Euroeffie book2014 pages by EACA

EACA euro effies 2014 the gold standard in commercial communications effectiveness

E A C A e u r o e f f i e s 2 0 1 4 â&#x2020;&#x2019; t h e g o l d s t a n d a r d i n c o m m e r c i a l c o m m u n i ca t i o n s e f f ec t i v e n e s s

CONTENTS 4 Introduction EACA Director General 5 List of winners 6 The first round jury 8 The second round jury 10 Agency of the Year 12 Grand prix 13 14 16 18 20 22 24 26 28

CAT.A01 | FMCG Axe Fairy liquid Persil Coca-Cola Argeta Nivea In-shower body lotion Febreze car Finalists

31 CAT.A02 | Consumer Goods 32 Hornbach 35 CAT.A03 | General Healthcare & OTC Products 36 Corsodyl 38 Finalists 39 40 42 44 46 48 50 52

CAT.A04 | Automotive Kia Carens Lexus IS BMW Motorrad Audi Quattro速 Audi A3 Sportback Brand Opel Finalists

54 CAT.A05 | Retail 54 Finalists 55 CAT.A07 | IT/Telco 56 Red

58 CAT.A08 | Services 58 Finalists 59 CAT.A09 | Leisure & entertainment 60 Playstation 4 62 Expedia 64 Finalists 65 66 68 70

CAT.A10 | Product/service launch SSE Riga Alumni Association Philips Finalists

71 CAT.A11 | Most effective use of social media marketing 72 Universal Music 75 76 78 80 82

CAT.A14 | Best demonstration of integrated effectiveness Evian Audi A3 Sportback Audi Quattro速 Finalists

82 CAT.A13 | Brand revitalisation 82 Finalists 83 84 86 88

CAT.A15 | Small budget Ford Europe Mercedes-Benz Finalists

90 European EFFIE Organisations 91 EURO EFFIES Organisation 92 Acknowledgements

EACA euro effies 2014 the gold standard in commercial communications effectiveness

INTRODUCTION > Over the last few years, we have worked hard to raise the bar for the success criteria for the Euro Effies. In particular, this has meant requiring a much greater emphasis on three areas – measurable objectives, return on marketing investment and clear evidence that the marketing communications were the reason for the claimed campaign results. It is, therefore, reassuring to see that work bearing fruit, as evidenced by the number of winners this year. While there are still campaigns which pay lip service to effectiveness measurement, there are now many more which provide solid evidence to support their entry and consequently win the judges’ approval. This quality benchmark helps to raise the profile of the Awards, of course, but it also provides the winning agencies and clients with a powerful endorsement of their work. This year’s Jury Chairman, Geoff Seeley, Global Communications Planning Director at Unilever, steered 20 industry professionals through the process of selecting the winners from the 25 agency networks in 11 countries who made it through round 1, awarding a Euro Effie record of 7 Golds, 12 Silvers and 7 Bronze winners from this year’s 44 finalists. Germany led throughout the competition with 18 finalists and 13 winning campaigns. We thank Geoff and all the senior agency, client and media representatives across Europe, in both judging rounds, who so willingly donated their expertise and valuable time to help select this year’s winners. Our thanks are also due to our overall partner Euronews and The European Publishers’ Council for their support for the Agency of the Year Award. The support of partners such as TIME/Fortune Magazine, WARC, AdForum, Procter & Gamble, FEPE, Viva Xpress International, creativebrief, Nielsen and Bacardi-Martini is invaluable in organising the Euro Effies.

dominic lyle , director general , eaca brussels 2014

Kia Motors Europe

Lexus Europe

BMW Group

Silver

Small Budget

Ford Europe

Daimler AG

Audi AG

Silver

Bronze

Audi AG

Gold

Bronze

Evian

Gold

Philips Personal Care

Silver

Best demonstration of Integrated Effectiveness

SSE Riga Alumni Association

Gold

Product/Service Launch

Universal Music

Bronze

Expedia

Gold

Media Innovation

Sony Computer Entertainment Europe

Gold

Leisure & Entertainment

Vodafone Red

Adam Opel AG

Silver

Bronze

IT/Telco

Audi AG

Silver

GlaxoSmithKline

Automotive

Procter & Gamble

Bronze

Beiersdorf

Bronze

General Healthcare & OTC Products

Atlantic Grupa

Silver

Hornbach Baumarkt AG

The Coca-Cola Company

Silver

Gold

Unilever

Silver

Consumer Goods

Procter & Gamble

Silver

AUDI quattro

Mercedes-Benz

Ford Europe

AUDI quattro速

AUDI A3 Sportback

Evian

Philips

SSE Riga Alumni Association

Universal Music

Expedia

Sony Computer Entertainment Europe

Vodafone

Opel

AUDI A3 Sportback

速

BMW Motorrad

Lexus IS

Kia Carens

Corsodyl

Hornbach

Febreze Car

NIVEA In-Shower Body Lotion

Argeta

Coca-Cola

Persil

Fairy Liquid

Innocean Worldwide Europe

Grey London

Heimat Werbeagentur GmbH

GREY germany GmbH

FCB Deutschland GmbH

Publicis Slovenia, Atlantic Media, Publicis Macedonia, Alert and M.I.T.A

McCann Worldgroup Milan

Lowe & Partners, Lowe Open, DLKW Lowe

Grey London

Chicken

Jung von Matt

Blue Hive

thjnk ag

Land of Quattro Ford Ecosport

thjnk ag

BETC

Ogilvy D端sseldorf

DDB Latvia

House of Radon, Seventy Agency, At Night Management

Ogilvy & Mather London

180 Amsterdam, OMD

Grey London

Scholz & Friends Hamburg GmbH

Harder, better, faster, stronger

Evian baby & me

Designed to play

Let's beat Stanford

Avicii X You

Travel yourself interesting

This is for the Players. This is PS4

Sealed with a kiss

ADAM&YOU

thjnk ag

Land of Quattro Harder, better, faster, stronger

Serviceplan

One World. One RG 1200S

The new Lexus IS - an amazing launch ZenithOptimedia, CHI & Partners

Kia Carens

Daring to shock

The Hornbach Hammer

Don't give odours a ride

Make everyday a moisturising day

Argeta - approved by mums

Share a Coke, share your summer

For whatever life throws

No Fairy Tale

Axe Apollo - send our guys into orbit

Mindshare Germany, Dokyo Hamburg

180 Amsterdam, OMD

AXE

This is for the Players. This is PS4

Unilever

Sony Computer Entertainment Europe

Agency

Gold

Campaign Title

Grand prix

Brand

FMCG

Client thjnk ag

Colour

Agency of the year

Category

eaca euro effies list of winners

Germany

United Kingdom

Germany

France

Germany

Latvia

USA

United Kingdom

Netherlands

United Kingdom

Germany

United Kingdom

Germany

United Kingdom

Germany

Slovenia

Italy

United Kingdom

Germany

Netherlands

Country

THE FIRST ROUND JURY CHAIRMAN Geoff Seeley Global Communications Planning Director Unilever JU R Y ME MBE RS 01. André Felker Serviceplan Austria Partner 02. Angelika Sery-Froschauer SERY* Creative Communications CEO 03. Artūras Olšauskas Media House Head of Business Development 04. Benoît Tranzer Millward Brown Regional Marketing Director 05. Christof Schumacher C+M consulting a(n)d marketing Managing Director 06. Dan Hagen Carat UK Managing Director 07. David Čermák Momentum (part of McCann Group) CEO 08. David McEvoy JCDecaux Marketing Director 09. Dominique Poncin DDB Belgium Strategy Director 10. Gustaf From hasan & partners Senior Account Director 11. Isabelle Leroy CSA Institute Senior Vice-President, Media, Advertising & New technologies 12. Ivana Galić Vipnet (Telekom Austria Group) Head of Marekting Communications 13. Jani Halme Toinen PHd Creative director 14. Jari Ullakko sek&grey Executive Creative Director 15. Johan Fourie Innocean Worldwide Europe COO 16. Jonas Vail 180 Amsterdam Strategic Planning Director 17. Jorg Göll JGM Consult Owner & CEO 18. Julija Šeiko Royal Unibrew Beer Category Marketing Manager Baltics 19. Krassimir Papazov Ogilvy Group Sofia Director Business Development 20. Maria Tudor Zenith Romania Managing Director 21. Mary Moulton P&G Salon Professional Global Design Brand Manager 22. Matthew Gerber JWT Athens Strategic Planning Director 23. Michael von Bach thjnk Hamburg Chief Strategy Officer 24. Nicole Diermeier Switzerland Tourism Director Global Marketing 25. Nikola Žinić Bruketa&Žinić OM Creative Director 26. Olivier Semidei Publicis Hamburg Head of Strategic Planning 27. Paola Rossi Cayenne Account Director 28. Petr Chajda Aegis Media CEO 29. Roberto Carcano Zero Managing Director 30. Roberto Roseano Media Italia Research Director 31. Ruurd Priester DigitasLBi Strategy Director 32. Sofia Cohen New Moment New Ideas Company Business Development Director 33. Suzanne Assaf IBM Global Brand Enhancement Program Lead 34. Timothée Gazeau Nissan Europe Digital Marketing Manager 35. Tina Tomažič Mercator d.d. PL Marketing and Development Director 36. Vasso Vassiliou Leo Burnett Managing Director of Innovation 37. Veli-Antti Aalto Orange Advertising Copywriter 38. Véronique Drecq ESCE Head of Marketing Department

TH E E ACA E URO E FFI E S 2014 FIRST ROUND J URY

André Felker

A. Sery-Froschauer Artūras Olšauskas Benoît Tranzer

Christof Schumacher Dan Hagen David Čermák

David McEvoy Dominique Poncin Gustaf From Isabelle Leroy Ivana Galić

Johan Fourie

Jonas Vail

Jorg Göll

Julija Šeiko

Jani Halme

Jari Ullakko

Krassimir Papazov Maria Tudor Mary Moulton

Matthew Gerber Michael von Bach Nicole Diermeier Nikola Žinić Olivier Semidei Paola Rossi Petr Chajda

Roberto Carcano Roberto Roseano Ruurd Priester Sofia Cohen Suzanne Assaf Timothée Gazeau Tina Tomažič

Vasso Vassiliou Veli-Antti Aalto Véronique Drecq

Geoff Seeley

THE SECOND ROUND JURY

CHAIRMAN Geoff Seeley Global Communications Planning Director Unilever

J URY M E M B E RS 01. Alina Agurida Raiffeisen Bank International Digital Marketing Director 02. Andreas Allerstorfer Allerstorfer Werbeservice Managing Director 03. Belen Andany Procter & Gamble Director of Integrated Communication 04. Ben Lukawski ZenithOptimedia Group Planning Director 05. Brian McCarter Ogilvy & Mather Head of Planning Global Brand Management 06. Carlo Mereghetti Barilla Global Brand Development Director 07. Carolyn Dateo PKT Global Planning Director at PKT & Creative Strategist for Communications and Marketing 08. Darina Ivanova Publicis Sofia Deputy Managing Director 09. David Sandström DDB Stockholm CEO 10. Eka Ruola hasan&partners CEO & ECD 11. Erwin Jansen These Days / Y&R CEO 12. Gurdeep Puri The Effectiveness Partnership Founding Partner 13. Jon Chase Velvet Rock Communications CEO 14. Loic Mercier Proximity BBDO Senior Agency Planner 15. Michael Lee VCCP Executive Strategic Planner 16. Mihir Warty Lowe Counsel Managing Partner 17. Mona Opran Centrade Saatchi & Saatchi Romania Chief Operating Officer 18. Peter Ottiger Ottiger & Partner BSW AG CEO 19. Richard Robinson Oystercatchers Managing Partner 20. Steve Jun Innocean Worldwide Europe President 21. Wolfgang Kampbartold Deutsche Telekom AG Vice-President International Market Communications

THE EACA EURO EFFIES 2014 SECOND ROUND JURY

Alina Agurida

Andreas Allerstorfer Belen Andany

Darina Ivanova David Sandstrรถm

Eka Ruola

Ben Lukawski

Brian McCarter

Erwin Jansen Gurdeep Puri

Carlo Mereghetti

Carolyn Dateo

Jon Chase Loic Mercier

Michael Lee Mihir Warty Mona Opran Peter Ottiger Richard Robinson Steve Jun WolfgangKampbartold

AGENCY OF THE YEAR > THJNK AG

SPONSORED BY THE EUROPEAN PUBLISHERS’ COUNCIL

German agency group, thjnk ag, has brought back victory for independent agencies by winning the Euro Effies Agency of the Year Award. With 5 entries from Audi, thjnk ag achieved a high first round average score and further success with a Gold award (Best demonstration of integrated effectiveness) and 3 Silvers (Best demonstration of integrated effectiveness and automotive (2)). ‘Harder, Better, Faster, Stronger’ was created to prove Audi A3 Sportback’s worth in a competitive segment and to demonstrate that it had all the technology and features that make Audi a world leader in the automotive category. The campaign was praised by the jury as “A really good campaign. Strong insight and strategy.”; “Audi A3 did a fantastic job on strategy as well as creative” and “Best case!”. Through the ‘Land of quattro’ campaign, Audi developed a global communications platform that created space for the superior technology and the wide range of vehicles that can be equipped with quattro. The jury recognised both the effectiveness and creativity of the campaign with comments such as “A very solid and persuasive case” and “Beautiful creative – brought an old insight to life in a fresh way”. Karen Heumann, Founder and member of the management board of thjnk commented: “More than any other creative award, Effie Awards honour the success of an entire team, including the strategists who form the basis for an idea, the creatives who bring the idea to life and the account people who carry it into the client’s world. This is why we are so proud to have been rewarded with one Gold and three Silver Euro Effies for two of our Audi campaigns. We are delighted to have been named ‘Agency of the year’.”

We shouldnâ&#x20AC;&#x2122;t be Euro Effies Agency of the Year 2014 if we werenâ&#x20AC;&#x2122;t using this space to promote what is probably our most important project. Please register your .hiv domain now at dothiv.org

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04.08.14 14:01

GRAND PRIX > THIS IS FOR THE PLAYERS. THIS IS PS4. SPONSORED BY THE WORLD ADVERTISING RESEARCH CENTER The Euro Effie Grand Prix Award is a very special recognition for a campaign which wows the judges in terms of outstanding results and creativity. It can only be awarded by the jury to a winner of a Gold Euro Effie. The 2014 Euro Effies Jury awarded the prestigious Grand Prix to Sony Computer Entertainment Europe, 180Amsterdam and OMD for their infectious campaign ‘This is for the Players. This is PS4.’ The challenge for PlayStation was surviving the competition from Microsoft Xbox, Apple and Android. The battle between PS4 and Xbox One was set to be a modern-day David and Goliath and with the respective launches only one week apart, PlayStation set out to outsmart them. They owned the conversation about next-generation consoles and gaming, drove awareness and advocacy, defended its market share across the region and reversed its position in the UK. PlayStation’s insight was that, by fixing gamers’ pain-points with the current generation, they could effectively liberate play from its restrictive experience and set gamers free to play the way they always wanted. The entire campaign was designed to put players at its heart. Through viral seeding, they drove consumers to digital content and high profile audio-visual placements on TV and in the cinema. The campaign helped PS4 surpass its market share objective by 10% (from 65% target to 72% actual), leaving Xbox One with only 28% market share across Europe. The UK market saw a reversal of market leadership between PlayStation and Xbox. The awareness objective was successfully achieved and surpassed and PS4 became the most talked about console launch. This outstanding campaign earned high praise from the judges, whose comments included “Great storytelling in David versus Goliath.”; “Logical, thorough, compelling, irresistible. Well done!”; “Brilliant strategy, well executed with a very well-written case”; “A strong campaign from start to finish”.

CAT.a01 >

FMCG

SILVER

Gold CLIENT

CLIENT

CREATIVE AGENCY

SUPPORT AGENCY

BRAND

UNILEVER GERMANY BBH LONDON

MINDSHARE GERMANY, DOKYO HAMBURG

PROCTER & GAMBLE GREY LONDON FAIRY LIQUID

UNILEVER LOWE OPEN, DLKW LOWE, LOWE & PARTNERS

BRAND

AXE

Bronze

SILVER

Bronze

CLIENT

CREATIVE AGENCY

PUBLICIS SLOVENIA

SUPPORT AGENCIES

ATLANTIC MEDIA, PUBLICIS MACEDONIA, ALERT, M.I.T.A

BRAND

ARGETA

BEIERSDORF AG FCB DEUTSCHLAND GMBH

BRAND

NIVEA IN-SHOWER BODY LOTION

PROCTER & GAMBLE GREY GERMANY GMBH

BRAND

CLIENT

THE COCA-COLA COMPANY

CREATIVE AGENCY

MCCANN WORLDGROUP MILAN COCA-COLA

CLIENT

ATLANTIC GRUPA D.D.

