GUINNESS Home Nation Rugby Heroes are Made of More

Synergy, working as part of a cross agency team, has developed a rugby campaign this autumn to activate the GUINNESS brand’s rugby partnerships with the RFU, WRU, Scottish Rugby and the IRFU. Synergy contracted GUINNESS rugby ambassadors Lewis Moody, Lee Byrne and Sean Lamont (alongside Irish winger Tommy Bowe) to create an integrated campaign across TV, print, digital and PR targeting international rugby fans.

The ambassadors featured in print ads showing them flying the GUINNESS flag and giving their all for their country, in doing so proving that they themselves are made of more. Point-of-sale creative was rolled out in pubs and supermarkets across the country offering fans the chance to win tickets to the RBS 6 Nations (of which GUINNESS are Official Beer Partner).

Synergy secured national and regional press, broadcast and online coverage across England, Scotland and Wales through interviews with the players. Dynamic action shots of the players accompanied the interviews linking their national flag with the flag featuring in the TV ad campaign and reinforcing the brand’s support of the home nations.

To get fans closer to the action, we sponsored the Lewis Moody app to deliver an exclusive blog. GUINNESS fans who left messages of support for both Lewis and Lee on the brands Facebook page had the chance to receive personalised messages back from the players.

For those fans that haven’t been able to follow their team out to New Zealand, our man “Hutch” has been supplying a weekly video diary of his travels and meeting the home nations’ supporters.

To engage fans offline we took England pace man Ugo Monye to Asda in Gloucester to meet fans and staff at the supermarket, allowing them to have their photo taken with the rugby star and take part in the GUINNESS Rugby Reflex game.

Finally, the campaign’s TV ad, directed by Oscar winner Tom Hooper and produced by ad agency AMV, sees our intrepid hero overcome an army to prove that he and his team are made of more. Check it out below.

By Caroline Ayling on October 13th, 2011

Tags: Advertising ,Alcohol ,Facebook ,Food & Drink ,Guinness ,PR ,Public relations ,RBS 6 Nations ,Rugby ,Synergy ,YouTube

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Footballers & Social Media: The World at their Tweet

As a huge fan of both football and Twitter, I have followed the phenomenon of footballers using the social media platform to talk directly to fans with nothing short of delight (and indeed written, and no doubt tweeted, about it too). From Ryan Babel mocking-up Howard Webb in a Manchester United shirt to Darren Bent allegedly telling Spurs owner Daniel Levy in no uncertain terms to sort out his transfer to Sunderland, the medium has contributed significantly to breaking down the barriers between player and fan, which, in this age of the sheltered millionaire footballer, I’m definitely not alone in welcoming with open arms.

However, this summer I made a new, and even more exciting, discovery – @Joey7Barton. With Barton’s tweet that “somewhere in those high echelons of NUFC, they have decided, I am persona non grata” attracting significant media coverage (in fairness, more for the revelation that Newcastle United were letting him go, than the flowery language), I was lured into his Twitter world. There I found Joseph Barton, the footballer philosopher, offering up daily quotes from Nietzsche, lyrical poetry from The Smiths, and reviews of his trips to London museums.

@Joey7Barton

Surely this wasn’t the same player I’d seen drag Gervinho off the floor by the scruff of his neck during the first game of the Premier League season at Newcastle? And yet, whilst the red mist is still prone to descend, the rehabilitation of Joey Barton is in full swing, helped in no small part by his ability to create his own brand on Twitter. Yes, many remain if not unconvinced then at least a bit confused by his culture vulture social media persona, but there’s no doubt that without Twitter, he wouldn’t have been able to convey it to the world as he has done.

Of course, the phenomenon of sports, and in particular football, stars as brands in their own right is by no means a feature borne of the Twitter age. Remember, Twitter is only five years old, younger than brand Beckham and younger still than Gazza, Kevin Keegan and George Best. Indeed, footballers have been commercial entities in their own right for years (and see this amusing history of their attempts to cash in on this).

