Print Power Issue 8

AU T U M N 2 0 1 4 _ P R O M OT I N G T H E E F F E C T I V E N E S S O F P R I N T M E D I A T H R O U G H O U T E U R O P E

What you see is what you get Why print is the world’s most trusted medium

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I

AM A

BOOST TO

YOUR

ROI

I am the power of print. When using the optimal media mix for FMCG campaigns, which involves increasing magazine’s share, return on investment (ROI) will increase from 1.64 to a ROI of 1.75. By optimizing your print investments in FMCG you can increase your ROI by 17%. Read the BrandScience analysis for more details on www.printpoweruk.co.uk

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/ CONTENTS

12 | TAKE 5

22 | CANNES LIONS

FIND OUT MORE Print Power is a European initiative dedicated to strengthening the position of print media in a multimedia world. For more information, go to www.printpower.eu

04-10 Engage The latest European news, research, opinion and trends in the world of print, media and marketing.

32-35 The rise of the brandzine It’s a magical combination of a magazine and a brand and it’s becoming more and more popular across Europe.

100% RECYCLABLE Print Power is printed on 100% recyclable paper from sustainable managed forests. All inks and finishes are also 100% recyclable and biodegradable. Printed using vegetable-based inks by an ISO 14001-accredited printer.

12-13 Take 5 Everyone’s gone interactive this issue as we plant grass seeds with Juventus FC, barbecue with a book and go sniffing around York.

36-40 McCann One of the world’s biggest ad agencies invites us over to New York for an exclusive guided tour of some of their finest print work.

14-15 Thought Leaders Clubcard pioneer Clive Humby wonders why publishers don’t use their data more wisely, while jazz superstar Jamie Cullum explains the allure of publishing.

42-45 Native advertising In marketing circles, there’s nothing hotter than native advertising. But before you throw money at this new platform, consider that print has been doing native for years in the form of an advertorial.

PRINT POWER Published by Print Power www.printpower.eu Content by Soul Content www.soulcontent.co.uk Editor Sam Upton Design Ian Findlay Coordinators Martyn Eustace Sarah Collins Aneta Pawlik Print PCP Data management DST PrintPower UK iCon Centre, Eastern Way, Daventry, Northamptonshire, UK NN11 0QB info@printpoweruk.co.uk +44 (0) 1327 262 920 www.printpoweruk.co.uk #Printpower © 2014 Print Power

Sponsored by

28 | THE CAR’S THE STAR

16-20 Trust In the world of brand marketing, there’s nothing more important than trust. We take a look at why brands rely on print to instil confidence in their products – and why they use it when things go wrong.

36 | McCANN

46-49 Media planner round table We gather five of Europe’s top media planners to discuss and debate the role of print. If anyone knows the value of print, it’s these people.

22-26 Cannes Lions This year’s Cannes Lions was a triumph for print. Join us as we celebrate some of the finest print campaigns that walked off with a coveted award in 2014.

51-57 Knowledge From direct mail and customer magazines to catalogues and magazine advertising, discover why print media should be a key part of your marketing strategy.

28-31 The car’s the star Top marketers from Audi, Mazda and Toyota get revved up about print and how it drives customer loyalty.

58

Final word Philip Thomas, CEO of Cannes Lions, reflects on a great year for the festival and the resilience of print.

www.printpoweruk.co.uk | PRINT POWER _ 03

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The latest news from the world of print

AUTUMN SEMINAR 2014

Inspiration and insight into the value of print Book your place for the 2014 Two Sides & Print Power Autumn Seminar This year’s Two Sides & Print Power Autumn Seminar promises to be the best in its four-year history, with an enticing line-up that boasts a world-renowned futurologist, the editor of a national red top, a top Royal Mail executive and a pioneer in paper technology.

The day-long conference will be held at the historic Stationers’ Hall in London on Monday 3 November and will offer thought-provoking insight and debate on how print remains a powerful and effective channel of communication. Leading speakers on sustainability will also share their thoughts on the key issues your business and your clients face today.

Among the speakers will be Richard Watson, co-founder of Futures House Europe and publisher of What’s Next? (www.nowandnext.com). Richard is a futurologist, a ‘scenario thinker’ that helps organisations think further ahead.

His presentation, ‘Futurevision – The World of Print in 2020’, will examine the world of print and explore the opportunities for the media industry.

Elsewhere, Jonathan Harman, Managing

THE SPEAKERS Richard Watson Co-founder of Futures House Europe and publisher of What’s Next?

Peter Lancaster Chief Executive Officer, Documobi Ltd Jonathan Harman Managing Director of MarketReach, Royal Mail Group Nicole Yershon Director of Innovations, Ogilvy Labs Martin Glass Director, EMGE & Co Ltd Nicolas Sennegon Chief Revenue Officer & Global Head of Client Marketing, The Economist Group Daniel Flynn Client Service Director, Kantar Media EVENING David Dinsmore Editor, The Sun, News International Marco Mensink Director General, CEPI

Director of MarketReach, Royal Mail Group, will explain why print is still an effective tool in direct mail and door drop, while Peter Lancaster, CEO of Documobi, will demonstrate his company’s unique technology that’s designed to link the worlds of print and online.

However, the inspiration doesn’t end there. There’s also a special evening event with a three-course dinner at Stationers’ Hall, with two leading speakers lined up for post-dinner presentations: David Dinsmore, Editor of The Sun, and Marco Mensink, Director General of CEPI. This is an ideal opportunity for you to expand your knowledge of the print, marketing and advertising industries, and listen to some of the industry’s most inspirational speakers. With day and night events, this is also a great chance to network with potential business partners and enjoy one of the top events in the print industry calendar. + To find out more about the Autumn Seminar and to book your place, go to www.twosides.info/autumnseminar-2014 [or http://bit.ly/1pHXvBm]

04_ PRINT POWER | www.printpoweruk.co.uk

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/ ENGAGE the communications received are through digital channels, consumers say that mail makes them feel valued. In fact, it makes them feel far more valued than email and even more valued than when the question was asked seven years ago.”

Email and mail work best together The Royal Mail has published a study that highlights the consumer demand for brands to use both mail and email in their communications.

Just over half of the 1,000 respondents (51%) said they preferred a combination of both mail and email in company communications because of their differing qualities.

These qualities include the stronger emotional engagement they receive from mail, as well as the fact that mail gives a better impression of the company and makes them feel more valued. People also take more time to read mail, with 55% saying they spend time reading mail, an increase of 22% since 2007. Just under half as many people surveyed (27%) said that was the case with email.

“Mail is authoritative and informative, so it’s a better medium for sending communications consumers need time to consider, browse and enjoy,” says Mike Welsh, CEO of Publicis Chemistry.

“At a time when so many of “ In an age where email open rates are falling, people’s in-boxes are filling up and there’s so much noise to cut through, a well-crafted and targeted piece of direct mail can still hold its own and create a talking point” Branwell Johnson, Editor of Marketing Week

57%

of consumers say that receiving information from businesses in the mail makes them feel valued. This is an increase of 31% since 2007

17% 56% 27%

feel valued with email

of consumers say that mail grabs their attention attention

Print plays leading role in ROI A cross-media study by Dutch news media and GfK Research has found that print advertising has the highest ROI – €1.30 for magazines and €1.20 for newspapers. Meanwhile, online, radio and TV deliver just €1.10, €0.90 and €0.60 respectively.

The study also found that the more expensive print ads deliver the best ROI. “This reminds me of the classic dish soap advertising,” says Olaf Croon, on behalf of Dutch news media.

“The A-brand is more expensive, but thanks to a better formula it cleans twice as much dishes. Being a media professional, you shouldn’t focus on costs only.”

What’s clear from the research is that, while print media delivers the highest ROI on its own, success comes from a combination of a number of media channels and that with a modest shift towards print, a campaign can be significantly more effective. + For more information, go to www.inma.org/blogs/research/ post.cfm/cross-media-study-shows-print-advertising-hashighest-roi [or http://bit.ly/1kakzVW]

say email grabs their

55%

of consumers believe communications through the post delivers a brand message

25%

say email delivers a brand message

95% of 18-34-year-olds and 96% of 18-24-year-olds read print magazines (MPA, 2013)

Coffee morning in Paris Commuters in Paris were treated to a free coffee courtesy of Nescafé when adverts equipped with two foldable mugs packed with instant coffee were given out to weary travellers.

Billed as ‘The Pop-Up Café’, the ads were produced by Geometry Global Paris and

were distributed throughout the Parisian Metro system to inspire social interaction amongst commuters.

Once the ad was opened, the reader was invited to pull out a pair of cardboard mugs that could be unfolded and, with the addition of some hot water, turned into two cups of coffee.

The campaign was designed to get people on the Metro talking and emphasise the social nature of sharing a warm drink – two aims it achieved with great success. + To watch a video of the campaign, go to YouTube and search for ‘Geometry Global Paris’

www.printpoweruk.co.uk | PRINT POWER _ 05

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ENGAGE

\ CMA SUMMIT & AWARDS

THE WORLD OF PRINT

+ The Sri Lankan newspaper Mawbima is fighting the spread of Dengue Fever, a disease carried by mosquitoes, by producing an issue made from mosquito-repellent paper. The paper was printed with ink mixed with citronella and proved a hit with readers: sales increased by 30% and readership by 300,000. + A new app has been developed that allows users to design their own print publication using their favourite online content.

PaperLater invites browsers to tag online content then prints and sends a newspaper to the user within 3-5 working days. + Japanese notebook maker Magnus Ferreus has created a notepad infused with onions to provoke emotion. The friction of the pen on the notebook’s paper activates the onion compounds and forces tears from the eyes of the writer. + Colgate has used its packing boxes to educate young people in Myanmar about the importance of dental health. To ensure the message reached the most remote locations, the toothpaste brand printed posters on the inside of the boxes, which store owners opened out and took to their local schools. + A book has been developed by humanitarian group WaterisLife and ad agency DDB that can filter water of all life-threatening diseases. The ‘Drinkable Book’ contains enough pages for four years of safe filtration to leave water 99.9% pure.

The International Content Marketing Association have a busy time coming up. Not only have they got their annual awards for excellence in content marketing, they also have the International Content Marketing Summit 2014, a packed day of presentations, debates, talks and discussions around the rapidly expanding world of branded content.

Taking place on Wednesday 26 November at Kings Place in London, the Summit will gather some of the world’s leading experts in marketing, publishing and media to reveal the strategies and secrets of effective content marketing.

Hosted by Naga Munchetty, presenter of BBC Breakfast, the day-long event promises to bring your knowledge of content marketing bang up to date.

Following the Summit at the nearby Roundhouse venue in Camden, the CMA host their annual International Content Marketing Awards. With 2014 a breakthrough year for content marketing, the ceremony will be a worldwide celebration of the industry and a showcase of the talent and creativity of the people who work within it. + For more on the Summit, go to http://summit.the-cma.com. For more about the CMA Awards, go to http://awards.the-cma.com

French web users say ‘Oui’ to print A study by French research group SEPREM for Syndicat de la Presse Sociale (SPS) has discovered that when it comes to reading information thoroughly, the majority of internet users actually prefer print. The research found that 59% of internet users in France chose paper when they wanted to read information thoroughly, compared with just

22,000 The amount of times products have been scanned in print magazine Porter since its launch in February 2014 (Net-A-Porter Group, 2014)

“ The reason that print is important in our customers’ lives is the emotional connection it brings; the touch and feel of a magazine and getting their ‘tech detox’ time” Tess Macleod Smith, Vice President of Publishing and Media at the Net-A-Porter Group

16% who looked towards the digital screen.

French web users also turn to print when it comes to saving information, with 40% saving important information in print, compared to 29% keeping it on their hard drives or in the cloud. This is perhaps surprising, given that 61% of the country owns a smartphone and 35% own

a tablet. The members of SPS – an organisation that represents around 170 publications in France – were also asked about their platform preference.

They (40%) believed that a mix of electronic- and paper-based communication would be the most effective. + For more information on SPS and the report, go to www.sps.fr

Internet users in France who prefer reading print vs digital media, by activity, May 2014 % of respondents

Read information throughly

59%

16%

25%

Save information

39%

29%

32%

Share information with your friends/family

18%

49%

33%

Get to the essential points right away, find an answer to a specific question

9% Paper

75% Screen (website, e-letters)

16%

Both equally

Source: Syndicat de la Presse Sociale, ‘Etude sur les comportements de lecture ‘papier versus numérique’ conducted by SEPREM, June 18 2014

06_ PRINT POWER | www.printpoweruk.co.uk

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5250

MAKING A NOISE IN DELIVERY We were TNT Post. Now we’re Whistl.

As TNT Post, for the last decade we’ve been changing the face of mail.

Now we’ve changed both how we look and what we’re called.

Welcome to Whistl.

