2. This is a research white paper produced by graduate students in
JRMC 8130, “Special Topics in Advertising,”
Grady College of Journalism and Mass Communication,
The University of Georgia, July 2015.
Views expressed are solely those of the authors and are not necessarily
those of the college or the university.
4. 2 i n n o va t i o n i n a d v e r t i s i n g
T
HIS WHITE PAPER originated as a project that I asked my
graduate students to undertake for a seminar that took place in July
2015. Due to their intentions of pursuing careers in advertising, I felt
an experience that required them to think creatively and systematically
about an industry problem and in a mock industry setting would be of
greater value than the common array of scholarly readings and papers.
On the first day I asked them to imagine themselves as creative directors
and brand managers from large agencies, who had been invited to a
four-week industry-funded research project.
Their task would be to discuss, research and write a 25-30-page
collaborative white paper regarding innovation in advertising. Their
materials would be stories in industry trade journals, their existing
knowledge and experience as well as their own creative speculation.
Their tools would be those of collaborative intellectual work—reading,
brainstorming, discussion and critique.
In our first few meetings, we discussed in general how innovation in
advertising might be thought about. To expand the typically narrow
range in which the issue of innovation in advertising is considered, as
part of this initial foray students viewed, wrote about and discussed
the feature-length documentary “Advertising Re-imagined,” in which
four seminal campaigns from the 1960s and early 1970s are reimagined
(with the help of each campaign’s original lead creatives) through
today’s digital media environment.1
Following these sessions, we began
defining, discussing, researching, writing and rewriting the sections
that eventually became this white paper. While each of us served as lead
author on one particular section, together we workshopped every section
multiple times, which made each section a collective product in many
senses, too.
Seminar students gained a sophisticated understanding not only of the
immensely complex web of factors and relationships to be considered
in any insightful discussion of innovation in advertising. They also (I
hope!) gained knowledge and experience in working collaboratively on a
high-level, challenging intellectual project with no set path or process at
the outset to follow.
This project has all the strengths and freshness as well as the roughness
around the edges of a major white paper composed from the ground up
in four weeks. But we hope the results of our hard work that you see here
might inform your own thinking about what innovation in advertising is
and what it might be.
Dr. James F. Hamilton
Grady College
University of Georgia
Athens, GA — July 2015
[1] Google Inc., “Project Re:Brief; A Film About Re-imagining Advertising,”
directed by Doug Pray, 2012, online at http://www.projectrebrief.com/
documentary/.
Introduction
5. 3 i n n o va t i o n i n a d v e r t i s i n g
Abbey Ferguson (abbey.ferg@gmail.com) is currently pursuing her MA in
Advertising at the University of Georgia. She completed an ABJ in Public
Relations in May 2015. During the past year Ferguson served as the
marketing committee coordinator for Discover Abroad, a study abroad
program at UGA. During the month following graduation, she served
as a teaching assistant in the program, leading 33 students through the
eastern coast of Australia. After earning her MA, she hopes to move
to Australia or New Zealand and work in a field related to advertising,
marketing or public relations.
Erin Geoffroy (eringeoffroy@gmail.com) obtained an MBA from the
University of Georgia’s Terry College of Business in 2015 and will
complete an MA in Journalism and Mass Communication from
the Grady College at UGA in 2016. She is also a Communications
Strategist for the UGA Marine Extension and Georgia Sea Grant and
is one of the Co-Directors of the Grady College ADPR Connection, a
student-run networking event with hundreds of student and business
attendees. Prior to graduate school, Geoffroy worked in marketing and
communications in the private, government and nonprofit sectors. She
plans to obtain a communications management role working on issues
related to clean energy, sustainable business and coastal conservation.
Ashley Kitchel (ashley.kitchel@gmail.com) earned her ABJ in Public
Relations in 2014 and MA in Advertising in 2015 from the University
of Georgia. She participated in the Public Relations Student Society
of America (PRSSA) and on the public relations committee for her
service sorority, Gamma Sigma Sigma. Kitchel has also interned as a
social media advisor for different local brands. She plans to work in
Abouttheauthors
From left to right: Rachel Lusby, Seth Law, Ashley Kitchel, Abbey Ferguson, James Hamilton. Not pictured: Erin Geoffroy.
digital advertising and public relations for the lifestyle and experiences
industry.
Seth Law (slaw@uga.edu) is currently an MA student in Advertising
at the University of Georgia, where he also received his ABJ in Public
Relations. While there he has been an active member of the Public
Relations Student Society of America (PRSSA) and of the Professional
Entertainment and Sports Association (PESA). Law helped coordinate
for three years running the annual major student-business networking
event ADPR Connection at UGA, and also assisted with various other
events for Athens-based non-profits through the Music Business
certificate program overseen by the UGA Terry College of Business.
Upon graduation in May 2016, he plans to work in entertainment brand
management in Los Angeles.
Rachel Lusby (lusbyrachel13@gmail.com) earned an ABJ in Public
Relations in 2014 from the University of Georgia and will complete
her MA in Advertising and Public Relations in August 2015. Her
communications industry experience includes internships through
the University of Maryland Clark School of Engineering and Epting
Events, an event coordinating company based in the Southeast. After
graduation, Lusby plans a career in sports marketing.
Dr. James F. Hamilton (hamilton@uga.edu) has taught in the Department
of Advertising and Public Relations at UGA since 1999, focusing
on classes in advertising and in creative development. Recently, he
contributed to a joint summer educational collaboration between the
department and the Creative Circus portfolio school in Atlanta.
6. 4 i n n o va t i o n i n a d v e r t i s i n g
Keyinsights
» Technology will be increasingly central in all stages of the campaign
process, but as a catalyst rather than the driver. Digital media ideally
facilitate and extend strategy, creative, research and evaluation, but without
directing them.
» Real-time insights and constant conversations will encourage
advertising to function increasingly as an iterative process.
Innovative advertising increasingly emphasizes the role of consumers by
encouraging substantial brand engagement and advertiser reaction and
response throughout the campaign.
» Increased user involvement will enhance the importance of
transparency. The need forethical and credible brand actions and
communications will increasingly become a cornerstone of effectiveness.
7. 5 i n n o va t i o n i n a d v e r t i s i n g
Innovation
I
NNOVATION has rested at the heart of
advertising since the late 19th Century,
when media-placement services realized
that they could make more money if they had
someone on staff who could write clients’
advertisements. Even at that early point, the
advantage of innovation was clear. In order to
even to be noticed, much less to stand out, ads
had to be different from all the others.
Yet, the Sisyphean dilemma at the heart of
innovation also became clear early on. Once an
innovative technique or approach emerged and
appeared to work, it quickly became adopted
and copied by all advertisers, thus rendering
the once-innovative and effective tactic
commonplace and useless.
By the 1960s and the Creative Revolution,
innovation could be said to have been raised
to the level of strategy if not creed. As DDB
original “Mad Man” Bill Bernbach put it, a
DDB ad had at its core “a fresh and original
idea that conveys the advantage of the product
memorably. We have no formula.”1
The work
that has followed, marked perhaps most
prominently in what has become the Cannes
Lions International Festival of Creativity and
its Innovation Lions, continues to push the
envelope of advertising innovation in ever-new
directions.2
Innovation has always been crucial for effective
advertising. So what?
Well, for starters, how does innovation in
advertising happen? And what even counts as
innovation in advertising in the first place?
Answering these seemingly simple questions
turns out to not be so simple. That’s because,
like the wisps of a dream that upon waking
linger only for a moment before evaporating,
once you make and use an innovation, others
[1] “Bill Bernbach Said,” DDB Worldwide
Communications Group, online at http://www.
ddb.com/BillBernbachSaid/Slideshow/good-
works-born-dead.html
[2] “Cannes Lions 2015: Innovation,” online at
http://www.canneslions.com/lions_innovation/
pick it up, and your “innovation” turns into the
commonplace.
Further, what counts as innovation? Is it simply
a new way to write a headline? Or refusing
to use a headline? Is it a new production
technique? A new medium—or perhaps an
existing medium but used in a new way? Is
it a new means of generating insights, a new
source of marketing data—or perhaps a new
means of analyzing existing marketing data? Is
it a new format or approach? Or is it none—or
all—of these? And, given that innovation in
advertising is so important, is there a way to
understand it more (or less) systematically?
Can innovation be encouraged? Planned
for? Strategized? Or can it only be a bolt of
lightning that, only if you’re lucky enough, may
strike?
