Posts tagged ‘Social Media’

Synergy Loves…Clarks Originals

What happened

Remember that shop where you bought your school shoes? The place where you’d patiently sit and have your feet measured at the beginning of each school term? The smell of leather, the nostalgia…

Clarks are turning that perception on its head: ‘that little shoe brand’ has launched a new range, Clarks Originals and is looking to tap into a more fashion savvy teen audience. In its latest campaign, OriginalsLIVE, the brand aims to connect to its new demographic by tapping into the latest new music and giving fans money-can’t-buy experiences.

OriginalsLIVE is Clarks’ platform to showcase their connections, collaborations and very own creations in music and music culture. Every year they champion new ventures, providing unique content and experiences fans won’t find anywhere else.

The 2012 live gig series sees Joy Formidable (currently supporting the Foo Fighters on their US tour) playing unusual locations in Bristol, Manchester and London, with the actual venue not being revealed until 48 hours before.  Tickets are all released via Twitter, Facebook and the brand’s own webpage.

Locations like the Victoria Baths in Manchester, Factory 7 in London and Bridewell Police Station in Bristol have been used on the current tour. The use of unconventional venues further added to the surprise and delight element of the campaign – generating extra buzz in the host cities and online.

Exclusive content from the gigs is all available online along with regular updates from the artists themselves through video blogs and post-gig content.

Why we love it

Changing perceptions about a brand is no mean feat, especially for one that is surrounded by so much nostalgia. Tie-ups with one of London’s last independent record stores, Rough Trade East, and well known up-and-coming artists like Joy Formidable and Trojan Sound System, have added a sense of real credibility to a brand that is seen as reliable and even quaint to many of us.

The results speak for themselves: the brand has over 15,000 followers online and a constant dialogue with their audience through daily updates on Facebook – largely through tapping into Joy Formidable’s existing fan base. The gigs to date have been a resounding success with sell-out shows in Manchester, Bristol and London.

Perceptions don’t change overnight, though, and what’s interesting about Clarks’ approach is that it’s long-term; the campaign is now in year three, with plans already in the pipeline for late 2012 and 2013. This, paired with their collaborative approach with artists – rather than simply ‘badging’ existing gigs – only reinforces a reason for the brand to be there – they are the curator, not the sponsor.

By Oli R on March 20th, 2012

Tags: Default, Experiential marketing, Music

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Experiential Marketing in 2012: Trends, Tech and Trailblazers

In a year of huge cultural, historical and sporting relevance, brands will be (and already are) fighting for ‘white space’ and unique ways to engage with the British public. During this very busy year the strategy and tactics that brands choose are critical, which is why we decided to use this Synopsis to look at some of the activation trends we are expecting to see in 2012.

At a macro level, experiential marketing (EM) is a growth trend in itself . Experiential specialists have long debated the need for integration with digital media to extend the reach of the live activity beyond a single interaction. Momentum has been driven primarily by the growth of social networks, which provide longevity, an extended audience and a measurement tool for the effectiveness of such campaigns.

Marketers are more concerned than ever about customer experience and innovation, but with a need to find simple, differentiating tactics, expect 2012 to be a year of the ‘Ts’.

TECHNOLOGY

RFID (Radio Frequency Identification)

RFID is a system that can transmit the identity of a person wirelessly using radio waves.  A portable device (for example a wristband, PDA, card, smart phone or even just a sticker) automatically transmits the data to an RFID reader, where it is then processed.

RFID has been used for many years - in fact, you may be using it in one form or another every day. I used RFID technology at least five times before I reached my desk today via my Oyster and Engine building access cards.  In 2006, the Emirates Stadium opened with an electronic ticketing system and members of ‘The Arsenal’ use their membership cards to enter the stadium, removing the need for gate security staff.

The ability of RFID technology to unite live and digital, by allowing consumers to share a real-time brand experience and messages in a controlled fashion with social networks, has seen the technology flourish.  At the recent Smirnoff Nightlife Exchange London,  RFID technology was implemented for guests to share their real time nightlife experience on Facebook. After a simple registration process guests could ‘check-in’, ‘like’ and post photos directly to their walls by tapping their RFID wristbands on ‘Facebook Interactive Pods’.  All posts were predetermined by Smirnoff which provided an element of controlled messaging. The event was amplified to 1.6 million people on Facebook. Laura Moody of Blondefish, the event technology company who deliver this RFID solution for Smirnoff comments:  ”The use of RFID technology in the event space is delivering  powerful results for both the live audience and brand sponsorship. Consumers and brands are embracing the way RFID can deliver a more personal, memorable and interactive live experience. As guests share their experiences on social media they become advocates for the brand, delivering huge levels of online brand amplification.”

