choose happiness

Coca-Cola recently announced their “One Brand” strategy. A series of changes affecting the advertising campaigns for the portfolio of brands, and the detail packaging design alignments were announced. This shift from brand-specific advertising will see the brand uniting all four distinct brands – classic Coke, Diet Coke, Coke Zero and Coke Life, logically under one master brand marketing banner: The Coca-Cola family. The objective is to drive synergy across the portfolio.

The overriding tactic is that Coca-Cola is the only thing the company will position and give meaning to, and underneath it will sit different product variants. Each variant will be equal in the overall portfolio but “won’t have a meaning attached to them.”

Coca-Cola continuously ranked at the top in the world’s global brand rankings over the years. In 2013, according to The Best Global Brand from Interbrand, it slipped from the top spot after 13 years to third place. Perhaps it was the “wake up call” for the brand. But was the dilution of brand strength really due to its diversification into campaigns for individual product variant?

The strategy was an outcome of recent consumer research, which revealed that 5 out of 10 of consumers don’t know what differentiates each product in its portfolio. For example, people don’t know that Coke Zero has no sugar and no calories. Consumers are also unclear about the different between Coke Zero and Diet Coke.

Coca-Cola considered the company’s efforts to build personality behind its individual brands has become an obstacle to consumers’ understanding of the products.

Building meaning in the communications will not affect consumers’ understanding of the product. A brand under the brand halo itself could become an identity in its own right, as opposed to just being seen as one of the variants. I believe the heart of the matter is when the “meaning” is not connecting with what the product represents, then it ends up a waste of effort.

Product differentiation is increasingly hard for brands operating under portfolio brand strategy. From FMCG brands to service brands, the fragmentation of brand messages often causes confusion in consumers’ mind. When HSBC launched the “Personal Economy” platform for their “Premier Account”, was it distinctive enough to help consumers to clearly differentiate among the “Premier”, “Advance” and “Business” accounts? Do consumers clearly recall the commercial starring Jude Law was for Johnnie Walker’s Blue Label? What about the differences among Red Label, Black Label, Gold Label Reserve and Platinum Label? How does the whole range connect with the brand message of “Keep Walking”?

The list goes on.

In the case of Coca-Cola, should the “Open Happiness” platform be given an even bigger playground with universal appeal? Or should it be changed to a more rational statement such as “Choose Happiness”?

The “One Brand” strategy will be executed on campaign level and on product level, and will affect agencies working within the framework. Some of the changes can be summarised as:

  • The newly evolved brand tagline “Choose Happiness” will be launched in Great Britain before moving to the local markets globally. It will be hugely interesting to see how the tagline could be adapted.
  • New brand campaigns will focus on the brand idea of happiness and optimism and will roll out in Great Britain, Ireland, France, Belgium, Netherlands, Nordics and Spain.
  • All advertising campaigns from May in Northern Europe will feature all four products, with the lower and no sugar Coca-Cola variants presented in the final frames of all Coca-Cola TV ads.
  • Although all four variants will feature in future campaigns, Coke will be able to spotlight or “hero” whichever variant is relevant to the campaign, through visual representation and strategic executions.
  • Individual campaigns for individual product variant will be scrapped. That includes some of the newly launched campaigns such as “Regret Nothing” for Diet Coke.
  • Brand message will suggest there is a “Coca-Cola to suit every taste” by more clearly communicating product differentiation rather than personality – to enable consumers to make informed choices.

On the product level, some of the strategic changes include:

  • New packaging will see each variant being given the “same design” and set of characteristics, such as the iconic Coca-Cola script, ribbon and layout.
  • The “Cola-Cola” trademark will be made larger and more visible, with more presence of the iconic red colour.
  • Text will also be added to the front of Coke Zero, Coke Life and Diet Coke to enable consumers to better understand the range of products and the distinctive attributes of each. On the front of Coke Zero cans, the descriptor “zero sugar – great Coke taste” will be strategically repositioned in the foreground.
  • There will be an introduction of colour coded front-of-pack labelling showing fat, saturated fat, salt, sugar and calories.

