host a once in a lifetime apocalypse event, HTC Virtually Dead, targeted to Millennials in both London and Paris. Tickets sold out in just over a week after showing the first teaser video in London. To meet demand, we extended the time period and put on more shows. Overall there were 900 shows over three weeks bringing in £300,000 worth of tickets, which is equivalent to a popular West End show running for over two years.
How can classic brands survive?
We need to refocus our strategies away from short-term demand and towards long-term desire. Brand experiences can help us drive this change, with luxury labels leading the way.
According to PWC, the annual sales growth of luxury experiences grew by 14% compared with 11% for luxury goods. Moreover, in 2014 The Boston Consulting Group found that experiences which include travel, gourmet dining and art auctions accounted for 55% of the global luxury spending. By creating enhanced sensory experiences for shoppers, luxury retailers have evolved a simple transaction into something more.
A great example of this is The Bentley Inspirator. The experience starts on an iPad in dealerships. You watch a beautiful video full of lifestyle images, off-piste skiing, yachts sailing through the ocean. Meanwhile, in real-time, facial recognition software is measuring your preferences. By the end of the video, a personalised Bentley configuration is created based on your preferences. A playful piece of technology which creates a magical experience by unlocking new information about the customer.
Is technology killing anticipation?
Technology has allowed us to engage with customers in ways we never thought possible. But, it has also fuelled new expectations, resulting in less patience and a rising demand for frictionless experiences. Amazon has calculated that even a one-second delay in page downloads could cost them $1.6 billion each year in lost revenue.
Modern technologies (e.g. Uber and drone delivery systems) are built on our desire for instant gratification. These technologies cure pain points in our lives. However, science has shown that anticipation can be far more gratifying than the reward itself. Bizarre as it may sound, there is an argument for designing in a little friction into the service process. Designed friction allows experiences to be anticipated, valued and remembered.
Create your experience and people will follow
We have the ability to design amazing experiences, but we need to be mindful about why and how we design them. From our research, we have seen how it is possible to design experiences that create emotional connections, drive memory creation and kindle the desire to share those experiences with others. Our deepest desires as human beings are to learn and grow. Brands have the opportunity to design in these experiences across their consumer touchpoints.
We must embrace this opportunity to move beyond simply creating consumer interactions which are frictionless, invisible and instead craft experiences with enough tension that they are shareable, memorable and teach us something about ourselves that we didn’t know before.
OMD has completed a hugely successful launch for HTC Vive, the first complete virtual reality system. Engineered by OMD’s specialist service unit Fuse Sport + Entertainment, a collaboration between Noma Labs and HTC which, alongside production partner Bearded Kitten, resulted in the fully immersive theatre production, “Virtually Dead”. Live in London and Paris, both events were completely sold out, as enthusiasts flocked to see the very latest in VR technology and experience immersive theatre at its finest.
Combining previously unseen VR technology with interactive performance, “Virtually Dead” blurred the lines between what’s real and what’s not, giving the audience a completely new, thrilling and scary interactive experience. During the hour-long activity, ticketholders were guided by actors into designated VR areas containing 13 minutes of playable VR content. Instead of a static experience, Vive’s much anticipated “360° room-scale” technology allowed guests to move around and explore their new virtual world.
Following a sinister virus outbreak, which has wiped out millions of people in Arizona, ticketholders were invited to join the fight against the plague of Zombies that has taken over. The US Military swing into action and the entire state is quarantined. A special army is trained to deal with the potential overseas spread of the virus and recruits are put through their paces to be able to tackle the virus on the front line.
Olivia Rose, Account Director at Fuse said, “It was a thrill to be involved in creating something which is literally breaking new ground in terms of audience experience and engagement. Many entertainment events become fairly standard in terms of format and delivery, but this was something very original and special. Merging immersive theatre with virtual reality presented incredible opportunities and we were absolutely delighted with the success of the events in both London and Paris.”
Jon Goddard, Head of VR Marketing, EMEA at HTC commented, “Introducing our revolutionary 360° room–scale VR technology into an immersive theatre environment is an entirely new venture, and one we couldn’t wait for people to experience. We’re incredibly excited to have worked with Fuse and subsequently the creative teams at Noma Labs and believe Vive, the first complete virtual reality system, is the perfect VR partnership to deliver a truly spectacular production.”
The Results
Tickets sound out in two weeks!
45+ press features
Conversations around Virtually Dead reached 100+ million people worldwide
15m+ Virtually Dead video views
20 million data points used to target millennials in London and Paris
There is a huge amount of debate in the marketing industry regarding millennials, our value, affect and the way in which we are shaping the future of the industry as we know it. However who better to ask than a millennial themselves? As a 26-year-old working in the marketing industry I decided to take a closer look at why we’re a generation to be taken seriously.