It is not only events that are seeing the benefits and word-of-mouth that RFID can offer. In 2011, Ushuaïa Ibiza Beach Hotel installed Facebook pods for guests to “make all their Facebook friends jealous.”

With the costs of RFID coming down and the possibilities endless, there are some exciting developments that could change the face of experiential marketing.

Music festivals are quickly discovering the benefits of using RFID.  It is making ticketing and admissions more efficient, while ‘cashless’ payment methods are reducing security problems (there is no need to carry a wallet), driving purchases and allowing brands to track spending patterns.

The ability to analyse individuals’ purchasing patterns allows a brand to deliver personalised content and offers.  This not only drives spend (Mastercard in Canada has seen a 25% increase in spending by users of its RFID credit cards), but can also make customers feel more connected to the brand.  Minority Report’s vision in 2002 of personalised advertising seemed something for the very distant future – but RFID is bringing it closer.

Augmented Reality & Blippar™
Image recognition is another way to connect the real world to the virtual one and 2011 saw plenty of brands experimenting with QR codes.  However, it is safe to say that QR codes haven’t exactly set the world alight – usage has been low and according to a survey of 794 online respondents by Simpson Carpenter, just 36% of consumers know what QR codes are for, while only 11% have actually used them.

However, 2012 could be the year that Image Recognition finally takes off, thanks to Blippar™ – the 2.0 QR code. Blippar uses your phone’s in-built camera to bring a static image to life and provide an interactive experience. The difference between this and a QR code…the ‘wow’ factor.

Having previously used QR codes, Domino’s wanted to step up the innovation and required a more dynamic tool. Its current Blippar™-powered campaign promotes the brand’s ’555′ deal. Consumers simply hold their smartphone up to a Domino’s poster and it comes alive, allowing them to download deals, get the Domino’s mobile ordering app, become a Facebook fan and find out more about their local store.

KitKat are giving customers the chance to vote for their favourite new flavour by scanning posters using the Blippar™ app. The brand is also cleverly integrating geofencing into the campaign so that customers will be alerted whenever they are within a certain distance of a store which sells the  KitKat Chunky flavour they voted for.

Sponsorship activation can really benefit from the ability to dynamically interact with static branding. We are not expecting Blippar™ pitch logos quite yet, but over the next few years we will certainly see the decline in static stadium and event branding and advertising. In January alone a number of big brands have started to use Blippar™, and expect loads more to follow during the rest of 2012.

THEATRICS

With an influx of 2 million tourists to London, there is a huge opportunity for brands to engage with consumers in 2012. Brands will need to be clever to cut through the noise, and ‘drama’ can provide the essential memorable hook for consumers.

Flash mobs
Flash mobs bring an experience to people in unexpected moments. Flash mobs are essentially a group of people getting together to do something unexpected, before quickly dispersing. They are becoming more and more popular, bringing a sense of wonder to those that encounter them. Brands have harnessed the power of flash mobs to engage with customers and create interesting content and brand experiences, as T-Mobile showed with their famous ads.

Flash mobs don’t require a lot of money, making them an ideal tactic for a small business, or when budgets are squeezed. The beauty of Flash mobs is their complete integration with social media and their potential to go viral and provide entertainment to not only the people who were there, but those who want to watch and share.

Boris Johnson is obviously a Flash mob fan:- the Mayor of London is using them to promote London as a city of history and culture during the Cultural Olympiad this summer. Mark Rylance, one of Britain’s greatest Shakespearean actors, and his crew of 50 actors (all disguised as ‘normal people’) will stage ‘Flash performances’ of sonnets and speeches.  The unexpectedness of the experience will make it unforgettable for the people involved, while the content (both the planned scripts and unplanned audience reaction) will undoubtedly be shared around the world.