Best crisps

George Best lends his name to Best Potato Crisps

And yet I do believe that Twitter has brought something new to the party. It gives footballers a way to convey to the world who they want to be, no longer restricting their public image to that carefully defined by their club and publicist, or by the tabloid headlines. Whilst these were the channels through which a footballer’s brand would be built in the past, players are now able, in at least some small way, to bypass them, possibly defying an image crafted by a PR, or using Twitter to defend the on and off the field transgressions reported in the papers.

But whilst I may love the fact that Twitter allows footballers and famous individuals to talk directly to me (and, I accept, their thousands, or indeed millions, of other followers), the interesting question is whether using Twitter can significantly build a commercially successful personal brand. Will it impact upon the value and nature of sponsorship deals and endorsements? At the moment, not really. Nike terminated its boot contract with Joey Barton in 2008 after he was imprisoned for assault, and the deals have not exactly been forthcoming since then.

Twitter might be a good place to start building your brand (and a forum for – declared – advertising by celebrities), but it is most definitely not where it ends. A Twitter personality is still only one small element of a footballer’s commercial arsenal; the money follows skills on the pitch, good looks, big clubs and to a certain extent, the ability to stay out of trouble (though brands have shown themselves willing to stick by big names even when scandal has descended in the past).

However, that is certainly not to say that footballers should stop tweeting – mainly because without Joey Barton’s philosophical gems my days would most definitely be that little bit worse! Click here for a fun infographic of sports stars on Twitter, and try the following for some insights/hilarity from some of our favourite footballers:

Jack Wilshere: @JackWilshere

Rio Ferdinand: @rioferdy5

Kaka: @KAKA

Wayne Rooney: @WayneRooney

Darren Bent: @DarrenBent

 

 

By Jessica Enoch on October 10th, 2011

Tags: Barclays Premier League ,Celebrity ,Default ,Football ,Newcastle United ,Twitter

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Twitter Proves The Rugby World Cup Is A Small World

Three cheers, then, to the IRB for publishing a weekly round-up of Rugby World Cup-related social media activity by fans. As I tweeted yesterday, all rights holders should be doing this – a point echoed by numerous sponsors, who contacted me to say they’d now be making the same point to the rights holders with which they contract.     

But here’s the thing. One of the IRB social media round-ups highlighted an issue I’ve had for many years with the marketing of the Rugby World Cup.

I’ve always been uncomfortable with the IRB describing the tournament as the world’s third biggest sporting event behind the Olympic Games and FIFA World Cup (which it routinely does – see the penultimate paragraph here for example).

It’s a very clever marketing soundbite (which many rugby journalists now routinely repeat) but it doesn’t stand up to detailed analysis.

The IRB anchors this claim primarily on those old chestnuts of cumulative TV viewers and TV footprint, but those are currencies which only matter to sporting officialdom: most brand marketers aren’t remotely interested in them as a measure of either audience engagement or value.

The reality is there’s a vast chasm on this notional list between the top two and the Rugby World Cup in terms of audience criteria that really matter to brands: things like the number of unique viewers, the number of fans engaging online, and the number of countries in which the event/sport has salience (mass appeal).

And against these more meaningful criteria, there are plenty of sporting events which have a bigger reach and/or footprint than the Rugby World Cup. To quote just a few examples, the F1 World Championship, the Indian Premier League, the NFL, and the UEFA Champions League.

And none of this should be a surprise because when you consider rugby’s footprint.

It’s salient in only eight major markets (the IRB Tier 1 countries Argentina, Australia, England, France, Ireland, Italy, New Zealand, South Africa) with a combined population of 309 million (4.4% of the world’s population) in only one of which (New Zealand, the smallest market at 4 million) it is the number one sport.

All of which is illustrated nicely by this IRB infographic, showing the location of the last 1,000 Tweets mentioning #rwc2011 during the Rugby World Cup opening ceremony.

So, hat-tip to the IRB for blazing a social media trail among rights holders. But please, don’t play the ‘biggest’ game – play the best.

