2020’S MARKETING CAMPAIGNS THAT STRUCK GOLD
2020 was a year that presented a host of challenges on account of the pandemic, forcing marketers and industry leaders to throw out the marketing rule book. Despite the numerous adversities and dramatic changes in consumer behaviour, there were several brands and marketers who thrived and turned the crisis into something positive for both their organisations and their consumers. This is exactly the kind of transformation and extraordinary excellence that the exchange4media Group sought to celebrate and honour at the seventh edition of its Indian Marketing Awards (IMA) earlier this month. Here’s a look at some of the splendid marketing work that was singled out for the Gold honours by the jury, delivering exceptional business results in a year filled with hurdles. Brand Challenge Work done Impact Brand Challenge Work done Impact of the campaign Work done Brand Challenge Work done Impact of the campaign Work done Brand Challenge The work done Impact Brand Challenge The work done Impact of the campaign Work done Impact Work done Work done Impact Brand Challenge Work done Impact of the campaign Work done Brand Challenge THE Work done Impact of the campaign Work done The Brand Objective THE Work done Impact of the campaign Work done Impact The Brand Challenge THE Work done Impact of the campaign Work done Impact
The winning campaigns were chosen by a grand jury chaired by Bharat Puri, MD Pidilite from a set of shortlisted campaigns selected by an assessment jury that featured some of the best marketers and advertising leaders in the country. Against the backdrop of a highly unprecedented 2020, these industry leaders picked the winners for their work in benchmarking exemplary marketing, displaying creativity and original concepts and showcasing marketing success in terms of brand metrics and business growth. The jury also unanimously named Adi Godrej, Chairman of the Godrej Group, for the Lifetime Achievement Award while Perfetti Van Melle bagged top honours to win the Marketing Team of the Year title.
From Manyavar’s ‘After Happily Ever After’ and Bridgestone India’s Heroes of The Road to Nikon India’s IntsaBadge and Viacom18’s Naati Pinky ki Lambi Love Story, the winning campaigns were a testament to the power of media and advertising to boost consumer sentiment irrespective of adversity.
AGENCY: SHREYANSH INNOVATIONS
CASE STUDY: AFTER HAPPILY EVER AFTER
The big hindrance for Manyavar was that Indian Traditional Fashion was a small and progressively declining segment in the market with today’s wardrobe being a hyper casual one - from athleisure to smart casuals, formal occasions are ruled more by casual wear. From weddings to festivals, men were turning to their wardrobe staples – western wear as their attire of choice.
Indian weddings are all about women glittering in their finest traditional fashion attire and jewellery. Manyavar created change and brought men from the shadows into the limelight of weddings. The brand with the help of its agency, Shreyansh Innovations took its communication up a notch to make traditional wear the only appropriate dress code for all wedding guests, which included men. The wedding category accounts for 70% of the traditional Indian fashion segment. By being the category leader, Manyavar had the largest market share in the segment. But to maximise the opportunity, the brand decided to go deeper in the occasion. It is obvious that the groom would wear traditional fashion on his big day. But to really build the category, the brand decided to strike a chord not just with the groom, but with all the men who attend weddings. The big fat Indian wedding is about a no-holds-barred celebration. To attend the celebration, the brand exhorted Indian men to come dressed for the part. it subtly shamed men choosing western wear for Indian weddings with the message ‘Tayyar hoke aana’ To bring weddings into sharp focus, Manyavar had to drive the importance of weddings vis-à-vis other occasions. So the brand created communication using contexts such as interviews, taking selfies etc. to distinguish weddings from these occasions. In a nation that worships its heroes, celebrities had driven exponential growth for the brand in the past. Manyavar continued its use of celebrities with a high fashion quotient. Hence the campaign saw the unapologetically experimentative Ranveer Singh, the evergreen style icon Amitabh Bachchan and the newest fashion icon Karthik Aryan.
Impact of the campaign
Manyavar’s share of the wedding category was 40%. Post this campaign the brand saw it go to 60%, an increase of 50% over previous years, thanks to this campaign. Countless memes and cartoons are doing the rounds on the theme of ‘Tayyar hoke aana’ telling us that Manyavar has once more captured India’s imagination. Manyavar created the category and its success has inspired a whole host of other brands to enter the category – from smaller brands like Jinam, Prapti, Cora and Diwan Saheb to the bigger brands like Raymonds and Madura, many new players have now entered the wedding category.
