Vloek of zegen? v en a

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Vloek of zegen? Marketing in de erfgoedsector

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  • And as you can see from the quotes here, there were some positive comments indicating signs of change – I should say this was around 2002.
  • Vloek of zegen? v en a

    1. 1. How Brand and Marketing Transformed the Victoria and Albert Museum Sarah Armond Senior Marketing Manager February 2014
    2. 2. Introduction  Founded 1852, the Victoria and Albert Museum is the National Museum of Art and Design  Located in South Kensington, London  Hugely diverse collection including fashion, fashion, furniture, ceramics, glass, paintings, sculpture and photography from some of the world’s richest cultures  Large rolling exhibitions programme  In the top 10 most visited attractions in the UK  2012/13 – 3.3 annual visitors  1999 – Almost 900,00 visitors 2
    3. 3. It really wasn’t good . . .  No shared vision or defined values  No sense of purpose  Bureaucratic  Disjointed silo internal culture  Image problem  Low visitor attendance  Poor fundraising record  Unhappy and unmotivated staff In all, a failing organisation 3
    4. 4. 2001: a tipping point for change British Galleries before renovation © Victoria and Albert Museum, London British Galleries, reopened 2001 © Victoria and Albert Museum, London 4
    5. 5. 3 main aims of the brand refreshment programme  to redefine the brand, the V&A’s purpose and values  to refresh our communications and visual identity  to instigate cultural change within the organisation 5
    6. 6. Positive comments, indicating some signs of change . . . “the diversity and breadth of the collections is unique” “world class curators who are experts in their field” “the Art Deco exhibition is big, beautiful, intelligent and seductive – a show it would be ridiculous to miss” “generally things are getting much better” 6
    7. 7. but still a way to go . . . “it’s very compartmentalised, there’s a lack of co-ordination and discipline” “we’re not good at prioritising or seeing the big picture” “decisions are made for the convenience of the museum, not the public” “the museum is often aloof and intellectually detached. Curatorial intelligence is deep but narrow” “there’s an unwillingness to change, due largely to poor internal communications” 7
    8. 8. The V&A blueprint what we do We run the world’s greatest museum of art and design what we value generosity imagination coherence rigour what we focus on Why we do it to inspire creativity through our knowledge international/national creative industries access & audiences efficiency & effectiveness how we do it we use our unique collection to bring the past to life, explore the contemporary and inspire the designers of the future Mission Statement To be the world’s leading museum of art and design, enriching people’s lives by promoting knowledge, understanding and 8 enjoyment of the designed world
    9. 9. Design Refresh 9
    10. 10. Organisational Change  CulturePlan – about people and how they relate to each other  To help develop an internal culture that is a true reflection of all that we project to the outside world  50+ champions for change, across the Museum, all levels  Action group – senior management and others who can make decisions 10
    11. 11. Internal Communications Investors in People report positive change: “Communications here have improved over the past 3 years” “People are more confident that one message is being cascaded” “Staff understand how they contribute to the work of their department and to the V&A as a whole” 11
    12. 12. Private view Temporary exhibitions Friday Late Fashion in Motion Programming 12
    13. 13. Continuing our ambitious programme of renewal, restoration and redisplay The Clothworkers’ Centre for Textiles and Fashion Study and Conservation © Victoria and Albert Museum, London The Dr. Susan Weber Gallery for furniture © Victoria and 13 Albert Museum, London
    14. 14. The V&A Today
    15. 15. Visitor Profile  2012/13 3.3 million visitors  Origin 52% UK/ 48% Overseas  Gender 35% Male/ 65% Female  Frequency of Visit 55% Repeat/ 45% First-time  Ethnicity 84% White/ 16% non white  Socio Economic Status 61% Higher/ 7% Lower/ 32% Students/other  Age 7% under 15, 22% 16-24 33% 25-44 28% 45-64 10% 65+ 15
    16. 16. Audience Drivers  Exhibition programme (UK and overseas)  Permanent Collections and FuturePlan developments (UK and overseas)  V&A Digital (UK and overseas)  Events, activities, services (UK)  Membership (UK)  Audience focused events (UK) 16
    17. 17. Marketing Channels  Advertising Outdoor (tube, bus, rail), press, radio, onsite and guidebooks  Promotional Partnerships Brand relationships, ticket offers, competitions and added value events  Digital  Press and PR interviews, Press launches, releases, key images, previews, features and reviews  Print Distribution Posters, postcards, direct mail, third party distribution channels  Experiential Creative distribution, flash mobs  Sponsors Staff engagement, advertising, competitions  Word of Mouth Website, social media (Twitter, Facebook, Instagram, Pinterest), email, bloggers, content 17
    18. 18. Collaboration  Visit London/London and Partners – Market intelligence, campaigns  Association of Leading Visitor Attractions (ALVA) – Lobbying  Association of Train Operating Companies (ATOC)/Oyster – Ticket offers, campaigns  Overseas PR support  Ticketing Agency – Ticketing with international reach  Other Museums – Campaigns to promote free admission 18
    19. 19. London for Free 19
    20. 20. Evaluation  Visitor Research – Monthly exit surveys, evaluation  Benchmarking with other museums  Ticket Sales  Industry developments and new thinking  Media analysis 20
    21. 21. Corporate campaign  69% of non-visiting museum groups have had their perceptions of the V&A changed for the better  Generating 100,000+ visitors a year 21
    22. 22. It’s now so much better . . .  One of the world’s leading museums  Transformed reputation  3.3 million visitors a year  Beautifully restored buildings and galleries  Fundraising success  Clear and consistent design identity  Communications and Marketing core to business planning  Exciting and varied exhibition programme  A content provider, not just a content collector  Ambition to be a truly global museum brand  Engaged and motivated staff 22
    23. 23. 10 Golden Rules of Marketing  Clear purpose of the business - must know what you are selling and aim to improve the quality of your customers’ life.  Must focus on benefits of what you are selling rather than the product itself  Must test, measure any aspect of marketing to drive more effective results  Listen and talk to customers  Rethink and be innovative  Brand must be controlled centrally and rolled out everywhere, including Front of House, café,  Tone of voice and identity must be consistent in all parts of the business  Keep track of the digital revolution!  Make sure your staff are clear about the organisation’s purpose, strategic priorities and its values – they will then be more engaged and better brand ambassadors  Make sure all your internal communication channels also communicate your brand and keep staff fully informed including feedback channels for comment 23
    24. 24. And finally… 24

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