SILVER

BRAND

PERSIL

BRAND

SILVER

FEBREZE CAR

AXE > AXE Apollo - Send our guys into orbit (gold) Axe Deodorants is the number 2 deodorant brand in the world and the biggest male deodorant brand. It centres around the consumer promise to improve men’s chances in the mating game by making them smell, feel and look great – currently known as the Axe Effect. AXE Deodorant is the market leader in the highly competitive male deodorants segment in Germany, Austria and Switzerland, and has been steadily growing over the past years. The five best performing male deodorant variants in Germany are from AXE. The brand vision is “to become the universal icon of the mating game, so that young men everywhere look to Axe for all their mating game needs.” Axe competes for share of mind and pocket with all youth-targeted brands. MARKETING OBJECTIVES 1. Increase participants in the new Axe Apollo competition by 30% vs. average Axe activations in the previous two years in all targeted markets. 2. Increase market share (value%) for the new variant from 0% to 2.2% in Germany, from 0% to 1.3% in Austria and from 0% to 1.1% in Switzerland. COMMUNICATION OBJECTIVES 1. Increase loyalty and conviction statements “Appeal more” and “Different” by 5% points. 2. Increase aided product awareness by 20% from 37.9 to 45.5%. 3. Increase unaided advertising awareness by 20% from 21.9% to 26.3%. (Germany) TARGET AUDIENCE Our target group bull’s eye is the typical 18-20 year old guy. He’s fairly cool but still limited in his experience of women. Top of the agenda: chasing girls and being chased by girls. Overall, he is a light consumer of media and selective in what engages

him. Communication needs to be targeted, fun & engaging. He is always online, connected and multitasking, using multiple devices simultaneously. COMMUNICATION STRATEGY AXE’s Astronaut campaign impressively shows young men how they can reach the ultimate star status: With a real space flight to come back as heroes and conquer the world of women! The highlight was the use of a recruitment strategy that took place almost exclusively in the digital environment with a strong connection to social networks: We awarded five tickets in five successive challenges. Each game and each mission became a stand-alone experience. The challenges were embedded in a locally developed two-phase approach, which supported the promotional character of the campaign. The approach was communicated 360 degrees using impressive specials and new scenes with the astronauts and was consistently extended to the POS. Two campaign phases were developed in order to enthuse the target audience for the campaign.

The ‘seeding phase’ was developed to create tension for the campaign at the onset and the ‘recruiting phase’ to quickly (and widely) increase the awareness of the campaign theme and the invitation to apply for the various challenges within the target audience. CREATIVE STRATEGY The challenge: keep the campaign and the global competition exciting, newsworthy and fresh over a 6 months period and drive registrations from as many guys as possible. The selection process was divided into 5 challenges, each providing news, sharing newsworthy content and addressing different behaviours and devices. There was one winner per challenge. Each new task was a surprise and was first divulged at the start of each new action. The story was thus told through the playful interaction and participation of the players. Challenges included having to open the bikini of a virtual space beauty with astronaut’s gloves by quickly pressing keys on the keyboard and a digital scavenger hunt. We live in a world where your audience has their own audience. The aim was to have the participating guys become some sort of campaign ambassadors, spreading the message directly. BUDGET € 5 million to under € 10 million

MARKETS Austria | Germany | Switzerland EVIDENCE OF RESULTS This campaign set a new standard for Axe in terms of effectiveness with the number of participants increasing by 145% - much more than the targeted 30%. With a 2.4% market share in Germany, the campaign achieved a 10% higher market share vs. target and 20% higher market share compared to previous AXE campaigns. In Austria and Switzerland, market share increased by 44% and 82% above target respectively.

Fairy liquid > No fairy tale (SILVER) Back in 2008, Fairy dishwashing liquid commanded impressive leadership of the hand dish-washing markets in the UK and Spain. With a revenue share of 44% in Spain and 50% in the UK it was comfortably ahead of its nearest competitor. Nevertheless, by the end of the year there were worrying signs that Fairy Liquid was vulnerable. Value share had been flat in the UK for several years and any growth in Spain was marginal. Brand health was weakening, with top of mind awareness and brand preference both decreasing. Finally, the world was about to face the full effects of the global recession, and it seemed inevitable that UK and Spain (Fairy’s two key markets) would be hard hit. By 2013, consumers were reacting to recession by becoming increasingly price-sensitive, switching to cheaper products. This was particularly so for Spain, where Own Label was especially strong. Fairy’s price premium versus the rest of the category (44% more expensive in the UK, 73% in Spain) was likely to become a problem - it would be extremely hard to sustain without impacting sales. BUSINESS OBJECTIVES 1. Grow revenue 2. UK: grow revenue share above 52%, despite being a premium priced brand during a recession 3. Spain: grow revenue share above 45%, despite the severity of recession and Spain being a strong market for Own Label BUSINESS OBJECTIVES 1. Improve value perceptions by minimum 5 percentage points 2. Improve the pride measure by minimum 5 percentage points MARKETING OBJECTIVES Increase the price premium for Fairy despite recession.

TARGET AUDIENCE The Fairy target audience covers all demographic groups. Within this mass audience Fairy’s focus has always been on mums who want to do the best for their family. COMMUNICATION & MEDIA STRATEGY If Fairy was to go on the attack and grow, people needed to reconnect emotionally and rationally with the brand. Lessons from Fairy’s past showed the key to building an emotional and rational connection was the new “Enduring Care” strategy. This strategy required mass communication in emotional and popular media, to reassure consumers Fairy was a brand they could trust and one that was still good value. In 2009, this reassurance was delivered to a mass audience by continuing the TV-led media strategy.

From 2010 onwards, a hero copy was created, wrapping all elements of Enduring Care together. In 2013, a new piece of Enduring Care hero copy was designed: School Economics, which crafted care and value together, while re-creating Fairy’s famed Tables campaigns. With own label as our closest competitor, it was important to maintain brand presence as a point of stature and differentiation versus own label. Fairy took the bold and gutsy step to invest more during a recession, doubling its media spend in Spain and the UK. CREATIVE STRATEGY Reviewing more than 30 years of advertising (50 in the UK), and understanding what had created previous brand growth, 3 crucial characteristics of success for Fairy advertising were identified. 1. Care – both care of hands and of the family, established since launch through emotionally engaging scenes of family domesticity. 2. Value – communicated through the long-lasting power and efficacy of the product. 3. Cultural insight - Over its past, Fairy had succeeded in responding to the mood and issues of the day to more strongly connect with a wide audience. BUDGET € 20 million and over

MARKETS Spain | United Kingdom EVIDENCE OF RESULTS Successful increase in sales revenue • Growth in revenue share in UK to 65.5% and 48.1% in Spain – exceeding the 52% and 45% targets • I ncrease in price premium – from 44% to 66% more expensive in UK and 73% to 88% in Spain • Increase in Fairy value and emotional measures, exceeding a target increase of 5 percentage points • Fairy ROIs €1.5:1 and £2.16:1 demonstrate the campaign was commercially successful •

Unilever > For Whatever Life Throws (SILVER) Persil (in the UK, Skip in France) is Unilever’s global laundry detergent brand. Big brands still dominate the category in the UK, but bargain-hunting consumers are far from loyal. Shoppers make full use of special offers and money-off vouchers and will switch between brands based on who has the best promotions. The purchase frequency has dropped as larger pack sizes gain favour. The laundry category is over-represented in e-commerce because detergent is a bulky, everyday essential. In both UK and France, Persil/Skip operates in a highly commoditised and competitive market. Launching a new formulation of Persil’s Small & Mighty in all new packaging would be the brand’s most important product launch for 10 years. BUSINESS OBJECTIVES The objective for this communication was to launch a new formulation of Persil’s Small and Mighty, in order to reverse market share declines in France and maintain momentum in UK. 1. UK: increase value market share by +50bps 2. France: halt share decline COMMUNICATION OBJECTIVES 1. Deliver a stand out campaign which engages emotionally 2. Drive significant increases for … • removes stains first time • removes stubborn stains • a brand that believes that kids develop best when they are free to get dirty • a brand that understands that getting dirty is a positive part of life TARGET AUDIENCE The primary campaign target was defined as mothers: tapping into their desire to put their children’s well-being first.

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COMMUNICATION STRATEGY The goal was to get mums to sit up and not only notice the new product, but also reflect on whether they were doing everything possible to bring up emotionally resilient kids. The campaign was therefore divided into 4 distinct phases: provoke, inspire, inform and celebrate. Provoke (TVC): To raise awareness and spark debate that as a society we are bringing up a nation of kids that won't be emotionally resilient enough to cope with the trials and tribulations that life may throw at them in an uncertain future. Inspire (TVC): Inspire mums to act using content to create "mighty kids" Inform (in-store + e-commerce): Talk about something tangibly new and different, giving shoppers a strong reason to believe in the new formulation. Celebrate (Facebook + OOH + Interactive Digital Activation): Provide opportunities for mums and kids to engage at live interactive digital poster sites nationwide to create their own mighty silhouettes and share on Facebook.

Overall the campaign encompassed TVCs, Cinema Ad, Online Demo Videos, Print, OOH, Digital OOH, Ambient Guerrilla Activity, Interactive Digital Activation, Facebook and Shopper materials. CREATIVE STRATEGY The bedrock of any mass detergent brand is belief in the power to remove stains. Communicating this benefit is a much contested arena. It is largely won by big budgets and heavy-handed laboratory style demonstrations. The Persil strategy is based around the good that getting dirty can do, especially when you are freed from the worry of getting the clothes clean again later. The insight was that Persil’s stain removal power could be compellingly communicated if we set it to some greater, more emotive purpose than just the pride of a clean wash. Working off the insight that children learn great life lessons while getting stained, mothers talked about the great pride they feel when their children learn to stand on their own two feet. They strongly endorsed the idea that in getting dirty children really do develop the character and spirit to take on whatever life throws at them. Persil was positioned as part of this highly involving subject of developing your children, not just as part of washing up after them. Persil Small and Mighty: For Whatever Life Throws. Supporting the highly crafted and impactful TVC, there were a range of other channels employed, such as outdoor, cinema and press. All core creative assets were developed to ensure consistency and clarity of the campaign idea and look and feel throughout the 360 mix.

BUDGET € 10 million to under € 20 million MARKETS France | United Kingdom EVIDENCE OF RESULTS The campaign successfully delivered against all objectives. In terms of communications objectives, both the ‘For Whatever Life Throws’ TVC and online demo out-performed the norm and were above the top 20% level for credibility, relevance, easy of understanding, ‘makes me more interested’ and purchase intention. This success translated into sales performance. In France, across the campaign period of September to December 2013, Skip sales were turned around and increased 6%, delivering incremental sales of €1.9m – €158,000 in incremental sales per week. In the UK, Persil achieved a 9% sales increase. Despite the competitive conditions, Persil more than doubled its market share target of +50bps, as value share grew by 119bps. Having delivered sales success in both the UK and France, the campaign was then taken to 7 other markets across the continent.

Coca-Cola > Share a Coke, Share your summer (SILVER) Central & Southern Europe (CSE) is one of the of the most diverse Business Units in The Coca-Cola Company. Increasing the growth rate and keeping the brand love high these past few years has been very challenging due to an unfortunate socio-economic situation and strong competition. The consumer’s relationship with the brand needed to change and be brought to a whole new level. Coca-Cola was losing its relevance as the brand was considered “not so special to me or my friends” by the target market: teenagers. BUSINESS OBJECTIVES 1. Delivering results against the declining trend of the Sparkling Soft Drinks category 2. Consolidating the market during summer months 3. Grow the P4W (past 4 week consumption) during the summer MARKETING OBJECTIVES 1. Recruit the new generation of youth to fall in love with Coca-Cola (penetration) 2. Convince teens to drink Coca-Cola more often during summer (frequency) COMMUNICATION OBJECTIVES 1. Add more perceived value to the products and make them stand out on the shelves (especially in the immediate consumption channel), in order to increase frequency 2. Grow Brand Love and Brand Image metrics, in order to increase penetration and maintain the category leadership. TARGET AUDIENCE Teenagers in all 23 markets involved were the primary target.

COMMUNICATION STRATEGY It was vital to consider the specific media used by our target and realise this campaign had to be cross-media. A real story can be talked about through some messaging application, then become viral on a social media platform and end up being told on television. Considering the challenging economic environment, efficiency was key. The Australian “Share a Coke 2011” campaign best fitted the needs for this region in particular. The complexity vs results were very carefully studied and a calculated risk was taken when deciding to implement the initiative. The idea behind the Australian programme delivered on various levels: 1. It provided a cultural insight: the power of using first names identified by Australia as universal and therefore relevant to any other culture. It allowed Coke to become personal with consumers by using their first name on the bottles. 2. It brought the Coke bottle into the centre of the campaign, also driving transactions. 3. It emphasised brand love via the key happiness driver “sharing”.

In order to overcome the limitations the Australian campaign might bring in our target markets, one very important playful aspect was added: the first names on the bottles were mixed with youthful, emotional nicknames or generic names. This was done with the very clear objective of driving market share. The nicknames concept was extended to big packs targeting moms and glass bottles targeting young adults. In order to start the campaign at full force, for the first time in CSE history, an overnight inventory swap was organised at key customers. This was possible thanks to very strong internal engagement efforts. This way the campaign’s visibility and impact began on day 1. The campaign was developed and implemented using the “social at the heart” principle. Conversations that started with the bottle got amplified in social media. Never-before-heard-of buzz was created. TV and traditional media were used as an element of support. Their job was to "educate" the target, explaining the meaning of the names on the bottles ("this Coke is for sharing") and inspiring them to use the products as social currency to connect with their friends, living and sharing new stories. CREATIVE STRATEGY Despite using the same packaging transformation as the Australian ‘Share a Coke’ campaign, we were able to expand the potential of the campaign and to give Coca-Cola a new role by bringing summer into

the context, that of connector. During the summer of 2013 Coca-Cola invited teens to interact by using the power of their names in a playful and social way, because the best summers are shared summers. BUDGET € 10 million to under € 20 million MARKETS Albania | Austria | Bosnia and Herzegovina | Bulgaria | Croatia | Cyprus | Czech Republic | Estonia | Greece | Hungary | Italy | Latvia | Lithuania | Malta | Moldova | Montenegro | Poland | Republic of Macedonia | Romania | Serbia | Slovakia | Slovenia | Switzerland EVIDENCE OF RESULTS 1. M arket share: after the decline of the last several years, market share during summer activation months rose 2% points vs previous year. 2. Volume: during the activation period in total CSE (May-Aug) Coca-Cola Regular and Coca-Cola Zero volume outperformed the rest of the sparkling soft drinks market by 11% points. 3. F requency & penetration: consumers started to purchase more small bottles (0.5 litre and under) making the total transactions more profitable and attracting new consumers across key target groups (P4W consumption metrics).

Argeta > Argeta – approved by moms (SILVER) Argeta pâté has an extraordinarily successful tradition in the West Balkans region - it is a strong regional market leader, maintaining high growth rates over the last 12 years and achieving consistent brand value growth, placing it among top 5 strongest brands in the region, right behind legendary brands such as Milka and Coca-Cola. Maintaining Argeta’s market leader position on the pâté market in the West Balkans region was harder than ever in 2013. Recession was very much present and the consumer confidence index reached historically low values. Consumers started to reconsider their purchases, especially for products such as pâté. Why did this happen in a category where the price of a single unit is only approximately 1 Euro? While in most European countries pâté is considered to be a high-end product, in the West Balkans it is perceived to be made out of meat industry leftovers and is therefore labelled unhealthy. Why would households continue to spend money on this “junk food”? Argeta, as the market leader, sometimes costs as much as 5 times more than a low cost pâté so consumers started to turn towards cheaper alternatives, believing the quality would not be that different. As a consequence the key market players started a dangerous price battle. Although Argeta participated at first, it wasn’t a long term solution as it would severely affect the brand’s profitability. BUSINESS OBJECTIVES Preserve the profits of Argeta as the leading pâté brand in the West Balkans region, although the forecast was predicting a considerable decline in profits (2013 vs. 2012) and the beginning of 2013 was already showing disappointing results. MARKETING & COMMUNICATION OBJECTIVES 1. Put a stop to a falling value market share and even increase it for 4% (average on all markets) if compared to pre-campaign period (June to November 2013 vs. December 2012 to May 2013). 2. Preserve the price premium positioning of Argeta in 2013. 3. Achieve at least two out of the three following communication targets in all markets in 2013: a) brand strength index: +1% b) highest quality: +10% c) trustworthy brand: +10%

TARGET AUDIENCE Moms aged between 25 and 45, who are the main shoppers in the household. As households in the region are often multi-generational, this target group buys the most pâté in quantity. They were looking for reassurance that their food choices – in this case pâté - are good and that they still deserve a portion of their highly limited household budget. COMMUNICATION STRATEGY In order to maintain market leading position it was needed to differentiate Argeta significantly from the pâté category: Argeta needed to prove it is not “just another pâté” or “junk food’. The crucial insight came from moms all over the region saying: “it’s hard to believe anyone these days. If I don’t see it, I don’t believe it”. Therefore the key was to come up with an open and honest approach which would highly involve moms - moms were thus invited to visit the factories and discover the production process first hand.

