«Executive Summary Carlton Dry was a shining light for CUB, growing in a declining domestic category, and outpacing direct competitors. However, with ...»
The Australian Effie Awards
General Entry Form 2014
Carlton Dry was a shining light for CUB, growing in a declining domestic category, and outpacing direct
However, with ‘masstige’ taking full effect and imported brands selling for similar price points, the brand
was under serious threat from the likes of Corona. Instead of playing to their strengths and injecting more
aspirational codes, we championed the opposite. ‘Hello Beer’ helped let young guys off the hook and proudly hung its hat on the stupidly inventive stuff that mates get up to when together.
Above all realistic expectations the campaign contributed an incremental $8.1million and grew YOY sales by 22.75%.
All confidential and not-for-publication sections have been highlighted in yellow.
The Australian Effie Awards General Entry Form 2014 Entry Number: 264 Clemenger BBDO Melbourne
1. Agency CUB
2. Advertiser How being stupid was sensible for Carlton Dry.
3. Entry Title D. Beverages – Alcoholic & Non-Alcoholic
4. Category for this Entry Matt Pearce / Michael Derepas
5. Author (03) 9869 4429
6. Phone email@example.com
7. Email Directions appearing with each question must not to be deleted from the completed case; they serve as a guide for both entrants and judges. Complete entry form in - Type face: black font; 10pt minimum. All data must include a specific, verifiable source. Refer to the Effie “How to Enter” booklet for guidelines on properly sourcing your data. Data without a source will result in entry disqualification. Answer every question or indicate “not applicable” and define your target audience in the entry. Any unanswered question will result in entry disqualification.
Executive Summary (Please Attach the Executive Summary to the front of the entry so the judges can read this first) An Executive Summary of no more than 100 words is also required (not included in page count).
8. Total Campaign Expenditure Include production and value of donated media and non-traditional paid media. Check one.
Under $500K $5 - 10 million $500 – $1 million $10 - 20 million $1 - 2 million $20 - 40 million $2 - 5 million $40 million and over 9A. What was the strategic communications challenge?
What was going on in your category? Provide information on the category, marketplace, company, competitive environment, target audience and/or the product /service that created your challenge and your response to it.
In 2011, CUB went from having 3 of the top 5 brands in the Premium International category, to none1.
Overnight, the crown jewels of Corona, Stella Artois and Asahi had been lost from its brand stable. This shifted CUB’s business focus on strengthening ‘classic’ and ‘contemporary’ brands to fill the void.
With ‘mainstream’ beer in decline, Carlton Dry remained a shining light. Since 2007, it was experiencing increased volume share within the ‘Contemporary Beer’ segment, growing within a declining category and outgrowing competitors Toohey’s Extra Dry (TED) and Hahn Super Dry (Figure 1).
However, when shifting the frame of reference, some cracks were starting to appear for Carlton Dry.
Strong growth supported by aggressive pricing and distribution hadn’t been translating to brand connection; how well someone emotionally identifies with a brand. Yet more distressingly, forces outside our direct ‘contemporary’ category meant that drinkers were being offered ‘premium’ and more aspirational brand experiences, often at a similar price.
Category Challenge – Expanding Repertoires, Price Compression and ‘Masstige’.
Long gone are the days where you were either a VB or XXXX drinker. With category experimentation, brand repertories across Beer have expanded. This is true for our 18 - 24 year old Carlton Dry target, whom have around 7.6 brands in their evoked-set (most commonly drunk) repertoire (Figure 2).
What made this behaviour particularly disturbing was the price compression between Imported and Contemporary categories, being squeezed from $1.59 in 2007 to within $0.57 difference in 20132.
$7.00 $6.50 $6.00 $5.50 $5.00 $4.50 $4.00
Above table shows the compression of Premium Imported becoming cheaper, and Contemporary becoming more expensive Due retail pressure, parallel imports, and heavy trading activity, Contemporary Beer was getting more expensive, whilst Premium Imports becoming cheaper. Drinkers were now offered the exotic escapism to ‘Where You’d Rather Be’ with Corona, or look like a sophisticated ‘global Man’ with Heineken, for a similar price to Carton Dry3. A hard-to-compete-with scenario.
Competitor Challenge – More well known, louder, and far more desirable.
Despite spontaneous awareness of Carlton Dry being on par with competitor TED at 9%, it was trailing competitors of Corona (42%) and Heineken (41%)4, and was also less effective across ‘share-of-noise’, being how ‘loud’ a brand felt for a consumer combined with media spend (Figure 3). Carlton Dry simply wasn’t front-of-mind, and when combined with expanding repertories, it could slip out and be forgotten.
But the bigger challenge to face was Carlton Dry’s brand connection. Imports such as Corona and Heineken had built strong brand positions that tapped into potent and relevant needs for our target.
As a result, our Import competitors held superior ‘brand connection’ (‘the brand connects with who I am and with the things in life I care about’), which meant that not only was Carlton Dry less established, but also not as desirable across the important ‘connection’; leaving the brand exposed (see below) 5.
Consumer Challenge – Reaching and engaging a media-fragmented, cynical audience.
Shifting brand connection is no easy feat, because when it comes to Carlton Dry’s core drinker (18 – 24 year olds), they’re hard to reach. They’re light TV viewers with 43% watching 2 hours per day, and 17% not watching any TV6. But, they’re hooked to screens, just not the familiar ones. 70% are using the internet 15+ hours a week, with a majority of this time streaming video or on social networks 7.
But they’re also tough to engage from a brand perspective. 79.6%8 of them say that some TV advertising is ‘devious’, with a scary 62.8% also stating that nearly all advertising ‘annoys them’. When it comes to building your brand, it’s entertaining content that rules for this target, and not spruiking9.