Call 01628 861503 | email moreinfo@whistl.co.uk | visit www.whistl.co.uk #WeAreWhistl

Mail

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Packets & Parcels

Logistics

Doordrop Media

www.printpoweruk.co.uk | PRINT POWER _ 13

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/ ENGAGE

EVENT

DIARY

8 OCTOBER 2014 PPA Advertising Awards These awards celebrate the strategic thinking, creativity and planning behind the best-executed advertising campaigns across international magazine brands. They reward the sophistication and effectiveness of campaigns that have magazine brands at their core, with winning campaigns using a range of platforms – from websites and print to tablet editions, mobile, events, email and apps – to achieve success. + Paramount, London www.ppa.co.uk/events/ advertisingawards2014 13-15 OCTOBER 2014 World Publishing Expo Organised by WAN-IFRA, the World Publishing Expo is the largest annual global trade exhibition for the news publishing and media industries. With more than 100 speakers, 300 exhibitors and 8,000 visitors enjoying a variety of conferences and seminars over three days, the vast event is the world’s best event for the latest developments in print. + Amsterdam RAI www.wan-ifra.org/events 3 NOVEMBER 2014 Two Sides UK/Print Power Autumn Seminar 2014 This annual gathering of print experts and senior marketers is the ideal forum to discover why print is still a relevant, unique, powerful and effective channel of communication. With presentations from

media experts and specialists in sustainability, the day-long conference will provide both education and inspiration for your next print campaign. + Stationers’ Hall, London Email sjc@twosides.info to book your place 26 NOVEMBER 2014 CMA International Content Marketing Summit & Awards 2014 The International Content Summit is the world’s leading conference on content marketing, featuring insight, experience, knowledge and inspiration for the publishing, marketing and media professional. The programme is tailored to everyone in the marketing, advertising and media industries who wants to know more about content marketing, with topics selected to give the delegate an inclusive view of the industry, addressing both current and future trends. + Kings Place, London www.the-cma.com 2 DECEMBER 2014 DMA Awards 2014 All agency activity stops on the night of December 2 (and the morning of December 3) as the annual celebration of direct-marketing excellence gets underway in London.

Winning agencies last year include OgilvyOne, WDMP. M&C Saatchi, Creator, Lida and Publicis Chemistry, so expect a keenly fought contest, as well as the world’s greatest examples of effective direct mail. + London, venue tbc www.dmaawards.org.uk

Print magazines an online shopping catalyst A report from eMarketer has found that print magazines and augmented reality drive shopping activity. The consumer survey discovered that shopping while reading a print magazine is the top activity performed on a tablet, with 63% of respondents regularly inspired by print to go online. This beats watching TV, with 59%.

Among smartphone users, reading print while shopping is also the top activity at home, with 49%. Again, this beats watching TV, which only 29% of respondents say they did. And while only 9% of US internet users surveyed used mobile augmented reality tools when shopping for consumer packaged goods, 53% (the number one response) said that AR was “very helpful” (Catapult Marketing, 2013).

These findings support previous research that found that magazine readers are digitally savvy and adept at using digital tools. + For more information, go to www.emarketer.com

£4.5m The ad revenue of the September 2014 issue of Vogue (Condé Nast, 2014)

Proof of Performance – the return FIPP, the worldwide magazine media association, have just launched their second Proof of Performance report.

The highly influential report contains a huge amount of new research and case studies that collectively demonstrate the continued strength and resilience of magazine media around the world.

With most of the new research concerning multiplatform use, the report offers a fascinating view of the relationship between magazine brand and reader, and how that relationship is strengthened with greater choice of platforms. But while

digital is now a vital part of all magazine brand strategy, the report explains that print remains a strong performer for advertisers.

For example, the report cites how German magazine TV Spielfilm improved a campaign’s effectiveness by transferring a small proportion of the client’s TV budget into print. Consumers exposed to the two magazine ads showed 20% higher ad recall and 15% higher brand recall.

Gathering the findings of over 150 different studies from 25 different countries, FIPP’s Proof of Performance report is a must-read for anyone connected to the publishing and advertising industries, as well as a sharp reminder that print is a valuable tool for publisher and advertiser alike. + For more information about FIPP’s second POP report, go to www.fipp.com

www.printpoweruk.co.uk | PRINT POWER _ 09

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ENGAGE

\ Mirror mirror on the cover...

When picking up this issue of Print Power Power, you may have noticed something staring back at you from the cover: yourself. To illustrate the credibility of print and the trust people place in it, we decided to use a unique effect to demonstrate one of the few things you can trust to give you an accurate picture – a mirror’s reflection.

The effect was created by decorative print finishers Celloglas, who used a high-grade foil block overlaid with high-gloss UV varnish to give the cover its impressive mirror effect. Some light de- and embossing on the mirror’s handle then adds texture and depth to the final image.

“The whole effect has the result of really lifting the image of the mirror,” says Steve Middleton, Sales Director for Celloglas. “Along with the reflective finish that’s been built up, it’s a really fantastic result.”

AU T U M N 2 0 1 4 _ P R O M OT I N G T H E E F F E C T I V E N E S S O F P R I N T M E D I A T H R O U G H O U T E U R O P E

What you see is what you get Why print is the world’s most trusted medium

+ For more information about Celloglas and their range of effects and finishes, go to www.celloglas.co.uk

Bridging the direct mail gap While magazines have been tapping into the promise of augmented reality for some time now, direct mail has been strangely lacking in bridging technologies. Since the main aim of DM is to move the consumer from awareness to purchase, it’s an area that’s ripe for a device to get the recipient online as soon as possible.

Interactive Advertising Mail (iAM) from Documobi could be that device. iAM combines DM with mobile internet to create unique content, offers and experiences for consumers, linking print DM with mobile marketing campaigns. With no codes, tags or markers, the device uses a consumer’s demographic and historical data to create highly personalised content accessed through their smartphone.

“We can make a piece of print unbelievably personal,” explains Documobi Chief Executive Peter Lancaster,

27%

more marketing campaigns deliver high sales performances with mail than those that do not (IPA, 2014)

TRY IT YOURSELF!

1. Download the Documobi iAM app from the App Store or Google Play to your smartphone.

2. Scan the image using the app.

“so that when somebody scans it, they get something completely different to what anybody else would get.” iAM creates personalised landing pages based on a user’s data when they scan any linked piece of print with the app of any brand embedded with the Documobi technology.

This then brings up offers and experiences unique to each customer based on location, time, purchase history or any

other piece of information.

“This technology goes beyond QR codes and augmented reality,” says Lancaster. “What we’re interested in is what happens on your phone when you scan something that’s printed. This is about a personal relationship between the brand and the consumer using the phone.” + For more information about iAM and Documobi, go to http://documobi.com

“Condé Nast now sells twice the number of magazines it did 20 years ago. In any other industry, that would be described as a boom time” Nicholas Coleridge, UK Managing Director of Condé Nast

FOR MORE NEWS ON THE PRINT MARKETING, ADVERTISING AND MEDIA INDUSTRIES, GO TO WWW.PRINTPOWERUK.CO.UK

/PRINTPOWER

10_ PRINT POWER | www.printpoweruk.co.uk

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Celloglas is the UK’s leading specialist in decorative print finishing. Decorative print finishes can be used to deliver innovation and added value, increase user interaction, demonstrate brand category leadership, enhance sensory experience and even stimulate debate in social media circles.

Publishing / Packaging / Multimedia / Promotional / Greetings Ask us about: Silkscreen applications Gloss UV / Matt UV / Tinted UV Textured / Cellotex Water based varnish Pealescent Varnishes Re-moist Gumming Fragrance burst / scratch and sniff Thermochromic Ink / Rub and Reveal Photochromic / Light reactive Fluorescent Inks / Glow in the dark Silver and gold latex / Rub and remove Hi-build UV Glitter varnish

High Speed coatings Gloss and Matt varnish combinations Textured varnish Fragrance burst / scratch and sniff Pearlescent varnishes Velvet varnish - New And many more…

Lamination Cellotouch - Soft-to-touch Cellogreen - Recyclable and biodegradable Gloss / Matt / Anti scuff / silk / linen / holographic Cellolux - Luxury lamination

Ask a

bo

ut A divis www ion of Cello .mirr i.co.u glas k Aw brand orld leadin of me g ta and b llic paper oard

Mirri -

Foil Blocking Metallics / Pigment foils / Holographics / Security foils / Textured foils

Call or go to www.celloglas.co.uk to order your sample pack of finishes Contact - Reading: 0118 930 3003 / Leicester: 0116 263 1010 / Leeds: 0113 271 1320 sales@celloglas.co.uk / www.celloglas.co.uk

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1 SUL RETRO TROVI LE ISTRUZIONI DI UTILIZZO PER FAR CRESCERE IL TUO CAMPO DI CALCIO!

Juventus FC The iconic Italian football club has a special birthday treat for their Premium Members, the loyalty scheme for dedicated Juventus fans. As well as exclusive events and discounts all year round, the member receives a piece of direct mail that gives them the chance to grow their own section of stadium turf. Inside the elaborate pack is a piece of card embedded with grass seeds, the same variety as those used to grow the turf in the famous Juventus Stadium. All the fan needs to do is plant it in their back garden. It won’t make them play like Pirlo or Tevez, but will give them a very personal and permanent connection to the club.

TAKE FIVE | Discover how to barbecue like a Brazilian, give Juventus fans a birthday treat and smell an entire city in one book

|

2

JCDecaux The French outdoor specialist wanted to let its major clients know about its expansion into digital advertising, so turned to print to get the message out and, in the process, chase up a few outstanding invoices. JCDecaux knew that many of their billboards were advertising products long after they and their clients had forgotten about them, so used Google Street View to take images of a series of billboards in Belgium. Those images were printed, framed and sent to 53 of their biggest clients, along with a detailed invoice of exactly how much the company owed JCDecaux for the forgotten advertising time. But instead of insisting that the client pay the money, they offered them the chance to wipe this debt in return for half an hour with the JCDecaux sales team to hear about their new digital offering. The campaign was hugely successful, with top clients such as Peugeot and Unilever booking in time with JCDecaux. + To watch a film of the campaign, go to www.youtube.com and search for ‘JCDecaux BBDO’

12_ PRINT POWER | www.printpoweruk.co.uk

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/ TAKE 5

3

Tramontina Tramontina are a cookware and homeware manufacturer based in Brazil who wanted to make a real statement about their knowledge and experience of barbecuing. Brazil takes barbecuing very seriously, so Tramontina teamed up with ad agency JWT Brazil to create The Bible Of The Barbecue, a book that not only teaches the reader how to barbecue but contains within its pages every tool you need for a successful barbecue. There’s a page infused with fuel to start the fire, one with salt to season the meat, utensils,

a knife-sharpener, serving tray and an apron, all organised in exactly the order you would need them. The book’s cover is even made out of thick wood to serve as a chopping board. The Bible Of The Barbecue has been sent to top chefs all over Brazil for testing and will be available in bookstores soon. + To watch a film of the book, go to www.jwt.com/thebarbecuebible

5 4

Smell York Traditionally, guidebooks aren’t the most interesting of things, with plenty of information without much entertainment. But the city of York in the UK has turned that tradition on its head with the production of Smell York, its new guidebook. The book brings another dimension to the historic city, with a range of smells from the delightful to the disgusting infused in its pages. The book contains 12 smells, including York’s Antiquities (“a musty infusion of leather, old books, gold, silver, wood and dust”), Afternoon Tea (“the appetising aromas of loose leaf

teas, spices and cakes”), Railway heritage (“a nostalgic infusion of coal, steam, engine oil and iron to represent York’s rich railway history”) and even Spooky Scents, with its “strong smells of sulphur and roses that are frequently associated with two of York’s eternally restless spirits”. + To request your copy of Smell York, email contactinginfo@visityork.org

IKEA No stranger to attentiongrabbing print ads, IKEA recently ran a campaign across Europe that highlighted the role the furniture company has in population growth. The print ads show a family tree, with IKEA beds inserted between generations to remind readers of the role bedroom furniture played in their ancestry.

Created by German agency thjnk, the campaign is based on the fact that 10% of Europeans were conceived on an IKEA bed – although some of the images curiously include kitchen tables and washing machines. + For more information on this and other IKEA campaigns, go to www.thjnk.de

www.printpoweruk.co.uk | PRINT POWER _ 13

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THOUGHT LEADERS | Explore the world of big data and its value in print marketing with Clive Humby, co-founder of dunnhumby, before discovering why international jazz star and magazine publisher Jamie Cullum turned to print to get closer to his fans | For the last 20-odd years, I’ve been analysing customer behaviour. At dunnhumby, we tried to understand how people shopped via the things they put in their baskets. Now I’m looking at other forms of data around the customer, things like their transaction records with Visa and Mastercard, their calling patterns on mobile phones and their social media engagement. It’s the process of understanding what people are really engaged with and how they engage with brands.

Effective customer engagement comprises three components: using the channels the customer wants you to use, publishing the content that you want, with delivery at the right time.

The trouble is, brands are still in push mode. Brands still want to push their message out to consumers when it’s convenient to them. That’s not what the consumer wants. The consumer wants more control of the dialogue.