OVED B PR

MOMS ROV ED

CREATIVE STRATEGY A ‘reality’ and engagement campaign was set up as only transparent and honest communication would do the job of changing people’s opinions so radically - the campaign was thus based on BTL activities (factory visit) and this content was placed in mass media. Moms were invited to join “the toughest jury of quality” and to check out every corner of the production facilities, all procedures and ingredients and even talk to the employees. Out of 860 applicants, 12 moms were selected to be “the jury”. They would then go on to share their story and explain first hand why Argeta deserved their approval and why Argeta is so different than all other pâtés. For Argeta this was a high risk campaign, as there was no way to control the mom’s opinion, especially considering industrial pâté production is really not a sexy thing. At the beginning of the campaign, one big mistake generated negative PR story in the media about the campaign : pictures were published on the campaign’s website without mentioning that these were purely symbolic at the moment. An honest approach to the situation solved the issue and the campaign went on to become a huge success. MEDIA STRATEGY The campaign itself was based on factory visits and was supported by TV as the medium that maximizes reach quickly, followed by print ads, posters and web communications as supportive media. An extremely important role was given to PR and social media.

BUDGET Under € 5 million MARKETS Bosnia & Herzegovina | Croatia | Serbia | Slovenia EVIDENCE OF RESULTS Argeta’s margin increased well beyond set goal if compared to the pre-campaign period (December 2012 to May 2013). The trend of decline that was felt most in the months preceding the campaign was completely reversed. • The value market share increased an average of 4.5% (goal of 4%) on all markets. • The brand strength index increased 1.9% (goal of 1%) on average in three out of four markets (Serbia remained the same). • Perception of Argeta as being the highest in quality increased 14.9% (goal of 10%) on average in all markets. • P erception of Argeta as trustworthy brand increased by 25% (goal of 10%) on average in all markets.

NIVEA In-Shower Body Lotion > Make everyday a moisturising day (bronze) Over the last few years, the European skin care market appeared to have become saturated, having been limited to flat growth in the body category. This presented a significant business challenge for NIVEA: how to increase the penetration and the product usage? Market research was indicating that many consumers were non- or light-users of body lotions rather than regular users and this was due to one main factor. Consumers are time strapped; meaning they can’t find the time to apply moisturiser let alone wait for the moisturiser to be absorbed before they are able to get dressed and start their day. NIVEA saw an opportunity and conceptualised a product just for these types of consumers - NIVEA’s In-Shower Body Lotion, allowing consumers to moisturize skin while in the shower – like a hair conditioner. The real challenge was to clearly and effectively introduce to the consumer the new moisturizing behaviour of being able to apply “body lotion” in the shower and rinse it off and being able to get dressed immediately after drying. Educating the consumer about the benefits and new routine would be paramount to the success of the product adoption in the market. BUSINESS OBJECTIVES Increase NIVEA market share in the body care category by 3% in every launch market within the first year of launch. COMMUNICATION OBJECTIVES Convince and educate consumers on a new product, encouraging a body care routine. MARKETING OBJECTIVES Launch NIVEA In-Shower Body Lotion to increase penetration and usage among non-users and lightusers in the body care category. TARGET AUDIENCE The target audience consists of 30-45 year old women, which finds the idea of body lotion intriguing, since

they like the feeling of well-taken care of skin – but struggles in today’s busy, time-crunched society. COMMUNICATION & MEDIA STRATEGY Habit, rather than conscious choice, is the basis of most human behaviour and it is very difficult to change. This target group has adapted a habit of not, or very irregularly, moisturizing their skin. In order to change this, it was essential to identify the components that dictate their routine. From research, the underlying consumer insight could be broken down into two major barriers that determine their passive body care behaviour: • The time it takes applying the lotion and wait for it to absorb fully • T he sticky residues that current moisturising products leave behind

The goal of communication was to break these barriers and make everyday a moisturising day. A simple and educational message of “quick and easy moisturising” was crafted to speak to consumers in easy to understand language, demonstrating how the product was applied. This was highlighted visually using pictograms in a step-by-step format throughout the communication, with clear and concise usage instructions. The combination of the educational message and the pictograms gave consumers a clear understanding of the key benefit of the product, giving them the answer to their moisturising challenge. Staying close to the NIVEA brand, the product benefit was aligned to skin care, driving the brand message of superior care. High awareness media were chosen to build momentum quickly for initial sales, of which most investment was aimed at TVC and supported with channels suitable for the specific countries, such as OOH, Digital and Print. CREATIVE STRATEGY For communication effectiveness’ sake a decision was made to focus exclusively on the educational aspect of the communication taking into consideration the product innovation and the extent of the consumer’s barriers to entry. Creatively, the product was demonstrated in use, with the key-benefits being clearly explained, and supported by the illustrated pictograms explaining the various steps and encouraging a moisturising ritual.

The NIVEA brand attributes were highlighted throughout the advertising to communicate trust and confidence in the product. BUDGET € 10 million to under € 20 million MARKETS France | Germany | Italy | Turkey EVIDENCE OF RESULTS On average, all markets grew over 5,6%, exceeding expectations and boosting the category. Not only did the campaign achieve the set objective, it achieved a 186% increase in market share growth above the target. High repurchase rates indicate that the NIVEA In-Shower Body Lotion message was understood by consumers and encouraged a regular routine of moisturising. The ultimate success of the campaign was the fact that non-users of body lotion were ‘converted’ thanks to NIVEA In-Shower communication, with numbers reaching 24% and 25% in Germany and Italy respectively.

Febreze Car > Don’t give odours a ride (bronze) The market for Car Air Fresheners (CAFs), one of the smallest segments within the Air Care category, amounted to 5% of total value in Western Europe. Considering there are 150 million privately used cars in Western Europe, P&G saw the huge potential and big business opportunity of this tiny segment. The cheaply priced ‘Magic Trees’ and the fact that countless Trees and similar me-too-products were given out for free with almost every car wash led to an overall value erosion of the CAF market. Febreze launched a new product to breathe new life into the stagnating category and unleash its sleeping potential – a small pod that clips to the dashboard vent. There was nothing new in terms of product form as most other brands, including private labels, had already launched vent-clip-products, but they had all failed to get serious consumers’ attention until then. BUSINESS OBJECTIVES 1. Gain significant value share within first year of launch: Achieve at least 20% value share in Germany and at least 10% value share in France. 2. Category growth: Lead the category back to growth in both markets. MARKETING OBJECTIVES Increase penetration within first year of launch: Get the product into at least 1.5 million cars in Germany and 750,000 cars in France. COMMUNICATION OBJECTIVES 1. Raise awareness, then consideration, of Febreze Car. 2. Educate consumers on Febreze’s odour elimination capabilities. TARGET MARKET Car owners in France and Germany

COMMUNICATION STRATEGY People needed to reappraise CAFs as something that could be beneficial to the car journey experience. To achieve this, it wasn’t enough just to create awareness and consideration. The message: Febreze’s new vent clip is able to truly eliminate odours before freshening the car. For non-users it was a latent need that had to be brought to their attention; for current/lapsed users it was a familiar problem for which they hadn’t yet found a satisfactory solution. The message was spread on TV in car-related environments and the product was placed in taxis to allow passengers to experience the product’s performance first hand. In addition, samples were given out in tyre exchange shops. Furthermore, PR, Social Engagement and WOM activities were implemented to drive advocacy to help the consumers see and believe that Febreze CAF is truly different.

CREATIVE STRATEGY Febreze had already successfully proven its odour elimination capabilities in other product pillars such as classic aerosols or fabric refresher sprays with the help of their famous Breathe Happy campaign – a series of social experiments that made blindfolded people attest that even the filthiest room could smell like a springtime meadow. Since they now wanted to achieve the same goal for the car category, they re-interpreted the existing campaign for this particular segment. An analysis of the target group showed that people either just put up with the unpleasant odours in their car (non-CAF-users), or were resigned to the fact that most CAFs were unable to get rid of them (lapsed & current users). This knowledge led to the category insight: car drivers are unintentional chauffeurs to their odours. This insight then led to the campaign’s motto: don’t give odours a ride. Research showed the most annoying odour sources in cars were fast food, sweaty sports gear and human body odours. Consequently, numerous cars were loaded with these smelly items plus three sweaty guys, as blindfolded potential consumers were invited to assess the air inside. The stunned reactions were caught on film.

BUDGET € 10 million to under € 20 million MARKETS France | Germany EVIDENCE OF RESULTS The following results show that Febreze revitalised a stagnating category and went from zero to market leader in Western Europe in only 6 months: 1. In both markets the value share rocketed to record breaking highs and left Febreze still in a strong market position post campaign. 2. The campaign impressively turned around the negative category trend in both markets and gave it a sustained growth, after years of stagnation. 3. The campaign exceeded the penetration objective – more than 3.2 million French and German drivers now use a Febreze vent clip in their car. 4. The refreshing campaign format was perceived as particularly entertaining and stood out in a cluttered category, hitting above average scores in uniqueness and purchase intent. 5. 91% of consumers testified that Febreze Car can truly eliminate unpleasant car odours.

Finalists CAT.a01 > Automotive More than laundry Client Procter & Gamble International Operations SA Brand Lenor Creative Agency GREY Germany GmbH Germany, UK and France are the biggest markets for Lenor in Western Europe. However, while in Germany the brand is the undisputed leader, having established the category in 1963, in the other two markets Lenor is a challenger brand. To realise P&G’s long-term growth objectives required following the German example and achieving similar success for UK and France. The creative idea was based on the insight that clothes matter and we need to give meaning to them as they can have an effect on our confidence and daily mood. It reminded people of the love for their clothes. The campaign delivered a ROMI of 0.9 in the UK and 1.3 in France.

No.1 For Acid Wear Client GSK Brand Sensodyne Pronamel Creative Agency Grey London Pronamel was first launched in Europe’s two largest oral care markets, Germany and the UK, to help fight dental acid wear. However, the brand was facing some significant challenges such as dentists not talking to patients about acid wear. GSK’s aim was to help people do more, feel better and live longer. Because early signs of acid wear are hard to see, a visual asset was developed inspired by dentists to educate people in knowing when to seek dental help. The most significant result is that 8.6 million people in the UK and Germany, and many millions more in 46 other countries where Pronamel is now sold, have protection from acid wear.

Sourdough launch Client Barilla Brand WasabrĂśd Creative Agency INGO Stockholm Barilla needed to further revitalise the crisp bread category and drive growth. Sourdough is one of the strongest trends in the category so they decided to tap into this and launched Wasa sourdough crisp bread. The creative strategy was to position Wasaâ&#x20AC;&#x2122;s crispbread as the first truly affordable sourdough crispbread, not only compared to competitors, but also compared to baking your own.The aim was to gain share within and grow the overall sourdough crisp bread segment as well as the overall crisp bread category. Wasa surpassed sales objectives by +64%, managed to secure brand growth, drove crisp bread category growth and dominated the sourdough crisp bread segment.

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CAT.a02 >

CONSUMER GOODS

Gold CLIENT

HORNBACH BAUMARKT AG

CREATIVE AGENCY

HEIMAT WERBEAGENTUR GMBH

BRAND

HORNBACH

Hornbach Baumarkt > The Hornbach hammer (gold) For the first time after a few years of growth, the business year 2012 saw the German and Austrian DIY sector faced with a slight decline in sales. Three major challenges had to be met by all providers. 1. Decline in the DIY market: between 2010 and 2012, the number of DIY enthusiasts in Germany fell by 4%. 2. High levels of competition: in terms of space (sales area per 10,000 inhabitants), the sheer concentration of available options in Germany and Austria amounts to “competitive configurations that are to some extent ruinous” 3. Growing significance of digital sales channels: online sales in the DIY sector are increasing and reached a new peak in 2012 For HORNBACH, it was clear that engaging in price warfare in the style of rival concern Praktiker was not the solution – and was generally out of the question because of the “permanently low prices” strategy that remains a major factor in positioning HORNBACH as a project-oriented DIY store. This meant that for HORNBACH to achieve further growth, brand communication was vital in helping the brand stand out among its competitors and generate creative stimuli that would playfully guide DIY enthusiasts towards HORNBACH stores or the HORNBACH Online Shop. BUSINESS OBJECTIVES Halt the declining sales trend and achieve profitable growth (> +0,1%) COMMUNICATION OBJECTIVES 1. Enhance the profile of the HORNBACH brand, helping it to maintain its position as the “right partner” in the increasingly hard-fought battle for DIY enthusiasts. 2. Raise engagement levels by generating the maximum level of interaction with the brand, thereby heightening its overall relevance – both online and in real life. 3. Strike a chord with German and Austrian DIY enthusiasts in order to increase brand desirability and bring more people than ever closer to HORNBACH.

TARGET AUDIENCE The target group was the broad mainstream of German and Austrian DIY enthusiasts: generally male, aged 30+, house or flat owners. COMMUNICATION STRATEGY The entire campaign was scheduled for summer 2013 – in other words, it was deliberately timed to take place after the spring season, when business is always unpredictable because of the weather, stimulating sales if required and plugging the summertime gap in the media.

Using an integrated mix of activities spread out across online and traditional media, the campaign was presented in 6 phases, all carefully planned out in terms of dramatic impact and content: 1. Teasers in social media 2. Announcement 3. Exclusive advance sales 4. Official sales 5. Subsequent sales on special microsites 6. Special sale of the last 700 exemplars (in guerrilla promotions/pop-up-stores) The above range of measures was deployed in a manner designed • To support sales at the various touch points • T o ensure that interest remained high even in between specific events. CREATIVE STRATEGY The task was to find a way to offer something any DIY enthusiast would wish to own – and that only HORNBACH could provide. So instead of launching a “classic” campaign, we decided to create a product that would itself become the campaign: The HORNBACH ! A hammer that could only have come from HORNBACH. Made of real tank steel. An icon of the do-it-yourself culture, strictly limited to an edition of 7,000 pieces. Available exclusively from HORNBACH at a price of 25 euros. The ultimate object of desire. The campaign would use the Hammer’s limited availability to fuel demand, presenting it as an embodiment of the brand and making sure it

continued to be talked about for as long as possible. The creative core of the campaign was the genesis of the HORNBACH Hammer. An authentic multimedia documentation of the production process was made, from the purchase and melting down of the Soviet tank through to the production of the Hammer itself. BUDGET € 5 million to under € 10 million MARKETS Austria | Germany EVIDENCE OF RESULTS During the online advance sales on 2 July, 150 hammers strolled off the digital shelves in under 20 minutes. It only took 2.5 hours for the HORNBACH Online Shop to sell out of Hammers altogether. In German and Austrian stores all Hammers were gone in just three days while the TV, OOH and print campaigns were just getting underway. The special additional sales spurred people into action to an unprecedented degree, travelling considerable distances – in one case 810 km – to reach specific sales locations. The website “gibtesfuermicheinenhornbachhammer. de” clocked up over 4 million visits within 5 days. All business and communication goals were reached with record-breaking results. In 2013, when the overall gross turnover of the German DIY store sector was down 2.6% compared to 2012, Hornbach achieved growth of 2.9%.

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CAT.a03 >

Bronze CLIENT

GLAXOSMITHKLINE

CREATIVE AGENCY

GREY LONDON

BRAND

CORSODYL

General Healthcare & OTC Products

Corsodyl > Daring to shock (bronze) This is a story about a brand daring to challenge marketing conventions and which, through the boldness of its, helped make a difference to thousands of people’s lives… There is a disease that more than 5 out of 10 people across Europe are showing signs of - one with potentially devastating consequences. The warning signs are obvious. The treatment painless and simple. Yet 71% of those affected are doing nothing about it. Gum disease is the biggest cause of tooth-loss and spitting blood when brushing is one of the early signs. It is a tragedy that is so easily addressed, but can cause not just physical loss, but also extreme emotional and psychological distress. GSK’s Global Segmentation 2006 study found 47.8% of all adults surveyed have experienced bleeding gums yet only 28% of people have done anything about it. A YouGov UK Adult Dental Survey in 2009 suggested 83% of all adults in UK have signs of gum disease. BUSINESS OBJECTIVE To increase MAT value sales by 12% within 12 months. (The brand’s end objective is profit but its key driver is sales growth rather than cost reduction). COMMUNICATION OBJECTIVES 1. To jolt people into realizing that spitting blood whilst brushing can be a sign of gum disease (Top Quartile, tracking benchmark) 2. To raise awareness of Corsodyl (Paradontax in Romania) as an effective remedy against gum disease (Top Quartile, tracking benchmark) MARKETING OBJECTIVES 1. To drive penetration levels by 5% within 12 months 2. To increase value brand share in each market by 0.5% points within 12 months TARGET AUDIENCE The target audience was anyone with gum disease. In terms of demographics, a ‘bulls-eye’ of women aged 35-55 years was identified (as this is the stage in life when gum issues typically begin).