Efforts to institutionalize innovation evoke the
shifting sands of innovation. Titles of a string
of influential books by TBWAChiatDay (“the
disruption company”) CEO Jean-Marie Dru
suggests that even disruption itself doesn’t stay
the same. In Dru’s 1996 book, disruption was a
way to overturn conventions and shake up the
marketplace. But, a follow-up book published
8. 6 i n n o va t i o n i n a d v e r t i s i n g
in 2007 claimed that disruption actually
brought order to the marketplace.3
Instead of trying to define and pin down such
a mercurial thing as innovation, perhaps it’s
better to understand it less in terms of what it
is, and more in terms of what it does. If nothing
else, innovation in advertising establishes
however momentarily what can be considered
a “new normal.” Whatever “it” is, innovation
establishes a starkly new and startlingly
effective way of—well, of doing anything
related to advertising, whether strategy,
research, organization, media, creative, or all,
or in any combination. The innovation rapidly
becomes not only de rigueur, but essential for
effective advertising. Yet, as the 150-year-old
experience of advertising suggests, once the
innovation is adopted by all, it is no longer
innovative, and the search for the as-yet
unknown new new normal immediately gets
underway.
The argument in the pages that follow proposes
some key points about this process. In sum,
innovative advertising requires making
strategic choices that drive relevant and
effective conversations.
»» Research and innovation. Research
increasingly drives innovation by unearthing
insights into the ever-changing and
vast digital conversations and actions of
consumers.
[3] Jean-Marie Dru, Disruption: Overturning
Conventions and Shaking Up the Marketplace
(New York: John Wiley and Sons, 1996); Jean-Marie
Dru, How Disruption Brought Order: the Story of a
Winning Strategy in the World of Advertising (New
York: Palgrave Macmillan, 2007).
»» Media technology and creative work.
Innovative advertising progressively uses
creative and technology as tools to support a
campaign’s concept.
»» Creative work. Innovative advertising
increasingly paints compelling stories of life
as it is rather than as it “should be.”
»» User-generated content. Innovation in
conversational digital media better
empowers advertisers and consumers
together to shape claims that are credible
and authentic.
»» Ethical practice. Innovative advertising
increasingly requires that brands are honest,
transparent and defensible.
Addressing innovation in advertising this way
does not pretend that timeless answers or set
formulas exist for achieving it. If this were
possible, close to 150 years of concentrated
effort would have cracked that nut long ago.
Rather, innovation in advertising is less the
destination, than the necessity of the footloose,
constant journey. Only those who understand
and embrace this stay ahead of the game.
9. 7 i n n o va t i o n i n a d v e r t i s i n g
T
HE ADVERTISING INDUSTRY has
typically focused on separate pieces of
information, gathered at one point in time
and then used those insights to implement
what too often becomes a stagnant campaign.
However, looking to the future, focusing on
fostering conversations within the agency and
outside with consumers shows a clear path to
innovation and effectiveness.
Continuous research and monitoring of consumers
in real time is necessary in the digital sphere as
consumers are constantly providing information
about themselves and their feelings about
brands online. With the Internet serving as a
host, individuals leave trails and messages for
advertisers through their online movements,
which should be harvested for their consumer
preferences. This accumulation is known as big
data.
While conventional research methods such
as surveys and interviews are still helpful, big
data provides insights direct from consumers’
actions and conversations online in a more
open and detailed setting. This data gives
information about previously untapped target
markets that are now crucial for analysis.
Messages, updates, images, GPS locations and
more come from a variety of sources online,
from social media sites to company websites,
online shopping and beyond.
The resulting compilation is vast, with more
data created in one second today than was
available in the entire Internet 20 years ago.1
The speed at which it is created is important
to note, as the data appears in real time. For
example, a group of researchers in MIT’s Media
Lab used locations from mobile phones to
measure how many cars were in Macy’s parking
lots to estimate Black Friday sales on that very
day—a real-time calculation vastly improved
on Macy’s count after all sales were complete.1
Real-time data collection and analysis makes
possible rapid insights and just as rapid
implementation.
As advertisers expand the rate and range of
big data, they also need to expand the range
[1] A. McAfee & E. Brynjolfsson, “Big Data: The
Management Revolution,” Harvard Business
Review, October 2013, https://hbr.org/2012/10/big-
data-the-management-revolution/ar
Researchandinnovation
Researchincreasinglydrivesinnovationby
unearthinginsightsintoconsumers’ever-changing
andvastactionsanddigitalconversations.
» Constant research is necessary to make sense of the large amount of data
available online.
» Research advancements can highlight not just what, but why consumers are
buying and allow for more personalization within ads.
» Advertising is increasingly becoming an iterative process with the
convergence of campaign research, development and evaluation.
10. 8 i n n o va t i o n i n a d v e r t i s i n g
of their strategies of analysis. Consumers are
increasingly using images to express thoughts
and attitudes online with memes, GIFs and
pictures. The use of video and images on
Facebook and Twitter is growing, while the site
Tumblr has always been primarily image-based.
To make this non-written data amenable to
research, companies are developing a way of
interpreting sentiments behind the Vines, GIFs
and photos that aren’t often accompanied by a
multitude of words to explain them.2
Emojis are yet another language that
consumers use and require analysis. From
pizza slices to colored hearts, consumers
express and form sentiments through the
icons made available on IOS and Android
keyboards. Instagram noted that since Apple
introduced the keyboard in 2011, followed by
Android in 2013, the proportion of text that is
emojis has risen from 10 percent to almost half.
Recognizing this shift in content and making
an effort to include these non-textual cues in
future research can ensure that brands aren’t
missing key pieces of conversation about them
or their competitors.
»» Crimson Hexagon is developing ways
of analyzing imagery for clients such as
Campbell’s and Allstate.3
[2] K. Kaye, “Tumblr Adds New Data Partner
as Marketers Race to Interpret Social Images,”
Advertising Age, 14 July 2015, http://adage.com/
article/digital/tumblr-adds-data-partner-brands-
interpret-images/299471/?utm_source=digital_
email&utm_medium=newsletter&utm_
campaign=adage&ttl=1437493059
[3] K. Kaye, “There’s Data in Those Emojis -- and
Marketers Want to Mine Them,” Advertising Age,
6 July 2015, http://adage.com/article/datadriven-
marketing/data-emojis/299333/
»» Domino’s customers with online accounts
can order using emojis by tweeting a pizza
slice emoji to the brand’s Twitter handle.4
As the volume of consumer expression
continues to expand, data increasingly needs
to be collected 24/7 to ensure that no vital
insights are missed. Gatorade’s Chicago
headquarters houses its Mission Control
Center. It contains six large monitors that
display data visualizations that represent
real-time sentiment and content relevant
to Gatorade culled from Twitter and the
blogosphere. The teams routinely run
sentiment analysis on topics surrounding
product and campaign launches.5
Gatorade’s
monitoring of the blogosphere is exemplary
in demonstrating the importance of
intermediaries in online communications.
Simply collecting and analyzing data
from individuals is no longer sufficient as
intermediaries such as bloggers have a strong
influence over communities’ attitudes and
purchase behaviors.
Technology increasingly enables advertisers
to map consumers’ personal preferences,
interpret their purchase decisions and reach
them in prime locations. Online data shows
what consumers are saying, but not always
what exactly they are thinking. And, while
advertisers can often see what consumers buy,
it’s difficult to understand is why.
[4] “Emoji Ordering,” Winners :: Cannies Lion
Archive http://www.canneslionsarchive.com/
winners/entry/589772/emoji-ordering
[5] A. Ostrow, “Inside Gatorade’s Social Media
Command Center,” Mashable, 15 June 2010, http://
mashable.com/2010/06/15/gatorade-social-media-
mission-control/
Neuromarketing attempts to address these
challenges. Firms such as Sales Brain monitor
skin response and eye movements to deduce
pleasure centers in consumers’ brains,
suggesting a level of response to brands and
appeals beyond what consumers themselves
are aware of. Such methods minimize problems
created when asking consumers questions
directly using methods like surveys, in which
researchers cannot be sure that the respondent
is giving an honest answer or is withholding
information for fear of judgment.6
These technologies are beginning to permeate
the ad industry. The advancements are
enabling researchers to discover at a rapid
pace who target markets are and what they
want, both from their direct words and from
nonverbal cues.