I’m still a huge fan of print. The important thing with print is that it’s physical, and I don’t think you can underestimate that. But I also think

its role is changing. I’ve seen a number of experiments with tailored content, where it’s been tailored using segments, where certain pages are different for different people.

We were involved in an example of that for Macy’s. They put a product catalogue out and the way that was compiled was a function of the type of customer you were. When you deliver physical print to a person, you can apply some of the principles of digital to the physical print process. That was a selective binding process that really worked.

The other thing that print needs to recognise is that it’s still got an immensely important role in a lot of consumer choices such as holidays. But it has to work out what its role is better.

I don’t see the Thomson holiday catalogue or the Argos catalogue disappearing. They might slim down, they might become something different to what they are now, but they will continue to have a presence in people’s homes for a long time to come.

When it comes to paid-for magazines, where the consumer is buying the

physical magazine, whether it’s a one-off at the train station or a subscription of some form, those products need to work out how they can become an important destination for the customer. They need to understand that their digital footprint and printed footprint are complementary.

In terms of data, the most important thing is to understand is what data you have got and how to work out what it tells you. A lot of people fail to recognise that the data that’s collected is not actually the data they want, because it’s probably collected for a different reason.

A great example is magazine subscriptions. If you’re a magazine subscriber, the data that’s collected on you is about fulfilling your subscription.

It’s not actually about following your interests. I have half a dozen magazine subscriptions, which I engage with online as well as in print. But I can’t think of a single instance where people have used the fact that I look at certain types of stories or certain topic areas more or less. I’m just one of the 250,000 subscribers to that magazine. That’s one area where publishers could definitely use their data better.

14_ PRINT POWER | www.printpoweruk.co.uk

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/ OPINION When I first had the idea of producing my own magazine, The Eighty-Eight, I just thought it would be a nice piece of merchandising to sell at my gigs. I wanted to give my fans something that I would want as a fan, and I’ve always had a real passion for magazines, from when I collected fanzines when I was a teenager to collecting comics to seeking out the most beautiful, interesting examples of the magazine art form today. For me, a beautifully produced magazine is something to treasure, not this temporary, throwaway thing it’s sometimes regarded as.

So The Eighty-Eight became a labour of love for me. I wanted to produce a beautiful object that you’ll want to hold and keep, from the paper stock to the typefaces to the content. I realised I would probably make a loss on it, but that wasn’t a major concern – the most successful products start out as somebody’s passion and that’s what people buy into, not some cold business plan. That’s how I started my music career – just playing for fun – but now I’m starting on a second issue of The Eighty Eight, I really want it to fund itself as a commercial product.

There’s a real renaissance now in independent print magazines. Because the mass market has declined, it’s opened up the market for creativity and independent, entrepreneurial spirits. I want The Eighty-Eight to be part of that.

A lot of these magazines are design-led, and that’s important because you can really make the most of print’s tactile visuals that way. But it’s also really important to me that the writing’s good.

In terms of the content, I had plenty of ideas from the outset. I knew I wanted to write something about my obsession with shoes; I knew I wanted something on how famous jazz musicians affected fashion; and to provide something you can’t get elsewhere, in the form of unreleased sheet music. And my wife [model turned author Sophie Dahl] is a great writer and she did a great piece on the nature of the artistic muse – and of course I don’t have to pay her!

However, the second issue won’t be so based around friends’ contributions – I’ll be aiming to commission people I admire to make the content as strong as possible.

It’ll also be available digitally, but I really think it’s at its best in print. Oddly enough, we launched a digital version of

the mag in June [as a smartphone and tablet app] and it led to a spike in sales of the physical version. Obviously people thought, ‘I like this so I’d like to get hold of the real thing.’ Digital is fine as a way of promoting the brand, but print’s where magazines really belong, and I think readers feel that way too.

I’m looking to get more advertising on board for the second issue. As well as the obvious financial benefit, I think advertising actually makes it feel more magazine-like and allows you to ally yourself with brands that have a similar aesthetic and values. But one thing The Eighty-Eight doesn’t do is exist for advertising. That comes back to my central point: if you focus on making something beautiful, original, interesting and lasting, brands will want to buy into that – and so will readers.

“If you focus on making something beautiful, original, interesting and lasting, brands will want to buy into that” jamie cullum

“Brands still want to push their message out to consumers when it’s convenient to them. That’s not what the consumer wants.

The consumer wants more control of the dialogue” clive humby

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It’s a small word but one of the most important when it comes to marketing and selling product. Without trust you have no customers and without customers you have no business. And the best medium to use to build up trust? Good old-fashioned print

BY JOHNNY SHARP |

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/ TRUST

63% trust advertising in print compared to 41% for TV and 25% for online (VTT, 2013)

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It

it was all a bit embarrassing. Having

lost its UK court case against Samsung in 2012, tech giant Apple were forced to issue a public apology, stating unequivocally that it was wrong to suggest Samsung had copied its smartphone products. And the judge was clear: the retraction should be in Arial font of a minimum 14-point size, in several national newspapers and magazines, and on the home page of their website.

Unnecessary detail? Not as it turned out. After initially posting a tiny link on the home page, clicking through to a lessthan-sincere-sounding apology, Apple were forced to amend their statement and put the whole lot on the home page.

But even then, tech-savvy observers noticed that the new apology was resized for different browsers, meaning it was only visible if you scrolled down below the ‘fold’ of the web page.

No such problems with the print apologies – there they were, in black

“When brands have an important statement to make, they are more likely to take out a printed advertisement.

Traditional print media is still incredibly trusted” James Turner, Vice President of Edelman Berland

and white. Apple could risk making a clearly disingenuous and not-entirely wholehearted apology online because they could easily amend or replace it at a moment’s notice. They didn’t try to pull that trick in print.

Put your trust in print Given episodes like this, is it any wonder that surveys repeatedly show that consumers trust what they read in print far more than what they see on digital media or even on television? It also reinforces the fact that when a brand has something serious and sincere to share with its customers, it turns to print.

That certainly proved true when Sainsbury’s decided to apologise to their customers for stocking sub-standard meat products during the horsemeat scandal of 2013. They chose print as the medium in which to do it, and when Print Power suggested to Marketing Director Sarah Warby that this was because print is a medium that engenders most trust in consumers, she said: “You’re right. When there’s something to say, print is one of the media people reach for.”

“I think that when brands have an important statement to make, they are more likely to take out a printed advertisement,” echoes James Turner, Vice President of Edelman Berland, who produce the annual Edelman Trust Barometer survey. “Traditional print media is still incredibly trusted.”

It’s perhaps only natural that print media should be more trusted, simply because the feeling that the internet and mobile communications represent the media’s ‘Wild West’ still endures.

Publish a wayward statement online and NIELSEN SURVEY 2013 HOW MUCH DO YOU TRUST THE FOLLOWING ADVERTISING FORMS? NEWSPAPER ARTICLES

6

NEWSPAPER ADS

51

4

41

MAGAZINE ADS

3

OUTDOOR

2

EMAIL NEWSLETTERS

3

28

SEARCH ENGINE ADS

3

27

SOCIAL MEDIA ADS

36 32

2

26

ONLINE BANNER ADS

1

22

MOBILE ADVERTISING

2

19

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/ TRUST “The he brain responds strongly and more directly to touching things. Your touch is a direct response to your brains, and if you can see and feel things, you become more comfortable with them” Heather Andrew, Director of Neuro-Insight

you can change or remove it if anyone objects. Print an offending story or advertising message in a newspaper, magazine or book however, and you risk being forced to pulp a whole edition, at potentially ruinous cost.

That’s just one of the reasons why print publications are ‘legalled’ and fact-checked far more rigorously than most digital equivalents. And of course, you can’t inadvertently download a damaging computer virus from a magazine or piece of direct mail, so there’s another reason for reassurance.

Theory into practice Across Europe, research backs up the impression that print is the medium people trust the most. A March 2013 survey by Finnish research institute VTT found that consumers continue to place the most trust in print advertising above all other media. Over 700 consumers from 13 European countries were surveyed and the results were clear: consumers gave a score of 63% trust to advertising in print compared to 41% for TV and 25% for online.

Meanwhile, 90% valued addressed and non-addressed mail above social media, and nine out of 10 respondents trusted advertising in catalogues more than the commercial messages they saw on the internet. The same results were found in a German survey for Neilsen in 2013, which showed that online and digital advertising were consistently trusted by less consumers than its print equivalent.

“This is another hint that information from the web or reaching out to consumers via mobile is still clearly behind classical and printed sources

1

ABSOLUTELY TRUST SOMEWHAT NOT MUCH ABSOLUTELY NOT 51

33

41

9

41

36

14

44

2

17

48

17

44

24

49

21

48 51 50

24 26 29

IN PRINT WE TRUST

FOUR INDUSTRIES IN WHICH PRINT IS VITAL FOR CREDIBILITY

HEALTH Print remains the go-to channel for healthcare professionals when important information is being communicated.

In the US, Epsilon’s 2012 Channel Preference Study found that four in 10 consumers preferred to receive sensitive health information in sealed envelopes from their mailboxes. Meanwhile, in the UK, health service professionals have advised staff to use a ‘postcard test’ when considering which channel to use for confidential health information. In other words, if they are uncomfortable communicating the information by postcard then potentially email and text are also problematic, and mail is the preferred option.

2

THE LAW When W hen agreeing to anything llegally egally binding, a personal ssignature, ignature, applied from pen to paper, remains the

trusted medium. Ironically, it has even helped keep alive a form of technology that might otherwise have gone the way of the Sinclair C5 and the eighttrack cassette. The fax machine was constantly in use during the 1980s and early 1990s, and while it’s often less busy now, it is still essential kit in any office for the exchange of signed documents.

at source as the only trustworthy option.

Similarly, when applying for a mortgage or other major loan, printed and signed documents remain an almost universal method doing business, with online and digital information acting only as a back-up.

4 3 BANKING Although many banks do a considerable amount off business online and o ssome ome brands such as First Direct boast of being ‘internet-only’, print statements are still regarded as more trusted proof of your financial transactions. When a bank statement is required as proof of address or similar supplementary material, you won’t get very far flashing a tablet or phone screen – government departments in particular demand non-photocopied statements printed

POLITICS You’ll notice that when there’s a election looming, your letterbox gets more action than usual.

Considering the supposed cost of mailing, you would have thought that online canvassing or targeted use of social media for political parties would be more prevalent. But still the personal approach of individual leafleting, with its traditional, trustworthy values, allied to the timehonoured door-knocking follow-up, shows no signs of declining as the fleshpressing, personal and trust-winning method politicians and their electorate embrace.

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TRUST

\

Solvey Friebe, Head of Reader’s Digest’s European Trusted Brands Project.

“Media such as newspapers or magazines give users a feeling that printed information is more researched and prepared more precisely and in depth.”

All of this correlates with a growing swell of opinion among prominent figures within marketing and advertising. Marc Nohr, Chief Executive of Kitcatt Nohr Digitas, said to Marketing magazine: “When a brand wants to be taken seriously by customers and wants to make a statement, it chooses direct mail.”

Pamela Morton, Head of Acquisition at British Gas, agreed, saying: “Direct mail is a message of how much you value your customer.” Commenting on a report last year from the Direct Mail Association that found that 79% of consumers act on direct mail immediately, David Cole, MD of market research agency fast.MAP, said: “Direct mail is twice as likely to engender trust than email.

Post is also seen as more memorable and authoritative.”

The notion that younger consumers are somehow less likely to look to print for trusted information was also contradicted by Nohr’s findings when he created a campaign for the National Blood Service to get more 17-year-olds to give blood. Sending out mail packs to the target audience outperformed the

“ Media such as newspapers or magazines give users a feeling that printed information is more researched and prepared more precisely” Solvey Friebe, Head of Reader’s Digest’s European Trusted Brands Project

“ Direct mail is also twice as likely to engender trust than email. Post is also seen as more memorable and authoritative” David Cole, Managing Director of market research agency fast.MAP organisation's usual response rates by eight to one. “That age group doesn't receive postal mail, so when they do, they are likely to open it and pay attention to its content,” he argued.

It’s not just in Europe that the print channel commands attention and respect. The Channel Preference Survey, carried out by US marketer Epsilon in 2012, found that most respondents would rather receive important information about matters such as health through direct mail than any other channel.

“Consumers don't trust the new media as much as they do regular mail when it comes to personal information," said Warren Storey, Epsilon’s SVP of product marketing and insights. “They feel more secure with direct mail because they can touch it, open it in private and store it more easily.”

Despite this, print’s reputation for being the home of trusted information

has been put in serious jeopardy in some quarters recently. The phone-hacking scandal surrounding the British tabloids in recent years understandably reduced public trust in them, according to a 2012 study. But in contrast, overall trust in the media rose over the same period, with broadsheet newspapers among the channels whose levels rose thanks to their role in exposing the scandal.

If anything, that reinforces the notion that as long as what you have to say is trustworthy in the first place, then saying it in print only boosts the credibility of that message.