COMMUNICATION STRATEGY In this celebrity-driven culture, image is everything and having a bright white smile is increasingly the focus for many. A John Armstrong Creative Development Research highlighted how deep our need for beautiful looking teeth is. 1.Shock Use of high impact media (such as TV and posters) to grab attention with bold advertising. 2. Educate Paid research, displays and a dedicated website (including pregnancy press) were provided. 3. Act 3.1 Dental detailing - Dentists are the first port of call for many. Whilst Corsodyl already has high awareness and reputation amongst Dental Health Care Professionals (DHCPs), their help and conviction needed to push this through. 3.2 Point of sale - The merchandising was improved and, where possible, educational leaflets were made available.

CREATIVE STRATEGY People normally freak out when they see blood, yet calmly disregard blood when brushing their teeth. It appears that many people are ‘scrubbers’ - they believe in aggressively cleaning their teeth - with blood being a sign of a job well done. The communication had to fundamentally re-frame their perception of blood, from being seen as a positive, to re-assert its proper meaning as a warning sign. A key way to get people to do something about their gums was to raise the importance of the issue primarily by linking it to something they already think is important – their teeth. Beautiful teeth have always been the symbol of perfection and goodness while ‘evil’ characters have always been portrayed with bad/missing teeth. Based on the concept of ‘psychic shock’ (when you shock a person, you need to instantly provide a clear solution, otherwise they will ignore the threat and return to a place of denial), the easy solution – Corsodyl - was provided when making them aware of gum disease. The ad is shocking - it shows blood from the eye, blood from brushing and a missing tooth. It might not be liked, but it cuts through and is remembered.

EVIDENCE OF RESULTS sales were more than double the objective at +31% • P enetration increases were double the target, bringing relief from gum disease to another 264,000 people. • Value share growth was at least 3x the objective (2.3% points in UK and 1.4% points in Romania) • K ey points of communication significantly exceeded norms • S upporting data shows a clear correlation between activity and sales and share uplift • V olume increased by 30% in UK and 17% in Romania • B oth brands have grown in their respective categories (UK by 2.9% points, Romania by 1.5% points) • Econometric modelling evidenced that advertising was a significant contributor to sales (for every 100 GRP’s there is an uplift in volume share of 2.2 points). • Estimates of ROMI suggest a short-term return of €1:€1.20 and a long-term ROMI of €1:€1.40 • Value

BUDGET Under € 5 million MARKETS Romania | United Kingdom

YOU WOULDN’T IGNORE THIS. SO WHY IGNORE BLOOD WHEN YOU BRUSH YOUR TEETH? If you spit blood when you brush your teeth, it could be an early sign of gum disease, a leading cause of tooth loss. So, if you spit blood in the sink when you brush your teeth, try Corsodyl Mint Mouthwash. Nothing is more effective at treating gum disease.* Find out more at www.corsodyl.co.uk

CLINICALLY PROVEN. FOR PEOPLE WHO SPIT BLOOD WHEN THEY BRUSH THEIR TEETH.

*Over the counter medicines only. Corsodyl Mint Mouthwash contains chlorhexidine digluconate. Bleeding gums can be a sign of gum disease and not treating may lead to tooth loss. Always read the label. CORSODYL is a registered trade mark of the GlaxoSmithKline group of companies.

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Finalists CAT.a03 > General healthcare & OTC products Real stories. Real truths. Client GlaxoSmithKline Brand Corega Creative Agency Grey Worldwide Warszawa Corega cream is the number 1 denture care brand in Poland and number 2 in Hungary. It was still trying to grow the category in both markets however, in Hungary, it was also battling P&G’s Blend-a-Dent’s aggressive promotion strategy designed to maintain their market leadership. Corega decided to grow value sales, penetration and brand relevance. ‘Real stories. Real truths’ was a platform created to maximise connection and shift the focus from expert to peer to peer communication. It was designed to break category clichés and create deeper connections with the target audience. After the campaign, value sales increased by over 11% in Poland and 21% in Hungary, penetration grew in both countries, the equivalent of 550,000 new Corega users.

CAT.a04 >

automotive

SILVER

client

CREATIVE AGENCY

Brand

KIA MOTORS EUROPE

LEXUS EUROPE

INNOCEAN WORLDWIDE EUROPE

ZENITHOPTIMEDIA, CHI & PARTNERS

BRAND

Brand

KIA CARENS

LEXUS IS

SILVER

Bronze

client

CREATIVE AGENCY

BRAND

SUPPORT AGENCIES

AUDI AG THJNK AG

AUDI A3 SPORTBACK

ADAM OPEL AG SCHOLZ & FRIENDS CARAT GLOBAL MANAGEMENT, MRM MCCANN

Brand

BRAND OPEL

SILVER

BMW GROUP SERVICEPLAN BMW MOTORRAD

AUDI AG THJNK AG

AUDI QUATTRO速

Kia Carens > Growing up can be fun (SILVER) The loudest voice in motoring, Jeremy Clarkson, has on more than one occasion said that “people carriers are for people who have given up”. A sweeping statement from the opinionated front man of the TV show “Top Gear”. But as he speaks to a loyal weekly audience of around 350 million people worldwide, it’s a hard image to shake off. Even though it’s not (completely) true. When you have kids, it seems the reason for looking at the MPV sector is driven more by a practical requirement, rather than fuelled by personal desires and emotions. The Kia Carens, with its 7 seats, is definitely a people carrier. But the biggest challenge is that it lives in an “unsexy” sector in steady decline and one in which Kia has a lack of heritage. BUSINESS OBJECTIVES A minimum of 4,800 sales across the 4 markets by the end of 2013. A steep target that would require selling more than the 2012 total combined sales. MARKETING OBJECTIVES 1. To bring down the average Kia Carens buyer age at least to the segment average age of 52 years. 2. Defy ‘Clarkson’s’ logic – address and convert the sort of people who “often get the urge to experience something new and exciting” so the opposite of Clarkson’s “people who have given up”. Aim is to over index by a minimum of 120 against a youthful and spirited target audience within the C-MPV segment, with the percentage of new Kia Carens youthful and spirited customers. COMMUNICATION OBJECTIVES Introduce Kia – positively impact the brand’s image. The Carens campaign aimed to show a 50% improvement, compared to the pre-campaign ‘Kia image to date’ reference point.

TARGET AUDIENCE A dynamic, unconventional and energetic consumer group with a youthful and spirited mind-set. Furthermore, the campaign targeted the family man at the younger end of the family market. COMMUNICATION STRATEGY In order to engage the target, an initial wave of ATL with a central TVC, focusing on the attitudinal side of their life, was created. This led to the Carens’ section of the Kia website, where the story was embellished by 10 individual broken down film clips, highlighting specific features, and further enhancing the view of the Carens as part of the mischievous dad who hasn’t said goodbye to fun yet. In order to conquer the hearts of the target group families with a “Progressive Modern Mainstream” mind-set who enjoy spending their leisure time together during family related activities - it was important to: - concentrate communication on dedicated territories and being dominant. - focus on building an association to territories that linked to our campaign message.

- transmit Kia’s youthful and spirited brand character and celebrating playful family values, through selected media channels. CREATIVE STRATEGY The communicative challenge for Kia was to present itself in a family oriented sector where they had no visibility. Overhearing this in a pub confirmed the brand had the right target in mind: “Since he’s had his son, he’s just not the same any more. He hardly ever comes out, and when he does he seems permanently preoccupied. Fatherhood’s a wonderful thing, but it doesn’t mean you have to get restricted…” By starting a family, you’re entering a new stage of life. With a family comes a need to refocus your priorities, to put the family first. That doesn’t mean the ‘you’ that existed pre-children must cease to exist. You don’t need to grow up completely. You can still embrace your expressive, outgoing and fun side. Knowing the sector was ageing meant that to reach the younger people would be difficult and so the core of the brief was the Tone of Voice – inviting the creative to be “Playfully Provocative”. Core message: just because you’re a parent now, doesn’t mean you can’t still have fun. BUDGET € 20 million and over MARKETS France | Germany | Italy | Spain

EVIDENCE OF RESULTS All campaign objectives were clearly exceeded. By the end of the year, Kia had sold 8,476 models – more than 20 x those sold in 2012, exceeding the target by over 70%. This huge increase in sales led to an absolute growth in market share of 1.6% within the four-month campaign period. In addition, it turned out that the Carens campaign was very efficient in terms of delivering share growth based on expenditure. By relating the market share growth to the media spends of the campaign period, the Carens campaign was more efficient than those of 7 out of the 8 main competitor models. In addition, while the segment’s average age increased from 52 to 54 in 2013, the Kia Carens results show the average age of buyers was brought down from 58 in 2012 to 48 in 2013, exceeding target by far. The intended target audience, youthful & spirited consumers, was particularly reached (over indexed against Carens buyers at 126). Furthermore, the Kia brand image improved by at least 50% in very relevant image dimensions such as being a likeable and innovative brand.

Lexus IS > The new Lexus IS, An Amazing Launch (SILVER) Lexus is a luxury automotive brand founded in 1989 in the USA in the premium vehicle division of Toyota Motor Corporation. Originating from America, it has been struggling to establish itself in Europe where the luxury car market is dominated by the German brands - Audi, BMW and Mercedes-Benz (commonly referred to as the G3). With a combined market share of 80.6% (MMS Europe, 2012) they have a majority stake in the hearts and wallets of the discerning luxury car buyer. No brands from outside of Europe have been able to gain full recognition within the luxury car sector. As if the disparity in market share wasn’t enough, Lexus awareness levels were low across major markets in Europe, with an average of 8% (Lexus BAIT Tracker – 2012 Measurement): a disparity Lexus had to overcome on top of the fact that on average the German competitors spend four times as much (MMS Europe, 2012).

BUSINESS OBJECTIVES With the IS launch, Lexus needed to become a significant player in one of the most competitive segments in the automotive industry – the D Premium segment, hence the ambitious objectives: 1. D ouble year-on-year sales of the new IS in Europe 2. Increase sales volumes in the D-Premium sedan segment, aligning this segment’s contribution to overall brand sales with the German brands

TARGET AUDIENCE Pre-2013, the median age of a Lexus car buyer in the D Premium segment was 65 years, compared to the median age for this segment of 52.

COMMUNICATION & MARKETING OBJECTIVES 1. Attract a younger buyer demographic for the new generation IS sedan 2. Increase desirability of Lexus IS by changing brand perceptions towards a ‘cooler’, ‘design and innovation-conscious’ brand

COMMUNICATION & MEDIA STRATEGY Previous Lexus communications had done a good job of preaching to the choir: ad tracking for an earlier campaign had concluded that creative had “failed to reach beyond those already switched on to Lexus. It failed to resonate with a wider audience” (IPSOS tracking, UK). The IS campaign needed to reverse this trend.

Lexus acknowledged the need to target a younger, more upwardly mobile group, the ‘Dynamic Achievers’. They are successful, ambitious people between 30 and 40 years of age, who want a car that fits their status.

Lexus had to rethink how their approach to brand delivery was engaging the consumer. To win credibility with their audience, the campaign needed to deliver an impactful message with enough frequency to be noticed. To implement this on both Pan-European and local levels, Lexus ran ‘beacon TV spots’ alongside targeted Print and Digital placements around lifestyle, news, business and high profile sports environments that they knew the Dynamic Achievers would specifically choose to consume, as these were identified on EMS survey as their top passion territories. Individual markets further deepened engagement across social and experiential channels. CREATIVE STRATEGY In order to ensure a successful launch for the IS among a conquest audience, the campaign revolved around 3 truths based on insight into the car, the category and the consumer. These became the guiding principles for the launch. 1. Persuasive Product Truth : BODY RIGIDITY On the IS, Lexus have pioneered and applied three different techniques to ensure optimum body rigidity. 2. Category Truth : DRIVING DYNAMICS Though the D segment comprises business saloons, people who drive them choose their car based on how it drives. It’s the key driver of brand desire and model desire (BAIT). 3. Consumer Truth : CONQUEST ISN’T LISTENING To shake the audience out of their indifference

to Lexus, the campaign needed to captivate and engage the audience. 4. The Creative Solution: STRONGER BODY FOR GREATER CONTROL Combining body rigidity, driving dynamics and the need for a breakthrough execution, the creative idea was to draw comparisons between the greater control a driver gets from the IS’s stronger body and that of a Prima Ballerina. BUDGET € 20 million and over MARKETS Austria | Belgium | Finland | France | Germany | Italy | Netherlands | Norway | Poland | Portugal | Russia | Spain | Sweden | Switzerland | United Kingdom EVIDENCE OF RESULTS Lexus beat all their objectives. Sales tripled vs 2012, showing a 294% increase, and the spikes in sales were as a result of the media bursts. Lexus achieved an impressive sales share growth of 12% vs 2012 in D-segment. The buyer’s profile age went down from 65 years old pre-2013 to 55 post-2013. Key brand metrics significantly improved as shown in the bespoke post-campaign research conducted by GMI: +8% increase in ‘cool,’ +21% in ‘innovative’ and +27% in ‘distinctive design’ characteristics.

BMW Motorrad > One World. One R 1200 GS (SILVER) There are products that define a category of their own and, for years, the R 1200 GS was the bestselling motorbike in the world. When such a big seller is updated, the manufacturers usually take a very careful approach as even the smallest of changes is perceived as a revolution. In the past, model updates were eagerly awaited by fans. However, about six months before the actual world premiere of the new GS, the anticipation suddenly took a turn when leaked information and images of the prototype revealed that the legendary air-cooled boxer engine, which had been the heart of each GS for more than 30 years, was being replaced with a water-cooled version. Blogs, forums and websites quickly became the platforms for heated debates. BUSINESS OBJECTIVES 1. The objective was to keep constant sales volume compared to the growth of the brand. Sales growth must not drop under the level of 8%. 2. The key to success was a high positive level of involvement within the community. The involvement was mirrored by the number of fans on Facebook and sharing on social media. 3. D efend the market position and protect the overall brand (Germany 24.8%, Italy 15.5% and France 12.0%) COMMUNICATION STRATEGY The loyal and devoted customers and fans of the GS are sceptical about its technical updates. BMW needed to find a way to get back into the customer’s hearts. Advertising messages from the marketing department were not going to score. Fans needed to be communicated with in a credible and genuine way, so BMW placed control of the communication for their most important product into the hands of the critics. Unlike previous launch campaigns, the content wasn’t provided centrally for adaptation in the separate markets. The needs and concerns the

target group had expressed led to the conclusion of holistically inviting the fan base to experience new, incredible and surprising adventures with the new GS. CREATIVE STRATEGY BMW looked for the most honest and credible ‘testers’ to let them be the first to ride the GS even before its launch; testers who would hardly select another brand or another product. These testers, being riders and fans of the old GS, were the toughest critics of the new GS. To avoid BMW playing any active role in the communication, an independent jury of experts selected these testers. These experts and real GS enthusiasts, including Oscar winning actor Adrien Brody and rally legend Jutta Kleinschmidt, are recognised as such and are highly regarded by fans all over the world. The independent jury chose the five “One World. One GS.” candidates from Germany, Italy, Spain, England and France, to experience the “Ride of your life” in two-week tours all around the world. In varying landscapes, cultures and climate zones, they were not only going to make their own personal experiences,

but they would put the new GS through its paces and report on it. Everything was guaranteed to be uncensored and without control or influence by BMW Motorcycle to achieve the highest level of credibility and authenticity.

Spendings Per unit

in E 800.000

717 E

700.000 600.000

449 E

500.000

345 E

400.000

388 E

300.000

BUDGET Under € 5 million

187 E

200.000 100.000

64 E

0 BMW

MARKETS France | Germany | Italy EVIDENCE OF RESULTS The honest approach of the campaign led to a significant increase in sales volume. A growth of 67% worldwide went way beyond even the most optimistic of all expectations, making the launch the most successful in the history of BMW. Germany increased sales by 37%, France recorded a substantial growth of 60% and Italy recorded a sensational increase of 102%. The number of fans on BMW’s Facebook page increased steadily during the campaign to 2.6m, up 18%. The number of unique posts also increased consistently and even doubled during the course of the tour. The general appreciation of the campaign was demonstrated by 300,000 likes on posts about the tour. BMW successfully kept its market position, generating a total growth of 4.7%. Market share increased to an all-time high of 25.5% in Germany, while for the first time the GS became the strongest model in France, where market share increased from 12% to 13.4%. Italy was able to counteract the downward trend for the first time since the economic crisis. The brand repeated the previous year’s results and therefore gained back important market share. With a plus of 22% and a total market share of 18.9%, BMW was back in the market leader position for the first time in many years.