It is not a leap to imagine brands considering this as an opportunity for engagement during the Games, with consumers themselves (if wowed by the experience) providing the communications medium. There are, however, a few rules to making a flash mob successful and preventing this looking like a poor ‘am-dram’ performance:

1) Simplicity & originality for maximum impact

2) Good quantity and quality of ‘performers’ recruited for wow factor

3) Participants and location must blend together for the element of surprise

Sadly Qantas didn’t follow these simple rules for this effort to promote a new route:

Pop Ups

2011 was the year of Pop Ups, and we think that this trend will continue to grow in 2012, particularly with available commercial property sitting vacant. Pop Ups are by no means a new phenomenon with restaurants, shops and galleries embracing them; however, it is now brands that are starting to realise the benefit of a temporary location that makes a statement, delivers an immediate impact and captures the consumer’s imagination. Combine a Pop Up with an event drawing millions in attendance and you have a powerful brand experience.

In 2011, Chanel took Pop Ups to a new level with the arrival of the Hollywood glitterati for the Cannes Film Festival. Golden mosaic-tiled walls, dedicated make-up and nail bars, an exhibition space of Chanel gowns and suits previously worn by actors, and a private lounge on the first floor with views of the red carpet leading up to the Palais des Festivals all helped to deliver the ultimate Chanel experience.

This summer we will see a plethora of Pop Ups appearing across London and much can be learned from those that have gone before them.

1) Locations. Good footfall, transport links and signage will benefit the Pop Up with a steady stream of customers. However, some of the more interesting locations aren’t on the high street, in which case building a strong communications programme and integrating with social media and technologies such as location-based services are essential

2) Content. Build a story. Offer a unique take and provide a new way for customers to consider the brand. New content will give the feeling of exclusivity

3) Innovative branding and stylish fixtures including digital media

THROUGH THE LINE INTEGRATION

So who will be the winners in 2012? From our perspective it will be those that have developed personalised, innovative, simple and, most importantly, integrated experiential campaigns.

Nike has made a strong start in the battle of the sports brands with its #makeitcount campaign. It is a brilliant example of a campaign which fully integrates ATL, experiential and digital to deliver great content and brand experiences.  The campaign uses simple, standout photography and video to deliver a powerful message and a simple call to action…how will you #makeitcount in 2012?

But the really exciting thing is the way Nike has integrated experiential and social media into its campaign and made it relevant for everyone from elite athletes to gym dodgers (like me).  Customers are invited to have their picture taken by a professional photographer in the style of the campaign and are given the chance to create a handwritten pledge as to how they will #makeitcount.  The photo and message are not only shareable via social media channels, but will be displayed outdoor as part of the campaign.

@Nike has created its first single, dedicated Twitter feed. So far over 60,000 people have responded to the cry with #makeitcount. The first tweet on this account is from Nike founder Bill Bowerman: ‘If You Have A Body, You Are An Athlete’.

And, if you are ever in doubt that simplicity provides impact, check out another offering from Nike:

Experiential has always been able to deliver powerful brand experiences.  The issue has been the reach and the fact that it has only ‘touched’ relatively few people. But as we can see, digital and social media channels are unlocking the full potential of experiential marketing by extending this reach exponentially.

And, of course, the power of sponsorship is that it gives brands the content and access they require to create experiential activity around their customers’ core passions.

By Lisa Parfitt on January 25th, 2012

Tags: Advertising, Branded content, Content, Digital marketing, Experiential marketing, Facebook, Flash mobbing, London 2012, Mobile, Synopsis

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Betfair presents Man Utd Live

Betfair is constantly pushing the envelope to find innovative ways of using their sponsorship assets. Whether that is quirky player challenges to capitalise on the sporting agenda, a ten pin bowling viral showcasing Betfair’s mobile offering (see video below), or a pioneering deal to place QR codes on GB’s beach volleyball players’ bottoms at the London 2012 Test Event, the emphasis is on doing things differently.

Bringing a fresh approach to sponsorship activation comes naturally for a company founded and driven by innovation. Another pillar of Betfair’s marketing philosophy is to ‘live and breathe social’ – as outlined by Betfair’s Head of Online Marketing, Ben Carter (@bensaint). Social is not treated as an add-on to marketing activity, but is put at the heart of campaigns. As a sponsor of Manchester United, with their 21m+ Facebook likes, it makes sense for Betfair to engage the club’s fanbase through social channels.