Push the button It's not just anecdotal evidence and isolated studies that back up the theory that people trust print. Neurological studies have also found fascinating evidence to support it.

“The ‘engagement’ side of the brain gets a particularly high ‘affinity’ response when people read print media,” explains Heather Andrew, Director of NeuroInsight, which uses brain-imaging technology to measure responses to media communications. “That area is the part of the brain reserved for familiarity, such as recognising friends or family.

And of course you’re more likely to trust someone or something familiar.”

Increasingly, more open-minded marketers are coming round to the view that the most successful campaigns in the future will combine the strengths of both print and digital channels, whether that's by following up print campaigns with digital or social media campaigns, or even combining the visual appeal of digital with the tactile, memoryretaining, trust-engendering qualities of print. Because while the eye can be dazzled digitally just as easily as it can be with paper, it turns out there’s more to actually holding a printed message “We’ve continually found that the brain responds strongly and more directly to touching things," says Andrew. "Your touch is a direct response to your brains, and if you can see and feel things, you feel more comfortable with them and more trusting. It’s the difference between the affinity you may feel to a celebrity you see on television and the deeper connection and trust you get from seeing a close friend or family member in the flesh.”

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TGI

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To understand more about how TGI can help your business, please contact Daniel Flynn: T: 020 8433 4081 E: daniel.flynn@kantarmedia.com

www.kantarmedia.co.uk/tgi

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AND THE WINNERS ARE…

With over 5,000 entries and some of the event’s most creative winners, this year’s Cannes Lions was a triumph for print.

Join us as we celebrate the entries that were the toast of the Côte d’Azur

BY SIMON CREASEY

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/ CANNES LIONS

there’s little doubt that print is going through a creative renaissance at the

moment. Digital and social media campaigns may be grabbing the headlines and the budgets, but there’s a quiet revolution in print advertising that’s bringing creativity and innovation back to the marketing party. If you’re looking for clear evidence of this trend, just run through the list of winners at the Cannes Lions festival – the Oscars of the advertising world.

This year, the print categories received more than 5,000 entries – the second highest in terms of platform – with the Cannes judges stating that print has a critical role to play in telling stories to consumers. But don’t just take their word for it. These eight Cannes Lions award winners emphasise the fact that the power of print remains undimmed and it still has an incredible ability to cut through the digital noise and connect with consumers.

Your inspiration starts here…

1. THE POWER OF COLOUR Agency: Y&R Shanghai Client: Pantone Over the last decade, global colour-matching expert Pantone has undergone a radical transformation.

Where once its name was little known outside the world of printing and graphic design, today it’s an instantly recognisable global brand, thanks to the radical way that it’s marketed its vibrant

colour swatches.

It continued to embrace this creative approach earlier this year when Alair Qu, a graduate designer at ad agency Y&R Shanghai, devised the incredibly eye-catching ‘The Power of Colour’ campaign for Pantone.

Above the strapline ‘There can be only one’, Qu used popular characters from children’s TV programmes, films and comics, such as Garfield,

Kermit the Frog and the Cookie Monster, and combined their “existing monuments of character” – essentially instantly recognisable features, such as their eyes, ears and noses – to showcase Pantone’s range of swatches.

By pairing Kermit with Pantone’s vivid green and Garfield with the company’s vibrant orange, the campaign succeeded in being quirky, endearing and, more importantly, memorable.

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“ These Cannes winners emphasise the fact that the power of print remains undimmed and it still has an incredible ability to cut through the digital noise and connect with consumers”

2. PAPER PRISON Agency: Interbrand New York Client: Mandela95 Poster Project In May 2013, the Mandela95 Poster Project was born, inviting artists from all over the world to submit posters that celebrated the life of South Africa’s former president Nelson Mandela.

The only restriction placed on submissions was that posters had to be A2 in size. Interbrand took on the project with relish, with their Cannes Lionswinning design taking a simple yet revolutionary approach to the project.

The agency set out to “deconstruct the traditional notion of a one-dimensional poster” by creating a piece that was composed of multiple pages that when placed on the ground unfolded into an 8x7ft rectangle – the same size as Mandela’s cell on Robben Island, South Africa, where he spent most of his 27year jail sentence. The agency

used yellow paper and starkly contrasting black type to spell out the message “He illuminated the world from an 8-foot cell”.

The Interbrand team then unfolded the poster in public spaces in major cities around the world and invited pedestrians to step into the space to feel the physical confinement that Mandela was forced to endure.

3. TAPEMAILING Agency: DDB Tribal Germany Client: VW To remind customers that Volkswagen offered a classic parts service to keep some of its older model cars on the road, it commissioned DDB Tribal Germany to create a radio commercial with a

difference. Instead of taking the conventional route of releasing a jingle on a commercial radio station or offering customers a digital download via a website, it recorded the commercial onto an old-fashioned cassette tape, complete with retro VW branding.

The cassette was then neatly packaged into a cardboard box that had a cassette player printed on the front, before being sent out as a mailer to VW customers. The customers were invited to dial a phone number, enter a unique code and receive a 10% discount on their next spare-part order.

With tongue firmly in cheek, VW proudly reported that this “radio commercial for the past – packaged like in the past” received “zero likes and zero shares”. But at least it bagged a Cannes Lions award.

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/ CANNES LIONS

4. THE PROTECTION AD Agency: FCB Brazil Client: Nivea Last year, Nivea shook up adland when it created a magazine ad in Brazil that allowed users to power their mobile phones on the beach using solar energy captured by the printed advert.

In 2014, it decided to go one better by addressing one of the major concerns of parents with children on the beach: how do they stop them from wandering off? The solution came from FCB Brazil, which created ‘The Protection Ad’ that ran in Veja Rio, one of the country’s most popular magazines.

The full-page advert featured a perforated bracelet printed on a special humidity resistant paper fitted with a GPS locator. Parents simply removed the bracelet from the magazine, attached it to their child’s wrist, then downloaded an app onto their smartphone to activate the locator. They could then set a safe distance using the app in which the child was allowed to roam. However, as soon as they moved outside this zone, the parent was alerted and they were able to pinpoint the location of the child by following the apps’ navigation function.

The special paper used to create the bracelet was highly durable, which meant that it could be used time and time again. The campaign proved to be a major success, with eight in ten parents downloading the app and sales of Nivea Sun Kids products soaring by 62% in stores around Rio.

“The Nivea campaign proved to be a major success, with eight in ten parents downloading the app and sales of Nivea Sun Kids products soaring by 62% in stores around Rio” 5. STAPLE Agency: WAX Client: Calgary Society for Persons with Disabilities When the time came for Calgary Society for Persons with Disabilities to commission its annual financial report, it wanted to take a different approach to the tried-and-tested formula of producing pages of dull data.

So the not-for-profit organisation commissioned Canadian agency WAX to devise a provocative annual report that would not only provide the necessary financial details about

6. THE TIME TO ENJOY YOUR MONEY IS NOW Agency: AlmapBBDO Client: TOP Magazine Many magazine adverts fail because they are too formulaic or selfimportant. A lot of readers don’t want to see another devastatingly good-looking celebrity wearing an item of expensive clothing or glamorous jewellery. Recognising this was a problem for TOP Magazine – a luxury print title in Brazil – so it invited Sao Paulo agency AlmapBBDO to devise three magazine ad campaigns that would stop readers in their tracks and encourage them to take a minute or two out of their day to enjoy life.

AlmapBBDO’s creative approach saw the globally recognised entrepreneurs Bill Gates, Donald Trump and Mark Zuckerberg reincarnated the organisation’s campaign as a llama, a sheep and activity and fundraising needs, an owl respectively. The but provide recipients with accompanying straplines an insight into the difficulties warned readers about the associated with being disabled. dangers of too much work, WAX’s solution was simple but with the llama ad featuring ingenious. In addition to using the strapline, “In the next life, stark images throughout and even Bill Gates could come back “honest language that doesn’t as a llama. The time to enjoy pull any punches”, the agency your money is now”. bound the publication with a Inspired, impactful and single staple punched right in the innovative, this was an middle of the report, making it ingenious campaign that incredibly difficult for people to really broke the mould. turn the pages. The outcome? The organisation enjoyed its best ever fundraising year in the wake of the report’s release.

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CANNES LIONS

\ “EMRO planned to print 10,000 copies of the calendar, but it proved so popular that they produced 100,000 in the first month alone”

7. EFFECTIVE MICROORGANISMS CALENDAR Agency: Creative Juice (Bangkok) Client: EMRO Asia Unless you are Pirelli, corporate calendars are usually unappealing pieces of print boasting dull but worthy images. Mindful of this, effective microorganisms (EM) manufacturer EMRO Asia didn’t want its 2014 offering to fall into the same trap, so it charged Bangkok-based Creative Juice to conjure up a calendar that reflected the year-round benefits that consumers could expect to enjoy from using EMs. Creative Juice came up with the solution of a calendar featuring 365 tear-off strips embedded with EMs. The EMs were added to the hand-made organic paper mixture before the dates were printed onto the paper using soy ink.

Users of the ‘Effective Microorganisms Calendar’ were invited to tear off a strip every day, then add this to a litre

of water and use it to fulfil a number of different daily tasks that were suggested on the calendar. These tasks included ‘Fertilise the plants’ and ‘Clean the toilet seat’.

Initially, EMRO planned to print 10,000 copies of the calendar, but it proved so popular that it produced 100,000 in the first month alone.

8. FREEDOM IS KNOWING Agency: TBWA Hunt Lascaris Client: Mail & Guardian Sometimes in advertising, the old maxim of ‘less being more’ holds true. This proved to be the case with a series of press ads that TBWA Hunt Lascaris designed for the Mail & Guardian, one of South Africa’s largest newspaper groups.

At a time when press censorship was heavily debated in the country, TBWA came up with a campaign that used iconic photographs from history, but with one vital element missing: the protagonist. To demonstrate how easily the press can be stopped from showing the truth, it airbrushed Nelson Mandela out of his prison cell,

erased the screaming ‘Napalm girl’ from the iconic Vietnam War photograph and removed the ‘Falling man’ from a shot of the North Tower of the World Trade Center on 9/11. The result was a series of images that were eerily familiar but with a vital element of the story missing.

+ For more information on this year’s Cannes Festival and all the winners, go to www.canneslions.com + To read an exclusive interview with Cannes Lions CEO Philip Thomas, turn to p58.

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THE CAR’S THE STAR

Auto brands have a long and happy history with print marketing, but it’s their magazines that drive customer loyalty. Senior marketers from Audi, Mazda and Toyota explain why print really gets their engines revving

BY JOHN REYNOLDS

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/ AUTO MARKETING

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it’s their customer magazines as much as their latest automotive gadgetry that’s driving customers to buy their cars.

“The Audi Magazine plays a very important role in our overall marketing strategy and CRM programme,” agrees Sarah Cox, National CRM and Centre Marketing Manager for the German luxury car marque. “It’s a core communication within our continuous customer dialogue.”

drop into any european auto dealership

and it’s likely that behind the ultrapolished cars smelling of brand-new leather, a tentative dual will be playing out between dealer and customer as they look to strike a deal.

Look a bit closer and it’s likely that the customer will be carrying a copy of an automotive customer magazine, perhaps pointing out a particular model they like or wanting more information on an extended warranty advertised in its pages.

Make no mistake about it, customer magazines – branded magazines mailed out free to car owners – are a crucial marketing tool for the European automotive industry, helping to accelerate car sales out of a recent slump.

“A lot of people will still say that the first time they heard about a new model was through the magazine,” says Steven Duval, Manager of Direct Marketing for Toyota UK. “They hadn’t seen the TV, radio or press ad, so the magazine is very important in that respect.”

For the likes of Toyota, Audi and Mazda,

Audi magazine

Audi

Autumn 2013 UK £4.50

magazine

Autumn 2013

FROM BESPOKE JEANS TO CUSTOM BIKES AND HIGH PERFORMANCE AUDI ENGINES, HOW THE HUMAN TOUCH MAKES A DIFFERENCE

Life in the fast lane Toyota, Audi and Mazda distribute millions of copies of each magazine issue across Europe, updating car owners on new models, car reviews and auto-related offers, all with the style, engagement and stunning photography of an upmarket lifestyle magazine.

Toyota’s This Way is distributed to 300,000 Toyota customers in the UK and Germany, and chimes its publication date with new models coming out, with the latest issue coinciding with new Toyota Aygo and Yaris models. “It makes sense to do a magazine around this time to make sure we are promoting those cars,” Duval says.

Like This Way and the Audi Magazine, Mazda’s Zoom- Zoom helps maintain the relationship between car dealer and buyer. With 1.1m copies distributed across 30 countries in Europe, ZoomZoom provides a vital bridge between manufacturer and consumer, keeping up the dialogue until it’s time for a new model to be bought.