454 E

Ducati

Harley

Yamaha Kawasaki Honda

Suzuki

Source: The Nielsen Company - NMR Weighting Factors, Germany and IVM Germany, Jan 2013

PAGE VIEWS & SALES World premiere

1000

Jury

Market launch

900 800 700 600 500 +41%

300 200 GER RIDER

100

EU TOUR

0 SEPT

OCT

NOV

DEC

JANV

FEV

MAR

APR

MAY

PAGE VIEWS & SALES World premiere

2500

Jury

Market launch

2000

1500 +55%

1000

500

GER RIDER

EU TOUR

0 SEPT

OCT

NOV

DEC

JANV

Pageviews

FEV

MAR

APR

MAY

Sales

Sources: Webanalytics IT, GER, FR? Sept. 2012 - May 2013 and Motorizzazione civile, Italy, IVM Germany, Ministre des transports, France, February-April 2013.

Audi quattro > Land of quattro (SILVER) For 30 years, quattro – Audi’s iconic four-wheel-drive system – has fascinated people from all over the world. The technology is the ultimate proof of Audi’s brand promise: Vorsprung durch Technik. In order to further expand the brand-shaping momentum of quattro, Audi wanted to develop a global communication platform that creates space for the superior technology and the wide range of vehicles that can be equipped with quattro. The challenge was to create an emotional home for a rather technological product that, at first functional glance, isn’t that much different from its premium competitor, BMW’s xDrive, but which costs, on average, 20% more to install. BUSINESS & MARKETING OBJECTIVES 1. Increase share of total sales in the premium market to become the number one premium brand in Germany, Italy and Russia. 2. Increase quattro installation rate in Germany (by 15% year-on-year) and Italy and Russia (by 10% year-on-year) during campaign. COMMUNICATION & EFFECTIVENESS OBJECTIVES 1. Achieve above-average activation and brand recognition within campaign period (measured by the “key message” and “model branding”). 2. Maximise communications efficiency by raising the campaign’s adoption rate among international markets (measured in participating markets). 3. Efficient media spend measured in additional revenue (through quattro installations). TARGET AUDIENCE The campaign targeted drivers who value performance, seek challenges and set ambitious goals for themselves. They have a passion for the undiscovered, the new.

What united the audience across all countries was their growing attraction to their home countries and their passion for the open road. COMMUNICATION STRATEGY Using the chosen media, patriotism and the love of open country were the ideal foundation to get an entire nation excited about exploring their country and sharing that experience with each other. The campaign had to centre on a single point where consumers could engage and voice their passion for exploring their country. A microsite and social hub became the cornerstone of the campaign, with all paid media driving consumers to it. TV and cinema were used to maximise effect, with beautiful visuals and extended content individually localised and harmonised to capture the imagination of audiences across each country. Every detail was meticulously planned out, with music, on-location shots and cultural icons used in footage passed onto the microsite and digital hub. To get the campaign out into the real world where quattro belongs, OOH and print executions raised awareness and pushed consumers to interact with the content hub.

At various driving events and through organised tours, people were able to experience the Audi quattro first-hand, braving challenging road conditions and rediscovering the beauty of their country. Legendary winter sports locations like St Moritz, Kitzbühel and Le Mans became “homes of quattro”. CREATIVE STRATEGY The audience knows the functional benefits of a four-wheel-drive system but the campaign aimed to establish an emotional connection between the audience and the iconic quattro brand, building upon the audience’s passion for the open country. Of course, every country in the world is different and so are its roads. While globalisation and digitalisation make the world ever more connected, people are increasingly withdrawing to their local surroundings and rediscovering their emotional bonds with their home countries. No matter where you go or to whom you talk, the beauty of your home country makes you proud. With a four-wheel-drive system that is truly flexible and versatile, this insight allowed an appeal to people’s pride with the big idea that ‘YOUR country is the perfect country for quattro.’ Audi encouraged and enabled people to rediscover their home countries and included places, buildings, moments and artefacts into the campaign that would trigger the strongest feelings of pride. Once discovered, the target audience was sent on a trip through their countries to explore them. The message was simple: your country is perfect

and Audi quattro is the perfect car to discover it. That emotional hook was true for Italy, for Germany and for Russia, but is actually just as true for any other country in the world. A campaign for a rather technical product like a four-wheel-drive system thus evolved into a declaration of love for the audience’s country. BUDGET € 10 million to under € 20 million MARKETS Germany | Italy | Russia EVIDENCE OF RESULTS During the campaign, Audi’s share of sales in the premium market increased by 31% and 18% in Germany and Italy, compared to pre-campaign numbers, taking Audi to the number one premium brand spot in terms of share of sales. In Russia, where Audi was already the market leader, share of sales increased by 13%. The results for the objective of an increased installation rate in Germany and Italy exceeded expectations (up 27% and 20%) and was successfully achieved in Russia. The other communication and effectiveness objectives were a success as well, considering that, on average, every Euro Audi invested in media paid off 13-fold.

AUDI A3 Sportback > Harder, Better, Faster, Stronger (SILVER) In 2012 Audi had its most successful year on record thanks to its iconic Audi A3. Launched on a completely re-engineered platform, it became the new benchmark in the compact car market. In 2013, the task seemed simple: reproduce the previous year’s success with Audi A3‘s twin – the Audi A3 Sportback, a 5-door version. But this time things were different. In the interceding months, Audi’s biggest competitor had launched its own compact car on a completely re-engineered, overhauled platform: the attractive Mercedes A-class. The compact car segment is the most competitive for premium car companies as it is seen as entry point for aspiring young professionals and the opportunity to convert them into life-long brand advocates and loyalists. BUSINESS & MARKETING OBJECTIVES 1. Increase rate of completed online configurations of the new Audi A3 Sportback by 70% year-onyear in Italy and 40% year-on-year in Germany and France. 2. Increase sales of the Audi A3 by +50% year-onyear in Italy and +20% year-on-year in Germany and France. COMMUNICATION OBJECTIVES 3. Achieve above-average activation and involvement of the target audience with the campaign across all three markets. TARGET AUDIENCE The Audi A3 Sportback is targeted at young male adults, aged between 25 and 39 years, living in urban areas. They have already successfully made the first steps in their development, both in terms of career and family. They are used to a digital lifestyle, value its optionality and embrace the boost of individuality that comes along with it.

COMMUNICATION & MEDIA STRATEGY Audi approaches the development and design of their cars from the consumer out. This is the principle of User Centred Design where the person and the way that they interact with every aspect of the car is placed at the heart of each development and design decision, in order to satisfy people’s desires and needs. For a car that wants to appeal to consumers’ individuality this was both the ideal starting point as well as benchmark to determine the media strategy of this campaign. Deciding the way that each channel was engaged by the consumer, and formulating an approach that would surround and interest them, was key. Stylistic visual and audio cues were used to tie all of the elements of the campaign together. OOH generated interest before the actual launch. To intensify this activity the Audi A3 Sportback was positioned in key music and entertainment venues and the audience was engaged at various events. The key message of the campaign was then spread via online video and TV commercials.

To appeal to the audience, Audi partnered with one of the most influential, progressive bands of our time. Daft Punk’s epic hymn of the fast forward generation – Harder, better, faster stronger – set the campaign’s pace. ‘Harder, Better, Faster, Stronger’ became a visually inspiring and challenging campaign that playfully and casually demonstrated the world of innovative features that could be found in the new compact car. CREATIVE STRATEGY The Audi A3 Sportback wants to appeal to consumers’ individuality and lifestyle. The car was thus placed right in the centre of their everyday lives. Lives that are shaped by instant access and gratification, the latest technology, smarter algorithms, sharper displays, more convenience. Watching the audience constantly striving to stay ahead of the competition and stand out from their peer group, it was clear they lead an accelerated life. The audience was thus called the fast forward generation. With numerous innovations combined in such a compact car, the Audi A3 Sportback seemed like the best car for the most intense generation. A fast paced campaign for a fast paced audience. A stylized key visual and symbol for the target group’s lifestyle – the fast-forward arrows – built a recurring visual frame for the campaign and could be found in every piece of communication.

BUDGET € 20 million and over MARKETS France | Italy | Germany EVIDENCE OF RESULTS The number of completed configurations rose by 51%, 61% and 95% in France, Germany and Italy respectively, easily surpassing the objectives. In Italy, sales of the Audi A3 rose more than 106%, thus exceeding the goal by 112%, while the premium market as a whole shrank by 2.6%. The data from France, Germany and Italy shows that the campaign contributed its fair share to the business success. Millward Brown test scores show that the campaign performed far above the category benchmark of target audience involvement. At the time of writing, the campaign has been adapted in 23 local markets due to its success. In an extremely competitive market segment, Audi not only grew faster than its competitor but was also more efficient in regard to cost per new registration.

Adam Opel AG > ADAM&YOU (bronze) When Opel released its first city car in 2013, its success seemed everything but a safe bet. Why should Opel be able to score against well established and beloved incumbents? Why should urban drivers need yet another tiny car? Opel's ADAM found answers to those questions. Throughout the years numerous car companies launched cute little cars to leverage the urbanisation trend and connect with young target groups. Fiat was the first brand to realise the urban drivers' need for a fashionable city car and revamped their classic model from the 60s – the Cinquecento. It became the category's most admired lifestyle icon. No competitor was able to contest Fiat Cinquecento's lifestyle equity. Until ADAM came along. Within just one year ADAM became the category's hottest lifestyle brand while all competitors declined.

BUSINESS AND MARKETING OBJECTIVES 1. Leapfrog into a top 3 position in terms of purchase consideration in Germany and Italy. 2. Leverage ADAM's car configurator: Make more prospects try and complete the online car configuration process than any other configurator in General Motors' history. 3. Reach 20,000 sales in Germany and Italy within one year.

COMMUNICATION STRATEGY Declare a style war! It was decided to dare what competitors had hesitated to try. Instead of fighting for convenienceoriented city drivers, it was decided to go for the lifestyle-minded people. This meant dethroning Fiat 500 directly, that is to say: style-wise! Due to Opel's scant fashionability credentials, the agency was eager to create a new design-related asset to leverage. The strategy was to leverage the customisation options that went with the car. But instead of making customisation just a gimmicky add-on service, it became the very core of the brand and its communications. By stressing its endless design options ADAM has been positioned as a progressive, versatile playground for individual self-expression.

TARGET AUDIENCE While communications deliberately created the impression of being targeted at the creative style elite, media was rather directed towards the Progressive Mainstream SIGMA Milieu. They are up to 40 years old, well educated, often work in the new economy or other modern service industries or still study to get there. They often adopt – though not create – new trends.

CREATIVE STRATEGY Psychologically and creatively, ADAM's campaign took customisation to a whole new level. It staged a simple product benefit as a means for individual expression: "ONE CAR – A THOUSAND PERSONALITIES" The ADAM campaign connected diverse car configurations with their owners' individual, expressive lifestyles. While the competition depicted driving

COMMUNICATION OBJECTIVES 1. Become one of the top 3 brands associated with Germany's and Italy's city car category. 2. Establish ADAM as one of the 3 most fashionable city cars in Germany and Italy – by scoring on the lifestyle equity drivers: "Personality, Character", "Design" and "Trendiness".

BUDGET € 20 million and over MARKETS Germany | Italy EVIDENCE OF RESULTS ADAM not just became the best known city car, it also was the only brand in its segment to show positive development on items related to personal expression and lifestyle.

The usage of ADAM’s online configurator was a major success. With almost a quarter of a million executed configurations, it was used twice as often and nearly three times as intensively than all previous configurators ever employed by General Motors. ADAM became the most considered city car in Germany and No. 2 in Italy. Sales reached a stunning 75% above goal. Germany's best known city car

Spontaneous Brand Awareness

in % 16

Ford Ka

Toyota Aygo Renault Twingo

Fiat 500

VW up!

Opel ADAM

Source: TNS Sofres Brand Advertising International Tracking (B.A.I.T), Dec.2013

N°1 in "Personality & character" the only brand with an increase in % 30 25 Average agreement to image item "Has Personnality & Charater"

and parking situations, the agency created a "perfect match" campaign for Car + Owner Couples. Or in other words: the "ADAM&YOU" campaign. ADAM's master campaign kit delivered a backbone of creative elements and guidelines but encouraged to develop own interpretations and activities – for each occasion and for each market. The strategy above helped create a campaign that was more progressive than anything the car segment had seen before, both in terms of content and in terms of creative campaign management. The campaign’s launch involved TV, extensive interactive communications, print & outdoor, as well as promotions, exhibitions and events. As a follow-up, each market developed its individual approach to further translating the core notion of "a thousand personalities" into "dozens of individual campaign expressions". Co-operations with celebrities and other third parties proved to be an effective way to boost the campaign's impact. As a follow-up, each market developed its individual approach to further translating the core notion of "a thousand personalities" into "dozens of individual campaign expressions". Co-operations with celebrities, media and other third parties proved to be an effective way to boost the campaign's impact.

20 15 10 5 0 Ford Ka

Renault Twingo Toyota Aygo

Decembre 2012

VW up!

Fiat 500

Opel ADAM

Decembre 2013

Comparaison of the value before and after the campaign Source: TNS Sofres Brand Advertising International Tracking (B.A.I.T), 2013

Finalists CAT.a04 > Automotive Nissan LEAF - Surge Client Nissan Europe Brand Nissan LEAF Creative Agency TBWA\G1 In 2011, Nissan was the first mainstream car manufacturer to launch a mass-produced all-electric vehicle in the UK. As competition rose, Nissan needed to generate excitement around the Nissan LEAF and convince sceptics that it is the best all-electric car they can buy in Europe. On TV, OOH, print and retail, the audience were approached by dramatising this feeling of excitement, demonstrated by a ripple surge effect that emanates from the Nissan LEAF generating a positive reaction across the city environment. The Nissan LEAF managed to gain 33% share of the Electric Vehicles (EV) passenger car market in Europe. At the end of 2013, sales were up 201,7% in UK, 132% in Norway, 74% in Spain, 189% in France and 124% in Germany. The campaign helped Nissan Leaf successfully dominate the market and contributed to the growth of the electric car market in Europe.

Often copied. Never equalled. Client Volkswagen Brand Golf GTI Creative Agency DDB Team Blue Volkswagenâ&#x20AC;&#x2122;s new Golf GTI wanted to take over in the story of performance in the GTI saga: more power and less consumption and emissions. In a performance category, where showing strengths is essential for survival, Golf aimed to highlight that despite being 'younger', it is still a leader and will always remain ahead of the game. To reach its target audience, Golf developed a media framework that unfolded in three steps: Entice, Engage, Enable. The overall objective was to increase the status of the Golf GTI as the authority in the market. The GTI increased its sales figures by 27% since 2011 and sales tripled in France. Golf saw a +7% increase in buyers from premium brands moving to the Golf GTI. The campaign boosted overall Golf sales and dramatically increased the loyalty rate among Golf GTI drivers.

C a r E n t h u s i a s t s C a m p a i g n C l i ent Michelin Brand Michelin Creative Agency TBWA\Paris Michelin’s high-performance image “softened” after 5 years focusing on the mainstream family market. It needed to convince the premium car enthusiast target that it was still the most committed and knowledgeable brand in high performance. The objectives were to increase sales volume in premium tires, increase brand performance and re-assert Michelin’s leadership in high-performance. The message was “Michelin delivers genuinely exceptional performance” which was extended to the point of sale. Key images from the content were used to produce POS material to help influence and help dealers. Michelin managed to outgrow the market in 2013 with +30% in volume. The campaign was so successful that elements from the campaign and the role of Michelin as a high-performance insider were used by Michelin sales force and tire dealers in their sales pitch.

Finalists CAT.a05 > RETAIL Finding Common Ground Client Chevron Brand Chevron - Europe Creative Agency Changement 100% Chevron has spent decades building its reputation globally as a responsible energy company. However, outside of the North Sea, it has not established a legacy as a European oil and gas company. To continue operations, Chevron had to battle negative stereotypes, clear misperceptions about hydraulic fracturing and build support for natural gas. Its global advertising platform, “We Agree”, was used to bring the idea of shared values and beliefs to life. Instead of expressing Chevron’s point of view through advertising, values and concerns were shared over this platform. Goals were exceeded as the brand saw a 15-point lift in Spontaneous Brand Awareness and a 10-point growth in favourability and recommendation.

