Ballantine’s 12 (the twelve-year-old aged brand of Ballantine’s, the world’s number two whisky) wanted to own an engaging PR property that would help its markets generate PR at a local level  – bringing to life the Ballantine’s 12 creative territory of “…leaves an impression by taking you BEYOND”.

Rising to the challenge, Synergy devised the first ever Art of BEYOND bar(above) for Ballantine’s 12, designed to combine a media launch with a whisky education for all guests.  Our role included creating the concept, developing a list of potential artists, commissioning and managing the artists during the design phase and installation process, guest and event management during the unveiling and creating a PR activation toolkit to send out to markets to inspire them to create their own Art of BEYOND events locally.

Ballantine’s commissioned six top European artists and designers (L-R below: Jovo Bozhinovski, Laurent Louyer, Luis Gallussi, Lee Broom, Oskar Zieta, Rolf Sachs – with Ballantine’s ambassador Fredrik Olsson) from different disciplines to each create a different element of the concept bar. It was crucial that the artists resonnated with the brand’s key markets such as Bulgaria, Poland, France and Spain, and that their very individual designs worked together to form a cohesive, BEYOND concept.

Bulgaria’s Jovo Bozhinovski (below) was responsible for creating the floor to represent the landmass of Scotland, home of Ballantine’s, as a shimmering puddle of water and therefore create the illusion of a bar that is literally melting.

Lee Broom created the bar stools (below), influenced by old-fashioned cut glass and crystal decanters with a youthful twist, reflecting the brand heritage perfectly.

Creatmosphere, the creative lighting studio, used artistc lighting (below) to hide and reveal the individual elements of the installation and create the ambience within the Art of BEYOND bar.

Spanish based artist Luis Galliussi was responsible for the wall design (below) where he used trompe l’oeil effects with the Ballantine’s logo.

Rolf Sachs (below) designed a new glass for the Ballantine’s 12 Art of BEYOND Bar called Double Take. The surface of the whisky glass was frosted and included reversed text which could only be clearly read when the contents of the glass had been drunk and the mirrored coaster accompanying the glass had been used, revealing the Ballantine’s 12 Year Old brand manifesto.

Poland’s Oskar Zieta was responsible for creating the actual bar (below).  Using his patented method of inflating steel he created a bar which resembled a pile of icecubes.

To add to the experience, Fredrik Olsson, Ballantine’s 12 Year Old ambassador, created a series of Art of BEYOND cocktails inspired by the work of the artists for guests to enjoy.

By all accounts the event was a huge success. As well as press coverage on the event, an extensive library of stock photography and video footage was secured and created a base for Ballantine’s to build on both in the art world and across all of its global markets.

By Lydia Oates on April 20th, 2011

Tags: Alcohol, Art & Design, Brand marketing, Communications, Design, Food & Drink, PR, Synergy, Synopsis

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A couple weeks ago, I entered the wacky world of the Experimental Food Society off Brick Lane and the experience made such an impression on me that it is still providing significant food for thought.

An obvious by-product of the credit crunch has been that brands understandably now want to achieve far more with a considerably smaller budget. Perhaps unsurprisingly, food automatically lends itself to such a concept. Used wisely, food can be a relatively affordable and creative medium with which brands can associate themselves to convey messages to consumers who see it as a reassuring, accessible concept that they can have a view on.

Successful experiential marketing should mean producing a greater brand presence and deeper interaction with consumers. Can this be done on tighter budgets? Well yes it can, but it invariably requires the brand to be brave enough to jump into the unknown.

Being a cake lover, admiration soon overtook my initial uncertainty as I acquainted myself with the life-sized chocolate gorilla that greeted me at the door of the Experimental Food Society event, courtesy of Love to Cake.

This was then followed by Sharon Baker who was casting people’s body parts in bread to create some eerie ‘hand sandwiches’ (that would probably have gone down well if you worked on Silent Witness.)

This was topped off by the guys from Blanch and Shock who, specialising in ‘theatre food’, took great delight in amazing guests with their delicious, mind-boggling treats such as apple juice suspended in a bubble which popped on eating to create a sensory drinking experience.

On to another exhibiton. Tate and Lyle is one of the more well-known companies to recently see the benefit of thinking outside the box and engaging with the food related art world, becoming title sponsors of Cake Britain, The Mad Artist Tea Party. This two-day exhibition was made entirely out of cake (which of course Tate and Lyle’s products play a large role in creating) and was slowly munched away by visitors.