“The actual time we get face-to-face with a customer is quite low,” explains James Crouch, Senior Marketing Manager at Mazda. “We use our

“ The magazine goes beyond just a medium of brand communication. It has a positive impact on improving brand loyalty, consideration and advocacy” Sarah Cox, National CRM and Centre Marketing Manager for Audi

customer magazine to keep that conversation that we can’t do directly.”

Accelerating dialogue According to Crouch, Zoom- Zoom is used as a tool to empower ‘advocates’ (or readers) with the latest Mazda news, which can then be shared with friends.

“We don’t have the marketing budget to be able to deliver the share of voice we would like,” he says, “and so advocates are central to the strategy, doing the marketing work for us.”

Zoom-Zoom is a multiple winner of the CMA (Content Marketing Association) Best Automotive Content Marketing Solution of the Year award – an impressive feat, although more important is its popularity with its readership. More than eight of ten say it’s an ‘excellent’ way of keeping up to date with the brand, while 33% say the magazine “provokes” conversations about Mazda they would otherwise not have.

According to Duval, while print still resonates with car buyers of all ages, it’s a big hit with Toyota’s core demographic of drivers between 55 and 60.

“A lot of the magazine is long-form content,” he says, “and it’s the kind of content that can be more easily read in a magazine, which is easy to pick up and show friends.”

Almost 60 years old, the quarterly Audi Magazine boasts an average circulation of 350,000 and has also won a number of awards. The title has multiple benefits, not least instilling a sense of loyalty, with its readers members of the ‘Audi Club’.

“It goes beyond just a medium of brand communication,” says Cox. “It has a

“ The actual time we get face-to-face with a customer is quite low, so we use our customer magazine to keep the conversation that we can’t do directly” James Crouch, Senior Marketing Manager for Mazda

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/ AUTO MARKETING positive impact on improving brand loyalty, consideration and advocacy.

The mix of content from product updates, technology innovations and insight into how the brand continues to push itself forwards, helps customers have a feelgood factor and self-satisfaction with their choice of brand.”

Marketing gear change For each of the marques, the magazine provides a crucial marketing lever, with content from the magazine transposed into email and other digital channels. For some, such as Toyota’s This Way, it’s used as a cheaper replacement for direct mail.

Another advantage the Toyota magazine has compared with other marketing channels is that it can shine a light on difficult subject matter. Duval points to the example of how consumers can get Japanese car brands, such as Toyota and Honda, mixed up.

“The magazine allows us to tell those stories in way that’s very difficult to tell for other channels,” he explains.

While all automotive brands place a huge amount of marketing importance on their online, email and tablet offerings, there appears little doubt that car magazines will be here for a long time to come. As Crouch says, “You spend 20 seconds with email and 25 minutes with a magazine.”

One fundamental reason that they have such a rosy future is because they continue to ferment interest in customers buying cars.

“It drives a lot of traffic to our dealers and our website,” says Duval. “If you look at call-centre and website traffic within a week of the magazine mailing, there are

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“ A lot of people will say that the first time they heard about a new model was through the magazine” Steven Duval, Manager of Direct Marketing for Toyota

obvious spikes in calls or visits. There’s a direct correlation.”

Crouch reveals that customers will “talk about the magazine when they go into the dealership” while Cox is in no doubt that it prompts not only new Audi car sales, but used cars and accessories.

“Research shows that 85% of readers say that it makes them more likely to consider Audi for their next purchase,” she says.

Audi, Mazda and Toyota are not alone in publishing customer magazines, as luxury marques such as BMW and mass-market brands such as Honda also publish them. What seems certain is that in 10 years’ time, they will remain the fulcrum of marketing activity, updating readers on new models, the thud of the magazine dropping through the letterbox a constant reminder that they remain a valued customer.

START YOUR ENGINES…

THREE MORE TITLES THAT DRIVE CUSTOMER LOYALTY

LAND ROVER ONELIFE Sent to 500,000 Land Rover owners in 31 countries, Onelife reflects the adventurous spirit of the famous brand, travelling through the world’s most demanding terrain to demonstrate the ability of the client’s cars.

In a recent magazine survey, over 60% of readers have a more positive view of Land Rover after reading the magazine, while 1 in 10 visited a Land Rover dealership as a result of reading Onelife. www.landrover.com/gb/ en/lr/owners/onelife

DAS AUTO. MAGAZINE Produced in Germany for VW, Das Auto. Magazine boasts 13 different versions, as well as an online, mobile and app version.

With content that ranges from the new e-Golf to the famous Volkswagen Currywurst (currently celebrating its 40th anniversary), the title gives its loyal readership all they need to know about the global car manufacturer. http://magazine. volkswagen.co.uk

JAGUAR MAGAZINE Produced in 11 languages, Jaguar Magazine is read by over 150,000 consumers every six months. As the magazine of one of the most luxurious car brands in the world, it should come as no surprise that it exudes glamour and sophistication. From the sleek photography to the in-depth reporting, Jaguar Magazine has won many awards for its inspirational and dynamic content. www.jaguar.com

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Brand + magazine = brandzine

What do you do when your marketing budget is squeezed and you suspect the magazines soaking up your advertising spend aren’t reaching the audience you want? Simple: you make your own magazine and call it a brandzine

BY MARK HOOPER

ore and more brands are seeking to deliver a quality, style-magazine approach to their own print marketing, replacing the usual in-store brand marketing (brochures, catalogues, guides) with a more creative, innovative and editorialised offering.

In the fashion retail sector, the ‘brandzine’ phenomenon has taken full hold. High-end boutiques such as Colette in Paris have long produced a seasonal magazine instead of a catalogue, reflecting their discerning clientele, while Sweden’s Acne Studios launched their fashion label with an accompanying newsprint journal, Acne Paper. This proved so successful that its unique style, photography and layout has been aped by the very fashion magazines it was designed to circumvent: the ultimate flattery.

Inspired by these examples, brands have started to hire the best in creative magazine talent to produce their own unique in-house publications. For example, the editorial team behind Netherlandsbased title Fantastic Man were approached by high-street label Cos to produce a magazine which combines new product shoots with unique, esoteric magazine editorial and a distinctive minimalist design on varied paper stock.

Here we detail five very different brands and how they’ve used bespoke, editorialised brandzines to spread their message…

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/ BR ANDZINES

“If your aim is to strengthen your company’s brand and customer loyalty by giving people something they seek and cherish, a customer publication is a very effective way of going about that” Kati Krause, Editor of Companion

Companion 24hours Hotels Published three times a year in an A3 newspaper format, Companion is produced by German publishers Freunde von Freunden for 25hours Hotels, and features insights on the arts, business, fashion, architecture, music, food and nightlife in Hamburg, Frankfurt, Vienna and Zürich – the five European cities that 25hours Hotels have accommodation in.

“The aim is to provide hotel guests with an entry point into the city,” explains Editor Kati Krause. “That entry point is the people, the great creative enterprises they undertake and the recommendations they make.”

Offering value beyond the standard service has always been part of 25hours Hotels’ approach and the magazine is an extension and example of that.

“Like many of the partnerships 25hours Hotels set up in each city,” says Krause, “Companion connects them with creative scenes, which in turn generates more partnership opportunities.”

While the client might use ads to raise awareness, Krause points out that they don’t engage the reader. Companion creates value for the brand’s customers with an inventive format and original editorial, binding them in a way that an ad never could.

“Whether it’s more costeffective depends on the publication’s set-up and your business goals,” she says. “A brand publication doesn’t usually replace, say, digital marketing.

But if your aim is to strengthen your company’s brand and customer loyalty by giving people something they seek and cherish, a customer publication is a very effective way of going about that.” www.companionmagazine.com

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TOPMAN.COM

GLOBAL FANTASY MIXTAPE JOBURG STREET STYLE MODULAR RECORDS’ ALLSTARS FRESH CUTS: NEW T-SHIRT FITS NEW AGE PUNK SECRET FIRST RECORDS ICONS OF STYLE NEW WAVE DENIM ASTRID ANDERSEN DIY RADIO STARS JUST DROPPED: SS14 ESSENTIALS TOPMAN GENERATION MINI-MAG FILTH & FURY: SUMMER’S BEST FESTIVALS MUSIC 2014 EDITION

Nokia One Book Given to Nokia Devices and Services employees on the day of Microsoft’s acquisition of Nokia’s handset business, the One Book was conceived as a keepsake that showed the shared vision for the two companies and their joint history of innovation.

“The acquisition was a big moment for all employees, regardless of whether you were from Nokia or already working in Microsoft,” says Nokia/ Microsoft Marketing Lead Carol Sorian. “We wanted to give people a lasting memento from a truly historic day. The book proudly looks back at our heritage, shares our set of beliefs and leaves space for future ideas.”

“Everything in the book, from fonts to colour palette, sits within Microsoft’s brand guidelines,” adds D’Arcy Doran, Special Projects Editor, TCOLondon Media, who produced the One Book. “But our goal was to do everything we could to make it

not feel corporate. We wanted to create something that evoked an emotional response. So instead of products, we focused on how Nokia and Microsoft actually changed the world and then got artists around the world to reinterpret those milestones in playful ways. We reimagined the two companies’ values and achievements to bring them out in new ways.”

Sorian says she was most pleased not simply from the positive reaction of Nokia staff but “to see people put the book in a place of honour on their desks – and not in the trash bin!” www.conversations.nokia. com/2014/05/16/microsoftsone-big-red-book

Topman magazine Topman Available at all Topman stores, including markets in the US and Canada, Australia, South East Asia and Russia, Topman magazine is produced by Dan Jones of Jonestown, working in close association with Tania Adams, International Marketing Manager, and Drew Hughes, Senior International Marketing Co-ordinator, both at Topman.

“It’s a chance to show off a bit,” explains Jones, “a way to manifest Topman’s personality in a much more powerful way than a catalogue could.”

While there are still product stories, the magazine is powered by real editorial content that’s

not trying to sell anything.

“That’s a pretty rare stance for most of the brands I work with,” says Jones. “The magazine helps get across the brand’s authenticity and travels to all sorts of places – Topman has a huge events programme internationally.”

With the magazine handed out at locally organised gigs, there’s plenty of scope for bespoke editorial, such as the stand-alone guide for US college freshmen.

“The response has been great, especially with international partners who love that there’s local content relevant to them.

The customer response has been really strong.” www.magazine.topman.com

“We We wanted to give people a lasting memento W from a truly historic day. The book proudly looks back at our heritage, shares our current set of beliefs and leaves space for future ideas” Carol Sorian, Marketing Lead for Nokia/Microsoft

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/ BR ANDZINES

Huck magazine Levi’s A special edition of Huck magazine, produced in collaboration with Levi’s Skateboarding, this issue was conceived as a way to add a human dimension to their catalogue; to give it life and meaning beyond the actual products. The end result is a beautiful editorial product for consumers and shops alike, distributed at all Levi’s Skateboarding retailers around the world.

With a long history of investing in ‘bespoke’ editorial, the Huck campaign was a way to give the brand an authentic, editorial voice through storytelling, seeking out characters who embodied the same values as the brand.

“It’s an opportunity for the brand to talk about things it cares about, to promote its values,” says Vince Medeiros, Publisher, TCOLondon Media, who conceived, designed and

produced the campaign. “In this issue, Levi’s took a bunch of skateboarders to Bolivia to build the country’s first ever skate park. And we, as their editorial team, came along for the ride to document it.”

Medeiros stresses that there is a strong argument for the cost effectiveness of the brandzine approach over the traditional marketing route of taking out ads in targeted publications.

“It allows brands to connect with people on a much deeper level,” he says. “To talk to consumers and say, ‘Hey, we not only make great clothes, but we also have a vision, a point of view, a set of values – and these are the things we care about’. Only through compelling storytelling can you meaningfully do that.” www.huckmagazine.com

Find It, Paint It, Love It Farrow & Ball Available as a clothbound, hardback book or in magazine format, Farrow & Ball’s Find It, Paint It, Love It offers customers interior styling tips in the shape of an editorialised, upmarket guide – a practical and ingenious extension to their extensive colour chart products.

Produced by an in-house team, it recognises an obvious client need that reaches beyond their remit as a brand.

“As a premium paint and wallpaper producer, we need to ensure that all of our marketing materials match the high quality of our products and what is at the heart of our company – our customers,” says Sarah Cole, Farrow & Ball Marketing Director. “This book is an extension of our products, adding to our customers’ luxury experience of Farrow & Ball.”

Although the book is subject to measurable objectives that can be tracked throughout the

campaign, Cole is also keen to emphasise the value of first-hand feedback from customers.

“Our customers are always looking to us to provide practical ideas in an inspirational way,” she explains. ““Find It, Paint It, Love It has been a great resource to take away with them so that they have the tips, techniques, ideas and inspiration to refer back to at home.”