CAT.a07 >

SILVER CLIENT

VODAFONE RED

CREATIVE AGENCY

GREY LONDON

BRAND

RED

IT/TELCO

Vodafone RED > Sealed with a kiss (SILVER) People adore their phones, but there is little love lost between customers and their network providers. Minutes, texts and tariffs are confusing commodities. People have a promiscuous attitude to networks, choosing the cheapest and the category lacks loyalty. Vodafone wanted to launch Vodafone RED globallya tariff that provided unlimited talk and text. It was their highest premium tariff ever, but this was during Europe’s worst recession in living memory. Failure was a distinct possibility. The key measures for a mobile network are how many customers it has and each customer’s monthly spend (Average Revenue Per User- ARPU). As the recession grumbled on, customers scrutinised bills, limiting usage and searching out cheaper tariffs. Vodafone designed Vodafone RED to increase ARPU and drive loyalty amongst customers by simplifying a complex and cluttered category. Vodafone RED was an expensive tariff offering unlimited texts and minutes, which made it good value for money. But one of the main challenges was to launch Vodafone RED at a higher price than the average European usually spends on his phone.

BUSINESS OBJECTIVES 1. Acquire more business in post-pay (contract), in the more valuable end of the market 2. M igrate current customers into Vodafone RED 3. Improve monthly ARPU in Hungary and Greece 4. Maintain market value share

TARGET AUDIENCE The identified audience is ambitious, educated and professional, representing 15% of customers and 25% of the market’s value. They use their phone a lot, from staying in touch with friends and family to keeping on top of work.

COMMUNICATION OBJECTIVES 1. D rive consideration among target customers 2. Improve key brand measures: Depth of Awareness, Emotional engagement, Value for Money, Unique and different, Brand has products that appeal to me

COMMUNICATION & MEDIA STRATEGY The target audience has not only a functional, but also an emotional, relationship with their phone as it is the glue that keeps their networks together. Consequently, the insight was to build a relationship with the audience and make them aware of the new Vodafone RED tariff. This was challenging because of the higher price of the tariff (73% of European customers spent less than € 30 per month - but Vodafone RED was between € 40 and € 75 per month). Furthermore, the word ‘unlimited’ had become meaningless in the category.

MARKETING OBJECTIVES Lower churn amongst Vodafone RED customers and improve relationship with customers.

The strategy was designed to target and build awareness and emotional engagement in three ways : 1. TV 2. Out Of Home (OOH) 3. Digital (targeted online ads, Facebook, YouTube) CREATIVE STRATEGY Customers were sceptical about what a new “unlimited” tariff could offer them. They were experienced in the category and had questions. Was it really unlimited? Other providers promised “unlimited - only to reveal a whole host of conditions that meant their tariffs were not. Although this audience had a more emotional relationship with their phone, they were not emotional about their network. Rarely considering their provider, unless there was a problem with signal, service or the bill, their relationship with their network was at best neutral and at worst negative. To really appeal to this cynical and savvy audience, ‘Vodafone’ and ‘unlimited’ needed to mean something again in the category. Instead of trying to convince customers rationally of the features of a tariff offering unlimited texts and minutes, Vodafone decided to sell the emotional benefit. Vodafone RED with Vodafone was a different kind of relationship, with your phone and your network provider. Unlimited is powerful. In reality, it means forever. Instead of selling unlimited texts and minutes, what if they sold ‘forever’? A good thing that lasts

forever, like a never-ending kiss? The TV commercial dramatised this : chronicling one everlasting kiss, between the same couple, throughout their life. Starting out as teenagers, and culminating as an elderly couple kissing passionately. People felt the power of unlimited in a touching and emotional way. It appealed to the cynical audience’s hearts, not just their minds. BUDGET € 5 million to under € 10 million MARKETS Greece | Hungary EVIDENCE OF RESULTS 4 year Average Monthly ARPU • Increased value share of contract customers in Hungary and maintained value share of contract customers in Greece • H ungary & Greece - exposure to campaign improved all key measures • Increased

Finalists CAT.a08 > Services dog around Client eni S.p.A. Brand eni gas & power Creative Agency TBWA\Italia Even though eni was a well-established brand in Italy with a consolidated historical heritage, it was still strongly linked with the brand awareness of a huge oil corporation owning thousands of gas stations around Europe. The challenge for eni was to enhance its awareness in Italy as a gas & electricity supplier. The simplicity concept was adopted throughout the whole system through their innovative products and services. New customers could easily subscribe contracts through the web or by phone and Italian customers could even track and manage their energy costs through a free eni app. In Italy, eni achieved an increase of 36% in dual contracts (gas & electricity) and sales numbers increased in all markets. eni has now over 10.3 million customers in Europe.

Client Success Stories Client Accenture Brand Accenture Creative Agency TBWA\ Chiat\Day Despite Accentureâ&#x20AC;&#x2122;s long heritage in consulting, technology and outsourcing, it needed to build a deeper understanding among its target group of its range of capabilities. The specific goals were to achieve higher recognition of ad executions than the nearest rival in all markets, to increase Accentureâ&#x20AC;&#x2122;s unaided consideration across the breadth of offered services and to grow faster than key competitors. Accenture anchored its messaging around the success it had helped its high-performing clients achieve. The advertising received more than twice the recognition of IBM in the UK and 24 points more recognition than IBM in Italy and Germany.

CAT.a09 >

leisure & entertainment

Gold CLIENT

CLIENT

CREATIVE AGENCY

SUPPORT AGENCIES

BRAND

SONY COMPUTER ENTERTAINMENT EUROPE

180 AMSTERDAM, OMD INTERNATIONAL MEDIA MONKS, BIBORG

BRAND

PLAYSTATION 4

Gold

EXPEDIA OGILVY & MATHER LONDON EXPEDIA

PlayStation > This is for the Players. This is PS4 (gold) In 2013, nearly a billion people worldwide carried a gaming device around with them in their pockets everywhere they went – their smartphone. Over 250 million people, from grandpas, to football mums, to procrastinating office workers were playing games against each other each month – on Facebook. In six years the very definition of gaming and gamers had radically changed, and it was precisely the proliferation of these smartphones and social media gaming arenas that were causing many industry analysts to prophesy this 8th generation of consoles to be the last generation of consoles. The biggest battle would come from PlayStation’s arch-rival Xbox. It was set to be a modern-day David and Goliath, and with the respective launches only one week apart, PlayStation figured that if they couldn’t outspend them, they’d have to outsmart them. COMMUNICATION OBJECTIVES the most talked about entertainment launch of the year • Drive desirability and advocacy for PS4, both at launch and beyond • Be seen as “Liberating play” • Be

MARKETING OBJECTIVES • Deliver Market Leadership of the Next Generation,

in terms of market share and awareness the UK specifically, close the gap between PlayStation and Xbox, the market share leader

• I n

TARGET AUDIENCE Hard-core gamers: Typically in their mid to late twenties, single and predominantly male. Gaming is their primary leisure activity (more than 10 hours per week). Mainstream gamers: Slightly older and less male-biased than fanatics. A third have children and are quite cautious spenders. They game regularly, predominantly playing

the blockbuster titles such as FIFA, Call of Duty and Grand Theft Auto. Digitally savvy without being obsessed by the latest technology, they use mobile and social channels extensively. COMMUNICATION STRATEGY The communications’ objective was clear: become the most talked about entertainment launch of the year and show core gamers why PS4 is the best place to play. The campaign started many months before the actual launch using cost effective digital-centric (paid & owned) channels at launch announcement (February) and the trade & consumer show E3 (June) and Games.com (August). These focused primarily on fanatics, whose level of receptivity was highest. Paid media budgets were ramped up as launch came nearer (Nov) targeting both fanatics & Top 10 gamers, fuelling the sense of anticipation through viral seeding driving consumers to digital content, high profile audio-visual placements on TV & Cinema. TV weights at launch were little more

than the competition’s, but by concentrating on appointment to view programming and key days, it worked far harder, driving buzz, branded search queries and Facebook likes.

and tributes to the past, present and future of PlayStation Play. An interactive version ran online with a contest to find them all, leading to game trailers, product tutorials and giveaways.

CREATIVE STRATEGY The console gaming experience had become cumbersome for most users. Long download times and constant system updates made console gaming a limiting experience. People’s passion for gaming was stronger than ever, but the experience wasn’t living up to what people truly wanted. Gaming just wasn’t as fluid and intuitive as the rest of their tech and media. The PS4 experience had to match people’s expectations of what “next gen” consoles should deliver. The strategy for PS4 was to go back to the roots of the brand and declare that it was for gamers, by putting them at the very heart of everything. The campaign could help PS4 distance itself from the entertainment one-stop-shop that Xbox One was becoming. The campaign needed to prove that PS4 is the place where gamers could truly play – not just be entertained. PS4 gamers were branded as “players”. The “This is for the Players” campaign was born. It kicked off with two online teaser films to get fanatics buzzing and speculating about what was coming. The second film was a celebration of how PS4 had liberated play for everyone, but as a special reward for the fanatics, it was also crammed with 50 hidden references for them to find – references

BUDGET € 20 million and over MARKETS France | Spain | United Kingdom EVIDENCE OF RESULTS Despite being outspent in media by nearly 3 to 1, the campaign helped PS4 well overshoot its European value sales objective, as well as the country specific value sales objectives, within the first six months of the campaign launch. Over 20% more units were sold than targeted. The campaign helped PS4 surpass its market share objective, leaving the competition with significantly less market share across Europe. The UK saw a reversal of market leadership between PlayStation and Xbox. The awareness objective was successfully achieved and surpassed and PS4 became the most talked about console launch.

Expedia > Travel Yourself Interesting (gold) Founded in 1995, Expedia became the net’s first big travel brand. It ushered out the age of the highstreet travel agent, ushering in the age of online travel booking. Expedia's revenue formula put marketing at the heart of the equation. Marketing was essential in driving the number of users, but also a major cost to be reckoned with. This is where things came unstuck for Expedia. Different factors started to eat away at the value created from its marketing investment, eventually eroding profit margins. As competition intensified, a battle to offer the best deals kicked off. People started choosing on the basis of price rather than brand values. The economic downturn only compounded the situation. In the UK, where Expedia was long established, aggressively priced and promoted brands began take share. In France, where the online travel market was less mature, Expedia was new and unsupported. A daring strategic idea, brought to life through compelling, carefully-targeted creative work, turned around Expedia’s fortunes across very different market conditions in both markets.

BUSINESS AND MARKETING OBJECTIVES 1. Expedia’s commercial objective was to reverse the erosion of its margins by increasing both the number and the profitability of customers. To achieve this, the specific sales objective was to achieve a value growth in bookings that, before the end of 2013, would outpace the growth of the category in both the UK and France. 2. Influence consumer behaviour by getting more people to spend more, more often, with Expedia; and influence them to book directly through Expedia’s own channels. TARGET AUDIENCE A major consumer segmentation study proved that there was a sizeable, targetable audience segment. It revealed that travellers, roughly, fall into two groups. The majority are ‘Apathetic’ and see travel as a niceto-have, a cost to minimise. When money is tight,

they cut travel to maintain spend on other things. The others are the ‘Believers’. They maintain their travel spend even in recession and cut other costs to keep travelling. They see travel as an essential investment in their wellbeing and self-image. Expedia found its target audience. COMMUNICATION & MEDIA STRATEGY Communications faced formidable obstacles from the outset: • E xpedia’s brand health had been declining for years. • Two very different issues had to addressed, with just one idea. • Expedia ranked only 8th on SOV in the UK travel market and 6th in the French travel market in 2013. A communications model summarised how communications were to achieve business success:

1. Attract attention in a cluttered space 2. Change attitudes towards Expedia 3. Influence more people to spend more with Expedia more often 4. Influence them to do it directly through proprietary retail channels 5. Stop the erosion of Expedia’s margins

keep an audience captive while recounting tales of their travels. The creative tagline was born: ‘Travel Yourself Interesting’ (UK) and ‘Devenez aussi intéressant que vos voyages.’ (France). The idea revolved around showing how regular people became effortlessly interesting because of stories they had picked up on their travels.

A two-part ‘BOND & BUY’ channel strategy was created to ensure the campaign was influencing attitudes and stimulating purchase behaviour simultaneously. High impact channels like Brand TV, Brand Print/OOH, radio, online activation would be used to BOND. Tactical channels like DRTV, Digital Display, Tactical Print, SEM and Facebook advertising would then help to BUY; convert brand affinity into action.

BUDGET € 5 million to under € 10 million

CREATIVE STRATEGY The insight was that travel should be considered an investment in personal growth. Expedia would be the unique partner to help you get the most out of that investment. Expedia was already known for its wide range and dynamic booking engine. The starting point for the creative would become: “Travel matters, so make the most of it. Travel on your own terms with Expedia.” This strategy gave a clear mandate: to move away from the clichés in travel advertising (sun, beaches and price deals) to focus on the effect that travel can have on you as a person. A limited media budget would allow communicating one memorable idea effectively. ‘Interestingness’ seemed the most compelling emotional travel effect for the Believer audience. The target likes to

MARKETS France | United Kingdom EVIDENCE OF RESULTS In the UK, branded channels were 52% cheaper for Expedia. 3% more transactions through these channels gave Expedia a direct margin increase of 1% in Average Gross Booking Value per transaction (the total value generated from all bookings through Expedia, divided by the number of transactions) – despite an immensely saturated and commoditised market. In France, branded channels were 41% cheaper for Expedia. 9% more transactions through these channels gave a direct margin increase of 16.4% in Average Gross Booking Value per Transaction, outperforming expectations. These numbers are actual value growth.The number of transactions from people coming directly to Expedia’s retail channels rose by 3% in the UK and 9% in France during the campaign period, despite the oversaturated nature of the British market and being a dormant player in France.

Finalists CAT.a09 >

leisure & entertainment

Useful Time Client Thalys International Brand Thalys Creative Agency ROSAPARK Thalys was facing a strong competitive environment against national rail leaders and the aviation market with an increasing number of low cost companies. Through this campaign, the companyâ&#x20AC;&#x2122;s aim was to convince consumers of the relevance of its offer and to bring back business travellers. Since this target audience need comfort, flexibility and fast service, Thalys used just that to execute the campaign through online and print. Thalysâ&#x20AC;&#x2122;s turnover increased by 7,6% in April 2013 and a strong ROI gave the company a significant increase in a slow market. Thalys got more loyal business customers and 92% of business travellers said they wanted to travel with Thalys again.

CAT.a10 >

product/Service Launch

Gold CLIENT

CLIENT

CREATIVE AGENCY

BRAND

SSE RIGA ALUMNI ASSOCIATION DDB LATVIA

SSE RIGA ALUMNI ASSOCIATION

SILVER

PHILIPS PERSONAL CARE OGILVY DÜSSELDORF PHILIPS

SSE Riga Alumni Association > Let's Beat Stanford (gold) The Stockholm School of Economics in Riga (SSE Riga) is a business school ranked by the Financial Times to be among TOP25 business schools in Europe. In 2011, approximately 11% of SSE Riga alumni had donated to the school within efforts run by the SSE Riga Alumni Association. This result was achieved over several years of active communication campaigns that emphasised the need to provide needsbased scholarships for BSc programme students from less wealthy families. The conventional campaign methods and messages used in the alumni fundraising industry were well applied in SSE Riga, although it was quite clear that they were not likely to bring in more donors, as the industry average worldwide is below 10%. Still, more contributions were needed for scholarships and, in addition, an objective to renovate the main auditorium of the school was put forward. OBJECTIVES In early 2012, the primary goal was to more than triple the percentage of alumni providing a contribution of at least €10 per year from 11% to 34% by 2014. The goal was highly ambitious to exceed the benchmark 33% alumni giving rate of Stanford University, known as the best fundraiser worldwide. In monetary terms, a two-year goal to collect 50,000 EUR for the auditorium renovation by December 2013 was set. In both the 2012 and 2013 campaigns, annual goals of €50,000 EUR were set for scholarships. As an alumni crowd funding campaign, it had no precedent in the Baltics region and even Eastern and Nordic Europe in terms of participation, against all odds, given the lack of charitable behaviour by people in the Baltics. TARGET AUDIENCE In 2012, the first phase of the campaign targeted all 1580 alumni of SSE Riga and in 2013 the second phase targeted 1849 as all graduates are potential donors. The SSE Riga alumni are 21-37 years old, 60% male, 40% female, the majority living in Latvia, Lithuania and Estonia.

COMMUNICATION STRATEGY The central element of the campaign was an innovative online platform where game elements allowed potential donors to compete for the title of the most generous alumni class or alumnus, with the rankings and their visualisations changing in real-time as new donations came in. No investment was made in paid advertising as the campaign was supported solely on social media (no promoted posts), communicating via Facebook, LinkedIn and Twitter. In addition, personalised email newsletters were sent based on the graduating class, past donation activity and country of origin of each alumnus. The campaign was based on volunteer work. This campaign differed from previous ones mainly in the ‘gamification’ aspect and a campaign message based on competition. The message "Let's Beat Stanford" was used throughout both years of the campaign, extending the competition element outside the community and signalling unprecedented ambition.