Making a place for Indian Traditional Fashion in the wardrobe
• Pushed growth by reigniting the role of traditional fashion among Indian men
• Wooed the wedding guests in addition to the groom
• The brand exhorted men by subtly shaming them for choosing western wear over Indian traditional wear
• Manyavar created communication using contexts such as interviews, taking selfies etc. to distinguish weddings, which was their focus, from other occasions
• Roped in celebrities known for their bold fashion like Ranveer Singh, Amitabh Bachchan
Grew Manyavar’s market share in the wedding wear category by 50% over it’s existing share
CASE STUDY: PEPSI CELEBRATES THE
CHALLENGER SPIRIT OF SINGLES ON VALENTINE’S DAY - #PEPSISWAGSESOLO
Pepsi wanted to challenge the cliché of love on Valentine’s Day and bring to the foreground, singles who are ignored by most brands. Pepsi realized the demographic of singles is asserting its right quietly as its consumer research revealed that at least seven out of 10 Indian boys in the age group of 15-30 years are single. With its campaign, Pepsi aspired to break the stereotype and create awareness about the fact that singles take pride in being self-partnered; they do not believe in defining their self-worth through their relationship status.
Pepsi leveraged a robust 360-degree marketing plan spanning digital media, PR, Television, and Radio to pay tribute to singles on the day of love. The brand collaborated with Pepsi’s brand ambassador Salman Khan and artists like Remo D’Souza, and Tanishq Bagchi, to create a music video for singles. They drove exclusive media features at the time of the launch of the video. The brand also activated promotions for the anthem on YouTube, which led to it becoming widely viewed across the platform. Pepsi also accrued staggering numbers for #SwagStepChallenge on TikTok. It was a three-day challenge kickstarted by Salman Khan, often coined as the quintessential bachelor of India, and popularized by influencers. The brand then shared the video and its narrative on celebrating singlehood with the country’s leading lifestyle, features, entertainment as well as advertising & marketing media across 25 Indian cities which include New Delhi, Mumbai, Bangalore, Kolkata, among others. It also partnered with leading radio stations to popularize the anthem in the week leading up to February 14.
The impact was immediately palpable as it became Pepsi’s most successful campaign. The success of the campaign, according to Pepsi, lies in the fact that it is an advertising campaign without an ad. According to the brand, the ‘Swag Se Solo’ anthem crafted a compelling narrative which challenged the norm and helped it to stay true to its proposition of being a culture curator. The brand secured a front-page story in the national print edition of a reputed Business Newspaper. Its YouTube video garnered over 127 million views helping it become the biggest ever moment marketing campaign on digital. It was also featured in 200+ media stories across print, online and broadcast media. Swag Se Solo garnered almost half hour of earned screen time on popular television channels which translates to INR 45.3 Million PR Value achieved for the campaign. On TikTok, the #SwagSeSolo challenge saw over 5.4 billion views and over 1,00,000 user-generated videos over a period of four days. The total reach achieved for the Swag Se Solo campaign stands at 44 million.
• Challenging the cliché of love and the stereotype around Valentine’s Day
• Create awareness about the fact that singles take pride in being self-partnered
Singles do not believe in defining their self-worth through their relationship status.
• Leveraging a 360-degree campaign spanning digital media, TV, Radio, and Print
• Creating a catchy music video with artists like Salman Khan, Remo D’Souza, and Tanishq Bagchi
• Targeted promotions for the anthem on YouTube
•#SwagStepChallenge on TikTok
• Partnering with leading radio stations to popularize the anthem in the week leading up to February 14
BRAND: NIKON INDIA
CASE STUDY: INSTABADGE
On World Photography Day, the craft (photographs) is what gets celebrated and not the craftsman (photographer). The photographer tends to get no focus in all the barrage of beautiful images shared online. Recognising the same, the challenge for Nikon India, one of the leading camera brands in the country, was to shift the focus to the person behind the camera. They aimed at owning the conversation among the photographers’ community on World Photography Day on Instagram - a platform that is celebrated for visual content.