So what did Synergy suggest when given a couple of hours’ access to some Manchester United players on an (inevitably) wet January afternoon in Manchester? Stage a live Q&A with United players on Betfair’s Facebook page, giving fans the chance to interact with their idols by submitting questions or posting comments during the live broadcast via Facebook and Twitter.

Working alongside Betfair’s in-house production team, real-time broadcast experts Livestream, and MUTV, we helped deliver Betfair presents Man Utd live - an exclusive 30 minute programme hosted by TV presenter Rachel Brookes and featuring Michael Carrick, Ashley Young and Nani. Supporters were able to watch the action by simply ‘liking’ the Betfair Facebook page, and could submit questions or comments by tweeting @BetfairSports with the #MUlive hashtag.

Once again, doing things differently paid off. Over 40,000 people tuned in to watch, close to 1,000 questions were received during the broadcast, and tweets of the #MULive hashtag reached over 3.8 million people (source: Tweetreach).  Synergy’s PR team managed the external pre-promotion through football blogs and forums, and the post-event syndication of content and quotes to key media targets, resulting in over 100 pieces of online coverage. Quotes featured in three national print newspapers, and branded footage was included in ITV Granada Reports in the build up to the weekend’s game against Arsenal.

What else did we learn from our inaugural live interactive Facebook broadcast? For a start that Nani regularly gets the hairdryer treatment from Sir Alex. For more insights, you’ll have to watch the webcast for yourself….

By Tom Gladstone on January 25th, 2012

Tags: Betfair, Default, Facebook, Football, Manchester United, Sponsorship, Synergy

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Sky launches Sky Sports Scholarships

At the end of last year Synergy worked with Sky to launch the Sky Sports Scholarships. This programme supports some of Britain and Ireland’s most exciting athletes to help them fulfil their potential on the international stage and prepare them for life in the spotlight. Sky will tell the athletes’ stories through Sky Sports channels to build their profiles, engage its customers and inspire the stars of the future. Details of each of the athletes and the support Sky is providing can be found here.

Sky have been one of the leading investors in Sport in UK and Ireland for the past 20 years – not only through their broadcasts, but also through programmes like British Cycling, Sky Sports Living for Sport and the ECB Coach Education Programme. Sky Sports Scholarships extends this support to individual athletes, providing them with crucial funding (helping to cover the costs of coaching, training and competition), valuable mentoring support and media relations advice from Sky Sports News talent.

Eight of the 11 athletes were welcomed at Sky Studios on 2nd November for the announcement of Sky Sports Scholarships. The athletes completed live interviews on Sky Sports News, web-chats, green-screen filming as well as camera and social media training and a chance to meet their Sky Sports News mentor.  To see behind the scenes footage and more information about the Sky Sports Scholarships click here.

Having been so closely involved since the very beginning of the programme (working up the campaign strategy, developing the brand messaging, identifying the right athletes, negotiating the contracts, creating the activation strategy and managing all the logistics), it was great to see it finally ‘go live’.  And it is just the start of an exciting new component of Sky’s long term commitment to improving sport in the UK and Ireland at every level.

By Lisa Parfitt on January 25th, 2012

Tags: Content, London 2012, Sponsorship, Synergy

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Spooks the social media out of me

It’s not news that we’re all watching TV whilst surfing the net, tapping away on our smartphones and engaging others in discussion around our favourite programmes (just log on to Twitter during  X-Factor and Strictly!). What I’d like to applaud here is how broadcasters are taking this social engagement and building communities of loyal fans beyond the TV schedule.

Sunday night saw the last ever episode of the BBC’s thrilling MI5 drama Spooks. After nine years and 10 series it was time for the sliding doors of Section D to close for a final time. I knew I would probably be a little tearful and mourn that I’ll no longer swoon over the incredibly suave terrorist-fighting male cast, nor dream of emulating the leading ladies; however, what I absolutely loved was the show’s commitment to social engagement.