CREATIVE STRATEGY The campaign was based on the assumption that there will always be less people that care about the cause than those who want to compete and have fun. As platform statistics confirmed later on, only 3% of all website visitors ever read the “why donate” section. To engage the maximum possible number of alumni, multiple elements of competition were used so that the majority of the target audience could find some part of the game to relate to. This ranged from those interested in peer-perception competing against each other to have their name listed as a top donor, to those who cared about the reputation of their company, country, former student organisation or graduating class. The platform was at the very centre of the Let’s Beat Stanford campaign, with key strategies used to increase reach and engagement of the community. In 2012, the campaign’s 'Because you know how this felt’ plot became an emotional online gallery including an archive of 90’s pictures of the alumni. In 2013, the SSE Riga alumni mascot Hardy Rock came to life. Hardy Rock ‘fought’ the mascots of other universities online and took physical shape in an alumni fundraiser. The character concept was based on the stone guard statues present on the facade of the school’s building, making it instantly recognisable. Visitors could choose and donate to ‘own’ a chair (nameplates) in the main auditorium of SSE Riga, in what was once the main classroom for their own studies.

BUDGET Under € 5 million MARKETS Estonia | Latvia | Lithuania EVIDENCE OF RESULTS The campaign orchestrated a 318% increase in alumni participation, as more than every third alumnus (34%) donated in years 2012 and 2013. The financial goal was exceeded by 47%, raising €220.000. The additional funds allowed SSE Riga to grant scholarships to more students in need. The platform had a conversion rate of 19% with almost every 5th unique visitor making a donation. And to cap it all, SSE Riga successfully beat Stanford with an alumnus donation rate of 35%.

Philips > Designed to Play (SILVER) In 2012/13, hipsters were killing the shaving business; smooth-shaven was no longer the norm. This trend was causing heavy losses in the Philips electric shaving category across established Philips European markets including Germany, France and The Netherlands. Despite the fact that the number of consumers who grow and style their facial hair has increased over the past couple of years, growth within Philips’ established electric male grooming category (shaving & grooming/styling) had slowed down—and some were even in decline (e.g. NL –1.9%). Up until 2013, the Philips electric male grooming category had predominantly addressed consumers above the age of 25, with younger men significantly under-indexing among Philips users vs. the general population. Unfortunately, young men simply did not see the electric shaving & grooming category as relevant to them, reflected in their significantly lower level of consideration for Philips. BUSINESS OBJECTIVES 1. Accelerate growth in established Philips electric male grooming markets 2. Meet sales expectations (42,000 units) for the “Click & Style” product launch, a new 3-in-1 electric grooming tool, which offers the possibility to shave, style and groom with the simplicity of a single device COMMUNICATION OBJECTIVES 1. Increase electric category consideration among, 15-25 year olds who are blade users by +2% points 2. Increase purchase consideration for Philips Click & Style among 15-25 year olds by +2% points 3. Communicate product proposition “One click, endless possibilities” and engage young men based on this idea TARGET AUDIENCE 15 to 25-year-olds who have just begun shaving & grooming and will shortly be locked into competing systems: blades vs. separate electric trimmers.

COMMUNICATION STRATEGY Generally, this target audience is searching for identity, personality, meaning and fun. But deep inside, there’s a strange paradox. The world in which these guys find themselves bombards them with images of success. And a multitude of opportunities is more overwhelming than inspiring, making them fearful of making the wrong decision. Cultural idols lead the prayers of ‘cool’, presenting them with images that are unattainable in the real world and leave them paralyzed. As a result, they’re driven by a smouldering insecurity to conform rather than run the risk of standing out from the crowd. To liberate the target group from this cultural tension, playfulness needed to make its way into these young men’s grooming habits. The approach was to break down the pervading conventions of unrealistic perfection by fuelling their curiosity to explore their own best self instead of striving to be the ‘ultimate man’. They needed to experience an exciting electric 3-in-1 tool that would put them in control of their game in a very easy, fun and playful way.

CREATIVE STRATEGY The campaign takes young men through the story of a guy with a range of different styles, who is trying to recall his remarkable experiences from the night before. The audience is encouraged to explore 625 possible stories – and with just a simple ‘click’. Viewers find themselves in the role of 'video director' and are able to decide how the story develops. By switching between five characters, they can see various versions of what happened the night before – or what might have happened. Thus, young men were introduced to a new multifunctional electric grooming product in a way that captured their attention and imagination through interactive digital storytelling MEDIA STRATEGY With a limited media budget, the Philips Click & Style campaign predominantly aired on YouTube and on the dedicated ‘Designed to Play’ landing page. The majority of media spend was focused on pre-roll video ads, which led to the interactive experience. The world’s first fully mobile-enabled interactive video experience – embedded in a responsive campaign landing page – allows men to change the story on-the-go from any digital device, for both iOS and Android operating systems, including tablets, iPhones and other smartphones.

BUDGET Under € 5 million MARKETS France | Germany | The Netherlands EVIDENCE OF RESULTS The campaign successfully accelerated growth in the Philips electric male grooming category, with a MAT increase of 1.34% in just six months. With regard to the second business objective, the campaign achieved 16% higher sales figures for the new Philips Click & Style than targeted, selling just under 50,000 units. Within the first three weeks of the campaign, electric category consideration among 15-25 yearold blade users increased by +4% points, while purchase consideration increased by +6% points. The interactive video experience engaged young men approximately 3 times longer than is normal for a high-quality video of equal length, making the third communication objective as successful as the first two. Young men not only played around with the campaign but also shared the video with their peers. Each seeded video generated more than one earned click and the 0.5 million expected views more than doubled (+153%) during the campaign.

Finalists CAT.a10 >

product / Service Launch

BOSS pour femme Client Procter & Gamble Brand HUGO BOSS Creative Agency Grey London As BOSS female fragrances began to decline in 2010, Procter & Gamble decided to make BOSSâ&#x20AC;&#x2122;s heritage of success meaningful to a modern female audience. The main objectives were to stop share declines in Germany and Spain and achieve a value share increase of 20% within 2 years of the campaign launch. The creative strategy was embodied in the brandâ&#x20AC;&#x2122;s ambassador, Gwyneth Paltrow. Through her successful story, women could define their own success, rather than assuming success was about seduction or romance as other fragrance brands suggested. The campaign significantly outperformed all objectives, as it not only stopped value share decline, it actually turned it around. In Germany and Spain, the female value share target was surpassed to achieve 31% and 33% increases respectively in 19 months.

CAT.a11 >

Bronze CLIENT

UNIVERAL MUSIC Ericsson

CREATIVE AGENCY

HOUSE OF RADON

strategic AGENCY

SEVENTY AGENCY

BRAND

UNIVERSAL MUSIC

Most effective use of social media marketing

Universal Music > Avicii x You (bronze) Universal Music has seen its industry transform from discs to digital in just a decade. The role of a record company is no longer to print records, but to build a following for its artists. Universal wanted a campaign for one of their largest acts to date. Avicii, aka Tim Berg, has established himself as one of the world’s premium DJ/producers in just three years. He began producing music from the comfort of his bedroom and had gathered millions of social media followers before having even signed a contract. With this in mind, the idea of Avicii asking the world to collaborate on his next single, giving bedroom producers a shot at worldwide recognition, came to life. Avicii x You was a global music experiment where bedroom producers collaborated with Avicii on his next single, thus creating the world’s largest music collaboration. OBJECTIVES The goal of this collaboration was to create more engagement than just a like, share or a video play. Something that really got people involved, but also something that could live on longer than just an online stunt. The interaction had to be far more powerful, while giving bedroom producers a real shot at global fame. The main goal was to create real commitment with a target of 500 participants contributing 2,000 sounds by the end of the campaign period (28/2/13).

TARGET AUDIENCE So-called “bedroom producers” from around the world were targeted. This group (usually between the ages of 18 and 25) spend most of their time online and produce electronic music on their personal computers in their bedrooms.

COMMUNICATION STRATEGY With the target group in mind, it was a natural choice for the strategy to be 100% digital. The campaign site worked as a hub for the crowdsourced platform with the goal of connecting these bedroom-producers regardless of nationality, gender or age. As the target audience uses primarily (electronic) music blogs as their go-to source for finding inspiration and the latest news, those blogs were specifically targeted to ensure the news of the world’s largest music collaboration went out to the right people.

CREATIVE STRATEGY To kick the project off, a teaser was released on YouTube (via Vevo) two weeks before the launch. This was then followed by weekly ‘episodes’, daily blogs and tweets to keep the interest alive before and during the campaign. To get the target group involved, an extensive campaign site was developed for people to contribute and follow the progress of the song. To create even more engagement, we added a game element where fans could earn titles from "Rookie" to "Featured Producer" and win prizes ranging from DJ headphones to official credits on the single. To conclude the campaign, a documentary style music video featuring followers of the project from all over the world was created. MEDIA STRATEGY 100% digital BUDGET Under € 5 million MARKETS Pan-European

EVIDENCE OF RESULTS By the end of the project, a total of 4,199 producers from 140 countries contributed with 12,850 sounds. The campaign was featured by worldwide media - online, offline and radio. It was mentioned over 20,000 times on Twitter with #aviciixyou and earned 3.3 million views on YouTube – with a total media reach of over 100 million and counting. This project did not only raise awareness for Avicii as a talented producer, but also for the electronic dance music scene and how producing music is not exclusive to trained musicians. To date the song has been streamed about 24.5 million times worldwide and reached platinum status in both Sweden and Norway. No paid media was involved, making it 100% earned.

CAT.a14 >

Best demonstration of Integrated Effectiveness

Gold CLIENT

CLIENT

CREATIVE AGENCY

BRAND

EVIAN

AUDI AG

BETC

EVIAN

CLIENT

AUDI AG

CREATIVE AGENCY

THJNK AG

BRAND

THJNK AG

AUDI A3 SPORTBACK

SILVER

AUDI QUATTRO速

Gold

Evian > Baby & Me (gold) Evian is one of the best known mineral waters sold in the world, despite a very limited media budget. The market struggles to convince consumers of the difference between tap water and mineral water. Most people believe that all waters are equal. The recession hasn’t helped the situation; consumers are reluctant to spend money on bottled water when they can get it for free from a tap. A recent study from MINTEL showed that only half of users in the UK think bottled water is purer than tap water and that there is no difference in taste between them. Moreover, there is fierce price competition: promotion has become a key driver of the category. In this context, evian has to keep justifying its premium price by building brand value and brand preference. MARKETING OBJECTIVES 1. P ush the Youth platform as the main brand benefit to justify its value. KPI : Reinforce the brand items of youth, closeness and price justification 2. Create an event around the brand and stand out despite the very limited budget. KPI : Maximise earned media and go viral 3. Maximise the impact on business. KPI : Generate additional volume sales No specific KPIs were set per country and no achievement targets in% for the volume sales. TARGET MARKET Upper socio-professional category audience COMMUNICATION STRATEGY 1. Focus on a specific communication target : A connected and influential audience who think that the new digital world gives them control and empowerment. 61% think Social Media gives younger generations new power (Havas Prosumers study, 2012).

2. Provide engaging content: • First, through a digital application (Baby&Me app) at the core of the platform, which allows consumers to meet their inner baby and play with it in real life. • Then, with an entertaining film that triggers the desire to share it and to experiment the ‘Live Young’ experience though the digital app. 3. Provide an engaging activation that leverages the social power of people: • Target the brand’s fans, clients & friends as they are the brand advocates • Launch the film and the app as a hot topic, through blogs, to fuel people’s conversation • No big push at launch - let people share it themselves as entertaining vs commercial content • Favour the high quality of contact vs repetition: long formats of the film (digital + TV 60s) airing in cinemas and eventful outdoor activation. • Push but don't impose: essential but userfriendly push media encouraging people to share without imposing on them.

CREATIVE & MEDIA STRATEGY The big idea of the campaign was to reconnect the deep meaning of the youth benefit and to give consumers the opportunity to experience it. For the first time, evian helped everyone reconnect with their inner youth and invited people to meet their inner baby. The campaign didn't express youth by a metaphor; it crafted an experience in which each and every person could be involved. The campaign is mainly based on the interaction of people with their ‘baby-me’. Meet your inner baby • A digital playful application that allows consumers to live the experience. • An entertaining and surprising film that stages the encounter of adults with their baby reflections, sheds new light on the Youth benefit in a more explicit and personal way and triggers the desire to live the experience the application offers. • Eventful OOH which adds to the universality of the youth benefit and allows people to interact with the campaign by being in the midst of the encounter between the evian models and their baby. • Other elements to extend the experience: street events, goodies and limited edition bottles that are available at points of sale and connect the “Live young” effect to the product.

BUDGET Under € 5 million MARKETS Belgium | France | Switzerland | United Kingdom EVIDENCE OF RESULTS The first marketing objective was successfully achieved in all targeted markets. The brand item of youth increased +10 points in France, and the price justified item + 8 points regarding the GFK analytics. Despite the very limited budget, 24 million evian babies were created through the app, of which 4,5m were shared on social media. It was the most downloaded app in the entertainment category for two weeks. The film received 130 million views globally of which 20 million in the first two days. About 90% of the views came from the 6,5 million times the film was shared on social media platforms. Sales volume and value market share rose in all markets, including a remarkable 30% increase in sales in the UK immediately after the ad was launched.

AUDI A3 Sportback > Harder, Better, Faster, Stronger (gold) In 2012 Audi had its most successful year on record thanks to its iconic Audi A3. Launched on a completely re-engineered platform, it became the new benchmark in the compact car market. In 2013, the task seemed simple: reproduce the previous year’s success with Audi A3‘s twin – the Audi A3 Sportback, a 5-door version. But this time things were different. In the interceding months, Audi’s biggest competitor had launched its own compact car on a completely re-engineered, overhauled platform: the attractive Mercedes A-class. The compact car segment is the most competitive for premium car companies as it is seen as entry point for aspiring young professionals and the opportunity to convert them into life-long brand advocates and loyalists. BUSINESS & MARKETING OBJECTIVES 1. Increase rate of completed online configurations of the new Audi A3 Sportback by 70% year-onyear in Italy and 40% year-on-year in Germany and France. 2. Increase sales of the Audi A3 by +50% year-onyear in Italy and +20% year-on-year in Germany and France. COMMUNICATION OBJECTIVES 3. Achieve above-average activation and involvement of the target audience with the campaign across all three markets. TARGET AUDIENCE The Audi A3 Sportback is targeted at young male adults, aged between 25 and 39 years, living in urban areas. They have already successfully made the first steps in their development, both in terms of career and family. They are used to a digital lifestyle, value its optionality and embrace the boost of individuality that comes along with it.

MARKETS Germany | Italy | Russia EVIDENCE OF RESULTS During the campaign, Audi’s share of sales in the premium market increased by 31% and 18% in Germany and Italy, compared to pre-campaign numbers, taking Audi to the number one premium brand spot in terms of share of sales. In Russia, where Audi was already the market leader, share of sales increased by 13%. The results for the objective of an increased installation rate in Germany and Italy exceeded expectations (up 27% and 20%) and was successfully achieved in Russia. The other communication and effectiveness objectives were a success as well, considering that, on average, every Euro Audi invested in media paid off 13-fold.

Finalists CAT.a13 >

Brand revitalisation

Land of quattro Client AUDI AG Brand AUDI quattro ® Creative Agency thjnk ag In order to further expand the brand-shaping momentum of quattro, Audi wanted to develop a global communications platform that creates space for the superior technology and the wide range of vehicles that can be equipped with quattro. The challenge was to create an emotional home for a rather technological product that, at first functional glance, isn’t that much different from its premium competitor, BMW’s x Drive, but, on average, it’s 20% more expensive. Share of sales in the premium market grew impressively in all countries, making Audi the number-one premium brand in terms of share of sales. The quattro installation rate exceeded expectations and the campaign has been adopted by 28 markets, thus maximising communications efficiency beyond any expectation.

Finalists CAT.a14 >

Best demonstration of Integrated Effectiveness Proud Sponsor of Moms Client Procter & Gamble International Operations SA Brand Procter & Gamble Creative Agency Procter & Gamble International Operations SA The Olympic Winter Games was an opportunity for P&G to communicate broadly at a moment when most Western European consumers would be paying attention. At the heart of the communications strategy was Mom. The media plan was designed to surround mothers with relevant and engaging content, meaningfully linked to P&G brands. Multiple media touch points were activated to ensure the message was present wherever Mom was: television, internet, social media, in the press and in store.The objectives were to drive broad campaign awareness and reconnect disengaged consumers with the corporate brand. P&G exceeded its overall sales target of +1% by +16%. In Germany, there was a +18% sales increase compared to the London 2012 Games activation and in the Netherlands, it exceeded its sales target by 300% to become the biggest P&G initiative ever activated.