Instagram is a creator’s paradise but it can also be a creator’s worst nightmare, especially if the work is not copyrighted. Photographers, both amateur and professional, utilize their Instagram profiles primarily to showcase and promote their work. They also post highly detailed captions complete with their camera specifications. In order to ensure their photos are not replicated they resort to using watermarks and often they are not social media friendly. On an average, over 5000 pictures are posted on Instagram using Nikon India in a week. On the World Photography Day, this number doubles and is at a high through the following week. As a brand that facilitates the creation of the art, Nikon India decided to provide a way for these photographers to brand their captures, natively within Instagram, to make it easy for them to leverage the opportunity of the occasion. Followers of Nikon India on Instagram were asked to share a picture of their Nikon gear using #NikonInstaBadge. On World Photography day, the first ever personalized digital watermarks (or badges) for photographers were created and uploaded to Giphy in real time by the brand, which could be accessed directly from the Giphy keyboard within Instagram Stories. These gifs contained the photographers; camera model and their Instagram profile name.
2000 such badges were created in just 24 hours and more than 50,000 by the end of the campaign (Giphy kept removing them). What started out as a one day event turned into a campaign that ran for over a fortnight. The campaign generated more than 11 million views of all the stickers on Nikon India’s Giphy account and over 10,000 mentions on World Photography Day for the brand. Several prominent Indian photographers, like Shaaz Jung, Ankita Ashtana and others, also went on to use the personalized Nikon InstaBadges on their stories. Moreover, the entire campaign was completely organic, involving no media spends at all.
• The challenge was to shift the focus to the person behind the camera
• Nikon wanted to own the conversation among the photographers’ community on World Photography Day on Instagram
• Nikon India decided to provide a way for the photographers to brand their captures
• Followers of Nikon India on Instagram were asked to share a picture of their Nikon gear using #NikonInstaBadge
• The first ever personalized digital watermarks (or badges) for photographers was created and uploaded to Giphy in real time
CASE STUDY: PHENKO NAHI JODO
On the back of stupendous growth, the challenge for the brand was charting the next course. Another challenge for the brand was that the culture was changing from the once Indian-mindset of paisa-vasool to increased consumption, a ‘mark of life’s upgradation’.
To find the next growth-source for Fevikwik, Ogilvy, the agency behind the campaign did an extensive research to understand people’s relationship with repairs. In-depth research with heavy-users, light-users, non-users, and lapsers, led to insightful findings. While medium and heavy users had repair habits ingrained in them, most non-users felt repairing was either cheap or beneath them. Especially beneath their valuable time. They felt, with increasing responsibilities and complexities of life, they did not have time to repair. But it just took a few seconds to repair with Fevikwik. Repairing was a very time-effective and cost-effective thing to do. In fact, heavy/medium users associated ‘smartness’ with repairs. They scoffed and laughed when someone discarded an object or bought a new one wasting money. Having hit on these incredible insights, the brand decided to put the spotlight on the repairer and not just the act of repair! It designed two completely unimaginable, counter-intuitive characters – Kabaadiwalli and Gappuji, the house help and to bring those characters and objectives to life, the brand tapped the basic behavioral-economics insights of loss-aversion. Retaining the legendary Fevikwik quirk and stellar storytelling, two films were made. Each designed to get people to, phenko nahi jodo. Hindi-speaking-market (HSM) being primary-geography, the brand translated films to other vernaculars to resonate across geographies. It picked FTA Channels like Star-Utsav, Dangal, Big Magic in <50k pop-towns to be cost-effective and have better reach. They also shared films on Whatsapp before the official launch to spread the message quickly. Given the main audience was youngsters, it went digital and created content for social media platforms, differentiating portals by audience profiles and behaviours, Facebook - topical-memes, quirky-rhyming scheme posts; Instagram - indulgent close-shots of repaired objects, Twitter - focus on influencers. Four top category relevant influencers were roped to create memes. The memes quickly spread creating further user-generated memes. Fevikwik is a five-rupee item that often hangs in shops as a ladii. Hence, the brand created hangers, posters, and danglers for the point-of-sale. In certain key rural areas wall painting was done. In low consumption regions where TV/Digital penetration is very low, a pilot was deployed for out-bound-calls and reaching people through phones.