As an avid Tweeter, I was super-excited to find out during Series 9 that you could actually follow the characters on Twitter. The thing that they have got so right with these feeds is that they are active all year round (unlike @bbcLuther who only tweets when Luther is airing). Not only are they active but also attentive. They care about their followers and will take the time to respond to individual tweets.

First up, can you imagine my surprise (and delight) when @Dimitri_MI5 tweeted back to a message I sent about being excited about the final series starting…

I certainly *grinned* on receiving that back, but this was topped off by a response from the boss man himself @Harry_Pearce when I tweeted after the final episode…

I’ve honestly never felt more social media love than that and I’m sure anyone who has received a response or RT will be feeling the same way!

It’s great to see other dramas are taking a lead from Spooks, with ITV’s Downton Abbey creating profiles for all cast members – @LadyMaryCrawley is winning the followers race with over 1,700 at the time of writing. So when you’re watching on Sunday night, you know where I’ll be… wrapped up on the sofa with Blackberry in hand, tweeting away.

By Caroline Ayling on October 27th, 2011

Tags: Default, PR, Public relations, Social Media, Television, Television audiences, Twitter

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A brief history and long future for content

Content forms an integral part of our work; understanding the factors regarding emotional and intellectual engagement with an audience are important in order to create meaningful experiences. The aim of this article is to trace the evolution of content creation and delivery in light of advances in technology and changes in social activities; hopefully giving some useful insight into options we have for our clients when planning campaigns.

“My biggest competitor today is someone with an idea”

Nabil Sakkab – Head of Research & Development, Procter & Gamble.

TV Content

In the days when the only mass media was broadcast and print, content producers had a one-way channel to engage their audience.

Typically, audiences respond best to content that carries authority (from factually trusted sources such as the Government) or authenticity (content that connects through personal or social relevance).

Successful TV has both authority and authenticity and the really successful ones are memorable – generally through well-executed, great ideas that appeal to the emotions (through shock or comedy).

A good example is Keira Knightley’s Women’s Aid commercial:

The production values are high, the storyline is strong and the effect of the film is to shock; but if we do not remember the website listed at the end, once the ad finishes we are left shocked but no longer engaged.

 

Internet content

With the arrival of YouTube came Manic Dog, Mystic Cat and endless wedding carnage videos. However, once TV producers started to talk with web developers (with the aid of a translation service) the result was a subtle shift in the style and format of programmes.

Interactive software has enabled content producers to give audiences a different experience; multi-layered options in story, format and delivery that no longer depend on high production values but instead rely on engagement through information and choices.

The Government anti-knife crime video campaign, ‘Choose a Different Ending’, is a good example of informed choice given to an audience:

Due to the interactive nature of the viral video, the user/target audience is forced to think about knife crime and the choices they are being asked to make. Each decision is then brought to life in the video, offering an insight into the consequences of carrying a knife. This is a good example of a campaign initiative that can only work online, as it relies on audience interaction.

The video engages the target audience in several ways:

- It is shot from an individual perspective i.e. the player sees the world through the eyes of one person

- It is shot on a council estate and then in the surrounding areas (park, nearby roads), so that the location is a familiar one to the target audience

- The cast is formed of the target audience, ensuring that the language and dress code would also be recognised by this audience

- The video was created with the aid of the target audience which helps with authenticity

 

Paid, owned and earned

For a while we settled into the comfort of three areas where content would be delivered and debated:

  • Paid: TV commercials
  • Earned: Comments on a YouTube video
  • Owned: A company’s website
  •  

Of these three areas, earned has proven to be the most valuable as it carries authenticity through endorsement from peers.

Once hit counts and comments turned into real currency, producers soon realised that success with the audience required more than simply being in the same space, even if the content was clever or well-produced. It became clear that the appropriate tone, language and social context were essential for success.

Take the Government swine-flu film, 2009:

This was a TV ad that was also delivered and promoted online, receiving a whopping 380 hits on YouTube. The ‘Catch it Bin it Kill it’ message was generally dismissed as something for other people (perhaps the penalty for wearing bad jumpers in lifts).

The Government then commissioned a viral video to deliberately spoof the official one, involving actors from the target demographic and contemporary music. The result is much more fun.

Same message; different style (smaller budget); 1 million hits on YouTube. Enough said.

 

How we consume media

Almost more important to ‘where’ people are watching their videos is ‘how’ people are watching them.  This has an effect on the creative and production process.