»» Unilever created a programmable Nao robot
that facially codes and interprets people’s
responses, which then helps it carry on a
conversation. The company also developed
global virtual video focus groups that can be
assembled in 10 to 13 minutes.7
Emotient recently worked with an NBA team
to analyze how faces in the crowd react to
in-arena ads, such as scoreboard videos. This
[6] “Neuromarketing: Tapping Into the
‘Pleasure Center’ of Consumers,” Forbes,
1 February 2013, http://www.forbes.com/
sites/hbsworkingknowledge/2013/02/01/
neuromarketing-tapping-into-the-pleasure-
center-of-consumers/
[7] J. Neff, “Robots, ‘Facial Coding’ and Instant
Focus Groups: Unilever Wants Better Metrics
Faster and Cheaper,” Advertising Age, 16 March
2015, http://adage.com/article/ cmo-strategy/
unilever-metrics-faster-cheaper/297615/
11. 9 i n n o va t i o n i n a d v e r t i s i n g
determines what type of content gets the best
reaction and at what point during games it’s
best received. This research revealed more
women were in attendance than expected,
suggesting a potential new target market.8
Better understanding consumers’ impulse
to buy is increasingly important due to their
immediate access to products they want to
buy. They can buy from laptops, tablets and
mobile phones, sometimes with one click.
Recognizing that personalization is the way
to bring together the impulse and the action,
Google’s “Buy Button” takes smartphone users
straight to purchase from ads related to their
searches.9
Its program alerts users to sales and
loyalty programs at nearby stores, tailoring
them to personal preferences and providing
opportunities for brands to create long-term
relationships with consumers.
Linking impulse and purchase through
personalization can be seen in offerings that
allow consumers to customize their experience
with a brand to fit their exact needs, but also
be part of a larger group that has loyalty to the
brand.
[8] E.J. Schultz, “Facial-Recognition Lets
Marketers Gauge Consumers’ Real Responses to
Ads,” Advertising Age, 18 May 2015, http://adage.
com/article/digital/facial-recognition-lets-
marketers-gauge-real-responses/298635/
[9] “Google Finally Unveils Buy Button on
Ads in Mobile-Commerce Push,” Advertising
Age, 15 July 2015, http://adage.com/article/
digital/google-unveils-buy-button-ads-mobile-
commerce-push/299497/?utm_source=digital_
email&utm_medium=newsletter&utm_
campaign=adage&ttl=1437583113
»» Stitch Fix ships clothes to consumers in its
subscription service, but tailors them to
personal styles and body types. In addition,
its connection to Pinterest allows for social
sharing that further enhances the personal
experience, while also enabling word-of-
mouth advertising for the brand.
Google’s Micro Moments suite uses online data
to deliver desired, personalized ad content
straight to consumers. These Micro Moments
occur when consumers use their devices,
like smartphones, to address the need to
learn, do, discover, watch or buy something
by conducting searches. As consumers want
things immediately and accurate to their
searches, these Micro Moments will allow
brands to figure out what their targets want and
reach them at the exact moment that they want
it.10
Connections between specific platforms and
buying behavior also benefit from new research
techniques. Google is adding traditional
ads from other sites and mobile apps to its
Adwords data, allowing for an estimate of how
consumers are acting on various sites while
using various devices.11
This data adds another
layer of insight regarding consumers’ buying
behavior.
[10] “How Micro-Moments Are Changing the
Rules,” Think It With Google, April 2015, https://
www.thinkwithgoogle.com/ articles/how-
micromoments-are-changing-rules.html
[11] T. Peterson, “Google Links Mobile Ads to
Desktop Purchases and Vice Versa,” Advertising
Age, 17 June 2015, http://adage.com/article/
digital/google-connect-ad-conversions-mobile-
desktop/299074/
Better research helps place ads in ways that
align with consumer needs. Programmatic ad
buying contributes to this by offering real-time
bidding on placements.12
It allows brands to
make the best decisions concerning the places
and platforms to reach the market. Its real-time
pricing and availability delivers the speed that
is increasingly important in the advertising
process, while at the same time allowing brands
to address their consumers in a way and style
that they prefer.
Emerging research capabilities impact creative
by becoming an integral part of the campaign’s
concept, implementation, and evaluation,
giving way to an iterative process. While big
data provides valuable information when
collected, data generation keeps going after
collection. About 4.4 zettabytes of data exists
today, and that number is expected to grow to
about 44 zettabytes in 2020.13
This fire hose
of data should be used by advertisers, but
currently only about .05 percent of this data is
analyzed. Rather than contributing only to an
early stage in campaign development, keeping
the fire hose of data going during development
helps advertisers fine-tune as they implement
campaigns and measure success when they’ve
concluded.
Just as research efforts are continuous, so
are the creative and evaluation processes.
[12] “Programmatic for Dummies Everyone
says it’s exploding, but what is it?” Ad Week, 3
November 2013, http://www.adweek.com/news-
gallery/advertising-branding/programmatic-
dummies-153590#what-programmatic-anyway-1
[13] L. Browning, “The Mind Blowing Growth and
Power of Big Data,” Business Insider, 9 June 2015,
http://www.businessinsider.com/mind-blowing-
growth-and-power-of-big-data-2015-6
12. 10 i n n o va t i o n i n a d v e r t i s i n g
Increasingly, these processes can be intersected
to generate innovative advertisements where
concepts evolve throughout implementation.
Real-time data collection allows for real-time
activities and adjustments to those activities.
»» British Airways 2013 “Look Up” campaign
consisted of a digital billboard featuring a
child that would point to the sky in wonder
as a real plane approached Heathrow.
The headline read “look up, its…” with the
actual flight number and origin of the flight
displaying in real time. To make this happen,
data was continually collected to keep the
advertisement accurate, as well as to record
the reactions of consumers who saw the
placements.14
»» Under Armour’s “I Will What I Want”
campaign in 2014 encouraged women
athletes to tune out negative comments. The
creative concept used online conversations
surrounding the brand’s newest
spokesperson, Gisele Bündchen, to show
consumer reactions during the TV spot.
Live social commentary was gathered and
streamed onto the campaign site.15
»» Gatorade used the data gathered from its
Mission Control Center in 2010 to adjust
its “Gatorade has evolved campaign” that
employed a rap from David Banner. When
[14] T. Mogg, “Ad agency explains how it created
British Airways’ clever digital billboard ad,” Digital
Trends, 23 June 2014, http://www.digitaltrends.
com/cool-tech/ad-agency-explains-created-
british-airways-digital-billboard-ad/
[15] “Will What I Want,” Winners :: Cannes Lions
Archive, http://www.canneslionsarchive.com/
winners/entry/ 563541/gisele-bundchen-i-will-
what-i-want
the brand saw the spot discussed heavily and
in a positive light on social media, it released
a full-length version of the song in just 24
hours.16
Marketing tech firm Zeta feels so strongly
about the value of this constant research and
implementation that it invests a portion of its
recently acquired $125 million funding in data
scientists to build out their tools for real-time
engagement with consumers.17
With more
companies recognizing its power, the overlap of
real-time research and implementation guides
the future of innovative advertising.
While innovative advertising is shifting toward
a more iterative process, just how to interpret
consumer preferences continues to be difficult.
Evaluating the success of a campaign cannot
rest solely on “likes” or “followers” on a social
media page, or just on counting page views of
a banner ad. The aforementioned campaigns
highlight the transition of evaluation away from
standard metrics and toward participation with
the brands. Consumer-response advertising
demonstrates success based on those
interacting and suggesting content for the
advertisements. Campaigns like Under Armour
and Gatorade’s suggest the value in addressing
the chatter surrounding them, even if they
aren’t conversing directly with the brands.
Combining the actions and conversations of
[16] A. Ostrow, “Inside Gatorade’s Social Media
Command Center,” Mashable, 15 June 2010, http://
mashable.com/2010/06/15/gatorade-social-media-
mission-control/
[17] A. Bruell, “Zeta Secures $125 Million in
Funding as Marketing Tech Rises,” Advertising
Age, 15 July 2015, http://adage.com/article/digital/
zeta-secures-125-million-marketing-tech-makes-
mark/299479/
the consumers gives comprehensive measures
of success.
The promise of real-time research based in
big data brings with it the perils of fraud,
something that demands continued attention
by the industry. Advertisers wasted about
$6.3 billion last year buying ads against fake
impressions.
FreeStreams amplifies its traffic by enticing
users to click on hidden links.18
Zombie apps run constantly on mobile phones
once installed. They can run about 16,000 ads a
day without the user’s knowledge.19
Tools to combat fraud traffic include those
developed by Pixalate. Its Security Threat
Intelligence Dome sifts out fraudulent traffic
before an advertiser can even buy an ad, and
keeps a tally of fraudulent accounts and IP
addresses and blocks them out against the
advertisers.20
[18] M.T. Shields, “The Amount of Questionable
Online Traffic Will Blow Your Mind,” Ad Week,
13 October 2013, http://www.adweek.com/news/
technology/amount-questionable-online-traffic-
will-blow-your-mind-153083
[19] G. Slefo, “Zombie Apps are Plaguing Mobile
Phones,” Advertising Age, 23 July 2015, http://
adage.com/article/digital/hold-zombie-apps-
plaguing-mobile-phones-report/299606/
[20] T. Peterson, “A Brita Filter for Ad Fraud? Fake
Traffic Fighter Pixalate Has Built One” Advertising
Age, 23 June 2015, http://adage.com/article/digital/
ad-fraud-a-brita-filter-pixalate/299156/
13. 11 i n n o va t i o n i n a d v e r t i s i n g
RESTRUCTURING AGENCIES enhances
campaigns. Compared to the disconnect
that happens when account and creative
departments are housed in different wings if
not different floors, in innovative advertising
they are increasingly working together
throughout the entire campaign process. If the
campaign concept is the hub, all the associated
tasks of a campaign are the spokes, all of which
are held together and connected to each other
through the concept.