To increase repairs and aid brand growth
• The campaign received 1.1 crore completed views on Youtube with 4+ frequency
• It also received a high view through rate of 35% on Youtube and 36% on ShareIt
• It clocked 5% growth, during the campaign period over the same period last year achieving the target
• It supported national growth with 10-12% growth in rural markets
• Achieved a whopping 19% growth surpassing targets in campaign period compared to same period last year
• Saw an increased growth in UP to 15% in less than 2L population strata
• Grew by 43% surpassing targets in the campaign period compared to the same period last year
BRAND: BRIDGESTONE INDIA
CASE STUDY: HEROES OF THE ROAD
Bridgestone realized that several people were stranded all over the country when the government announced a nationwide lockdown to curb the spread of the Covid-19 virus. As life came to a grinding halt for many of the truck drivers marooned on the roads, they lacked access to the necessary facilities and amenities. The brand recognized that the truckers were living in their trucks without food and with no means of sanitizing themselves or maintaining proper hygiene which exposed them to great risk. Bridgestone India identified the two key areas where it could step in. The brand made provision for food and essentials, and provided sanitization kits to the truckers, along with sanitizing the trucks as they were being used as makeshift homes by the drivers. It was kept in mind that the provisions should last the entirety of the lockdown.
Bridgestone embarked on a sanitization drive across multiple fleets in 22 cities all over India. It leveraged various NGOs, volunteers and implementation partners to find these truck drivers during the first two phases of the lockdown. The brand also put existing supply chain network, which includes fleets and stores associated with it to use while employee volunteers at different locations identified and contributed these items to the truckers. The activity was completed over a period of two months in 22 cities. Bridgestone India launched a digital campaign to raise awareness and amplify the stories of ‘Heroes of the Roads’. It created a video showcasing their journey and how Bridgestone extended their support, to widen the reach on social channels.
Bridgestone India managed to deliver 3,744 life-saving kits consisting of ration for 15 days and hygiene kits to the truck drivers. It managed to achieve 2.5 lakh engagements while reaching 14 million people. The video amassed 16 million views receiving a 50%+ View Through Rate against the industry benchmark of 35-40%. It managed a 27%+ Completion Rate against the industry benchmark of 12-15% on YouTube. Moreover, it witnessed a 35%+ completion rate & 10%+ Engagement Rate through news, finance and auto websites against the industry benchmark of 30%.
• The sudden imposition of the lockdown left lakhs of truckers stranded on the road without food or hygiene
• The challenge was to identify truckers across 22 cities with the help of NGOs, volunteers and employees
• Bridgestone India distributed 3,744 life-saving kits consisting of ration for 15 days and hygiene kits
• The brand also created a video,‘Heroes of the Roads’,showcasing the life of truck drivers during lockdown
• The activity was further amplified on digital channels
• It managed to achieve engagement of 2.5 lakh while reaching 14 million people
• 16 million video views receiving a 50%+ View Through Rate against the industry benchmark of 35-40%
• 27%+ Completion Rate against the industry benchmark of 12-15% on YouTube
CASE STUDY: NAATI PINKY KI LAMBI LOVE STORY
The business objective was to revive the slot by establishing an everlasting relationship with the viewers, inspire them and make a difference. Colors has been a pioneer in showcasing socially relevant content to its audience. Standing true to this proposition, the challenge was to break the myth of ‘perfection’ created by the society through the show & the lead character ‘Pinky’.
Pinky is short but feisty, a fighter but also a dreamer who turns her disadvantage into an advantage. The brand decided to roll out full-fledged marketing campaign resonating with the character of Pinky, ensuring contextuality across touchpoints. Pinky deals with her shortness with wit and humour, and the brand too decided to mirror the same in their marketing campaign.