Viewing habits can be grouped into three main types of activity:

- Snippets (spontaneous media activity)

- Boutique (speciality media searches)

- Catch-up (fitting TV schedules around our own lives)

A recent survey of 1,300 mobile Internet users below the age of 25, showed that most use a mobile device to talk to friends about the show they are watching, a trend known as ‘Social TV’.

 

Social media

Social media has altered the definitions of paid, earned and owned media or at least has blurred the lines between them. Now, the challenge that agencies face is figuring out how to integrate all three forms of media for maximum effect.

After all, social content, by definition, can lack authority but it has authenticity because it establishes relevance and context with our friends and our surroundings.

Let’s have a diagram.

Sponsorship events

We know there are Fans (consumers) who have Passions (Sport, Music, Art). Sponsored activities provide the magical third piece of the puzzle – the Location. This is not just the location of the event, but, thanks to mobile phones, the location of fans too. And this is powerful intelligence regarding media capture and distribution options.

Radiohead’s concert video shot in Prague in 2009 by 50 fans on Flip cameras makes you feel like you are standing amongst the crowd:

It appeals to fans because it was made by fans, contains fans and gives the fans that couldn’t go the feeling that they were there.

And the effects go beyond the concert. The video was endorsed and published by the band; further projects have been planned by the fans that in turn become a part of the history of the band, strengthening the relationship between all concerned.

 

The Social challenge – the media ecosystem

The goal is to connect the dots and integrate all media for maximum results.

It is not just about producing content for an event or campaign but to inspire the target audience to contribute, to collaborate and comment beyond the life of the event.

The media can take on a life of its own, especially if there are core community and social values – a mini ecosystem that can run beyond the campaign.

 

Mobile

Mobile is ever-increasingly becoming the medium of choice, particularly for image capture and Geo-positioning. According to Comscore, in the next 12 months:

‘We predict more than half of all mobile consumers will have access to mobile media, largely driven by growing adoption of smartphones. Identifying the synergies that exist between all consumer touch points – traditional PC internet, mobile media (via app and browser), tablets, etc. – and understanding how consumers use these devices to fulfil different needs and convenience levels will be of critical importance to marketers.’

 

How does all this affect production for Synergy Clients?

Social / mobile media is very powerful but it often requires a paid spark.

Synergy already produces world-class output and my goal is to bring broadcast, online and social production and planning experience into close proximity with the Synergy team and clients hopefully resulting in:

- Real-time intelligence on media options available

- Advice on production and delivery techniques, and suppliers to maximize creative impact

- Guidance on delivery options, channels, asset management (now and future) and measurability. If they are managed, assets can be re-purposed, like this COI text driving radio ad that was repurposed (very cost-effectively) as a viral video simply by adding graphics

 

Here is fifteen years of TV and web production distilled into my simple media AIM chart:

In Summary

- Content has developed from a one-way communication to an interactive conversation endorsed and measured through social reference

- The balance  of emotional, intellectual and social engagement should be carefully planned depending on the target audience and mediums available

- Technology and innovation drive the reach of our work but synergy between content producers and audiences fuels its impact

By Colin Burgess on October 13th, 2011

Tags: Advertising, Alcohol, Branded content, Celebrity, community, Content, Default, Digital marketing, Facebook, Media, Sponsorship, Synergy, Synopsis, Television, Viral Marketing, YouTube

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Synergy Loves… ASOS: The Urban Tour

What happened?

Online fashion retailer ASOS has continued its pioneering digital approach by utilising urban culture to promote its new 2011 Autumn/Winter menswear collection.

Through a new online experience, the ASOS Urban Tour uses an interactive platform to showcase its latest range, by zooming in on a variety of street performers including skaters, dancers and musicians, in five of the most stylish cities across the globe: London, Paris, Berlin, Los Angeles and New York.

Through an interactive scrolling map, similar to Google Earth, the application starts with a bird’s eye view of the globe and then zooms into the streets within your chosen city. The real funs starts when you click on any of the dancers, skaters or musicians who then start to perform. The interactive videos offer links for each of the performers and enable the user to see what they are wearing and how to purchase it.