CAT.a15 >

Small Budget

Bronze CLIENT

CLIENT

CREATIVE AGENCY

BRAND

FORD EUROPE BLUE HIVE

FORD EUROPE

Bronze

DAIMLER AG JUNG VON MATT MERCEDES-BENZ

Ford of Europe > Ford EcoSport (bronze) EcoSport is a whole new type of vehicle for Ford, so was an unknown product within the company's European markets. The challenge was to create and establish a marketing position for the car and achieve that through a powerful, original marketing idea. Ford's first compact-SUV (sports utility vehicle) also faced stiff competition from vehicles already out on the road including Nissan Juke, Vauxhall Mokka and Peugeot 2008. It was clear that EcoSport needed to stand out from the growing crowd. So this campaign placed it directly into the hands of drivers who'd appreciate it most: ‘innovators’ who’d feel special, part of an exclusive club of 'early adopters' and be naturally inclined (and able) to influence others. However, unlike the launch of a new canned drink, chocolate bar or hair conditioner, Ford’s product couldn’t be given away to sample. OBJECTIVES 1. L aunch the new Ford EcoSport by selling 500 Limited Edition models exclusively online via Facebook to a group of innovators, across 11 key European markets and within a deadline of just three weeks. 2. Maximise the cachet of reserving an EcoSport ahead of its availability to the wider public. TARGET AUDIENCE Extensive qualitative research, based on a Ford bespoke car ownership and usage study, helped determine the key audience. A 'consumer-scape' then further defined the characteristics of the target customer across five areas: Outlook, Home & Family, Work, Leisure, Brands & Media. Although the details of Ford's consumerscapes are confidential, the main points identified potential EcoSport buyers as: • Male, early 30's, living with partner but no kids yet • I nterests in travel, adventure, music, fitness / sport and fashion

• Interested

in technology as an enabler user of desktop, mobile and tablet devices (so highly connected) • Lives and works in the city, but likes to get away from it on weekends • Active

COMMUNICATION & MEDIA STRATEGY To help contextualise and distinguish EcoSport in the market, the target audience was questioned about its two greatest "desires". These were: • A vehicle with more room, presence and individuality than that of the competitors • A vehicle that's made for the city but built and equipped to escape it These insights, combined with Ford's vision to be seen as an innovator through its products and marketing, led to the selection of Facebook as the sole media partner. Our audience was far more likely to want to communicate with friends and family online than chat to a salesman in person.

So in this social environment, where advertising can be seen as intrusive, the communications were always scheduled to be relevant and timely. This was made possible by pinpoint targeting potential EcoSport buyers and only serving them ads they'd be most likely to respond to. Monitoring stock levels in real time also meant that ads ran only when vehicles were available. Having used Facebook to target and engage people, the ads directed them to the campaign microsite. There, they could explore, configure and reserve their chosen EcoSport in just four simple steps. CREATIVE STRATEGY Bearing the above in mind there remains a core question: How do you sell 500 cars to people who haven't seen or heard of it, and can't test drive it? It’s that new. And how do you convince them to purchase a £15,000 car from a mobile, tablet or desktop? For a start, it was crucial the microsite made the audience fall in love with the EcoSport. It also needed to be designed and built to make full use of the technology it was likely to be viewed on. Plus, the reservation process needed to be as easy and reassuring to use as the best online stores. The creative idea focused on the EcoSport's unique feature: Ford SYNC with AppLink, a technology that enables drivers to access their favourite smartphone apps on the move. As a result, EcoSport was positioned as the 'App for Real Life': influenced by the target audience's love of technology and desire to escape city life on weekends.

The site’s design also made best use of the swipe and pinch-zoom functionality of the latest smartphones and tablets. Combined with clear and simple visual icons and typography, purchasing an EcoSport was made a swift, seamless and rewarding process. BUDGET Under € 5 million MARKETS Austria | Belgium | France | Germany | Ireland | Italy | Netherlands | Portugal | Spain | Switzerland | United Kingdom Evidence of Results All 500 EcoSport Limited Edition cars were sold in just 5 working days, smashing the initial target of three weeks. Over 300,000 visits to the campaign website were generated. And with over 2,000 requests to ‘keep me informed’, Ford created a valuable list of potential future buyers. Add over 1,400 social media ‘shares’, the campaign created a huge amount of additional buzz around the car, well ahead of its official launch.

Mercedes-Benz > Chicken (bronze) The product: In 2013 Mercedes-Benz has launched MAGIC BODY CONTROL, the world’s first in-car system that scans the road for uneven surfaces and compensates them in real time. It’s a revolutionary technology that sets new benchmarks in comfort and safety. The challenge: Exciting a younger, modern target group about Mercedes-Benz’ ground-breaking innovation with a limited budget of € 20,000. The angle: The target group generally considers complex technology demonstrations as boring. To reach them, MAGIC BODY CONTROL had to be presented in a clever and humorous way. OBJECTIVES 1. Generate a significant number of views and shares in a short time period. Goal: 1,000,000 YouTube views within the first three weeks. 2. Increase interest in Mercedes-Benz MAGIC BODY CONTROL. Goal: Increase involvement from 47% to 55%. 3. Gain the attention of a young and modern target group. Goal: 70% of those getting involved to be under the brand’s average customer age of 57 years. 4. Increase the social media traffic of MercedesBenz and generate higher growth within the Facebook fan-base compared to main competitors BMW and Audi. Goal: Gain 750,000 Facebook fans worldwide from campaign launch until the end of 2013. TARGET MARKET The campaign targeted young and modern customers with an average age considerably below that of the typical Mercedes-Benz customer (57 years). They see themselves as “doers” – both in terms of societal and technological trends. The target group is always on the Web looking for new, exciting content to share with their community.

Through precise targeting, these people can also be activated as strong multipliers and ensure high visibility for the communication. COMMUNICATION STRATEGY A single, low-budget production video was created to take the online world by storm. The video was uploaded to YouTube and online platforms where digital opinion leaders ‘hang out’. As finding and – most importantly – sharing new and exciting content keeps them busy, once the video attracted their attention, the share rate grew exponentially. CREATIVE STRATEGY MAGIC BODY CONTROL scans the ground for unevenness and adapts the suspension to act as a counterweight for every possible shock on the road. To make the promise “stability at all times” more tangible and to get digital opinion leaders to spread the word about MAGIC BODY CONTROL, the creative idea had to demonstrate the technology in a new way. Some of the most successful viral hits use animals as playful analogies. The question arosed as to what animal could best represent MAGIC BODY CONTROL, spreading a message of comfort and

safety in an entertaining yet professional way? The answer was – a chicken. Its anatomy is the perfect analogy. The head of a chicken stays stable in any position, no matter in which direction the body may turn – just like the suspension of MAGIC BODY CONTROL. To make the analogy amusing and entertaining, the chicken was shown to dance to the beats of Diana Ross’ “Upside Down”.

EVIDENCE OF RESULTS 1. J ust three weeks after launching the spot, “Chicken” reached 5,000,000 views on YouTube, exceeding the target fivefold. The view-share rate set a new benchmark. With a total of 12,009, 476 views (as of 11 April 2014) on the MercedesBenz YouTube channel, “Chicken” reports 938.925 shares. The result of a view-share rate of 7.8% makes “Chicken” the most successful Mercedes-Benz online video of all time (sources: Unruly Media, 2014; VidStatsX.com, 2014). 2. The viral success of “Chicken” proves that the target group feels highly activated by the spot. Within 5 weeks, the involvement rate almost doubled. The success of the communication becomes particularly obvious in Google search results. From September to December 2013 requests for MAGIC BODY CONTROL rose in parallel to “Mercedes Chicken” (sources: Market Research Mercedes-Benz Cars, 2013; Google Trends, 2013). 3. The spot reached a much younger target group – approximately 20 years younger than the average Mercedes-Benz customers (57 years). With over 87% under the average age, the set target of 70% was exceeded (source: Google Analytics, 2014). 4. By the end of 2013, Mercedes-Benz was the most popular and successful car brand on the social Web – worldwide. A remarkable 1.5 million new fans were generated after the release of “Chicken” (sources: socialbakers, 2013; eBench, 2013).

Finalists CAT.a15 >

Small Budget

Powerful A cce l e r a t i o n C l i ent Volkswagen Brand Golf GTD Creative Agency DDB Team Blue Volkswagen set out for the newly launched Golf GTD to become more than just the diesel alternative to the GTI. It was to become a new and unique experience that creates an advanced level of excitement in the category and becomes attractive for a broader target. The core element of the campaign was made up of five different 20-second spots broadcasted across the GTD online section, Volkswagen YouTube Channels and social media platforms. Volkswagen aimed to strengthen GTD’s image as a dynamic driving experience, increase market leadership and grow its market share. The campaign achieved high consumer engagement levels, differentiated it in the fuel-saving communications environment and significantly increased its sales figures by 30%.

When preggy, you need Donat Mg Client Atlantic Grupa Brand Donat Mg Creative Agency Pristop d.o.o. Donat Mg is a unique, multi-functional natural mineral water and has a proven “healing” effect due to its distinct composition. The main goals were to increase volume and value sales, increase share of users within the target group and improve brand strength. Atlantic Grupa focused on pregnant women and, as they are easily influenced by the opinion of others, they decided to address them personally. They based the creative on real pregnant women who recommended drinking Donat Mg during pregnancy under the slogan “You also need Donat Mg”. Sales volume and value increased in all markets and share of users increased in 2013 vs. 2012 by 15% in Slovenia, 50% in Serbia 2013 and 14% in Bosnia & Herzegovina. In one year, Atlantic Grupa managed to successfully communicate that Donat Mg is the right choice for pregnant women, increase volume as well as value vales and improve brand strength in all markets.

A world you like. With a climate you like.Client European Commission Brand Directorate-General for Climate Action (DG CLIMA) Creative Agency Scholz & Friends Berlin GmbH The European Commission’s DG CLIMA set out to reduce greenhouse gas emissions and a roadmap for achieving a low-carbon economy in a costeffective manner. The objectives were to convince citizens across all EU member states and businesses about the benefits of moving to a low-carbon society, to raise awareness about the urgency to take action to fight climate change and to achieve editorial coverage. Participation in dialogue events with EU Commissioner for Climate Action, Connie Hedegaard, exceeded the set target of 400 attendees reaching 556 and actively engaged projects from across Europe, building a strong, growing online community. The campaign received encouraging reactions and strong interest from the press in all EU27 countries. Extensive press work enabled the campaign to achieve over 40% more press clippings than estimated. 88

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European Effie organisations Austria

International Advertising Association (IAA) - Austrian Chapter Bauernmarkt 10/9 - 1010 Wien - Austria Tel: + 43 1 535 37 95 -125 - Fax: +43 664 182 7508 Contact: Raphaela Vallon-Sattler Mail: raphaela.vallon-sattler@iaa.at - office@iaa-austria.at Website: www.effie.at, www.iaa-austria.at

Belgium

EFFIE Awards Belgium asbl Z. 1. Researchpark 120 - 1731 Zellik - Belgium Tel: +32 2 467 57 82 - +32 478 48 43 82 Contact: Birgit Heymans Mail: birgit.heymans@effiebelgium.be Website: www.effiebelgium.be

Bulgaria

Bulgarian Association of Communications Agencies (BACA) 14B San Stefano Street - 1504 Sofia - Bulgaria Tel: +359 2 944 33 35 - Fax: +359 2 943 46 44 Contact: Mariana Brashnarova, Director-General Mail: ara@arabulgaria.org Website: www.arabulgaria.org, www.effiebulgaria.org

Croatia

Croatian Association of Communications Agencies (HURA) Ulica grada Vukovara 271 - HR 10 000 Zagreb - Croatia Tel: +385 91 3000 688 - Fax: +385 1 6292 900 Contact: Dunja Togonal Mail: dunja.togonal@hura.hr Website: www.hura.hr, http://www.danikomunikacija.com

Czech Republic

Association of Communications Agencies (AKA) Opatovická 4 - 110 00 Prague 1 - Czech Republic Tel: +420 224 934 518 Fax: +420 224 934 384 Contact: Mr. Jĭrí Janoušek Mail: jiri.janousek@aka.cz - aka@aka.cz Website: www.aka.cz, www.effie.cz

Finland

Finnish Association of Marketing Communication Agencies (MTL) Eteläranta 10 - 00130 Helsinki - Finland Tel: +358 9 6877 950 - Fax: +358 9 6877 9560 Contact: Tarja Virmala - Mail: info@mtl.fi Website: www.mtl.fi, www.effie.fi

France

Association des Agences Conseils en Communication (AACC) & Union des Annonceurs 40 boulevard Malesherbes - 75008 Paris - France Tel: +33 1 4742 1342 - Fax: +33 1 4266 5990 Contact: Isabelle Guillotin - Mail: iguillotin@aacc.fr Website: www.aacc.fr, www.effie.fr

Germany

Gesamtverband Kommunikationsagenturen (GWA) Friedensstrasse 11 - 60311 Frankfurt/Main - Germany Tel: +49 69 256 00 80 - Fax: +49 69 23 68 83 Contact: Nadine Kleinert - Mail: nadine.kleinert@gwa.de Website: www.gwa.de, http://effie.gwa.de/

Greece

Hellenic Association of Communcations Agencies (EDEE/HACA) 7 Yperidou Street - 105 58 Athens - Greece Tel: +30 210 3246 215 - Fax: +30 210 3246 880 Contact: Maria Bacoula-Kantza - Mail: maria@edee.gr Website: www.effiehellas.gr, www.edee.gr

Hungary

IAA Hungary Alkotmány u. 31. II/7.a - 1054 Budapest - Hungary Tel: +36 70 380 1668 - Fax: +36 26 355 241 Contact: Adrienne Kaminszky Mail: iaahun@mail.datanet.hu Website: www.effie.hu, www.iaa.hu MAKSZ Bem rakpart 30 - 1027 Budapest - Hungary Tel: +36 1 785 8585 - Fax: +36 1 785 8586 Contact: Móra Eszter - Mail: eszter@maksz.com Website: www.maksz.com

Israel

Israel Management Center (IMC) 29 Choma u Migdal Street - 67771 Tel Aviv - Israel Tel: +972 3671 1921 - Fax: +972 3671 1921 Contact: Eli Sharon Moshe - Mail: sharon@effie.org.il Website: www.effie.org.il

The Netherlands

Dutch Association of Communication Agencies (VEA) W.H. Keesomlaan 4 – 1183 DJ Amstelveen – The Netherlands Tel: +31 20 642 56 42 Mail: info@effie.nl Website: www.effie.nl, www.vea.nl

Poland

Marketing Communication Association (SAR) Ul. Czerska 8/10 - 02-732 Warsaw - Poland Tel: +48 22 898 84 25 - Fax: +48 22 898 26 23 Contact: Pawel Tyszkiewicz Mail: pawel.tyszkiewicz@sar.org.pl Website: www.effie.pl, www.sar.org.pl

Romania

The Institute 21 Gheorghe Lazar St - Building A, 1st Floor, ap. 3 - Bucharest 1 Romania Tel.: +40 21 314 66 15 Contact: Teodora Calin - Mail: teodora.calin@institute.ro Website: www.effie.ro

Russia

Russian Association of Communication Agencies (AKAR) 16 Sushchevskiy Val St. - Bld.5, Office 1100 - 127018 Moscow Russia Tel: +7 (495) 363-03-35 Mail: brandgoda@rbc.ru Website: http://brandgoda.ru/

Slovak Republic

Klub Reklamnych Agentur Slovenska (KRAS) Ul. Fraňa Kráľa 12 - 811 05 Bratislava - Slovak Republic Tel: +421 25 26 20 544 - Fax: +421 25 26 20 544 Contact: Jana Šimeková - Mail: simekova@kras.sk Website: www.effie.sk, www.kras.sk

Slovenia

Slovenian Advertising Chamber (SOZ) Letališka cesta 35 -1000 Ljubljana - Slovenia Tel.: +386 1 439 60 50 - Fax: + 386 1 439 60 59 Mail: effie@soz.si Website: www.effie.si, www.soz.si

Switzerland

bsw leading swiss agencies Weinbergstrasse 148 - 8006 Zürich - Switzerland Tel: +41 43 444 48 10 - Fax: +41 43 444 48 11 Mail: effie@bsw.ch Website: www.bsw.ch, www.effie.ch

Turkey

Turkish Association of Advertising Agencies (TAAA) Istiklal Caddesi n° 407 - K4 Beyoglu - 34433 Istanbul - Turkey Tel: +90 212 243 93 63 - Fax: +90 212 243 93 70 Contact: Aysegül Molu Mail: aysegulmolu.tmp@rd.org.tr Website: www.rd.org.tr, www.effieturkiye.org

euro effies organisation EACA 152 Boulevard Brand Whitlock 1200 Brussels - Belgium Tel +32 (0)2 740 07 12 effie@eaca.eu - www.eaca.eu

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acknowledgements EACA would like to thank all sponsors and partners for their support and contribution to the continuing success of the Euro Effie Awards. We would like to give special recognition to the participating agencies and clients whose work continues to inspire others in the industry. We are especially thankful to the volunteers of the two juries who gave up their time to select this yearâ&#x20AC;&#x2122;s winners.

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