In fact, it was so popular that when I arrived a couple of hours after opening, the exhibition had almost been completely devoured with only piles of crumbs and advertising boards providing evidence of what had gone before.

Being merely one ingredient that isn’t easily engaged with, Tate and Lyle did a fantastic job in associating itself with an event for upcoming food artists that was inspiring and fun. The exhibition also provided a stage for the brand to push its Fair Trade message that was given credibility through its mere association with the young British artists in residence.

Everybody shares a love of food in some form and by creating engaging events such as those of the Experiential Food Society or Cake Britain, brands manage to cut through the plethora of competitor activity taking place and resonate with their audience in a far more captivating and cost efficient way.

By Lydia Oates on October 18th, 2010

Tags: Brand marketing, Experiential marketing, Food & Drink, Sponsorship

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Having lived in London for eight years and been a keen tennis player for most of my life but never experienced Wimbledon, other than through the BBC’s coverage, I decided I should venture down to SW19 to see whether the first-hand experience lived up to the  hype.

Working in the sports marketing and sponsorship world I was looking forward to observing how brands take advantage of their multi-million pound Championship deals (what a geek).  The marathon match between Isner and Mahut provided The All England Club with some welcome publicity in amongst World Cup fever and even inspired some quick off the mark advertisers: ‘Durex Performa.  Take pleasure in coming second’. 

This wasn’t hugely surprising considering Wimbledon’s long history of brand association.  Slazenger became the first official ball supplier in 1902 and Robinsons have been official still soft drink providers since 1935. Both brands have become as synonymous with this particular Grand Slam as strawberries and cream.  This year Robinsons celebrated the 75^th anniversary of their sponsorship by committing to a further five years. Paul Moody, Chief Executive of parent company Britvic, revealed in the Telegraph just how highly he views the sponsorship when he said recently that “You don’t want to be the guy at Britvic who loses the sponsorship of Wimbledon. That would be your tumbleweed moment”. In addition, this year’s tournament has a whole host of other sponsors including HSBC, Hertz, Rolex and Blossom Hill. 

A beautiful day, Centre Court tickets and a fantastic line up, Henin (sponsored by Adidas, Belgacom, Rolex) v Petrova (Ellesse), Hewitt (eSwap, Yonex) v Monfils (KSwiss, Prince),  Federer (Credit Suisse, Gillette, Jura, Mercedes Benz, Nationale Suisse, NetJets, Nike, Rolex and Wilson) v Clement (Adidas), got the day off to a perfect start. 

On arrival at Southfields station I was expecting to be the target of various experiential marketing campaigns with brands trying to capitalise on their sponsorships but I was left a little disappointed.  Having tactically got on the tube so that my carriage would be nearest the exit, I managed to miss the strip of astroturf that Blossom Hill had used to cover part of the platform along with any mention of their £1m “Summer perfectly served” marketing campaign and eventually made it all the way to the gates of the All England Club without even a sniff of brand activity. 

Once through the gates my first impression was of the size of the place. The Beeb has done a great job of misleading me over the years and making it look much bigger than it really is. It was much more intimate and relaxed than I’d anticipated.  This could have been due to the fact that attendance has apparently dipped this year, partly attributable to the World Cup.  After the Bavaria beer girls and their orange outfits I was wondering whether any brands might push their luck with similar ambush activity inside the ground, but the only miniskirts on display were of the white variety (and having now read the ambush marketing section of the Wimbledon website know such activity wouldn’t have been allowed). After the poor performance from the England football team it will be interesting to see whether the Great British public shift their attention to the tennis and support Andy Murray (sponsored by RBS, adidas, Head, Highland Spring) the only British hope left in the competition.

Whether or not fans swap their vuvuzelas for the silence of Centre Court, brands will of course rightly continue to see Wimbledon as a key sponsorship property.  Wimbledon has spent decades building a brand which successfully treads the fine line between global recognition without overselling itself.  It is this unique position which allows Wimbledon to pick and choose sponsors to fit with its brand and long-term objectives and ultimately lead to the long-standing partnerships it has with the likes of Slazenger and Robinsons. Even the tennis players themselves rate the London leg of their world tour the tournament none of them want to miss. Did my experience (be it lacking in brand activity) live up to the hype? Absolutely.

By Lydia Oates on June 30th, 2010

Tags: Andy Murray, BBC, Experiential marketing, Sponsorship

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