By Tim Crow on October 5th, 2011

Tags: Default ,Rugby ,Rugby World Cup ,Social Media ,Twitter ,World Cup

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Memories are made of this

Memorabilia. The ultimate demonstration of fully committed fandom, right? Now I’m not talking about the typical million-odd replica shirts sold each year by Manchester United; I don’t even mean the larger share of these that sell featuring a certain Wayne Rooney’s name and number on the back; no, I’m talking about the real up-close-and-personal stuff: Botham’s bat, Pele’s Pumas or Tiger’s tee-peg.

You name it, someone out there will probably try to buy it, sell it, or, in the case of OJ Simpson, nick it. Allegedly. So what’s the fascination with collectibles, and why will ordinarily sane people part with extraordinarily daft amounts of money to own them? To me it’s about either possessing a tangible part of your hero, a slice of sporting history…or, and this is where the big bucks come into play, both.

 

In terms of sporting collectibles, baseball rules the roost; from the $10,000 spent by chewing gum maker Curt Mueller on a piece of spent gum from Arizona Diamondbacks Luis Gonzalez, to the ball struck by Mark McGwire for his record-breaking 70th home run in 1998 – bought by comic book creator Todd McFarlane for a staggering $3.05m. Especially staggering when you consider the record was subsequently tainted by McGwire’s admission of steroid abuse during that season…the baseball shedding two-thirds of its auction value. Less home run, more own goal.

But if you think that sports fans have the market cornered (as well as signed, framed and independently authenticated) – think again. It’s the movie buffs that really know how to splash the cash to get their hands on a piece of Hollywood heroes or history.

In 2008, a miniature TIE Fighter model spaceship from the original Star Wars movie sold for over $400,000 and Luke Skywalker’s lightsaber made almost a quarter of a million dollars. Surprisingly though, in the memorabilia stakes, chic overcomes geek, with Audrey Hepburn’s Givenchy dress from Breakfast at Tiffany’s selling for just under $1million and James Bond’s gadget-filled Aston Martin DB5 going for $4.1million.

What, might you ask, has any of this got to do with marketing, per se? Well, if you need to ask, then you obviously haven’t seen the recent Nike Mag campaign.

For those of you not aware, Nike Mags were the futuristic sneakers worn in Back to the Future II by hero Marty McFly when visiting Hill Valley, year 2015. For a quick reminder…

The self-lacing, self-illuminating hi-tops went on to become the most sought-after movie footwear since Dorothy Gale’s ruby slippers, whilst creating veritable product placement lore for their creators, Nike.

Many have crudely tried to repeat the trick, most notably Will Smith’s Converse-obsessed lead in I, Robot and, subsequently, the Puma-wearing inhabitants of The Island. Given that each member of the latter’s identically-shod population is, in fact, an irretrievably doomed clone of a corporate paymaster, you have to think that Puma really should have read the script before involving themselves.

What sets Nike apart from the aforementioned brands is that the trainers worn by Michael J. Fox’s character were simply an ‘ain’t-it-cool’ vision of the future for the movie’s teenaged audience, appropriate to Nike’s own brand trajectory; they weren’t linked to part of a specific marketing campaign, and were categorically not made available for purchase by their makers.

Until now.

Hot on the heels of Total Film’s 2010 ‘Future Day’ hoax, forums were buzzing earlier this year with the rumour that Nike had taken out a patent on an ‘automatic lacing system’. Nike sneakers with power laces on their way? Not quite, but an ingeniously timely tease nonetheless.

In fact, the Oregon-based sporting superpower had finally chosen to make film buff dreams a reality, by producing a limited run of 1,500 pairs of ‘2011 Nike Mags’.

With illuminated LEDs that can be recharged after a long day switched on in their display cabinet (as though anyone is actually planning on wearing these) the 2011 models are, in fact, not of the self-lacing variety. This is rather unsubtly explained courtesy of the movie’s co-star, Christopher Lloyd – AKA Doc Brown – in the video below, where it becomes clear that said technology will only be available in 2015 (the year he and Marty visited in BTTF2), and that the DeLorean time machine has erroneously brought him to a point four years too early.