For example through their Mumbai Metro initiative they identified that women in India have been on the shorter side of the average height which creates problems while commuting so they created specially crafted handles which were placed as extensions in the compartments of a metro train to ease the life of the commuter. The handles were lengthened, and the travel for the shorter travellers became easier. The creatives engaged with the commuters, as they could even measure their height in the train. The branding on the handles, along with their functionality, led to people remembering the show and its short-statured large-hearted heroine. Result: Reached out to 10 lakh commuters every day to promote the show for a month-long period. Additionally special contextual announcements based on the problems faced by Pinky while travelling in a train keeping her humour quotient intact, ran across 68 Mumbai western local trains & 15 Mumbai metros. Result: 50 million commuters were exposed to the communication across a period of 10 days. Chai is one of the most ubiquitous drinks in the country, one that transcends across all divides. Drawing parallels with ‘Naati Pinky’, the brand decided to tap into this audience, and distributed ‘Naati Chai’ glasses at tea stalls. This not only resonated with the concept of ‘cutting chai’, but organically started a conversation about the show. Result: Generated a lot of buzz around the show with five lakh people drinking tea in Naati Chai Glasses. Also, a contextual promo embracing Pinky’s quirky solution of bringing in pillows to cinema halls for better viewing experience, was specially created targeting cine-goers. Result: The contextual promo ran across 2000+ UFO screens targeting blockbuster releases. These experiential marketing initiatives were executed over and above the 360-degree mass marketing campaign across mediums including TV, Print, Radio, Cable, Digital & PR. Each of the mediums had a slice of ‘Pinky’ to it
The business objective was to revive the slot by establishing an everlasting relationship with the viewers
• TV: 8000+ TV spots ran for a span of 12 days across priority markets, which helped Pinky become a household name even before the show launched
• Print: Quirky Print Ads were released in priority markets playing on Pinky’s height & humour
• Radio: Contextual radio spots were played for 12 days across leading stations
• Cable: A robust cable plan with 1500+ spots that ran over 12 days across leading cable operators in UP, MP, Punjab & Mumbai
• PR: Naati press releases along with a magnifying glass were sent out to media
• 58% growth in reach was registered
• Slot TVR grew by 110%
CASE STUDY: BREATHEFREE #INHALERSHAINSAHI
According to Cipla, Asthma is easily manageable with inhalers but people do not accept inhalers as a treatment option and opt for the less effective pills/syrups. The brand wanted to break down the stigma around asthma by busting myths so asthmatics can differentiate between misconceptions and learn the truth about their condition. Cipla also wanted to educate non-asthmatics and stop them from creating this stigma. Despite undertaking several campaigns, they realized that they need to do more to convince the Indian population about inhalers. Their data revealed that most asthmatics in India don’t use inhalers and of the ones that do, some use it in secret or attempt to hide their condition from close friends and relatives. There are preconceived notions that prevail in the society which makes it difficult for asthmatics to accept the right treatment.
Cipla launched the#InhalersHainSahi campaign dividing it into multiple phases, tapping into every touch-point like the website, social media, and search engine optimization, paid media banners, influencer outreach program, offline activities, and associations with mommy groups, content partners and Cipla’s medical experts. They conducted a panel discussion with Barkha Dutt to raise awareness. They released a digital film busting myths surrounding inhalers projecting them as the solution followed by each asthmatic influencer’s experiential personal story about their experience with asthma and inhalers, and then the ‘Pledge’, which urged non-asthmatics to pledge to support asthmatics with the help of a simple hand-gesture. They also launched a TV commercial to communicate the same to a larger audience. The brand also showcased stories of asthmatics and got them to talk to their doctors. They went live on radio with doctors across 41 cities, launched a series of testimonial videos featuring doctors from across the nation, talking about asthma and inhalers. They embarked on The Berok Zindagi Yatra, a nationwide initiative that helped them reach out to asthmatics around the country.
Facebook Live with Barkha Dutt accrued 36K+ views and 2500+ likes, Digital video was viewed 15 million+ times. Pledge film saw 13 million+ views with an AVR of 30.34%. The personal stories racked up 10.8 million+ views with an AVR of 27%. The testimonials of doctors saw five million+ views. The TVC was released in eight languages & 72 channels with 28 crore views. There was 40% ad recall whereas awareness of inhalers increased by 10 % while consideration for inhalers increased by 5%, one out of three people who saw the ad consulted their doctors and it led to an increase in primary sales by 17%, also 9% growth in inhalation business & 21% overall business growth.
• The brand wanted to break down the stigma around asthma by busting myths so asthmatics can differentiate between misconceptions and learn the truth about their condition.
• Wanted to educate non-asthmatics and stop them from creating this stigma.
• Their data revealed that most asthmatics in India don’t use inhalers and of the ones that do, some use it in secret or attempt to hide it from close friends and relatives.