Utilised as part of an ongoing integrated marketing campaign encompassing print advertising, digital advertising, PR, e-commerce, trade marketing, sponsorship, social media, events and workshops, the book is, says Cole, just one element, which “combines to create a holistic approach with the underlying aim of inspiring our customers with colour.” www.farrow-ball.com/find-itpaint-it-love-it/content/fcpcontent

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there aren ’t many ad agencies in the

“THE BEST EXECUTIONS HAVE THE ELEMENT OF NOT SPELLING OUT THE MESSAGE, HAVING A PROBLEM TO SOLVE THAT DRAMATISES THE PRODUCT” In an exclusive interview, Andreas Dahlqvist, President of the McCann Creative Leadership Council, talks us through six of McCann’s top print campaigns

BY SAM UPTON

world more successful than McCann.

With over a century spent creating campaigns, the agency is responsible for some of the most memorable ads in media history, from ‘I’d like to buy the world a Coke’ to ‘There are some things money can’t buy. For everything else, there’s MasterCard’. They even created the Gold Blend couple.

Right now, they are riding high on the back of a phenomenally successful year, walking away with armfuls of awards from the Cannes Lions Festival, as well as global success for campaigns for clients such as Coca-Cola, Microsoft, Mastercard, American Airlines, L’Oréal Paris, Chevrolet and Nescafé.

At the heart of the agency’s creative engine room is Andreas Dahlqvist, President of the McCann Creative Leadership Council and Chief Creative Officer at Commonwealth/McCann, the global business unit serving General Motors. Andreas has a huge amount of campaigns under his belt for a vast range of clients, from McDonald’s and CocaCola to Panasonic and Volkswagen, and has won nearly every major creative award in existence. In short, there aren’t many people more qualified to talk about print and its effectiveness.

“Print is a hugely valuable tool in advertising,” he says from his office in New York. “When everything around you appears intangible there’s something really welcoming about a product that has a physical manifestation, something you can touch and look at and has a place in the world.”

So sit back and allow one of the world’s finest creatives to talk you through six of McCann’s greatest print ads from the past two years. “There’s something about reducing an idea down to two dimensions, with just an image and some copy, that appeals to both creative and consumer,” he says. “And when you get it right it’s really powerful.”

Bad Habits Awareness NISA Hospital McCann Madrid In 2013, the NISA Hospital group wanted to raise awareness of the increasing cardiac problems caused by smoking, poor diet and a sedentary lifestyle, so commissioned McCann Madrid to create a pre-emptive ad campaign.

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The result was a powerful and dramatic single-image solution that makes an immediate statement. Armchairs form a huge explosion, hamburgers create a tsunami and cigarettes become a plane about to crash.

“This series of ads is doing a couple of things,” says Andreas. “You have the piece of information as a statistic, which the image is dramatising

in a beautiful way. But it’s also managing to get across the magnitude of the problem. It’s the sheer size and scale of it, bringing the information to life in a fantastic way.”

As with all campaigns, a huge amount of research and thought goes into the process of creating such dramatic ads, the creative team fully understanding the client’s objectives before

bringing their ideas to life.

“You need to take the brief and all the information in then let it percolate,” explains Andreas. “A lot of times you also need to let it go for a while, because the best ideas are something that your subconscious helps to solve.”

“ W hen done well, print ads provide a certain element of magic to the consumer, one that captures your eye and forces you to come back and take a second look”

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On My Way Auto Club of Portugal McCann Lisbon The Auto Club of Portugal commissioned McCann Lisbon earlier this year to raise awareness of an increasing problem not just in Portugal but all over the world: texting while driving. This public awareness message needed to be immediate and clear, communicating the message in an instant while giving the viewer a lasting memory of the nationwide press and outdoor ad.

The solution was to show in full detail the effects of texting while driving, a young boy or girl hung in the air immediately after impact. The chilling effect was achieved by photographing the models suspended in midair using a series of ropes and harnesses rather than relying on Photoshop.

“The idea is that something so seemingly insignificant such as a text message can have disastrous consequences,” explains Andreas. “This is an example of an execution where the production is very important. The image had to look as authentic as possible so the models’ arms and legs were pulled in different directions.

The ad is made powerful because it’s so real.”

“ W hen everything around you appears intangible, there’s something really welcoming about a product that has a physical manifestation” Author Headphones Penguin Audiobooks McCann Worldgroup, Mumbai, India In 2013, McCann India were given the task of selling Penguin Audiobooks, moving people from print to audio using a press ad.

The execution was simple, with William Shakespeare, Mark Twain and Oscar Wilde rendered as headphones, talking directly

into the listener’s ears.

“This is a brilliant print execution,” explains Andreas.

“It’s so powerful that you don’t need any headlines or copy, just the immediate, simple idea of having these authors speaking directly to you. When done well, print ads provide a certain element of magic to the consumer, one that captures your eye and forces you to come back to take a second look.”

And it works: in less than a week after the campaign’s launch, awareness of Penguin Audiobooks increased by 15% and sales increase by 7%. Judges of the Cannes Lions were impressed too, awarding it two Gold Lions at the 2013 awards.

“The best executions in any media have that element of not overtly spelling out the message, having a little problem to solve that dramatises the product.”

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Dumb Ways to Die Metro Trains McCann Melbourne The 2012 multiplatform campaign to prevent accidents on the railways in Australia was one of the most successful campaigns of the modern age.

The results were staggering: a video that was viewed 60 million times on YouTube, an app downloaded over 18 million times, $60 million of earned media impressions, a song that charted on iTunes in 28 countries, selling over 100,000 copies and, more importantly,

a reduction in rail-related accidents by 20% year-on-year.

But while these figures are impressive, it’s easy to forget that a major part of the campaign was in print, with the characters providing the inspiration for a series of refreshingly simple – and literal – executions.

“This campaign is superintegrated,” explains Andreas.

“It’s a public service message that doesn’t use the usual scare tactics, which you tend to look away from. This is taking a piece of information and turning it into entertainment, acknowledging that we’re talking to an audience that doesn’t necessarily want to be told what to do and using that to our advantage.”

“The printed pieces of this campaign have that beautiful poster effect to them,” he continues. “They’re part of a larger campaign but also effective standalone pieces.

They’re fun, entertaining and beautiful, and work really well as both posters and print ads.”

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25 Years Ago… AFAL/National Alzheimer’s Association McCann Madrid

Upside Down L’Oréal Revitalift McCann Worldgroup, Singapore

The National Alzheimer’s Association wanted to mark their 25-year anniversary with a commemorative campaign that both raised awareness of the association and the work they do on behalf of those with Alzheimer’s, and pay tribute to those who had contributed to the cause over the past quarter of a century.

So earlier this year, McCann Madrid produced a series of press ads that recreated three major historical events – the fall of the Berlin Wall, the Tiananmen Square massacre and Real Madrid winning a fifth consecutive league title – through the faded memory of an Alzheimer’s patient. The result are captivating pieces of art that draw in the viewer and invite them to investigate further.

“What I love about this execution is the craft,” says Andreas. “There’s nothing Photoshopped here; these are handmade collages from newspapers of the time.

There’s a real passion at work throughout this campaign where you can see the amount of effort people have put into it. It really shines through and draws your attention.”

In this 2013 ad for L’Oréal’s anti-aging cream, a series of women are held upside down and given an instant facelift. But while the less inventive creative might have run the image in its original format, the team flipped it 180-degrees to bring a sense of intrigue and fun to the ad.

With very little copy, the reader is left to figure out why the image looks a little odd – the slightly raised hair, necklace, earrings and the straps of a spaghetti top providing the clues.

“This is one of my favourites,” says Andreas. “It’s a great use of print media. Again, it’s one of those brilliant ads where it’s a very smart solution, without much copy, yet you still intuitively understand what the product benefit is.” + For more on McCann, go to www.mccann.com/work

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/ NATIVE ADVERTISING

olutiOn! HANGER! With the debate about native advertising raging, many marketers are asking themselves whether this new online device is worth investing in. But native advertising is nothing new – in print it’s called an advertorial and it’s been around for years

BY MARK BANHAM

it looks like there’s something to the old adage that there are no new ideas in media. Just bring up the subject of native advertising with a print or digital buyer and, if they’re old enough, at some point they are likely to bring up the subject of the advertorial and how print always gets there first.

Push them further and ask if the print advertorial will make way for this nascent digital challenger and the fence-sitting begins, with talk of the two forms complementing one another and being an additional option to an advertiser’s schedule.

But what’s the truth? Do advertorials and native advertising complement or repel the advertiser, or are they simply too confused about which to use to bother? >

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A heritage of trust and credibility “Native advertising from a print perspective is about editorially-led, richly written content,” says Matthew Knight, Head of Innovation at Carat, the media buying agency that handles clients such as Adidas and Kellogg’s.

“Driving consumers to native content in print has always been challenging, but if care, effort and editorial flair is given to branded editorial content, consumers will seek out the product.”

Of course, here print benefits from its heritage as a trusted and credible media platform that has regulated – and more importantly, legally adhered to – content.

Trained and experienced writers and editors are more likely to be relied upon to create an environment that’s free of content that could tarnish a brand by association.

The user-generated (and therefore less regulated) aspect of online content is still some way off from creating an environment where a brand can sit happily without fear of unsuitable, unregulated content brushing up against its native advertising promotional presence, with the added dangers of all this existing in real-time.

In print there is simply more control.

“Native is really just a new name for what is essentially advertorial,” says Jon Tickner, Creative Development Director for IPC. “Few print media owners are solely print anymore, so they build ‘native’ solutions cross-platform anyway. Today’s more sophisticated consumers respond better to content that plays to their passions, rather than a brand talking only about itself. Brand alignments and commercial campaigns that give something back are far more important and valuable.”

Going native – a history According to tech site Mashable, the term ‘native advertising’ has been around since late 2011, when US venture capitalist Fred Wilson used the term ‘native monetisation’ in a speech about web properties. His explanation involved ads that were “unique and native to the experience” of a website’s editorial content. A recent AOL piece of research titled ‘The Native Age’ described native advertising as “sponsored content, which is relevant to the consumer experience, not interruptive and looks and feels similar to its editorial environment.”

The key function of native advertising is to present a piece of sponsored content that will have a higher engagement rate with the reader or consumer than traditional ads, whilst giving minimal disruption to the user experience. So while technically this can exist in print – many of us will have been caught out reading a piece of branded content in a magazine or newspaper as a legitimate piece of editorial content – it’s much more likely to exist in the fast moving and more distracting world of digital.

The multichannel effect Christine Beardsell, Managing Director of Newcast UK at media agency ZenithOptimedia, says: “We decide the balance of print, digital and other channels depending on the audience we are trying to reach for our clients and on business objectives. Typically, native ad

“Publications will have to maintain the balancing act of retaining editorial integrity and introducing revenue streams such as native advertising in a way that doesn’t alienate the reader” Jonathan Hill, Press Manager at Initiative

and print don’t get packaged together, but there are instances where we will have a partner that does print and digital elements, and both will include a balance of advertorial, co-creation and native.”

Newcast used Zoopla as a partner for its client NatWest and for the first time the site agreed to integrate a branded mortgage calculator on its site.

Formats fitting the ‘native advertising’ description include webvertorials, promoted blogs, videos, images, articles and social media.

“We all appreciate the value of creating something the customer wants,” says Knight, “and native gives us the opportunity to do this frequently and across multiple channels. Editoriallyled content, with a considered topic and well-crafted production, will always have high value, and clients now see this as an extremely important part of their marketing ecosystem.”

A third way But will the debate over advertorial versus native advertising to get closer to consumers subvert this division or media even sooner than we expect? Last summer we encountered what many see

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/ NATIVE ADVERTISING

“ Editorially-led content, with a considered topic and well-crafted production, will always have high value and clients now see this as an extremely important part of their marketing ecosystem” Christine Beardsell, Managing Director of Newcast UK at media agency ZenithOptimedia

as a potential third way as US engineers revealed at Institute of Electrical and Electronics Engineers conference in Florida that they had developed a method to embed radio frequency identification chips on to paper.

Electronic or ‘smart’ paper, embedded with radio frequency identity chips could add another dimension to the native advertising debate, essentially allowing a new form of paper product to become fully native.

As Jonathan Hill, Press Manager at Initiative, the company that handles media for supermarket giant Tesco, observes: “The opportunity to integrate both print elements as well as interactive video and visual formats is obviously very exciting. Dependent on the technology, clearly the amount of opportunities for native advertising will increase. However, it won’t necessarily precipitate a tidal wave of native advertising immediately.

“In any given format, publications will have to maintain the balancing act of retaining editorial integrity, as well as introducing revenue streams such as native advertising in a manner that doesn’t overpower or alienate the reader.”

Beardsell says that smart or electronic paper “could enable new behaviours that enhance native advertising or it could evolve the format entirely and make native ads irrelevant. That’s the excitement of the content space and how it’s always changing and morphing on how we are working to reach consumers.”

Adapt and survive For now, we are some way off from a proposition that will effectively provide the advertiser with a ‘real’ print experience that can add the immersive digital ‘native advertising’ proposition a brand might desire. But it wasn’t that long ago that the desktop transformed to laptop, which evolved to mobile that then became the much more print-like tablet.