All these design changes are aiming to create a more visual “common identity” across the brands. The more unifying set of characteristics that the brand shares.

We are already seeing some of the new ads hitting major touchpoints.

In brand advertising, the big change can be seen in the latest global print campaign starring Marilyn Monroe and Elvis in celebration of the 100 anniversary of the brand’s contour bottle.

cc100_ooh_heritage_elvis_landscape_web-under-embargo-2nd-March-1002x752

In product-as-hero communications we see a deliberate attempt to present the range in equal light. But will the execution help the different product characteristics come to life when “product truth” are being communicated in a much more straightforward way? Or will the lack of “meaning” turn the ads into something better fit for corporate presentations? The result is yet to be discovered.

2015-03-13 18.24.19

New strategy brings new collaborations

At the end of the day, any new strategy won’t succeed without collaboration across the board. Here are some of my predictions:

Communicating product truth for each product variant is important but cannot be done without the support of a meaningful brand message. Product message needs to be connected with the brand’s umbrella message.

It’s not a choice between logic and magic, but a balance.

On a positive side, I think the strategy will be instrumental in paving the way to a more efficient and single-minded global campaigns. But this will only be achieved through rethinking how the brand campaigns are created and implemented across each product in the portfolio.

Doing it well, it will allow the brand to innovate into the future with a single voice, and do it in a way that doesn’t require the brand to invest in creating a new entity every time – a much more flexible approach in accommodating product manifestations.

I can also see there will be a need for tighter collaborations among the creative agencies handling different channels. Leadership will probably be driven centrally, where collaborations among agencies are encouraged and well facilitated.

The lead creative agency, on the other hand, needs to spearhead the development of the big brand idea, and create a strong creative platform on which messages of individual brand in the portfolio can build on. More important, creatives need to think of media-neutral platforms and not media-centric ads. Each agency needs to put their egos aside and completely understands the DNA of an idea and be able to expand it beyond any boundaries of a specific media.

For a global brand with local connections and meanings, any new creative platform needs to offer each country an opportunity to interpret its own “moments of happiness” and the brand’s role in those. The brand should tap into local talent to add to the effort to their marketing programs through joint global initiatives.

Coca Cola_shaes of happiness

It’s Chinese New Year on February 19. The Spring Festival is regarded as the most vibrant gift giving and shopping season in China, and therefore one of the major push for many leading brands. Many global advertisers follow the same old formula year after year, while others try to break away from the norm and do something different.

Pepsi curated a “crowd-sourced video” inviting consumers to submit 15-second videos via Mei Pai 美拍, a local mobile video app, to form a tribute to family reunions. The crowd-sourced final cut video will be eventually simulcast on the big screen in New York’s Times Square, symbolically bringing something local to a global stage. At the same time, the “Bring Happiness Home” themed promotion will deliver over 2000 postal parcels to help the mothers in the remote mountainous regions get through the cold winter days.

Apple, on the other hand, had taken this opportunity to unveil their first TV commercial produced specifically for the China market.

It has been an epic few months of localization activities for Apple. Recently they have opened five new stores timed right before the Chinese New Year. Four of the stores are in brand new cities for the brand including Zhengzhou, capital of central China’s Henan Province, West Lake in Hangzhou, Zhejiang Province. In each location, they have strategically partnered up with local artists such as Wang Dongling and painter Yangyang Pan to co-create signature murals inspired by each city for the local store.

Apple Store, West Lake - About the Artist_00000

The TV commercial for Chinese New Year has been met with mixed criticisms. Directed by Ann Hui, best known for her films surrounding the topics of social issues, and cinematography by Christopher Doyle, a key collaborator in many films by Wong Kar Wei. However, you can hardly trace their signature style in the production. One of the main reasons, perhaps, is because they had to follow the tight guidelines imposed on the production – it has to be “consistent” with the global version. The story bears an almost identical storyline to a commercial entitled “The Song” released in the United States over the Christmas season in December 2014.

US “The Song”

China “Old Song”

Even though it is by large a just a localized version, but at the very least, there is a strong and relevant proposition. The storyline cleverly positions the brand being the bridge between the younger generation and the old, and technology plays a role in connecting the emotions across generations.