Communications was needed to start building brand connection to combat the rising Imports, but finding an idea that was inherently ‘digital’ and shareable amongst friends was key to engagement.
9B. What were your objectives? State specific goals.
Your entry is expected to include compelling data including behavioural objectives and results. Only in rare instances are the judges likely to award an entry that only demonstrates attitudinal changes. Provide a % or # for all goals. If you do not have a specific type of objective (e.g. no quantifiable objectives), state this in the entry form and explain why and why the objectives you do have are significant and challenging in the context of your category, etc. You must provide benchmark and context for your goals versus year prior and in context of competitive landscape and category.
Based on the above challenges, CUB crafted several key objectives:
1. Return more earned social impressions than paid impressions to demonstrate engagement.
2. Return ‘above norm’ campaign enjoyment (61%) and purchase intent for our core 18 – 24 year old target, to understand how well it engaged with and entertained – but also purchase motivation.
3. Improve ‘brand connection’ for volume target (18 – 54 year old males) above any same-period gains from Corona & Heineken.
9C. What was your strategy – and how did you get there?
What was your strategy? Was it driven by a consumer insight or channel insight or marketplace / brand opportunity?
Explain how it originated and how the strategy addressed the challenge.
YOLO. FOMO. GOML. These acronyms might make any cynical adult cringe upon hearing them, but they carry a great deal of meaning for the anxieties facing young guys today, and how to credibly talk to them.
Cultural Insight – Experiences are the New Currency.
This generation are living in an age of so much fun and freedom. With the world at their fingertips, cheap travel, well-to-do parents, and the gift of opportunity rather than burden of responsibility, life seems sweet.
Yet through research, we found that with housing prices going up, student loans crippling income, and jobs hard to come by, the traditional markers of success were being lost. Unique experiences in life, like going to an overseas music festival, travelling the world on the back of a donkey, or having a huge Instagram follower base, were the new social currency10. Which is why brands such as Corona and Heineken or even Craft beer remain as strong signals of success; they reinforced one’s worldly, exploratory and ‘experience it all’ view.
Lifestage Tension – A generation that can experience it all, but would rather dick around.
Although experiences were becoming social currency, for some drinkers it was also having an opposite effect.
We learnt that these guys go through two transitional stages from ‘Hedonism’ to ‘Self-Determination’ (see below)11, in which their outlook shifts from being one of pure fun, towards a world-weary approach to life.
Mediacom Study of 18 – 24 year olds, 2013 6 ibid 7
In between these stages of Hedonism and Self-Determination, we found that although guys still want to collect experiences, fear missing out on stuff, and feel like masters of their universe, the societal pressure in having to achieve or progress was too much. They believed that actually the best experiences were when they just screwed around doing nothing, rather than having to doing it all. It became clear that our target resented the dominant orthodoxy of ‘YOLO’ (‘You Only Live Once’ in case you’re wondering) and constantly collecting experiences, but felt social pressure to keep up with it.
This created an opportunity for Carlton Dry to let guys off the hook and support the emerging ‘fuck expectations, have fun now’ belief that was both more enjoyable, but also relieved a lifestage anxiety.
Behavioural Insight – Inventing their own stupid brand of fun when together.
To find the right way to unlock this tension, we used social listening and desktop research12 to understand what types of media and behaviour reinforced this attitude, and how we can leverage it for authenticity.
With the rise of popular digital platforms like Snapchat, WhatsApp and Vine, we learnt that guys flocked these networks because it enabled them to create, be stupid, and have a bit of casual fun with their mates.
By tapping into this form of DIY creativity amongst mates, we could reinforce their collective ‘fuck expectations, have fun now’ attitude in a more authentic and naturally sharable way.
Brand Opportunity – A brand that celebrates stupid shit you get up to with your close mates Carlton Dry consumption over-indexes in casual get-togethers at mate’s places – like a gaming session or predrinks13. These are occasions where close mates are most comfortable; drinking beer, messing around, sharing stupid stuff, and feeling mutually protected from wider societal expectations of having to do it all.
By reflecting this occasion, we could credibly play to the emerging lifestage tension and champion Carlton Dry as a beer for those moments in which you just want to do stupid shit with your mates, rather than doing it all.
We could apply the tone of ‘inventing your own fun’ amongst mates as a nod to their authentic behaviour. All of this would help us tap into something more realistic and pertinent for our target than a Mexican escape or worldly identity, but also unlock the huge volume opportunity inherent in this important drinking occasion.
9D. What was your big idea?
What was the idea that drove your effort?
The idea should not be your execution or tagline. State in 25 WORDS OR LESS.
Champion the stupid but inventive stuff that mates get up together in casual gatherings, in a time when they’re expected to be experiencing it all.
9E. How did you bring the idea to life?
Describe and provide rationale for your communications strategy that brings the idea to life. Explain how your idea addresses your challenge. Describe the channels selected/why selected? How did your creative and media strategies work together?
In not more than three A4 pages show sufficient creative examples to enable the judges to understand the campaign.
These pages can be additional to the seven A4 page written entry.
The Film / Social campaign ran from December 2013 to March 2014, documenting a share-house of mates getting up to mischief together. Think an upside-down dance routine or haodukens in a garbage-bag fat suit.
Our 8 short-form videos all centred on the core ‘gathering’ occasion. The creative was designed to look authentic and imperfect, using a single fixed camera and props that could be found lying around a house to ensure it felt more like an amateur and entertaining viral video that the guys patched together themselves.
The talent were real, down-to-earth guys, and not the archetypal Gen Y cool hipster, to drive more credibility.
Our media approach also reflected the behaviour of our target. These films were first seeded as a 3-minute long compilation to get our content out there, and pushed out via our Facebook following to encourage further distribution. It gave our guys an opportunity to first ‘discover’ it, and subsequently share it with their mates.