So, after all the hype and fervour, how can I get hold of a pair, you ask? Well, unfortunately you’ve already missed the boat: the entire lot were auctioned off over a 10-day period on eBay in early September. Although bidding started at $0.99, over-excited demand amongst collectors and scalpers alike saw standard prices kick off at around $4,000. Who pays $4k for a pair of slightly ugly-looking trainers? Well, no one, it would seem. The first pair actually sold for the princely sum of $37,000 to one Patrick Chukwuemeka Okogwu – that’s Tinie Tempah to you and me. His PR or Nike’s…it’s hard to tell.

But never fear: Nike’s ruse was all in a very good cause (besides fleecing a few overpaid musicians). It turns out that the brand had partnered with the Michael J. Fox Foundation for Parkinson’s Research, all profits from the auctions going direct to the organisation.

Nike (with a little help from eBay) capitalised on the perfect storm of memorabilia-hungry Back to the Future fanboys, obsessive boxfresh sneakerheads and understandably fervent supporters of the Parkinson’s research projects – raising $5.7million in a mere 10 days. This was doubled to $11million by the ubiquitous Google, whose co-founder Sergey Brin has pledged to match donations to Fox’s foundation until 2012 to the tune of up to $50million.

Nike has demonstrated just how far ahead its thinking is from its competitors’ in respect of memorabilia, limited edition wares and product placement (even retrospectively). And who’s to say that the ‘2015 Nike Mags’ won’t be released to the general public in four years’ time anyway?

They’ve hit the sweet spot between collectible and commodity, and through the nostalgic lens of one of the most popular movie franchises of all time, have delivered a lesson in slow-burn brand marketing.

But coming back to the crux of the argument, people will do anything for their own part of an image, an icon, a moment or a man – heart over head, irrational and absurd. As Huey Lewis once put it: that’s the power of love.

By Jonathan Izzard on October 4th, 2011

Tags: Brand marketing ,Celebrity ,Charity ,Content ,Default ,Digital marketing ,Film ,New Product Development ,Viral Marketing

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The New Rules of the 4th Era of Sponsorship

Sponsorship is dead, long live sponsorship

 

Those of you who are regular readers of Synopsis may have spotted a pattern. The lead articles are not Synergy’s random musings but rather the building blocks of a bigger story about the new rules of sponsorship.

But before we get to the rules, a little bit of context. Like all marketing disciplines, sponsorship has evolved over time…but every now and then, there is a paradigm shift which generates an explosion of innovation and introduces a completely new way of acting. Excitingly, we have entered one of these new eras – the 4th Era of Sponsorship.

Below is a rough timeline of how the Sponsorship Industry has evolved. There is never a clear line in the sand to separate the various eras (and of course there are always sponsorship programmes that are ahead of their time), but to keep things simple, they can be broadly separated into decades.


1970s: The Dark Art

The very beginnings of the sponsorship industry were characterised by informal deals done on a handshake in smoke-filled rooms — often literally smoke-filled, as much of the early days of sponsorship were driven by cigarette brands putting their brand on the side of fast cars to circumvent advertising restrictions.


1980s – 1990s: Off-the-Peg

Patrick Nally is credited as being the founding father of modern sponsorship. His ground-breaking partnership deal with Coca-Cola for the 1978 FIFA World Cup effectively ‘invented’ the concept of a rights package. This has set the template for how sponsorships have been packaged and sold by rightsholders ever since.

2000s: Tailored

Brands started to become much more sophisticated and proactive in terms of how they approached sponsorship. No longer was it thought of as a collection of off-the-shelf rights or as a separate marketing channel, but rather as an asset that could be integrated into the overall marketing mix and used to increase the effectiveness of the brand’s marketing activity.

2010: Social

The 4th Era is the “Social Era” for two reasons. Firstly, it has been enabled by social media which has allowed people (and brands) with shared interests to engage with each other at a scale and depth that has never before been possible. Social also refers to a sense of ‘Higher Purpose’ – the ability of a sponsorship programme to connect with its audience by delivering something that really matters.