Different brands tend to adopt a different approach to localize brand messages for local market. In the old model, creating the localized version often involves so many levels at the client side. Depending on the category of the product, it could involve anyone from the local marketing team, the regional marketing team and of course ultimately the global brand team. During the process, any form of innovative thinking will be filtered, reduced, modified, tweaked, abandoned, shot down, reinterpreted or misinterpreted.

Any creatives who had worked within international network agencies on global brands will know the challenges. Fortunately, some global brands are now doing it differently.

Apple now adopts a centralized approach – global ideas being conceived centrally, while implementation and production being done locally. Local content are developed following the global guidelines. Pepsi has adopted a more locally driven approach, leveraging current consumer trends that resonate well in the local market. While brands like Microsoft, they have established processes such as “global-readiness audit” to make sure the ideas and executions can travel well.

No matter which strategy you decide to adopt, one thing is for certain – if you want a cohesive global brand at all, you do need to think global at the time when the idea was conceived. The key to success is to create a truly global platform, which could be so fluid that it allows local interpretations without losing its integrity.

Most global brands prefer the 80-20 ratio of global-local content – to adopt 80% of the content centrally and globally, and allow local market to reiterate and adapt 20% of the content to enhance local relevancy. I personally advocate the 70-20-10 model in which 70% of efforts focus on delivering quality global communications riding on universal truth, 20% on pushing the boundaries to contextualize it with local nuances, and 10% on ideas and approaches which are unproven but could transform the marketplace in each local market.

Which model works best for you highly depends on how you structure the global-local team, and where you put the right kind of resources.

It’s also not easy to motivate creatives to get all excited to work on adapting global ideas, but you can create the space and environment to allow creativity to grow. Here are a few tips:

  • Human insights trump cultural ones. Avoid merely dressing up the global ideas but rather go deep into the reasons why, because that’s what true consistency is all about.
  • Nothing should stop you from creating something that is uniquely local; using very native expressions as long as underlying it there is a meaningful concept that everyone understands.
  • Construct a platform that local teams can “build on it” fluidly and not wasting their time to think of how to make it work.
  • Give anyone on the ground the tools and resources to thrive in scale. Be brutal in keeping the platform intact and trust your own instinct.
  • Consensus is not about everyone agreeing, it’s about everyone being heard and the rallying around the best answer. Never go for the lowest common denominator.
  • You can’t tell creative people to be creative, but you can let them.

I wish everyone a prosperous year of creativity.

Technology brands are not often good in coming up with their product names. They also tend to focus more on building the best products and put much more emphasis in communicating what the products or services do, from a functional point of view, rather than going for the conceptual or creative approaches.

This is even more so if the technology startup brand is an innovative concept. Conveying the functional side of the product will deem to be more crucial at the early stage of the brand development.

GoToMeeting, Box, WeChat, YouSendIt, Summly…YouNameIt.

These many not be the coolest brand names but they did exactly what the startups need to achieve, especially in an increasingly cluttered marketplace.

There are no one-size-fits-all guide in building a technology brand, but we can certainly learn from the journeys that some of the brands had gone through.

Sometimes, certain names did catch on even though they set out to focus on communicating the functional side. Skype derived their name by cleverly condensing the meaning of ‘Sky Peer to Peer’. The brand Skype is easy to pronounce, with potential of leveraging on the images of ‘sky’ in both messaging and design (the cloud graphics). Nowadays, the brand name has become a verb – ‘Skype me’, as we say. It’s also fair to say that it has travelled well internationally.

Skype taglines

YouSendIt, the cloud storage service, has just announced that its name has changed to Hightail. This is to signal the new vision as led by the new CEO Brad Garlinghouse. In his official announcement on their blog, he comments that the new identity represents the current breadth of their services and also marks the fundamental changes that have happened at the company since he took over as CEO just over a year ago. The move is hardly surprising. The name ‘YouSendIt’ will indeed be very confining, and does not carry the connotation that appeals to their core professional users.