»» In Project Rebrief, Google organized teams
directed by advertising industry greats to
recreate four legendary advertisements
by bringing original campaign concepts
into the digital age. All the departments
brainstormed, strategized and executed the
campaigns together. By using this iterative,
organic method, the teams produced unified
and effective campaigns.1
Concepts are increasingly the core of campaigns.
Despite the siren song of digital technologies,
innovative advertising will continue to revolve
around a credible, compelling concept. Just
because modern technologies exist doesn’t
mean they need to be implemented in a
campaign, merely for the sake of novelty. An
advertisement will not be effective unless
[1] “Project Re: Brief: A Film About Re-imagining
Advertising,” YouTube, https://www.youtube.com/
watch?v=cvDoGt1tJy8
the concept is the focus, in which all other
decisions are made.
»» Under Armour’s “I Will What I Want”
campaign focuses on empowering women
and ignoring outside judgment. The brand
announced its partnership with Gisele
Bündchen and showcased social media’s
negative comments in a television spot two
days later. The comments appeared on the
walls while Bündchen kick boxes. After the
spot, the agency used the webpage to show
real time comments projected onto the
site. This entire campaign also effectively
repositioned the masculine brand towards
the women demographic.2
While digital media cannot take the place
of a compelling concept, it continues to
move innovative advertising into new and
exciting areas by enhancing the ability to
personalize campaigns. While digital-media-
[2] “Giselle Bündchen - I Will What I Want,”
Winners :: Cannes Lion Archive, http://www.
canneslionsarchive.com/winners/entry/563541/
gisele-bundchen-i-will-what-i-want
Creativeandtechnology
Innovativeadvertisingunitescreativewith
technologytosupportacampaign’sconcept.
» Concepts are the core of campaigns.
» Technology decisions are increasingly regarded as creative decisions.
» Appropriate technologies have the greatest impact on the success of a
campaign.
14. 12 i n n o va t i o n i n a d v e r t i s i n g
driven campaigns can address humanity as a
whole, they can increasingly reach people as
individuals too.
»» Benefit Cosmetics uses its Instagram page
to showcase its products as well as its
customers, who post their own pictures of
themselves and friends using its products.
While some pictures focus on the make-
up product, other people’s pictures show
glimpses into their individual lives, such as
one that shows a male make-up guru. This
snapshot engages the consumer to explore
further into his story and subsequently the
brand’s story.3
Peoples’ personal pictures
form a personal bond between the audience
and the brand, which can increase brand
loyalty.
»» Headbands of Hope donates one headband
to a child with cancer and one dollar
to fund childhood cancer research for
each headband it sells. It uses Instagram
to showcase children receiving their
headbands while fighting for their life. Each
snapshot invites viewers to find out more
about the child and more about what the
company is doing.4
This is a successful use
of the medium because not only are they
advertising their product, but they are also
advertising a cause.
»» St. Germain’s “Peep Show” campaign uses
Periscope to invite the audience to send in
suggestions for the next part of the online
[3] “Benefit Cosmetics,” Instagram, https://
instagram.com/benefitcosmetics/
[4] “Headbands of Hope,” Instagram, https://
instagram.com/headbandsofhope/
story, thus creating a two-way conversation
between the brand and the consumer.5
In innovative advertising, technology decisions
are increasingly regarded as creative decisions.
Instead of executing media and creative as
separate functions, the most innovative media
choices are made in conjunction with the
campaign concept, and thus are themselves
creative choices, too.
»» For the “Game of Thrones” exhibit at SXSW
in 2014, the campaign required the complete
immersion of viewers in the world of
Westeros. Set aside the 30-second television
spot, and make room for a four-dimensional,
virtual-reality experience that took the user
up the Wall separating Westeros from the
wild. The view was supplied by an Oculus
Rift headset, with the tactile dimension
provided by a set that included a simulated
cage lift that rattled and fans that blew cold
wind in the direction users looked.6
In this
case, the use of virtual reality digital media
made sense because the brand’s goal was to
immerse the audience in an experience.
»» The Asics “Run Faster Than This Ad”
campaign in 2011 sought to give consumers
a direct understanding of the unbelievable
physical effort needed to compete at the top
levels of the New York City Marathon. How
better to do this than actually race against
the prior year’s winner Ryan Hall? Set aside
[5] “St Germain Runs a Fast-Disappearing ‘Peep
Show’ on Periscope,” Creativity, 10 July 2015, http://
creativity-online.com/work/st-germain-peep-
show/42659
[6] “Want to Climb GoT’s The Wall of Westeros?
Try an Oculus Rift :: SXSW 2014,” YouTube, https://
www.youtube.com/watch?v=LP6Y6kihp_Y
the banner ad, and make room in a New York
City subway station for a 60-foot video wall,
in which passersby were challenged to run
against a life-size video of the marathoner
for that short distance. The medium chosen
was essential for delivering the concept.7
This campaign was successful because the
brand’s products are used to be active and
exercise, and this campaign using digital
media got people moving and interacting
with the advertisement.
Appropriate technologies have the greatest
impact on the success of a campaign. What’s
appropriate? Well, first see whether the
medium chosen serves the overall concept,
such as the use of Periscope for the St. Germain
campaign, the immersive VR for the “Game of
Thrones” campaign, and the 60-foot video wall
for the Asics campaign.
If it passes that test, then see whether a change
of medium takes away from the ad. If it does,
the original combination fits well.
»» For the “Unbelievable” campaign for Pepsi
Max in 2014, a camera and smart video
screens were installed on windows for a
bus shelter and used to integrate the real-
time scene on the street with digital fantasy
components such as a tiger loose on the
street and a meteor striking the sidewalk.8
Take away the digital augmentation, and
the concept of taking things to the max
[7] T. Nudd, “Asics Asks: Can You Run Faster Than
This Ad?,” Adweek, 8 November 2011, http://www.
adweek.com/adfreak/asics-asks-can-you-run-
faster-ad-136433
[8] “Unbelievable Bus Shelter Pepsi Max.
Unbelievable #LiveForNow,” YouTube, https://
www.youtube.com/watch?v=Go9rf9GmYpM
15. 13 i n n o va t i o n i n a d v e r t i s i n g
withers by comparison. The utilization
of augmented reality supports the
formation of new brand relationships. The
surprise aspect and the wow factor of the
advertisement encouraged interaction with
the advertisement and therefore, interaction
with the Pepsi brand.9
Choosing the right technology means choosing
a medium that’s relevant to the brand.
»» In 2015, the “TrailScape” campaign for
Merrell shoes for outdoor adventurers
used immersive VR to allow consumers
to experience an outdoor adventure.
Consumers stepped onto the side of a steep
mountain in the Italian Alps by virtue of an
Oculus Rift headset and a tactile set that
included a wood-slat suspended bridge,
wind and an artificial rockslide.10
The
company wanted to start a dialogue and
communicate with their consumers.11 In this
case virtual reality was appropriate because
it made sense for the brand, which promotes
getting outside and experiencing adventures.
The most innovative advertising applies these
rules of thumb about creative and technology
with no foregone decision that digital solely
is always the most innovative. Examples
[9] https://www.youtube.com/
watch?v=Go9rf9GmYpM
[10] A. Rodriguez, “Outdoor-Apparel Brand
Merrell Uses Virtual Reality to Refresh Brand,”
Advertising Age, 6 February 2015, http://adage.
com/article/cmo-strategy/apparel-brand-merrell-
virtual-reality-refresh-brand/297014/
[11] http://adage.com/article/cmo-strategy/
apparel-brand-merrell-virtual-reality-refresh-
brand/297014/
of innovative uses of more mainstream
technologies illustrate this well.
»» The “Intelligent Details” campaign for
Bentley in 2014 included a video ad shot
entirely with an iPhone 5S, and edited and
produced on an iPad Air in the back seat
of a Bentley, equipped as it is with wifi,
power and flip-down tables.12
Media and
technology choices impact the success of
a campaign by helping a brand position
themselves according to their objectives.