• Launched the #InhalersHainSahi campaign and digital film busting myths surrounding inhalers, projecting them as the solution
• Put forth Asthmatic influencer’s story about their experience with asthma & inhalers
• Launched a TV commercial for a larger audience.
• Embarked on The Berok Zindagi Yatra, a nationwide initiative
BRAND: TATA TEA
CASE STUDY: TATA TEA PREMIUM - DESH KI CHAI
AGENCY: MULLEN LINTAS
Tata Tea Premium, one of the leading tea brands in the country was facing stiff competition from regional and local tea players. The brand was at a price premium and competition was aggressively leveraging their ‘price gap’ advantage. Hence, penetration and market share gains from regional/local brands started softening. These players were the key source of growth for Tata Tea Premium. Hence, to protect its loyal consumer base and continue driving upgrades from regional players and loose tea – the brand had to ‘disrupt’ the market and reinforce its national stature while leveraging its regional expertise.
Instead of following a cookie-cutter approach of having a national /HSM led-campaign which feeds into individual states also, the brand redefined not just the category, but also industry codes by developing a customized marketing mix specifically targeting each state. The big idea was to leverage regional pride. From a standard packaging that cuts across India, Tata Tea Premium went on to customize packaging for key states that showcased the symbols of pride for that state. It leveraged the understanding of key driver of taste preference for tea in the state and linked that with the state’s cultural behaviour. Each state had a different creative, the approach was most states are associated with certain ‘stereotypes’ which are generally an outsider’s perspective about that region. The brand showcased the ‘insider’s perspective’ and celebrated the positive truth behind these stereotypes which evoked pride among consumers. For e.g. for UP, the stereotype is that they are ‘Dabangg and Powerful’ but the insider truth is ‘they are Dumdaar, but to do good’. Likewise, each state communication addressed a stereotype and an insider truth. The ads were treated like movies, with teaser posters on social media before release of every state film. To effectively target each state, the brand looked into the hyperlocal media choices of each state. For Uttar Pradesh, the communication was led by TV and Print, for Delhi, the communication was led by Digital and OOH. Pack launches ensured on-ground buzz for the brand. In Delhi, the brand wrapped the biggest symbol of pride– the Delhi metro in other symbols of pride like food, monuments etc. In UP, the pack was revealed at the historically significant Gomti Ghats in Lucknow with extensive local media presence.
The campaign helped the brand achieve market share growth in all 4 states. The increment in market share value pre campaign and post campaign was 3.5% in Delhi, 0.6% in UP, 1.5% in Punjab and 0.1% in Haryana. There was a significant difference in brand equity measures for UP and Delhi. In UP, the incremental equity measures post campaign vs. pre campaign (indexed) stood at-- Top of Mind: 36%, Bought in Last 1 Month: 42%, Most often used brand: 33%, Operational share: 43%, Preference:10% and Share of Mind: 15%. In Delhi incremental equity measures post campaign vs. pre campaign (indexed) stood at-- Bought in Last 1 Month: 43%, Most often used Brand: 67%, Operational share: 36%, Preference: 67% and Share of Mind: 28%
• Facing stiff competition from regional and local players
• Competition was aggressively leveraging the price gap advantage
• The brand developed a customised marketing mix specifically targeting each state
• Customized packaging for key states that showcased the symbols of pride for that state
• Celebrated the positive truth behind stereotypes around each state which evoked pride among consumers
• The brand shifted the needle from not just ‘India Pride’ but to also celebrating ‘Region Pride’
CASE STUDY: CADBURY CHOCOBAKES
Mondelez aimed to launch a product discoverability campaign to reach the chocolate lovers in India and spread product awareness for ‘Chocobakes’. The primary objective was to spread awareness while also keeping the users engaged and facilitate purchases through an e-commerce integration from the ad unit. The key challenge for the campaign was to give a push-start to reach the target audience in a way they would love to receive it. The target audience was Gen Z and Millennials, which are the primary consumers of the Cadbury products, and female audiences above the age of 21 years in India.