The Rules of the Social Era

 

Moving to the Social Era has changed the game of sponsorship and everyone can benefit from knowing the new rules. We have analysed hundreds of best practice case studies from the world of sponsorship and beyond to identify and codify the keys to success in the Social Era.

We have been examining these new rules one by one over the past 5 months but now it is time to bring them all together.

It’s as easy as ABCDE…

Rule 1: Authenticity

Endorses for Courses by Jon Izzard

The best sponsorship programmes, the ones that really resonate with the audience, feel completely natural. The brand simply feels at home in the space. Think of Red Bull and extreme sports, Cartier and Polo, Robinsons and Wimbledon, Unicef and FC Barcelona, Coca-Cola and the Olympic Games, Moët & Chandon and F1. There are loads of sources of authenticity: products, geography, heritage, brand message and simple longevity.

Some brands have to work hard to establish authenticity in a given space, but it is imperative that they do because the very audience that a sponsor is trying to connect with can see through an imposter straight away. Skoda’s sponsorship of the Tour de France provides a great example of a brand working hard to establish credibility in a space where its source of credibility may not be immediately obvious.  Brilliant:

Rule 2: Beyond your Brand

What Can Sponsorship Learn from Farmville by Liz Brown

Sponsorship is about a brand becoming a natural part of their customers’ lives — but the audience needs a reason to invite a brand into their lives.  Brands that view the relationship with their audience as a one-way value exchange and think only in terms of “what will we get out of it”, have no chance of forming the kind of relationship they want. Again, there are a number of ways that brands can demonstrate “Beyond your Brand” thinking, focusing on delivering benefits to their customers (O2 Priority), the property (Converse and London’s 100 Club) and society as a whole (RBS RugbyForce).

Rule 3: Content

Is Content Really King by Ben Wilkinson

Consumers want to learn, laugh, discover, share, be entertained and be inspired.  And they want to do all these things around topics that are of specific interest to them.  That is what sponsorship allows you to do: create relevant content around your audience’s passion points.  But brands have to be creative to capture attention — posting a video of “talking heads” on YouTube and hoping for the best is not enough.  Great content is about innovation.  It’s about finding something that connects and resonates with your audience and providing it how they want it, when they want it and where they want it.

Our favourite example of this is Converse Domaination — a campaign that not only puts great content at its heart but also shows a perfect understanding of its audience.  Enjoy.

Rule 4: Dialogue

D is for Dialogue by Carsten Thode

Talking to each other, sharing ideas, working together, creating things, discovering  new stuff,  having fun, laughing, crying, flirting, arguing – everything that makes life worth living is built on our ability to actively engage with each other. Why should that be different from the relationships we build with the brands in our lives?

Yet for most of its history, marketing has been pretty much a one-way conversation where brands tell you what they want you to know and the customer has no way of talking back.  However, the digital age, and particularly the social media age, has smashed through the barrier separating brands from their consumers.

Now it is possible to source brilliant ideas from your customers such as Pepsi Refresh and GE Ecomagination, or to tailor your marketing in real-time to reflect input from your customers. The Old Spice Man is a classic case in point of how much more engaging the conversation becomes if you give your customers a voice.

Rule 5: Entertainment

Passion Pointers by Tom Gladstone

Sport has a particular ability to evoke strong emotions through its personal stories of courage, inspiration and determination; through its inherent unpredictability, excitement and drama. Those emotions are an essential component of successful sponsorship – and are as relevant across other sponsorship platforms (music, film, fashion, art) as they are in sport. Harness the emotions correctly, and your consumers will add the catalyst of conversation.

But while simply being visible within a passion point might increase the chances of getting noticed, it doesn’t win a place in consumers’ hearts. There has to be active emotional involvement, not just proximity or presence — engagement not impressions. Whether brands capitalise on moments of high emotion or they tap into the core emotional sensibility of the passion point, anchored in anticipation, pride, patriotism, celebration, or even pain, they all need to exhibit genuine empathy and understanding.

This rule is articulated nicely by Mark Harrison, Chair of the Canadian Sponsorship Forum: ‘You can’t manufacture emotion. It’s already there. When you find it – just find a way to trigger it; tap into it; fuel it; and watch it grow into something remarkable.’