[12] V. Renee, “This New Ad for Bentley Was Shot
on the iPhone 5S & Edited on an iPad Air Right
Insight the Car,” No Film School, 17 May 2014,
http://nofilmschool.com/2014/05/new-ad-for-
bentley-shot-on-iphone-5s
16. 14 i n n o va t i o n i n a d v e r t i s i n g
Storiesand“reallife”
A
NY TYPE of story—long form or short,
linear or non-linear—has a way of
representing the brand and establishing
trust with the consumer. Stories are crucial
because consumers trust the brand before
they trust the products. Brands will benefit if
they can innovate and become more relatable.
Innovating through stories is such a way.
New ways to represent the brand through stories
are emerging due to greatly reduced costs of
digital media. Brands have more room to
take risks in terms of time no longer being a
constraint. Online spots costing significantly
less than traditional advertising.
»» In June of 2015, Sloane Kettering Memorial
campaign “Science Saves More than Lives”
details the life of a young woman named
Suzanne.1
She was diagnosed with cervical
cancer right when she was trying to have a
baby and getting ready to get married. The
story takes viewers on a journey through her
treatment and all the highs and lows she
experienced, with a happy ending ushered
in by the hospital. A personal story like
[1] “Memorial Sloan Kettering Tells Powerful,
Nuanced Stories About Cancer Patients in Moving
Films,” Ad Age – Creativity, http://creativity-
online.com/work/memorial-sloane-kettering-
science-saves-more-than-lives--suzanne/42546
this can make viewers forget the spot is an
advertisement. Rather than inspiring viewers
to seek treatment, they may simply send it to
a loved one fighting any form of cancer as a
form of inspiration.
Non-linear stories continue to expand fictional
characters identities online. Because media
budgets are increasingly stretched, continuing
the conversation online amplifies and extends
campaigns that launch with traditional media.
Due to media costs on self-hosted websites
being a fraction of traditional media, non-
linear stories are increasingly possible for a
wider range of campaigns.
»» In the Old Spice “Response Campaign” in
June 2010, Wieden + Kennedy rented a hotel
room and hosted a Twitter, blog and text
conversation where people could ask the Old
Spice Guy questions, with the production
crew split between the hotel room and the
agency composing and posting video spots
on its YouTube channel that answered
Innovativeadvertisingincreasinglypaintsstoriesof
lifeasitisratherthanhowit“shouldbe.”
» There is more room for risk taking with increased digital presence.
» Commercials are representing life as it is rather than how it “should be.”
» Different advertisements make use of different types of stories.
» Brands become more distinctive as they become more innovative.
17. 15 i n n o va t i o n i n a d v e r t i s i n g
as many questions as possible.2
What in
part made this campaign such a success
was the agency recognizing how loved the
fictional character was on traditional 30- or
60-second television spots, and finding a
way to give their consumers more of what
they wanted, which was more personal time
with the character. This approach made a
low-cost, high-reach campaign possible,
making the Old Spice Guy more real to his
“fans.”
Lower costs due to digital distribution means
that agencies and their clients can potentially
take more chances with their stories. If it
doesn’t generate the expected response, the
financial loss is a fraction of a campaign cost
that uses a traditional media schedule. Telling
an innovative brand story requires agencies
and their clients to go out on a limb. This can
be difficult, but perhaps also exceptionally
rewarding.
»» In January of 2014 Newcastle Brown Ale
released a campaign bemoaning the fact that
it couldn’t afford a Super Bowl spot. New
Castle Ale couldn’t legally say the phrase
“Super Bowl.” Know for her kooky, sarcastic
humor, Anna Kendrick went on a rant in the
kick-off spot about how Newcastle Brown
Ale was supposed to be her big break in
commercials for the Super Bowl. The phrase
“Super Bowl” was bleeped out along with
a few other “’colorful” words, which was
perhaps risky, but more acceptable for an
[2] “Re: @Jsbeals | Old Spice,” YouTube, https://
www.youtube.com/watch?v=_-fLV28SkZ8
adult product such as alcohol.3
The risks
Newcastle took paid off. It didn’t pay $4
million for airtime during the Super Bowl,
and it still made the top 10 best commercial
list on multiple platforms.
Brands that demonstrate understanding and that
are honest establish trust with their markets.
Those who are most innovative and successful
with this increasingly rely on telling stories
about life. However, these stories portray life as
how it is rather than as an unattainable fantasy.
»» In March of 2014, Honey Maid put out a
series of 30-second spots that featured
non-traditional families, such as mixed-
race, same-sex, single parents and divorced
families. Despite these differences from the
1960s nuclear family, these non-traditional
families are just running around their house
laughing and living a simple, day-to-day
life. This is one of a number of campaigns
that recognizes the modern demographic
reality that families are changing all across
America. Its online presence allowed it
to expand on this brand story.4
Although
Honey Maid came under some fire for this
campaign, its pioneering portrayal of the
realities of American families creates a clear,
honest brand.
»» In July of 2015 Honey Maid released another
spot in accordance with the non-traditional
[3] “If We Made It,” Winners :: Cannes Lions
Archives, http://www.canneslionsarchive.com/
winners/entry/570442/if-we-made-it
[4] “Honey Maid: This is Wholesome :30 TV
Commercial”, YouTube, https://www.youtube.com/
watch?v=2xeanX6xnRU
family. This spot featured a disabled aunt
with her niece making cheese melt crackers.
“When disabled people are featured on
television it is in accordance with pity or
super human value,” says Stephanie Wood,
the actual disabled woman in the spot.” She
also “believes it’s important for disabled
people to be featured on television in the
simplest form.” While this spot may be
uncomfortable for some, this is the heart
of story telling. The real story isn’t always
comfortable and can be a “touchy” topic, but
this is what Honey Maid is striving to make
the public realize. This kind of story telling
is key for representing this new type of
reality that is usually not discussed.5
At least three different types of stories will
likely become more frequent in digitally fueled
innovative advertising. One way of boosting
innovation through stories is by using real
people.
»» While Nike advertising typically uses well-
known athletes, it increasingly can dive into
a single individual’s real life. One such spot
that appeared online in July of 2015 focuses
on a ballerina. The idea was to use everyday
athletes rather than big name big game
winners. The reality of everyday athletes
facing their own struggles is the focus. It
shows her performing extraordinary moves
with grace while also voicing her innermost
[5] “Honey Maid’s Latest Wholesome Family
Features a Disabled Aunt and Her Niece,” AD
Week, http://www.adweek.com/adfreak/honey-
maids-latest-wholesome-family-features-disabled-
aunt-and-her-niece-166102
18. 16 i n n o va t i o n i n a d v e r t i s i n g
thoughts about striving to be perfect.6 It
dramatizes the struggles that non-marquee
athletes face just as the famous ones do. This
spot inspires athletes of all kinds everywhere
by showing the struggle of those who haven’t
made it big. This makes the brand more
relatable and down to earth.
In contrast, well known athletes can be equally
inspiring and provide a role model for viewers.
»» Derrick Coleman is the first deaf NFL
player. However, his journey wasn’t easy,
as documented in an extended spot by
Duracell batteries in February 2014. This
spot takes the viewer on a journey of his
football history and the barriers he faced as
a deaf athlete. He initially wasn’t picked in
the NFL draft, but was later picked up by the
Seattle Seahawks and is now a successful,
well known player. The story is the journey
behind an individual’s hardships and
triumph. It wasn’t easy and this spot shows
that fame and fortune don’t come without a
lot of hard work.7
A second way of boosting innovation through
stories is by using fictional, heroic characters,
such as those from beloved movies.
»» A spot from the Clash of the Clans
campaign from February 2015 is a play off
[6] “Nike Celebrates Russian Female Athletes
in Murals and Inspiring Spots,” AD Age, http://
creativity-online.com/work/nike-russia-real-girls-
of-moscow--ballet/42597
[7] “Duracell: Trust Your Power – NFL’s Derrick
Coleman (extended cut),” YouTube, https://www.
youtube.com/watch?v=JzQFA2hxyRQ
the popular movie series “Taken” starring
Liam Neeson. Those who have seen the
movies immediately associate the context
of the ad with the intensity of Neeson’s
character. The ad shows Neeson talking to
cute characters on his iPhone in a rather
threatening manner, which mirrors his on-
screen persona.8
By airing the same time as
the release of the third installment of the
film series, the spot also promoted the movie
as well as the game. Fictional stories are not
valued any less based on their imaginative
quality they are out to accomplish a different
kind of agenda.
A third way of boosting innovation-using
stories is through those that only reveal their
brand identity at their conclusion.