InMobi along with Wavemaker designed an interactive mobile video ad for viewers to know about the latest ‘Cadbury Sweet Secret’. The video showed the behind the scenes action of making Chocobakes and encouraged the users to try the ‘chocolate in a cookie’ product. The typical Cadbury visuals with the widely recognized brand colors were used on the ad unit to create a brand recall and urge users to buy the product. Cadbury Chocobakes reached and engaged audiences where they were most active and could interact with it – Mobile. Mondelez, Wavemaker and InMobi built an interactive in-app video advertising campaign to unravel the secret of the cookie to its consumers. A full screen, vertical mobile ad teases chocolate lovers about Cadbury’s Sweet Secret through scattered pieces of chocolate, prompting them to swipe on them. Naturally, as curious consumers swipe, the big reveal of the new Cadbury Chocobakes happens. This interactive ad unit enhances the appeal of Chocobakes through a video that showcases the behind-the-scenes magic of the product.
The campaign reached millions of audiences and delivered record engagement rates through the ad unit. It added a massive reach of about 2.2 million audiences. As a result, the brand found the highest engagement of 200% recorded in a single day and a 100% leap in engagement.
To give a push-start to reach the target audience in a way they would love to receive it
• Designed an interactive mobile video ad for viewers to spread awareness
• The video shared behind the scenes action from the making of Chocobakes to drive sales
• Typical Cadbury visuals & colors were used to create brand recall
• Reached & engaged with the audience on Mobile
• Mondelez recorded the highest engagement of 200% in a single day and a 100% leap in engagement
BRAND: TATA PRAVESH
CASE STUDY: GRAND PRAVESH
The objective was to create awareness for the new innovative and eco-friendly products from house of Tata Steel – Tata Pravesh Steel doors and windows. Also, create a never seen before engagement in a high security area like Airport to connect with the brand’s value proposition and reach masses. The challenge was to get requisite permission from the authority at the airport for the timely installations and execute a successful campaign during the Pujo season.
To introduce their new range of ‘Reflections Doors’ doors to the audience, Tata Pravesh installed doors at Strategic locations (Check-In & security hold area) at the Kolkata Airport. 12 doors were installed at strategic locations, throughout the airport, including check-in, as well as security-hold areas through which passengers must pass through before embarking on the journey. The innovative door placements and earmarked installations ensured that the passengers got a real-time experience of the new Tata Pravesh doors, making it a truly interactive consumer-experience. Festive season was used for the campaign, a time when there’s a surge in passenger traffic, ensuring that the campaign grabs more eyeballs during the period of the communication. After managing great challenges and with consistent efforts, requisite permissions were sought, to ensure timely installations and a successful campaign. The doors were branded with steel frames wrapped in recycled cloth; instead of the usual flex material as these products are also eco-friendly. In addition, 100 digi pods across the airport, newspaper inserts, and in-flight magazines were made a part of the campaign to further amplify the reach and build recall. A social media selfie contest was also run to keep netizens engaged.
The campaign fetched a tremendous response because of the touchpoint (Netaji Subash Chandra Bose Airport) and the strategic placement of the product by understanding the generic movement of passenger flow at an airport. The installation of doors at key areas in the airport garnered over 1.7Mn+ eyeballs across 30 days. 1000+ selfies were shared on social media platforms by people from various age groups, talking about their love for the product. Several conversations and inquiries were initiated as the campaign was further amplified via newspaper inserts and in-flight media. The timing of the campaign during the key festival period between October – November ensured the reach and impact of the campaign beyond expectation.
• To create awareness for the product by creating innovative communication
• To get requisite permission from the authority for timely installations
• With consistent efforts the brand acquired requisite permissions
• Installed doors at strategic locations at the Kolkata Airport
• Festive season was used to grab more eyeballs
• Newspaper inserts & in-flight magazines were used to further amplify the reach
• Social media selfie contest was also run to keep netizens engaged
• The campaign garnered over 1.7Mn+ eyeballs.
• 1000+ selfies were shared on social media platforms
2020 was a year that presented a host of challenges on account of the pandemic, forcing marketers and industry leaders to throw out the marketing rule book. Despite the numerous adversities and dramatic changes in consumer behaviour, there were several brands and marketers who thrived and turned the crisis into something positive for both their organisations and their consumers. This is exactly the kind of transformation and extraordinary excellence that the exchange4media Group sought to celebrate and honour at the seventh edition of its Indian Marketing Awards (IMA) earlier this month.
Here’s a look at some of the splendid marketing work that was singled out for the Gold honours by the jury, delivering exceptional business results in a year filled with hurdles.
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