Why we love it

Marketing something as personal and tactile as clothes in a two-dimensional online environment will always be a challenge. But ASOS continue to develop and push the boundaries, using engaging and innovative methods to showcase its clothing ‘in action’. This cutting-edge campaign, which combines lifestyle aspirations and fashion, represents a natural progression from the successfully executed online catwalk concept.

Research undertaken indicates that male consumers being targeted by ASOS are influenced in their fashion choices by what they see being worn on the streets, and therefore partnering with inspirational urban talent offers a fresh and relevant approach for the online retailer.

Urban Tour has been supported with extensive social media presence via the official ASOS Facebook page which currently boasts over one million ‘likes’. Inter-city rivalry has been utilised to spark conversation via an online poll, simply asking fans which city is their favourite – London currently sits at the top with 1,381 of the 2,895 votes. Fashion bloggers globally have been going crazy for this ‘mind blowing’ digital offering, describing it as an “entirely fresh and truly incredible experience.” So for those of you fashion-conscious men not making it to any London Fashion Week shows, I suggest you get your fix of urban style here!

By Emily Waring on October 13th, 2011

Tags: Advertising, Branded content, community, Default, Facebook, Fashion, Social Media, Sponsorship, Sport, Synergy, Synergy Loves, Synopsis, Television, The Arts, Viral Marketing

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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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Synergy weekly PR picks: Amphibious ice cream van, Roland the new supermodel and P-Middy’s bottom

It’s been a bit quiet on the PR front over the last few weeks, our daily paper reading session was lacking the using scattering of brilliant brand PR. Last week, however, saw a storm of PR stories rage through the pages of the national newspapers. Chosing our favourites was tricky,  but as always, there can only be a few who make the select cut…

HMS Flake 99 – the floating ice cream van

Unsurprisingly, floating objects and the Thames tend to frequent PR brain storms, but it’s not very often you see a brand pull off the amphibious vehicle stunt. This week Cadbury ice cream maker Fredericks celebrated National Ice Cream Week by launching HMS Flake 99, the world’s first floating ice cream van. Bingo.

In its simplest form, the team took an old van, made it river worthy and got some snaps of it cruising down the river by iconic landmarks. However, the PR team behind this stunt made sure HMS Flake 999 wasn’t just a one trick pony, showing the devil is in the detail:

-          Link to a calendar hook – check

-          Comedian captain – check

-          ‘We are sailing’ cruising music – check

-          A UK wide waterways tour planned – check

Britain’s NEXT top model

The annual Next search for a model competition normally flies under our radar, not because team Synergy wouldn’t have a shot (good looking bunch that we are), but the competition isn’t exactly groundbreaking. This year, however the power of social media has helped to create a storm online, helping the competition make the pages of our national press. The reason for said storm? Unassuming computing science graduate Roland Bunce. 24 year old Roland is currently leading the competition in the N0.1 position despite not being what you would call ‘classic model material.’ He’s also divided public opinion. In one camp, the great British public have got behind Roland in their droves, unsurprisingly he already has a Facebook page decided to helping him win the competition. Whilst in the other camp, angry parents on the Next Facebook page rant that their little darling isn’t being given a fair chance *stomps shoes.*

The coverage will do the competition no harm, in fact the public vote only whittles hopefuls down to the last 250. So despite protests from some consumers, Roland being in the No.1 spot is not indicative of the final result. If you fancy keeping Roland in the No.1 spot (for the time being) you can vote here.

Bootylicious

Our final story nods towards the nation’s current fascination with Pippa Middleton’s bottom (me included). London boutique gym GYMBOX have reacted quickly to the column inches P-Middy’s booty has been receiving and has launched the Yummy Bummy workout, a series of classes that will help you get the bottom you desire. Gym goers can select a class dependent on the bottom they are hoping to achieve: perfect Pippa Middleton, bootylicious Beyonce, curvy Kim Kardashian, or queen of the sparkly gold hotpants, Kylie Minogue.

Simple, smart PR and a great way for GYMBOX to stand out from the likes or Virgin and Fitness First, who normally steal the headlines. I’ll be first in queue, most probably wearing the Reebok EasyTones that promised me Kelly Brooks’s derrière. Oh.

By Jennifer Mitton on June 9th, 2011

Tags: PR, Public relations, Synergy Papers

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