»» As part of a campaign for Facebook in July
of 2015, a spot about a teen struggling with
his sexuality seems at first like an ordinary
documentary. After meeting people who
relate to him, he creates a Facebook group
that brings thousands of gay teens together.
They use it to organize meetings and walk
through the town in support of the LGBT
community.9
While Facebook is mentioned
repeatedly throughout the message and,
as it turns out, produced the spot, the
honest truth it portrays is that the social
[8] “Clash of the Clans: Revenge (Official Super
Bowl TV Commercial),” YouTube, https://www.
youtube.com/watch?v=GC2qk2X3fKA
[9] “Facebook’s Pride Film Puts Spotlight on
Networks LGBT Community,” AD Week, http://
creativity-online.com/work/facebook-pride-
connects-us/42623
platform continues to bring together various
individuals.
Ultimately it seems that this was Facebook’s
way of supporting the Supreme Court’s ruling
of same sex marriage and it showed a small
town personal example of a teen trying to
bring those confused about their sexuality
together. It shows that Facebook is headed
in a more innovative direction of supporting
the changing time, which makes them more
innovative. They almost have to be since their
presence is entirely online.
Brands become more visible and unique if the
advertisements they release are more innovative.
»» Perhaps the best recent example is a seven-
minute spot released by Patagonia in
June of 2015, titled “Denali.” It shows the
unbreakable bond between a man and his
dog through innovative techniques such as
the man’s voice being used to speak from
his dog’s perspective. The story shows the
heart of one of the sweetest, simplest yet
most important relationships, the one
between man and dog. How they can be
there for each other through the toughest
of times, even though the dog is simply, a
dog. It reminds everyone how much they
can love and appreciate their pets. The spot
leaves viewers feeling emotional with a new
appreciation for their beloved companions.
Although the outdoors setting and rugged
clothing evoke the Patagonia brand, “Denali”
tells a story about friendship. In just one
19. 17 i n n o va t i o n i n a d v e r t i s i n g
month, the spot had over 155,000 hits.10
It
fits the story of a man and his dog’s lifelong
journey into its brand, one that expresses how
people grow outdoors when their friends are
with them.
By being shared across multiple platforms such
as Facebook, Twitter, Buzzfeed and YouTube
users shared the ad and the Patagonia brand.
When people share commercials because they
relate to it, these and other emerging kinds of
stories change the advertising game.
[10] “Denali, a moving tribute to mans best friend
[OFFICIAL VIDEO],” Ben Moon YouTube, https://
www.youtube.com/watch?v=P2zQbsEGh_Q
20. 18 i n n o va t i o n i n a d v e r t i s i n g
PromotionandUGC
I
N THE DIGITAL AGE, consumer-to-
consumer conversational media has
revolutionized brand communication.
Digital spaces provide consumers with a
wholly new platform to talk about brands.
Many brands mine user-generated content
for advertising due to its raw authenticity
and ability to relay consumer trust. This
content is typically from real consumers and
thus, commonly takes the form of product
referral instead of hard selling. In addition,
user submissions and unsolicited user
voices provide insights that lead to greater
success. If brands continue to listen to
expanded consumer data and join consumer
conversations, they will not only survive, but
thrive.
Digital media continues to change the way that
people communicate. Consequently, conversations
about brands further elevate consumers’
views. Now more than ever, brands benefit
from personal communication efforts with
consumers. To generate content that elicits
consumer dialog and sharing, advertisers
listen intently to the audience’s digital voice.
User-powered social media sites, online review
pages and video and photo sites constitute the
platforms for public sharing.
As Bernoff and Li state, consumers are
“defining their own perspective on companies
and brands, a view that’s often at odds with
the image a company wants to project. This
groundswell of people using technologies to get
the things they need from one another, rather
than from companies, is now tilting the balance
of power from company to customer.”1
As a result, brands can no longer hide behind
conventional spot advertising. Instead, many
advertisers innovate by using the Internet’s
social capabilities in a variety of ways that
provoke positive sentiment around the brand
and for a fraction of the traditional cost.
[1] Josh Bernoff and Charlene Li, “Harnessing the
Power of the Oh-So-Social-Web,” MIT Management
Review Spring 08, P.36, http://inforesearching.
com/downloads/oh-so-social-web.pdf
Innovationinconversationaldigitalmedia
empowersadvertiserstocreateclaimsthatare
credibleandauthentic.
» Brand communication is increasingly led by the consumer.
» Consumerdialog works as brand communication.
» Visible public scrutiny has increased the need for transparency with
advertising.
» User-generated content fora campaign should enhance credibility and
create more relatable messaging.
21. 19 i n n o va t i o n i n a d v e r t i s i n g
The outpouring of voices created by the
digital age creates a swell of archived data
ripe for research on target markets, product
positioning and to define their advertising
objectives. Innovative campaigns increasingly
do not only pitch one-directional media at
consumers; instead, they are organized around
relationships built by using conversational
advertising, which comes across as authentic.
Rather than interrupting the audience through
banner ads and pop-ups or unsolicited videos,
innovative advertisers increasingly focus on
creating content that consumers invite into
their digital-media lives. Such content in turn
relies on user-generated materials from that
very same market. As Bernoff and Li note,
not only can advertisers “spur the interest of
customers and let them carry the messages,” an
innovative agency can encourage customers to
create the messages they then carry.2
»» In the campaign “Breakup Letter,” T-Mobile
offered to reimburse cellphone contract
cancellation fees if users switched to
T-Mobile. Synergistically scheduled during
Valentine’s Day, it allowed the audience to
“end” their relationship with their current
carrier while crafting a breakup letter that
could be shared on social media. This
campaign was prodigiously successful.
More than 80,000 individuals chose to
compose and share a breakup letter using
the platform. While not all 80,000 people
[2] Bernoff and Li, p.38.
switched to T-Mobile, the brand became one
of user empowerment.3
»» To launch Playstation 4, Sony and the agency
BBH New York generated interest among
their target market by creating a market
place for players to use their game trophies
to purchase “artifacts” from the console’s
top games. The website invited players to
create weapons, vehicles and elements that
could be downloaded for the new console. In
addition, they created a live, social rebuild of
a classic car in one of the best-selling games,
Gran Turismo. Players chose the car’s build
as they watched online. Later, they drive
the car built inside the game. This use of
user-generated ideas mixed with messaging
about the upgrades on the new console and
generated 7,000,000 unit sales in under
five months, making it the largest console
launch in gaming history. The campaign
not only generated great success for Sony’s
platform, but won BBH New York the Bronze
award at the 2015 Cannes Lions festival in
Creative Effectiveness.4
Brand conversation is constantly occurring online
with or without the company’s voice or guidance.
Whether brands deserve kudos or derision,
consumers don’t shy away. They make their
opinions known in product reviews, social
[3] Zach Epstein, “T-Mobile: 80,000 people have
posted breakup letters [updated],” BGR Media,
16 Jan. 2014, http://bgr.com/2014/01/16/t-mobile-
breakup-letters-uncarrier/
[4] “The Launch of PS4,” Cannes Lions
International Festival of Creativity, http://www.
adforum.com/award-organization/6650183/
showcase/2015/ad/34514486
media spaces, blogs and YouTube videos and
comments. It only takes one person’s self-
created Internet content, shared by millions, to
sway an entire population.
»» While traveling with his band, a United
Airlines customer’s guitar broke due
to a negligent airline employee. After
complaining to the company for eight
months without success, the singer took
to songwriting to express his frustration
with the incident. The song, “United Breaks
Guitars,” told of the “wild goose chase” he
was sent on in an effort to get help from
United and the lack of responsibility taken
by the company. It was posted on his band’s
YouTube page and quickly shared across
a variety of social media sites. The video
currently has over 15 million views, and the
story of the song’s conception was made
into a book. The customer was invited to
the View and appeared on CNN. While
United offered to rectify the situation, the
offer came too late, as the story had already
gone viral through the rapid spread of social
media. This failure on the brand’s part
contributed to a 10 percent stock drop and a
loss of value of $180 million, not to mention
an immeasurable impact on its brand
reputation.5
Increased public scrutiny strongly emphasizes
the value for brands of transparency. Brands are
more visible today than ever before. Therefore,
they must be increasingly transparent with
[5] | Richard Wilson, “A Public Relations Disaster:
How saving $1,200 cost United Airlines 10,772,839
negative views on YouTube,” Marketing Rocket
Fuel, 2010, http://sentium.com/a-public-relations-
disaster-how-saving-1200-cost-united-airlines-
10772839-negative-views-on-youtube/
22. 20 i n n o va t i o n i n a d v e r t i s i n g
their advertising. When a brand makes a
promise or claim, customers expect it to be
true. Otherwise, the word will quickly spread.