Hightail_logo

WeChat, the mobile text and voice messaging communication service developed by Tencent in China, first released in January 2011. The original name of the app ‘WeiXin’ (微信) literally means ‘micro messaging’. It had grown from 4-5 million users in 2011 to over 100 million by 2012. The growth was phenomenal and hence the ambition to go global. Quickly in response to that, they rebranded as WeChat for the international market in April 2012. This move allowed the international audience to get what the product is quickly, sharing the same universal language. WeChat is a true big global brand in the making, but will they re-define their product in the future and will ‘chat’ start to become a limitation? Time will tell.

So what are the guiding principles when developing a tech brand? Here I share with you some of my thoughts:

Define your brand early: Tech startups need to be as crisp as possible in defining what their point of difference is because they’re entering a very cluttered marketplace. They should also take full advantage of being starting from a blank canvas and refine their brand early. I also argue that sometimes it should start with a brand before developing the product. Once you have identified what people really needs, everything will flow into place.

Be world-ready: From the brand name to the representation and various interpretations of the brand, embrace diversity and have a world-view on what the identity means to people in different cultures. A brand name needs to have the capacity to endure velocity of the marketplace and the swift changes in people’s needs. Do it with foresight, not hindsight.

Which tech brands do you think have got their branding done right? What are the differences between branding for tech startups versus other products and services? I like to hear your thoughts.

Not sure if it is the weather, or because it’s just that time of the year.

A few major ‘changes’ had made the headlines in the industry press. Here are the news from some of the global brands…

Global Brand-Building Officer of P&G Marc Pritchard said the company wants “fewer, bigger creative ideas that can travel around the world”, the impact will be lower agency and production fees by eliminating some that “don’t add value”. The major cuts will be on the non-advertising portion of P&G’s annual marketing spending, including production of promotion and in-store marketing programs, coupon distribution and eliminating things such as giveaways of stuffed animals. The spending on such promotions that “don’t build brand equity” amounted to around $2.1 billion in 2011.

Unilever is moving its 150-strong London-based European brand development team to Rotterdam while centralising its global brand development team in London – the whole shift will be completed by 2014.

These might sound like just everyday news, but if these are in any way an indication of a trend, and when we think deep into the impact, these changes potentially will shake up the entire agency support ecosystem. It influences how, and where, brand ideas and campaigns/ platforms are planned, created, implemented and fulfilled.

Further down the chain, it will impact every agency of any discipline, and every talent working within.

It will also fundamentally change how we, as creatives, producers and implementation specialists, approach any brief; and how and in what way we collaborate with each other, globally.

I find this exciting.

Could this be the starting point of a revolution? Is it a major trend in the making?

One thing is for certain. I am convinced that we cannot go after quantity, but need to invest in quality thinking and insights.

We all need to be as agile and flexible as possible to take advantage of the fast-changing conditions in the marketplace.

Rain or shine? How would you turn this into opportunity? What will we expect in 2013?

In a recent business trip to Beijing I had a reunion with the creative team I worked with in the past. We talked about the development of homegrown creative talents and the emergence of a new breed of independent creative hot shops.

I observed a particularly interesting development. Local creative agencies are starting to embrace a hybrid model to offer services covering everything from strategy, ideation, through to integrated production. Some of the agencies I met up with even have in-house creative roles from film directors to animators, and with photography studios housed under one roof. It takes the notion of through-the-line to a different level.

This is rather different from the development of the agency structure in the West.

Paul Simons talked about the difference between ideas, execution and implementation in his recent blog. He considered that implementation has shifted ‘to a different place driven by tasks that tend to be more mechanical’. He also described how today’s multiple channels and platforms, and creative work running internationally, had turned implementation massively complex – so much so that ad agencies won’t have the resource, knowhow and technology to handle the job in hand. The solution, what it seems to be the obvious one, is to outsource it.

I agree with some of his viewpoints. The ‘decoupling’ of ‘Implementation’ and ‘Production’ from ‘Creation’ has indeed happened, especially in Europe and the US, with various degree of success for different clients.

However, what I think we have to bear in mind is even when ‘Implementation’ is technically being defined not as part of the creative process, they should not be treated as ‘post production’ – or sometimes, even as an after thought.

