Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.
Upcoming SlideShare
What to Upload to SlideShare
What to Upload to SlideShare
Loading in …3
1 of 35

Thinkbox 'the case for creativity'



Download to read offline

Tom Roach, BBH’s effectiveness head, was asked by Thinkbox to present the business case for creativity at their spring event. Inspired by Thinkbox’s own nickable slides, here’s the nickable presentation he gave, bringing together the best evidence for the value of creativity in marketing communications.

Thinkbox 'the case for creativity'

  3. 3. “Leadingbrandsandagencieshaveknownfor manyyearsthatmorecreativeworkdelivers betterresultsthan‘safe’andrational advertising.Whathasbeenexcitinginrecent timesistoseetheemergingproofofthis,the hardevidencethatcreativeworkismore memorable, moreeffectiveandbetterableto driveoverallbusinessperformance.” Source: Keith Weed, Foreword to ‘The Case for Creativity’, James Hurman.
  7. 7. NOVEL,NON-OBVIOUS,USEFUL. Source: US Patent Office patenting criteria
  9. 9. “Makeitdifferent.Makeitsimple.Makeitmoveme.” Source: BBH CCO, Ian Heartfield
  11. 11. TRENDSWORKINGAGAINSTCREATIVEEFFECTIVENESS Source: Les Binet and Peter Field, Media in Focus, Marketing Effectiveness in the Digital Era, The IPA.
  12. 12. LONG-TERMDECLINEIN%WHOAGREE“IENJOY TVADSASMUCHASTHEPROGRAMMES” Source: TGI 1984-2018 0.0 5.0 10.0 15.0 20.0 25.0 30.0 35.0 1984 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 % of all UK adults who agree
  13. 13. ADBLOCKING–ASYMPTOMOFADECLINEIN CREATIVITY? Source: Doc Searls blog One massive and very likely over-estimate puts ad blocking at 2 billion worldwide. A 2017 PageFair report says 615 million devices now use adblock and 11% of the global internet population is blocking ads on the web. Now GlobalWebIndex say 47% of people globally sometimes block ads. 49% of people who block ads say they do it because there are too many ads, 47% say it’s because ads are annoying or irrelevant, 44% say it’s because ads are too intrusive.
  16. 16. CREATIVECOMPANIESPERFORMBETTER Companies scoring in the top quartile of McKinsey’s Award Creativity Score* performed better than peer firms on three key measures: • 67% had above-average organic revenue growth. • 70% had above-average total return to shareholders • 74% had above-average net enterprise value *ACS weighted 3 factors – number of Cannes Lions, breadth of categories, consistency over time. Source: McKinsey ‘Creativity’s bottom line – how winning companies turn creativity into business value and growth’
  17. 17. CREATIVECOMPANIESOUT-PERFORMTHE S&P500 Source: ‘The Case for Creativity’, James Hurman. Cannes Advertisers of the Year 1999-2015 out-performed the S&P 500 by a factor of 3.5. 1999-2015 Cannes AOTY’s stock market performance averaged +26.1% vs the S&P 500 average growth of +7.5%. Since 1999 every Cannes Lions Creative Marketer of the Year company has won during a period of record performance.
  18. 18. DISRUPTION&DIFFERENCE INCREASEBRANDVALUE Over a three-year period from 2015-2017 brands that were perceived to be both highly disruptive and different increased in brand value by 28%, whereas brands that were perceived as both low in disruption and differentiation declined by -5% in an analysis by Kantar Millward Brown. Source: Kantar Millward Brown, BrandZ, 2017.
  19. 19. ADSTHATMAKEBRANDSSEEMDIFFERENT AREMORELIKELYTODRIVESALES The top 1/3 ads for 'make the brand seem really different’ in Kantar’s Link database achieve +90% vs the bottom 1/3 on Kantar’s measure of an ad’s likelihood to drive short-term sales (STSL). Source: Kantar analysis of the Link Database. Short-term Sales Likelihood (STSL) is a measure that is strongly predictive of sales shares increases