Although online native advertising may be this year’s hot topic, this doesn’t mean that branded content is dwindling in print – quite the opposite. According to a 2013 survey from content marketing publisher Seven, just 10% of people said they had a positive attitude towards mainstream advertising from brands, but more than half (57%) surveyed by the publisher said they “definitely” or “tend to” agree that they feel more positive

towards brands that produce content for them, while only 12% disagreed. In other words, audiences are more likely to accept promotions presented to them in advertorial or contract publishing form – print’s own style of native advertising.

When introducing new technologies, the good marketer always considers the simple question: what value is the consumer gaining from this?

“Whether you are working in print or digital, it’s important to innovate and provide fresh ideas to cut across the noise,” says Anna Watkins, Managing Director of Guardian Labs. “Technology allows us to create wonderful interactive and groundbreaking campaigns, but quality content, audience insight and expert execution will always be the foundations of effective content marketing, regardless of the platform.”

Put simply, the future of the audience addressing branded content, whether you call it advertorial or alter it to ‘native’, is about adapting – adapting to the audience and adapting to new platforms. But it’s not like the print industry hasn’t had to do that before.

“Print remains a powerful and important platform for readers, publishers and advertisers,” says Watkins. “The key to effective content marketing for print publishers is to know their readers and tell compelling stories that resonate and tap into the special relationship that readers have with the print product.”

“ Driving consumers to native content in print has always been challenging, but if care, effort and editorial flair is given to branded editorial content, consumers will seek out the product” Matthew Knight, Head of Innovation at Carat www.printpoweruk.co.uk | PRINT POWER _45

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“Print is a very strong call-to-action medium.

You run a print ad and people will act upon it” You could have the greatest print creative in the world, but without the support of a media planner, no one would ever see it. So what exactly do media planners do? What are their thoughts on print?

And where do they see its future? We gather five of Europe’s leading media planners to explain all…

BY DAV I D B E N A DY

The Volkswagen series of advertisements by DDB from 1959 were voted the No. 1 campaign of all time in Advertising Age’s The Century of Advertising

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/ MEDIA PLANNERS

CHRIS LANGLEY Chris is a business director at Vizeum leading a number of the agency’s largest accounts, including BMW, Mini, Panasonic and Shop Direct. During his eight years with the agency, he’s led a number of awardwinning campaigns, such as Panasonic’s ad-funded programme, ‘How To Take Stunning Pictures’ and MINI’s ‘Not Normal’ activations. Prior to joining Vizeum, Chris spent more than three years at Starcom MediaVest where he worked on the P&G and CapitalOne accounts.

STINE HALBERG Stine is Nordic Managing Director for ZenithOptimedia Nordic, covering Norway, Sweden, Finland and Denmark, as well as being CEO of Vivaki Denmark. She has worked in media agencies for over 19 years, servicing international, Nordic and local clients. Stine is a graduate of Copenhagen Business School with a Masters in Marketing and Economy.

MARTIN GRØN Martin is Print/Out Of Home Director at ZenithOptimedia Denmark, responsible for ensuring the agency optimises buying and planning on all print and OOH campaigns.

He has worked in media for 13 years, starting his career at Ekstra Bladet, one of Denmark’s largest newspapers. After that he spent two and a half years at MindShare working as Account Manager. His primary role was on the Hi3G account, working with one of the leading mobile operators in Denmark.

in the world of international marketing, the media planner

holds a huge amount of power, advising their clients on the best use of their budgets. So who better to explain the current value of print and where it stands in the competitive hierarchy of marketing mediums.

Print Power invited Stine Halberg, Nordic Managing Director for ZenithOptimedia Nordic, Dean Browne, Worldwide Account Director at Mindshare, Martin Grøn, Print/Out Of Home Director at ZenithOptimedia Denmark, Chris Langley, Business Director at Vizeum, and Chris Davies, Planning Director at ZenithOptimedia, to discuss and debate the merits of print and how their clients are using it to gain maximum effectiveness for their campaigns.

DEAN BROWNE Dean is Worldwide Account Director at Mindshare, working on the HSBC and Diesel accounts. Hailing from a digital background, Dean now plans work across different media.

A passionate digital director with over eight years’ experience, he has also worked at Havas Media and Manning Gottlieb OMD.

What’s the work of a media planner and how do you choose between media?

Chris Langley: We are the people who advise clients on the most effective and efficient use of their marketing budgets. We balance expertise in media and understanding of the client’s business requirements. Different businesses and brands value communications at different levels.

Chris Davies: Planners are a mix between strategists and account handlers. Our role is to be the buffer between the client and the rest of the agency. We are the point people, helping clients devise the brief, identifying the

CHRIS DAVIES Chris spent four years as Trading Director at ZenithOptimedia across categories such as airlines, motors and telecomms, before migrating into planning. He’s now Planning Director for a leading UK insurance account.

business challenges and leading the implementation with the buyers in the agency.

We make recommendations based on a particular business problem or brief.

It’s ultimately the client’s decision, but it’s up to us to convince them.

Stine Halberg: When we create a strategy for clients, we get the brief then look into what the target group’s behaviour is, which media they consume and what the competitor is doing. We then decide the channel mix.

We look for a 360-degree integrated solution. Media are merging together, so rather than having separate plans, we look at how we can

www.printpoweruk.co.uk | PRINT POWER _47

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#dIesel “When we use the print medium, people still have time to read it thoroughly. They don’t use second screens when they are reading” Martin Grøn, Print/ Out Of Home Director at ZenithOptimedia Denmark

integrate all media into one plan, putting print with TV and digital.

What are some of the interesting ways that media agencies are using print to promote brands?

Dean Browne: I find what some brands are doing with print really interesting. It’s about creating meaningful experiences and adding value. Print might have struggled to do that traditionally, but now there are some great examples.

Nivea has created a fantastic campaign in Brazil. People’s phones run out of battery on the beach, so in a print publication they provided a solar panel to plug your phone into and recharge it.

The great thing about print is that it can be highly relevant.

Martin Grøn: Previously, we used print as a ‘reach’ medium, but as readership figures are falling, it’s no longer possible

facebook.com/TH

to use it in that way, so we use it as a content medium. Many advertisers want to do advertorials, which can be used with other platforms such as mobile and tablet. Most clients want print and they want to try digital as well. We still have clients for whom print is a very good medium – retailers in particular see the effects of it.

Langley: For BMW, we have a yearround presence in premium positions in relevant print titles, ones which overindex for our audience. These may not be the biggest titles – it could be a niche title such as an amateur golfing magazine.

But for Mini, the ads tend to be more tactical in the national press. We might book an ad at 3pm on a Friday to run on a Saturday. We used this tactical, realtime approach for Mini with an ad during the horsemeat crisis that read: ‘Beef.

With a lot of horses in it.’

How is print faring with the rise of digital?

Langley: There’s so much marketing world chat about digital and online, but when you think about the need to reach all the stakeholders across the business, such as BMW dealers and people in the factories, everyone understands how print adds value. For the dealer network to come into work on a Monday morning after they have had a new car delivered over the weekend, open the newspaper and see a massive double-page spread for the new car, that gives them confidence.

Halberg: In Nordic markets print is declining, but it’s coming down from a very high base. The further you go north, the higher readership for print – in Finland, people regularly read 12 magazines each.

Davies: Niche interest magazines

48_ PRINT POWER | www.printpoweruk.co.uk

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/ MEDIA PLANNERS

“The value of editorial and journalism isn’t going to diminish, but it will become more important. Having someone who can make an informed comment will become more valuable” Chris Langley, Business Director at Vizeum

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comes a point of diminishing return if you do more TV. Print reaches an adult upmarket audience and they are holding the purse strings. That is a real strength.

Langley: The value of editorial and journalism isn’t going to diminish, but it will become more important. Having someone who can make an informed comment will become more valuable.

What’s the future for print?

Grøn: In Denmark, print will be here for many years. Before it was a mass medium, but I don’t think it will be that in the future. It was the primary news medium, but it isn’t any more. People will use print in different ways, not as a news medium – that will come from mobiles.

Print will be used in niche titles, where people will read about more specific interests. Broadsheet newspapers in 10 or 20 years will come out four or five days a week or just at weekends, not driven by news but by longer articles, stories and features.

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As providers of content, national press and magazines are very good, though they need to get better at working with the new content providers. There are the Vloggers on YouTube, while the likes of Jamie Oliver’s Food Tube is a good example of a high-traffic channel. Print titles need to get better at competing with that approach or partnering with those people – it’s another form of distribution and a path to market.

Browne: When I first started out, digital was tagged onto the media plan after TV and press. Now agencies have realised that digital is the place to add value. A lot of brands, particularly in the fashion area, have direct relationships with print publications – they manage the print in-house. At Mindshare, we look across platforms to reach a brand’s audience and try to forge partnerships with digital and

print. It used to be print first. Now the key is to go with a digital-first approach, then see how we can leverage that integrated experience through print.

Why is print still effective and what makes it unique?

Grøn: When we use the print medium, people still have the time to read it thoroughly. They don’t use second screens when they are reading as they often do with radio or TV – they really concentrate on what they read. That is unique for print. And you are still able to communicate more complicated messages in print media. Print is still a very strong call-to-action medium.

You run a print ad, people will act upon it.

Davies: Print can be used to add incremental cover and incremental reach. Through TV, you only reach a certain percentage of the target and there

Halberg: Because magazines are so strong in Norway and Sweden, they will still be the strong media. It will be integrated with the website. The publishers in the Scandanavian countries are looking at digital and how they can develop Facebook and Pinterest and offer clients filters to use in their online shops. They are building events, creating a sense of community and experience. If they succeed in that, they will have a strong platform. People want entertainment and they want to share their lives. We will see print in a different way, integrated into social media.

Browne: The future for print is that it will be used in a far more creative way. As long as there is strong editorial and imagery, it will always be relevant. With digital news, you have a two-minute window to get that story out and people consume it in snackable form. As the day progresses, you are going to need to update that to a full version, with all the details of the story. Print has the opportunity to be a more in-depth view on the constant flow of information that’s coming out every day. It can be more adaptive and have a long-form view. Ads will tap into that in the same way. www.printpoweruk.co.uk | PRINT POWER _49

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Innovative People Redefining Print

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Combine the power of print with Interactive Print Solutions www.QuadGraphics.eu/IPS

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Over the next five pages, we’ll be giving you the latest research, information and insight into the five key mediums covered by Print Power Power. Each one has their individual strengths and advantages, but used in combination with each other, they can offer a powerful solution to any marketing challenge.

Knowledge

52

DIRECT MAIL

With an ROI of up to 40%, direct mail remains one of the world’s most effective marketing channels.

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One of modern marketing’s true success stories, customer publishing has swelled to a £10bn global industry thanks to the huge levels of engagement it offers brands.

One of the oldest forms of marketing, catalogues are still a highly effective sales driver, with many consumers keeping them in their homes for up to a year.

DOOR DROP MAIL The door drop market is rising in both volume and revenue, and is ideal for getting a great level of response from the most amount of people.

CUSTOMER MAGAZINES

CATALOGUES

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MAGAZINE ADVERTISING If you would like further information on the vital role print plays in marketing, plus the latest news on print media around the world, go to www.printpoweruk.co.uk

With over 50,000 magazine titles currently published in Europe, they are an ideal way to get your brand in front of a key target audience.

www.printpoweruk.co.uk | PRINT POWER _ 51

01/10/2014 15:55

7 REASONS

Direct mail “Mail and email are not the same; each has different strengths and should be used for different types of communication. Mail is authoritative and informative, so it’s a better medium for sending communications that consumers need time to consider, browse and enjoy” Mike Welsh, CEO of Publicis Chemistry

67%

67% OF PEOPLE’S ONLINE SEARCHES ARE DRIVEN BY PRINTED MARKETING IPSOS US, 2013

1. THE MAIL MOMENT

Direct mail enters an individual’s home and is consumed on a one-to-one basis. This gives you much more time with your customer, time to engage them in a relaxed environment at a time of their choosing.

2. SENSORY EXPERIENCE

The physicality of a mailing adds another dimension to the brand experience. Using your customers’ senses you can stimulate and entertain, getting them to reassess your brand and drive response.

3. PRECISION TARGETING

Direct marketing works best when it’s made relevant for the recipient, with tailor-made content appealing directly to the consumer. New digital printing technology can make this personalisation even easier.

4.

MAKE PEOPLE ACT Direct mail is the most likely form of communication to get a response from a customer, with the cost of every response measured with accuracy. As it’s a tangible object, DM is also likely to hang around.

5. EFFECTIVENESS

Recent reports have demonstrated the enduring effectiveness of direct mail, with 48% of UK adults having done something in the last 12 months as result of mailing and 30% having bought something (Royal Mail, 2011).

6. GET CREATIVE

Direct mail is unique in that mailings can be produced in a wide variety of formats, using different shapes, sizes, colours and materials to create a surprising and memorable brand experience that will stay in the home for weeks and even months.

7.