Using ABCDE

 

ABCDE is not a menu, where you can choose one or two elements to focus on. Rather, a great sponsorship programme will deliver against all the rules of the 4th Era.

Obviously, this framework isn’t rocket science, but at Synergy, we have found it to be incredibly useful as we advise our clients at every point of the sponsorship process.  We use it not only as a kind of checklist to diagnose where we are strong and where we need to work harder but also to ensure that all elements of the sponsorship programme - from creating the strategy and identifying the right assets right through to the activation – deliver the ABCDE.  So, before signing off, here are a few ways that it can be used to make your sponsorship programmes even more powerful:

1. Articulate specifically how you are using sponsorship to deliver all elements of ABCDE. Sponsorship strategies should use deep audience insight and a clear understanding of the business and brand to ensure that you are using sponsorship as effectively as possible in the 4th Era

2. When making the decision to acquire a new sponsorship asset, make sure that there is a concrete plan in place to deliver the ABCDE. Use it as part of the screening process and answer questions like: “What gives my brand authenticity in this space? How can I build or acquire authenticity?”  “What is the higher purpose of the sponsorship?  How are we adding value?”

3. When creating activation plans, be specific about which elements of ABCDE you need to focus on and how you will be able to deliver them.  For example: “How can we stimulate dialogue amongst our audience?  What role should our brand play in that conversation”

4. Factor ABCDE into your measurement. Create specific targets around each element and evaluate your success at achieving them.  Where do you have to work harder?

© Synergy Sponsorship a trading division of Engine Partners UK LLP 2011.  All rights reserved

By Carsten Thode on September 1st, 2011

Tags: Advertising ,Brand marketing ,Branded content ,Communications ,community ,Consultancy ,Content ,Default ,Design ,Digital marketing ,Event management consultants ,Event management service ,Experiential marketing ,Food & Drink ,Football Sponsorship ,Olympic sponsorship ,Olympic sponsorship consultants ,Sales promotion ,Sponsorship ,Sponsorship consultancy ,Sponsorship consultants ,Sport ,Synergy ,Synergy Loves ,Synopsis ,Twitter ,Viral Marketing

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Synergy loves… The Cheating Wall

What happened

Tourism Toronto and Tourisme Montreal have erected “The Cheating Wall” as their newest campaign to promote tourism between the rival major Canadian cities.  The new marketing programme, developed by Crispin Porter + Bogusky Canada, is encouraging residents of the two cities to have a summer fling with one another.

The Cheating Wall consists of separate HD video panels, located in high-profile locations in the two cities. Each wall is equipped with its own camera, microphone, sensor and speaker, enabling residents of each city to engage in live video chats and participate in a series of scheduled events, in real time.

The insight behind the creative concept is driven by the long-standing rivalry between the two cities, which is driven by the two cities’ statuses as Canadian business hubs and, of course, the rivalry between the two ice hockey teams, the Toronto Maple Leafs and the Montreal Canadiens.  It has resulted in a common perception that any visit to Montreal or Toronto is viewed as a ‘betrayal’ of your home city.

The Cheating Wall has been installed in the TIFF Bell Lightbox in downtown Toronto, and at 350 de Maisonneuve Boulevard in Montreal. The live interactive portals are open for live chats between 6am and 2am, and also host a number of live events such as “Tai Chi at the Wall” and “Street Magic”, as well as fashion and comedy shows, amongst numerous others.

The campaign is also available to view online at TheCheatingwall.com, and TrompeTaVilleMuramur.com, both of which link to Facebook pages where visitors can win flights to the respective cities, courtesy of Air Canada.  Participants are encouraged to share their experiences on Twitter, using the hashtags #cheatingwall and #trompetaville.

The initiative is being supported by transit shelter and poster ads in Zoom Media’s resto-bar network, which feature QR codes that take users to the Cheating Wall’s Facebook pages.