It is especially so when campaigns are going to be launched simultaneously in multi-markets, across all touch points and particularly, for lifestyle brands. More often than not, a certain degree of rethinking needs to apply.

Creative agencies recognising the importance of that aspect of implementation had positioned the function of technologists as an important element within a creative team. Implementation is embedded within the ideation process. Jeff Benjamin of CB+P once said: ‘When we brought the technology piece in house we made it a point to say this isn’t a production capability, this is a creative capability…A technologist is as creative, in a way, as a writer.’

Joel Koplan of AKQA even argued that ‘the job of creatives is also about making ideas happen, having an eye for execution…It’s also the ‘follow through…It’s coming up with an idea and taking the step to make it come to life in the right way’.

That, to me, is what ‘implementation’ truly is.

It is exactly when we treat the implementation process as totally separate, mistakes bound to happen.

The recent blunders of the Ikea catalogue (which I discussed in one of my recent blog) were good examples. In the case of Ikea, I imagine this was what happened – an ‘implementation/ production’ company were tasked to localise the Ikea catalogue for 10 different markets, and one of the ‘requirements’ was that in the Saudi Arabia version they need to take away the female images (somehow, a top down decision as written in the form of a localisation brief). Meanwhile, the retoucher proceeded according to the ‘brief’ without having the luxury of time to consider about the outcome and implication of the work. He/ she did a fantastic job in the retouching, probably within 24 hours turn-around and then, zoom, went to printing, which was again, possibly outsourced to a printer away from the production centre. The process also may have escaped the final screening by a local marketing manager, since either the company had eliminated such posts during the streamlining/ re-structuring or the ‘production/ implementation’ agency was not tasked to do it. It was not within the ‘scope of work’.

Technically, nothing wrong. Digital files were pristine. Assets were digitally archived. Job in question was completed within SLA. Catalogues were delivered on time.

I believe that any form of communications, no matter how technical the process, is still a creative product. And creativity, not to mention culture and local relevancy, does play a large part in its success.

Even if we were not literally doing each other’s work, there are bound to have cross-overs and we should not implement ideas like a ‘conveyer belt’ style.

Ultimately, an idea never really completes till the last minute before any work goes live.

If I polish my crystal ball, here are some of my predictions in the discipline of ‘implementation’:

  • The role of implementation will go beyond production. It will involve transforming a creative platform into any form of media suitable for any particular market, culture, and of course in any language. In the digital arena, implementation will encompass roles such as user-experience designer, interactive designer, strategist, tech head and integrated producer.
  • Creatives need to think of media-neutral platforms and not media-centric ads. As such, the role of implementation is to completely understand the DNA of an idea and be able to expand it beyond any boundaries of a specific media.
  • Back in the days of traditional media, the line between creative and execution were clear. With digital comes to the fore, creatives often have in their mind the question whether the ideas that they come up with could actually be executed. The role of implementation is first to advice whether it is feasible and what is the best way to organise it to optimise both quality and costs effectiveness.
  • ‘Creative’ and ‘Implementation’ agencies will form tighter strategic alliance and collaboration. The discipline of media and creatives had been surgically divorced in the 90s, with no respect that often the ‘media’ were the ‘message’, and we’ve learnt the lesson. In the future, execution and the way an idea is implemented will have a profound impact on the magic of the idea. Creatives, media and implementation will need to find a way to work back together. Collaboration is the new activation. Or as I always believe, T-shaped hybrid talents will be the real star in the future.
  • The creative inputs within ‘Implementation’ will evolve in the form of ‘Planning’ and will become more crucial in the overall delivery, and more importantly, will be recognised as part of the strategic process.

Looking forward, leading implementation agencies need to join forces and articulate the value of their work, and be rewarded appropriately for what they contribute into the success of the final output.

I will continue to expand on these thoughts in future blogs. I also like to hear from your experience either as first hand from an implementation agency or from the point of view of a creative agency that had benefited from some of the best practice in this discipline.

I will also like to explore the significance of the hybrid model of some of the creative agencies in China and profile some of the need-to-know talents.