When looking at the importance of the millennial generation to advertisers I could simply say we’re important because we’re shaping the future of the world. However that in itself is a huge statement so to break that down…millennials today account for nearly 50% of the world’s population. This makes us the dominant workforce and the generation holding the majority of the globe’s spending power. A recent study by Accenture found we spend on average $600 billion each year, and therefore based on this staggering figure alone, I’d say at the very least we’re worth advertisers’ consideration! With millennials spanning an age range of 16-34, 1 in 4 of us are now parents, holding not only the spending power and purchasing decisions for ourselves, but for our families. However it’s not just about sheer numbers, although these are impressive and would make a compelling argument by themselves. For me it’s the way in which we behave that makes us such an important and interesting target audience.
As a generation of digital natives we live in a hyper-connected world that provides endless opportunities at our fingertips, fuelling a hunger to discover more. This means that our expectations have permanently changed and are constantly changing: we want more in life, to discover more and go further, and in turn we demand not only more from our lives and ourselves but also from the brands we love. By demanding more we’re challenging brands, pushing them to be more innovative and creative in order to catch our attention and create noise. If advertisers weren’t striving to break the mould would Virgin Holidays have created a campaign using Virtual Reality to sell holidays? If we weren’t a generation pushing brands to be more innovative we could still be booking our holidays on the telephone. Likewise, if Carlsberg wasn’t interested in capturing our imaginations, they would dedicate their entire media budget to TV instead of making a bar (of the booze variety!) made entirely out of chocolate!
Not only are we a generation whose demand is fuelling continuous innovation but we’re the harshest critics, and therefore the best generation for a brand to learn from in order to gain a share of voice and see real business growth. Yet it is not just about our being opinionated that is important to advertisers, but the fact that we share our views on blogs, social media, with our friends, family and colleagues. We can make or break a brand in a few keystrokes, and brands know it. With 67% of consumers using a company’s social media channel for customer service, hundreds of brands including Nike, Starbucks and Walmart have customer service teams dedicated to their social channels, ready to handle negative comments and promote praise.
By challenging brands to be continually dynamic, millennials have subsequently become a force that has changed the way advertisers use media. The way in which brands interact with a 16-year-old on Snapchat vs. how they engage with a 34-year browsing Instagram or through Stylist magazine on a Tuesday commute home is very different. There is therefore no ‘one size fits all’ strategy when looking at the channels through with to engage millennials and this again has led advertisers to view their marketing strategies through a different lens.
Whilst we cannot group millennials into a single channel or platform, I think there are inherent themes that apply to all millennials which advertisers can apply to any media channel. For example, I believe authenticity is incredibly important – and by authenticity I mean approachable authenticity: we want to see and hear from real people who we can relate to, or aspire to be like. This theme comes to life through blogs, vlogging and social media; Zoella’s YouTube channel has over seven million subscribers whilst the Kardashian sisters have a combined Instagram following of 275 million. With 50% of millennials researching products on social media, we can see what a powerful and credible tool it can be. By building their brand through social media and reality TV the Kardashians’ empire is now worth $300 million.
With millennials spending an estimated 22 hours on their phone each week it would seem an easy solution to simply target us through digital channels; however, I believe we can still be reached through traditional channels by being authentic. Notably, Dove’s Beauty Sketches campaign used real, normal women to shine a light on the differences in beauty perceptions. This campaign resonated with millennial women around the world and resulted in becoming the most viral video of all time, with over 135 million views.
Another theme that I believe can transgress all media channels is the evolution of the brand ambassador. I have already mentioned how important it is for millennials to feel like they can connect with real people and I think this is becoming particularly apparent in who advertisers now pick to front campaigns. The most successful supermodels today are no longer just visible on the catwalk and billboards, but let us into their lives. The likes of Kendall Jenner and Gigi Hadid (millennials themselves) now take us backstage at the Victoria Secret Show and on their Saturday night out with the Taylor Swift squad, opening their world to us via social media. Their influence cannot be ignored and many brands such as H&M and Balmain have chosen to embrace it.
To promote their new partnership and collection with H&M, Balmain chose Kendall, Gigi and Jourdan Dunn to front their campaign which launched exclusively on Instagram. Using their influence with the millennial audience H&M and Balmain’s collaboration went on to be their most successful, with an Instagram reach larger than the UK population and the range selling out online and in-store in a matter of hours. This demonstrates the power of brand ambassadors when attributed to the right brand.
Likewise the role of the brand ambassador can be just as influential when used on traditional media channels, if advertisers use the right person to fit their purpose. For instance, Burberry’s use of Emma Watson, a millennial we have grown up with watching Harry Potter and whose passions for issues such as gender equality we now share, led to a 23% increase in sales for the brand.
I could go on about the themes that I think are important to millennials that can be used on any media channel, but the key point I am trying to address is that millennials are changing the way advertisers address their marketing strategies. It’s not just about our sheer numbers and spending power that makes us an important audience but our behaviour and what advertisers can learn from us. By being a demanding generation and challenging brands to always be more innovative than the previous day, we are pushing them to find new ways to create noise, which means looking at how channels can be used in new ways. You just have to look at Carlsberg’s billboard including a beer tap to see how traditional channels can be using in a unique way to catch our attention. By taking note of millennials’ demands, criticism and behaviour we offer advertisers the opportunity to learn, challenge themselves and in turn become the most innovative, creative and powerful brands in the world.
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Create your experience and people will follow