Why we like it

This live interactive portal provides a new and innovative way of promoting tourism. Rather than the typical tourism campaigns involving scenic landscapes and cheesy poses, this avant-garde campaign gives the users a corporeal, almost voyeuristic look into the lives of the other city.

By engaging the consumers and actually tapping into their personal interests, rather than forcing them to withstand a corny commercial or print ad, The Cheating Wall brings a whole new meaning to conventional advertising.

With its catchy and risque name, visual appeal, interactivity, enticing social media incorporation, and its ability to feed the voyeuristic tendencies of our contemporary world, this is the tourist campaign of the future. The annihilation of time and space gives us a live window into these two cities.

What the brand says

“We wanted to work on improving the travel between the two destinations,” said Tanya Churchmuch, assistant director, international relations at Tourisme Montreal.

“We wanted to remind people that there are two amazing destinations that are very different from each other and offer extremely different things to do, but are very close and very cool cities. You don’t have to go thousands of miles away to have a great experience.”

Let’s hope other cities think it’s as great as we do.

By Melissa Oberman on September 1st, 2011

Tags: Blogging ,Communications ,community ,Content ,Default ,Facebook ,Synergy ,Synergy Loves ,Synopsis

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Synergy loves… The first joint shirt sponsorship in the English league

What happened?

At the end of the 2010/11 season Sheffield United were relegated to the third tier of English football, joining their local rivals Sheffield Wednesday in League One.  Both clubs found themselves without shirt sponsors, with local companies airing concerns over sponsoring just one team for fear of being accused of favouring one over the other.

With no deal on the table, Wednesday went ahead and printed its 2011/12 season shirts, sponsor free, holding on to the hope that a company would come on board late in the day. Fans were even told they could bring their shirts back to the club shop to have the sponsor logo added once a deal had been agreed.

However, with no deal on the table,  the two clubs joined forces and took the unusual approach of looking to recruit a joint sponsor. Two local companies stepped up to the mark, a local car dealership and a health insurance firm, who combined to offer a reported six figure sum for the 2011/12 season.

The agreement sees Volkswagon dealership Gilders appearing on the front of Wednesday’s shirt when they are at home and United’s when they are away. Westfield Health will appear on United’s home shirts and Wednesday’s away shirts.

Why we like it

Other than Rangers and Celtic who both carry Tennent’s sponsorship on their shirts in Scotland, this deal is the first of its kind between rival teams in an English league.

Of course, some fans will always be against the move.  Who wants to have anything in common with their local rival?  However, the overall response has been positive.  Before the deal was announced, both clubs had uncertain futures, with rumours of a merger and even closure abounding.  When those are the alternatives, a joint sponsorship deal becomes much easier to stomach, even for the most diehard of fans.

While both clubs deserve credit for coming up with a savvy financial solution (Sheffield is a city used to having to pick itself up and this deal demonstrates the determination not to lose any more of the city’s icons), the sponsors also come out of the deal rather well.

Local derbies always create hightened emotions for football fans, so bringing together two teams through the sponsorship could have resulted in backlash from the fans. However, Gilders and Westfield Heath are two local companies who know the city and its people and they were confident that the fans would back the partnership for the sake of their team. The announcement was made in a considered manner and the quotes focused on preserving two iconic Sheffield brands and football culture in the city.

This approach resulted in blanket coverage across the sports pages of the UK press, propelling two local brands into the national arena. Coverage was positive and gave both companies a voice with the MD of Gilders quick to note that the deal had “brought together four such quality and iconic Sheffield brands”.

As an ex-Sheffield resident, I’ll be following the future of both clubs closely. It will be interesting to see whether the deal will still remain in place even if the Blades win promotion.  In the current financial climate, it feels a fitting approach to a sport that is often (rightly) accused of being frivolous with money. And if it saves two teams steeped in football history and with a huge following, surely it’s a no-brainer.

By Jennifer Mitton on September 1st, 2011

Tags: Advertising ,Brand marketing ,Communications ,community ,Default ,FA Cup ,Football Sponsorship ,Sponsorship ,Sport ,Synergy ,Synergy Loves ,Synopsis

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