  20. 20. CREATIVEISTHELARGESTCONTRIBUTOR TOTHESALESUPLIFTFROMADVERTISING Source: Nielsen, ‘When it comes to advertising effectiveness what is key’, a study based on nearly 500 FMCG campaigns that ran in 2016 and first-quarter 2017 on all major media platforms: linear and addressable television, online digital and video, mobile, magazines and radio. Good creative was found to be the most important element in a study by Nielsen of 500 FMCG from 2016-17, responsible for 47% of the sales uplift. When the quality of creative was strong—sales lift was higher. Conversely weak quality creative resulted in weak overall sales lift, and media was responsible for more of the sales lift.
  21. 21. CREATIVEEXECUTIONISTHEMOST IMPORTANTLEVERINADPROFITABILITY Creative execution is, after market and brand size, the 2nd most important driver of advertising profitability, on average multiplying profitability by a factor of 12 according to Data2Decisions. Source: Paul Dyson, Admap, Sept 2014, The Top 10 Drivers of Advertising Profitability
  22. 22. Emotional campaigns are almost 2x as likely to achieve top-box profit performance as rational campaigns, and over 2x as efficient at driving market share growth per 10 pts of excess SOV. Source: Les Binet & Peter Field, ‘The Long & The Short of it’, The IPA. EMOTIONALCREATIVEISMOREPROFITABLE
  23. 23. Creatively-awarded campaigns are 11x as efficient as at driving market share growth as non-awarded campaigns, and highly awarded campaigns are around 16x as efficient. This means they drive market share growth 11-16x more strongly per point of excess SOV. Source: Les Binet & Peter Field, ‘The Long & The Short of it’, The IPA. CREATIVELY-AWARDEDCAMPAIGNSAREMUCH MOREEFFICIENTATDRIVINGSHAREGROWTH
  24. 24. Campaigns designed to drive fame out-perform others on all other business metrics: sales, market share, penetration, loyalty, profitability and especially, reducing price sensitivity. Source: Les Binet & Peter Field, ‘The Long & The Short of it’, The IPA. FAME-DRIVINGCREATIVEOUT-PERFORMSTHE RESTACROSSALLBUSINESSMETRICS
  25. 25. MORECREATIVEADTECHNIQUESAREMORE MEMORABLE Analysis of 200 ads tested by Neuro Insight, using the brain scanning technique SST, showed that creative techniques that evoked intense emotions such as the use of humour and featuring fantasy/surreal scenarios, were more likely to be liked and enjoyed and to trigger long-term memory encoding than price-led or purely informative ads. And it suggested ads where a product was ‘showcased’ rather than ‘sold’ elicited 17% higher brain response. Source: Thinkbox ‘Creative Drivers of Effectiveness’ 2016
  26. 26. CREATIVEADSLOGANS AREMOREMEMORABLE Research into the Von Restorff effect in creative advertising found that highly distinctive ad slogans are much more likely to be recalled, but only if they’re judged to be high quality and not if they’re substandard. Source: Pick, D. F., Sweeney, J., & Clay, J. A. (1991). Creative advertising and the von Restorff effect. Psychological Reports, 69(3), 923-926
  27. 27. CREATIVETHATEVOKESINTENSEEMOTIONSIS MUCHMORELIKELYTOBESHARED Source: Make ‘em laugh, make ‘em cry: Understanding Which Emotions Drive Video Sharing on Facebook, The Ehrenberg-Bass institute, Oct 2011 A study by the Ehrenberg-Bass Institute exploring which emotions drive the most video sharing on Facebook, showed that intense (‘high arousal’) positive emotions lead to much more sharing than less strong (‘low arousal’) positive emotions or negative emotions. Videos that cause hilarity, inspiration, astonishment or exhilaration are much more likely to be shared than others.
  28. 28. The better Audi ads perform on Audi’s distinctiveness index (ie ‘this ad makes the brand seem really different’), the greater the % of Audi sales that are driven by advertising. Source: Kantar Media Millward Brown Audi Advertising Distinctiveness Index (How strongly do you agree or disagree that the ad makes you think this brand is really different from others?) Marketshare Econometrics: share of total volume sales that are media driven (indexed to 2015 levels for confidentiality) DISTINCTIVEADSTHATMAKEAUDI‘SEEM REALLYDIFFERENT’SELLMORECARS