A satisfied customer will, on average, tell five
people, but a dissatisfied customer will tell
everyone they know. Now that audiences are
armed with tools for communication, it’s
increasingly crucial to research, monitor and
respond to target audiences, otherwise an ad or
experience that was intended to compliment a
brand could in fact cause harm.
»» In the “Show Us Your Pizza” campaign,
Domino’s Pizza decided to raise the quality
bar for their product through user-generated
pizza photos. In this way, the company
publicly promised to correct errors in their
product and do so in an open way.6
Social-media-based, user-generated content
can nurture authenticity. While brand-loyal
customers trust their brands, they trust other
consumers “just like them” more. Innovative
advertisers continue to utilize the dense social
networks populated by consumers in order to
nurture authenticity.
»» In the “Scholarships” campaign, Target asked
consumers to submit clips of high school
seniors opening their acceptance letters to
college. Target compiled these clips into
an emotional video that not only included
messages about the company’s commitment
to education, but also reminded consumers
[6] Karen Yuhl, “Domino’s Pizza’s ‘Show Us Your
Pizza’ Campaign,” The M Cloud, 8 Oct. 2014,
https://karenyuhl.wordpress.com/2014/10/08/
dominos-pizzas-show-us-your-pizza-campaign/
of that special moment they shared opening
a college acceptance letter.7
The effectiveness of opening a brand to user
contributions depends greatly on the brand
itself. If a brand misjudges the degree to which
its markets trust it, brands’ efforts can backfire.
»» At the 2015 SXSW festival in Austin, Texas,
McDonald’s sought to start a dialog with its
markets about marketing strategy by hosting
three “pitch sessions” at the festival, such
as one that focused on content creation
and McDonald’s stated desire to “co-create
content with communities, curate daily
content to stay relevant and create content
with social in mind.” The audience at SXSW,
however, was less receptive than McDonald’s
hoped due to the widely known failure of
McDonald’s to pay artists who it asked to
perform. This not only stifled efforts to gain
insights from the audience, but also upset
many musicians, fans and generated bad
press.8
User-generated content for a campaign should
enhance credibility and create more relatable
messaging. Genuine audience-to-brand
relationships built upon credible consumer
experiences are one of the most valuable
brand-building assets. If brands hope to share
stories that draw on experiences familiar to
consumers, what better way than to use real
[7] “Education,” Target Corporate, https://
corporate.target.com/corporate-responsibility/
education
[8] Corey H. Jones, “At SXSW, McDonald’s
showcase promises bands exposure -- but no pay,”
Colorado Public Radio, 5 March 2015, https://
www.cpr.org/news/newsbeat/sxsw-mcdonalds-
showcase-promises-bands-exposure-no-pay
or fictitious ones that dramatize consumer
experiences.
Using consumers’ own experiences in
advertising becomes a form of referral, in
which consumers themselves demonstrate the
utility or desirability of the brand. Referral-type
communication is typically persuasive enough
to stimulate at least one product trial when it’s
suggested from a personal relationship. Stories
created and shared among peer groups tend
to be the most persuasive; they build upon the
trust of those personal relationships.9
»» A Coca-Cola commercial created by Wieden
+ Kennedy in 2014 was composed entirely
of clips made by fans, who sent in their
own short videos showing what it is like to
taste a Coke. The video shows young people
wearing giant Coke costumes, running into
the ocean, getting bizarre haircuts and
more. The agency received over 400 user
submissions, 40 of which were used for the
final cut. To date, this video has achieved
over 600,000 views on YouTube.10
One
reason this commercial worked so well is
that it targeted the teen market, which is a
core demographic for the brand. Another
reason it was effective was a successful
traditional-media placement, using the teen-
friendly networks, such as the CW, MTV
and Adult Swim. By creating a campaign
[9] “Eryn Ivey, Account Director/NE, IZEA,
on User-Generated Content at the IAB,” Ad
Lab/ YouTube, https://www.youtube.com/
watch?v=uAJ3n2DmsFw
[10] Tim Nudd, “Coca-Cola Unveils First TV Ad
Made Completely With User-Generated Content,”
20 May 2014, http://www.adweek.com/adfreak/
coca-cola-unveils-first-tv-ad-made-completely-
user-generated-content-157857
23. 21 i n n o va t i o n i n a d v e r t i s i n g
built upon an incentive for participation,
the campaign energized a key market to
participate in the brand advertising.
User-generated campaigns are effective when
the spots appear real instead of artificial or
staged. The potential of UGC needs the raw
amateur element in order to foster a sense of an
authentic and credible consumer experience.
24. 22 i n n o va t i o n i n a d v e r t i s i n g
E
THICS HAS BECOME a more critical
part of developing compelling content for
brands. Innovative agencies can help create
stories that distinguish a brand as credible and
transparent, which results in long-lasting and
meaningful relationships with consumers.
Consumers increasingly expect companies to
exhibit socially responsible behavior and this
expectation goes far beyond legal compliance.
As brands attempt to create an ethical culture
of transparency and credibility, they must go
beyond basic legal compliance. Consumers
want and expect brands to display altruistic
behavior. The appearance of duplicitous
behavior can hurt a brand in the long term.
»» Retailer Lord & Taylor was criticized for its
handling of a social media campaign with
influential fashion bloggers. The company
provided 50 fashion influencers with a dress
and an undisclosed amount of compensation
to promote the item on Instagram. The
dress sold out immediately, but there was
one issue: neither Lord & Taylor nor the
advertisers disclosed that this was a paid
promotional campaign. While it remains
unclear if the company violated the FTC’s
disclosure rules on paid placements, many
agency executives and industry professionals
criticized the strategy saying that the
campaign was damaging to brands, creators
and consumers.1
The proliferation of user-generated content
empowers individuals to monitor and expose
unethical actions by brands, corporations or
candidates. Innovative companies and agencies
are increasingly committed to ethical behavior
with this expectation being paramount
to the business strategy, not an add-on
[1] Patrick Coffee, “Did Lord & Taylor’s Hot
Instagram Campaign Thumb Its Nose at FTC
Disclosure Rules?,” Adweek, 3 April 2015, http://
www.adweek.com/news/advertising-branding/
did-lord-taylors-hot-instagram-campaign-thumb-
its-nose-ftc-disclosure-rules-163858
Ethicalconsiderations
Innovativeadvertisingincreasinglyrequiresthat
brandsarehonest,transparentanddefensible.
» Consumers expect companies to exhibit socially responsible behavior.
» User-generated content allows markets to monitor unethical actions.
» Aligning a brand with ethical values can be risky, but many companies are
doing it successfully and agencies should advocate for this shift.
» Companies should provide consumers with honest, benefit-driven
information and experiences.
» They should reduce clutter by creating messages that people choose to see.
» Theiradvertising should present stories that address real people and real
needs.
25. 23 i n n o va t i o n i n a d v e r t i s i n g
public-relations function. If it is the latter,
consumers and watchdog groups will uncover
the truth. The growth of mobile technology
and explosion of user-generated content
has allowed consumers to take a more active
role in ensuring that a brand, corporation or
candidate delivers on its promises. Consumers
will increasingly and publicly challenge claims
made by companies that contradict their
behavior or product lines.
»» Mitt Romney’s famous “47 percent”
campaign speech video is thought by many
to have put the nail in the coffin of his
presidential campaign. At a private dinner,
Romney said that 47 percent of people
would support then President Obama “no
matter what” and criticized these individuals
for failing to take personal responsibility
and relying on government handouts. This
speech contrasted with Romney’s rhetoric
in public forums and, shortly after the video
leaked, he suffered a major loss in the polls.
Increased access to technology creates more
accountability.2
»» Videos of deplorable conditions at chicken
farm factories have led to swift apologies by
companies like Tyson Foods and customer
[2] Chris Cillizza, “Why Mitt Romney’s “47 percent”
comment was so bad,” The Washington Post, 3
March 2013, http://www.washingtonpost.com/
blogs/the-fix/wp/2013/03/04/why-mitt-romneys-47-
percent-comment-was-so-bad/
demands for sweeping reforms in industrial
food production.3
Aligning a corporate brand with ethical values
can be risky, but many companies are doing this
successfully and agencies should be partners in
this. Companies increasingly participate in
social causes and share their ethical positions
to the extent that, as an advertising executive
put it recently, “it seems like anyone who isn’t
on the bandwagon is behind the times.”4
»» As an example, gay marriage saw one of
the most rapid shifts in public opinion in
the past decade. In the wake of recent U.S.