INTEGRATION Adding direct mail to an integrated campaign can raise the campaign’s effectiveness by up to 62% (BrandScience, 2012), while bridging technologies such as QR codes and augmented reality make it simple for consumers to go from print to digital.

MONARCH AIRLINES WDMP

The international airline wanted to boost its presence in the ski market, so commissioned WDMP to create something special to target opinionsetting adventure skiers. The pack used augmented reality to transport recipients to the resorts, whetting their appetite for the coming winter. They were greeted by a video from Chemmy Alcott, Britain’s number one Olympic skier, who invited them to explore the ‘Monarch mountain’ and discover a wealth of content.

The pack used a Maltese cross format to ‘build’ a mountain range so that recipients were taken on a journey of discovery as the pack unfolded. The multi-channel experience delivered over £2.2 million in sales with an ROI of 18:1, as well as the Grand Prix at the DMA Awards 2013.

52_ PRINT POWER | www.printpoweruk.co.uk

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7 REASONS

Door drop “ Nine out of ten people couldn’t live without their letterbox” David Cole, MD of research company fast.MAP

11%

15%

10%

DOOR DROP ACCOUNTS FOR 11% OF ADVERTISING EXPENDITURE IN FINLAND, 15% IN DENMARK AND NEARLY 10% IN FRANCE ELMA, 2014

1. IT DELIVERS ROI

3. RIGHT ENVIRONMENT

6. SAMPLE DISTRIBUTION

4. TARGETED WHEN

EASILY INTEGRATES Door drop works harder when used as part of an integrated campaign, pushing people to go online or call a number for more information.

Door drop drives rapid and measurable response. That response shows an impressive ROI – and it’s growing. In a study

by ELMA, the door drop industry grew by 0.5% in volume and 1.5% in revenue over a 12 month-period (ELMA, 2012).

The fact that the consumer receives your material in their own home is crucial. They can take in and respond to the messages in their own time, never forced or coerced.

2. MASS-MARKET MEDIUM

REQUIRED Using geomarketing, you can pick and choose which demographic you’re after, gathering vital data along the way. With this data, your campaigns can become more and more sophisticated.

Door drop is the only truly national mass media available to marketers, with a satisfying 100% reach. Despite the advances in other media, door drop is still the only way of delivering a document into the hands of millions of households.

5.

IT’S CREATIVE A lot of brands take advantage of the creative potential of door drop, with many using innovations such as holograms, scented paper, 3D techniques and pop-ups to grab attention.

Getting your product direct into the kitchen of your prospects is a fantastic way of raising awareness of your brand, as well as getting your customer to try it.

7.

CHARLIE BIGHAM’S THE LEAFLET COMPANY

Upmarket food company Charlie Bigham’s needed a medium that was discreet and targeted to create greater awareness of a premium product, so turned to door drop. They sent out two leaflet versions, each with a £3 discount voucher, within the catchment areas of 250 Waitrose stores that stocked their ‘Posh Ready Meals’.

Both versions highlighted the dine-in for two experience through the brand’s famous ‘twosomes’ couple. With its aim of understanding the brand’s key metrics, the campaign was a big success, showing a clear difference in performance between the different creatives, as well as winning a DMA award in 2013.

www.printpoweruk.co.uk | PRINT POWER _ 53

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7 REASONS

Customer publishing “Print can do the inspiration job and reach a massive audience to give consumers tools, hints and tips” Sarah Warby, Marketing Director of Sainsbury’s

MAGAZINE

Tr uwringen TrO

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ZOMER

2013

– p. 12 ik hOu van hOlland

Nederlandse natuur is een trekpleister voor vogels en vissen – p. 16 Onbereikbare liefde

Obstakels hinderen reuzenpanda’s op vrijersvoeten – p. 24

70% OF UK MARKETERS ARE CURRENTLY USING CONTENT MARKETING

liefde

SEVEN/YOUGOV, 2013

1. SUBSTANCE

3. TARGETING POWER

There’s nothing to beat the feel of a magazine. Taken with its portability, ease of use and sense of glamour, it offers the reader control and entertainment in one neat package.

Since a customer magazine is so versatile with its content, it can target any number or group of people, from specialist interest to mass market.

2. ENGAGEMENT

EFFECTIVENESS When it comes to results, customer magazines are among the best. Print offers a vital guarantee of measurability, with brand awareness, sales tracking and ROI calculated within days of the magazine’s release.

Magazines are the most effective medium when it comes to engaging your customer, entertaining and informing them while delivering your brand messages.

4.

5.

LOYALTY One of the most common reasons for launching a customer magazine is increasing loyalty, with a brand achieving regular and reliable time with its customers.

6. ENTERTAINMENT

A magazine builds your customer’s faith in your brand by offering great content at little or no cost to them. Entertain them and you’ll have their attention all to yourself.

7.

COMPLEX CONTENT Print works fantastically well at getting across complex content or messages. So if you need to explain something in detail, a customer magazine may well be the best option.

PANDA WWF NETHERLANDS

Sent to over half a million people four times a year, Panda aims to increase the amount of donations to WWF Netherlands, retaining the existing donors while persuading the younger donors to donate on a more regular basis. Each issue of Panda is built around a theme, providing insights into the organisation and its work, with a delightful image or infographic forming the centre spread and augmented reality used to access online content.

The magazine has been a huge success for the World Wildlife Fund, with readers feeling more connected to the WWF brand and extra donations given to the charity.

54_ PRINT POWER | www.printpoweruk.co.uk

01/10/2014 15:55

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- Advertiser spend across media (e.g. who is spending most in digital media in France)

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01/10/2014 15:55

7 REASONS

Advertising “People understand intuitively that there’s a longevity, a gravitas with magazines. It’s a different kind of connection to online” Mary Berner, President and CEO of the Association of Magazine Media CG E M F D B BY GET L AN OU 7% UD F C 1 B D ING I O N BY HE AN TIS O R R IG D T E PA ASE ING INE DVE H T AM RE AS AZ A 4 C C RE AG ER , 201 IN C M AP CE IN OR SP IEN F EW DSC N AN BR

1. FANTASTIC REACH

With over 50,000 titles published in Europe selling in excess of 20bn copies per month, magazines are one of the most widely distributed forms of media in the world.

2. FINE-TUNED TARGETING

Each magazine title is specialist in some way, reaching a certain demographic or interest group that will engage with relevant advertising or featured brands.

3. FOCUSED ACTIVITY

Reading a magazine requires high levels of concentration, the same levels of concentration that will be devoted to advertising as well as editorial content.

4.

THE TRUST FACTOR Magazines are a trusted friend to their loyal readership, and any brand that places themselves in that magazine can capitalise on that trust and use it to foster a new relationship.

5.

INTEGRATION On average, more than half of all readers take action on magazine ads, a response that can be optimised when the ad is used as part of a wider campaign. Brand awareness, for example, can be doubled.

6. AWARENESS GENERATION Research shows that awareness generated by magazines and TV is roughly the same, but given that the expense of advertising in magazines is lower, they offer a more cost-effective solution.

7.

DRIVING SALES Research shows that magazines are a powerful tool in driving sales. A 2013 PPA study showed that 63% of readers were driven to action after exposure the magazine advertising.

L’OREAL PARIS COSMOPOLITAN

The international women’s magazine produced the world’s first sponsored peel-away cover earlier this year as they devoted the entire cover to L’Oreal Paris. While the ‘real’ cover featured The Big Bang Theory star Kaley Cuoco Sweeting and traditional coverlines about sex and fashion, the peel-away featured model Robyn Lawley and coverlines devoted to L’Oreal Paris make-up. Buoyed by its success, Cosmopolitan plan to repeat the dual cover device later this year, with further peel-away issues planned for late-2014 and early-2015.

56_ PRINT POWER | www.printpoweruk.co.uk

01/10/2014 15:55

7 REASONS

Catalogues “People want the opportunity to look at print for information and inspiration, then continue their journey via the internet” Julia Douglas, Head of Brand Publications for Marks & Spencer

70% 70% OF PEOPLE READ PRINT CATALOGUES AS OPPOSED TO 11% READING ONLINE CATALOGUES

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11%

TWOSIDES.ORG.AU, 2013

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1.

ACCESSIBILITY The advantages of print catalogues is their ease of use, level of trust and accessibility.

They’re portable, aspirational and designed to be picked up repeatedly.

2. INFORMATION-PACKED

The catalogue is a lightweight and readily available source of information, with most questions answered within its pages. Price, look, colour, size, quality, performance, can all be communicated quickly.

3.

SEDUCTION TECHNIQUE For high-end products, a catalogue offers an opportunity to draw the customer into the brand’s world, giving them an experience that goes beyond the shop window.

4.

BUILDING THE BRAND Catalogues offer the brand a significant amount of time with their customers, strengthening the relationship and building the brand.

5.

TARGETING OPPORTUNITY Since the main distribution method for catalogues is post, targeting is a key element to ensure you’re reaching the right prospect. Whatever demographic you’re after, you can reach them in a matter of hours.

6. BRAND LOYALTY

A well-produced catalogue which stays true to the brand will foster large amounts of brand loyalty, with the customer satisfied that their custom is worth the effort and cost involved in its production.

7.

EFFECTIVENESS Working alongside direct mail, online and digital mediums, the catalogue’s ability to have its results measured quickly and accurately is a significant advantage for the marketer.

23/01/2013 16:07

BAROMETER SAVILLS

One of the key trends in catalogues currently is the introduction of editorial content to the traditional listing of product, and Savills’ Barometer is a fantastic example of this.

The catalogue is designed in the form of a book, split into chapters with beautiful illustrations running alongside stunning photography and inviting copy. Sent to potential buyers of upmarket residential properties around the world, the publication’s aim is to initiate the sales cycle which, along with its accompanying website, it does with style. New business pitches and revenue have both increased, along with the estate agent’s brand presence around the world.

www.printpoweruk.co.uk | PRINT POWER _ 57

01/10/2014 15:55

FINAL WORD

\

PHILIP THOMAS | Philip Thomas is CEO of Cannes Lions, the annual festival of marketing that’s the focal point for the world’s biggest players in marketing and advertising. A former editor of film magazine Empire and MD of men’s monthly FHM, Philip is a firm fan of print and the creativity it inspires | How successful was print at this year’s Cannes festival?

Very successful. Out of all the award entries, print is still the second biggest category, with over 5,000 entries featuring some very creative work. Rémi Babinet, the President of our Press Jury and Creative Director of BETC gave a really good quote. He said that print is a critical part of telling stories and that it’s the creative industry’s responsibility to keep thinking of new ways to be creative in print.

Why does print attract creativity?

It’s the intimacy it creates with the consumer. When someone is consuming print, they consume it in a different way from digital – they’re very involved in it.

With magazines, readers are involved in all aspects of their favourite magazine, including the advertising. It helps them navigate their way through the title. So print is really unique and still holds a lot of power, a lot of sway.

Is print still the best way to get a complex message across?

If you want to do something clever, then print is the best medium to use. One of the winners this year was an ad for Penguin audiobooks in China [see page 41]. It’s subtle and sophisticated and it takes you a while to understand . It’s not something that’s there and immediately forgotten, like a banner ad or a TV ad. You have to really look at it. And when you look at it, the response, the payback you get is really strong.

What was the feeling around Cannes about print? Is it still the starting point of a large campaign?

Do you want the honest answer?

Yes. Then no. In the old days, it used to be, ‘Right, we’ll have a print ad, a TV ad, a bit of outdoor and a bit of radio.

Job done.’ Now there’s so much choice for the creative people and the planners.

What print has to do is excite the creative people.

The example I use is Google. Google spend an enormous amount of time specifically targeting creative people, because when you think about it, they’re creatively in a worse position than print.

Google is just one home page with no ads on it whatsoever, and it’s got a reputation for just being search advertising. But what it does is spend a huge amount of time trying to excite creative people to think of different ways to use its medium. That’s what print has to do.

What areas of marketing did you see emerging from this year’s festival?

Our digital category went up 40%, which was driven largely by social media and the integration of social media in the broader mix. The other area that increased was branded content, which was up 30%. But print publishers have actually been doing

“ Google spends a huge amount of time trying to excite creative people to think of different ways to use its medium. That’s what print has to do” branded content for years. They were doing native advertising before that was invented as well. Where you have people who can create content and do it every day for their readers, that shift to working with advertisers has to be done. That’s what advertisers are looking for – they’re looking for that engagement.

58_ PRINT POWER | www.printpoweruk.co.uk

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01/10/2014 15:57

Redefining print as personal

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30/09/2014 11:02

A new dawn for direct mail

Data-based insights, advances in print technology and positive consumer reaction to personalised mailings are combining to create a new dawn for direct mail.

At Ricoh we understand Direct Mail. From our Precision Marketing data analysis and campaign design services to our Clickable Paper interactive print solution, variable data software and leading digital production printing systems – we’ve created the tools for relevant, creative and of course cost effective printed mailings. Well, we wouldn’t want you to miss out on the Direct Mail opportunity, would we?

ricoh-europe.com

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30/09/2014 11:02