Supreme Court decisions and changes in
public opinion, many companies including
Tylenol, Google, Target, Nabisco and Gap
created content to support equal rights for
same-sex couples.5
»» In 2015, Tylenol launched its “How
We Family” campaign, illustrating a
parallel between traditional families
[3] Tom Philpott, “Undercover Video Reveals
Savage Abuse at a Factory Pig Farm. Again.,”
Mother Jones, 21 November 2013, http://www.
motherjones.com/tom-philpott/2013/11/yet-
again-undercover-video-docuemts-savage-abuse-
factory-pig-farm
[4] Felicia Greiff, “Brands Show Their Support for
Pride Month,” Advertising Age, 23 June 2015, http://
adage.com/article/advertising/brands-show-
support-pride-month/299162/
[5] Paul West and David Lauter, “On gay marriage,
change in public opinion has been big, and
rapid,” Los Angeles Times, 26 March 2015, http://
articles.latimes.com/2013/mar/26/news/la-pn-gay-
marriage-public-opinion-20130326
and nontraditional families and creating
awareness of the challenges that
nontraditional families face. This campaign
was part of a larger challenge to traditional
definitions of family. It resonated with
consumers because the campaign provided
a compelling and emotional message that
stood out from the onslaught of ads that
people see every day.
While consumers have generally embraced
these campaigns, risks exist for companies
engaging with these types of issues. Socially
aware campaigns can be interpreted as
disingenuous and can be polarizing. It’s
important that brands understand and evaluate
these risks when developing a campaign or
strategy that aligns with a specific set of values.
Bringing ethical positions and brands together
continues to pose difficulties, in particular
for agencies and their employees. A case in
point is Alex Bogusky, the former Creative
Director of Crispin Porter + Bogusky, who
increasingly could not reconcile his work on
groundbreaking campaigns for Burger King
with his personal stance on fast food. Bogusky
referred to this dilemma as an “imperfect
situation where we make decisions within
corporations and then we go outside and have
to deal with it.”6
Bogusky resigned from the agency in 2010,
with much of his later work serving nonprofit
[6] Susan Berfield, “Bogusky Turns Back on Career
as Advertising Misses Deeper Truth,” Bloomberg
Business, 30 June 2010, http://www.bloomberg.
com/news/articles/2010-07-30/bogusky-turns-
back-on-career-as-advertising-fails-to-reveal-
deeper-truth
26. 24 i n n o va t i o n i n a d v e r t i s i n g
clients. Increasingly, advertising agencies are
realizing that the type of work they create and
the clients that they take on can affect their
corporate culture, recruiting abilities and sense
of value or worth that employees ascribe to the
agency.
Instead of hiding or washing away ethical lapses,
companies should create a brand image that is
honest, transparent and defensible. To do this,
their advertising should provide consumers
with honest, benefit-driven information and
experiences.
»» In 2011, Patagonia placed ads in several
publications, including a full-page one in
the New York Times, with the headline
“Don’t buy this jacket.” The advertisement
detailed the environmental cost of creating
a single jacket and asked consumers to
think twice before buying a new one.
Patagonia suffered, at least in the short
term, from this message. At the same time,
the message resonated with the brand’s
audience and created transparency in an
industry where it is often lacking. Patagonia
isn’t an exclusively altruistic company.
It’s a business that wants to make money
and grow, which can cause environmental
harm. However, this campaign is not an
example of greenwashing. In consumers’
mind, it came off as a genuine attempt to
create conversations about sustainable
consumption.7
By contrast, companies that cannot resolve
their ethical challenges will have increasingly
difficult problems.
[7] Tim Nudd, “Ad of the Day: Patagonia,” Adweek,
28 November 2011, http://www.adweek.com/news/
advertising-branding/ad-day-patagonia-136745
»» In 2000, British Petroleum (BP) famously
rebranded to Beyond Petroleum. It created
commercials asking consumers about
their carbon footprints and made bold
claims regarding investments in renewable
technologies. However, many consumers
have rejected these claims as ludicrous.
Accidents such as the 2010 BP oil spill made
them harder to back up.
»» In 2013, Coca-Cola created an anti-obesity
commercial aimed at educating consumers
about obesity. Some individuals were quick
to criticize the ad, questioning the credibility
of claims made and asserting that this was
a public relations move to assuage attacks
from legislators, health organizations and
schools. An Executive Director of a public
interest group said, “The new ad is a page
out of Damage Control 101, which is try to
pretend you’re part of the solution rather
than part of the problem.” A Coca-Cola
executive responded to critics by stating
that obesity is complex, that it requires
collaboration to solve and that the company
wants to be part of that solution.8
Innovative companies should reduce clutter and
intrusiveness by creating compelling messages
that people choose to see, rather than bombarding
consumers with unwanted messages everywhere.
Consumers are barraged with advertisements
and messages every day, with one estimate
claiming that people see more advertisements
[8] Nancy Hellmich, “Critics attack Coke’s
anti-obesity ad,” USA Today, 14 January 2013,
http://www.usatoday.com/story/money/
business/2013/01/14/coca-cola-obesity/1832555/
in a single year than people 50 years ago saw
throughout their lives.9
Recently, ad blockers and other tools have
emerged to help consumers reduce the
number of advertisements popping up on
their computer screens. In response, some
companies have created anti-ad blocking
technology to combat decreasing advertising
revenue. The problem with this response is that
it misses the point. The issue is not a technical
one, but an ethical one—in this case, ignoring
the preferences of the markets it addresses.
Google’s Larry Page points out that “Ad
blocking isn’t about removing ads, but forcing
the industry to embrace more consumer-
friendly tactics.”10
By contrast, agencies need to create messages
that consumers want to see and share.
»» In 2014, Chipotle created and introduced
“The Scarecrow” animated video, a dystopian
fantasy about industrial food production,
along with an interactive video game that
allows players to move animals from factory
farms to open pastures. The video achieved
more than 14 million views on YouTube and
won the Grand Prix award at the Cannes
Lions festival.
The campaign was successful because it told
a powerful story that emotionally connected
consumers to a goal of sustainable food
[9] “Story of Stuff (2007, Official Version),”
YouTube, https://www.youtube.com/
watch?v=9GorqroigqM
[10] Roi Carthy, “Anti-Ad Blocking Is Anti-
Consumer,” Advertising Age, 30 June 2015, http://
adage.com/article/digitalnext/anti-ad-blocking-
anti-consumer/299272/
27. 25 i n n o va t i o n i n a d v e r t i s i n g
production. Chipotle didn’t even appear in the
video until the very end. This campaign created
awareness for Chipotle’s sustainable sourcing
ethos through a powerful story and presented
a clear contrast between Chipotle and its “Big
Food” rivals such as McDonald’s and Burger
King.11
Companies should develop stories that address
real people and real needs, rather than fantasy
characters or goals that individuals aspire to but
fall short of achieving. To develop messages that
consumers want to engage with, innovative
agencies should focus increasingly on crafting
powerful stories that add value and meaning to
the brand.
»» In 2014, lingerie brand Aerie experienced
strong sales and favorable reception
regarding its campaign that featured images
of women that had not been retouched—
models with beauty marks, tattoos, freckles
and stretch marks. The company added
photos of women in varying sizes trying on
their products to give consumers a better
idea of how their products might appear on
them. As a result, Aerie saw a nine percent
jump in sales. This campaign gave women
more information in their online shopping
experience and promoted a body-positive
[11] Alexandra Bruell, “CAA Wins PR Grand Prix
for Chipotle’s ‘The Scarecrow’,” Advertising Age, 16
June 2014, http://adage.com/article/special-report-
cannes-lions/caa-wins-pr-grand-prix-chipotle-s-
scarecrow/293727/
image across the advertising spectrum, a
rarity among swimsuit companies.12
»» Dove’s “Real Beauty Sketches” commercial
contrasted the perceptions of women by
themselves and by others. This video has
been viewed more than 114 million times.
By featuring real women of varying ages
and body shapes, the video connected
with women’s emotional attitudes and
their frustrations with the beauty industry.
While some critics say the video panders
to female audiences with phony displays
of empowerment, the message appealed to
Dove’s consumers, and the company saw
profits of more than $500 million following
this campaign.13
[12] Hanna Masaryk, “When This Lingerie Brand
Stopped Photoshopping Models, Sales Shot Up
9%.,” Adweek, 4 November 2014, http://www.
adweek.com/news/advertising-branding/when-
lingerie-brand-stopped-photoshopping-models-
sales-went-through-roof-161224
[13] Laura Stampler, “How Dove’s ‘Real Beauty
Sketches’ Became The Most Viral Video Ad Of All
Time,” Business Insider, 22 May 2013, http://www.
businessinsider.com/how-doves-real-beauty-
sketches-became-the-most-viral-ad-video-of-all-
time-2013-5
