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Strategic Portfolio


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Portfolio of Brand Strategy

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Strategic Portfolio

  1. 1. RICHARD GALT Education 07960 791934 January 2009 - present Bucks New University MA Creative Advertising 2004 – 2007 The University of the Arts London Summary Camberwell College of Arts I am a highly motivated, ambitious graduate of the University of the Arts, London. I BA (Hons) Fine Art; Painting 2;1 (75%) am currently studying to be a Creative Planner at Buckinghamshire New University. I 2003 – 2004 Art Foundation Course have excellent social skills and work well both on my own and as part of a team. My Arte Sotto un Tetto, Florence, Italy training both at University and as a Teacher in Japan has left me with a very broad range of interests and allows me to work creatively and strategically. 2001 – 2003 St Edward’s School, Oxford A level: Art (A), Maths (B), French (C) Work Experience & Employment Interests June 2009 Work Placement with Fallon London Languages French: intermediate level reading, writing and speak- April - May 2009 Worked with London 2012 culture department on the ing (A level). Inspire branding and positioning Italian: intermediate level speaking, basic level reading and writing. Japanese: basic level speaking, reading and writing. April 2009 Work Placement with Inbox DMG. Working closely with their Creative Director and Head of Planning Travel I have travelled extensively in Europe, Asia and South America. February 2009 Worked with BBH innovation department, Zag, on a Sport Hockey, snowboarding and surfing. live innovation project Judo - I am currently working towards my black belt. Computing Proficient in Word, Excel, PowerPoint, Photoshop, August 2007 – August Language Teacher InDesign and Illustrator. 2008 Murata Board of Education, Miyagi, Japan. I was employed to teach children aged 2 – 15 years References within 13 different schools School University Mr Vaughan Abigail Bruce Sinclair June – July 2006 Internship with WARL Advertising agency, London St Edward’s School Bucks New University Woodstock Road Queen Alexandra Road January 2006 – July 2007 Area Manager for the London Lite Newspaper Oxford BUCKS OX2 7NN HP11 2JZ
  2. 2. Winter ‘Mulled’ Magners
  3. 3. Magners Background Magners sell more cider in the summer than competitors, due largely to the original marketing campaign of “Magners on Ice”, but less for the rest of the year. When the sun comes out, so do the Magners. But in the UK both are short-lived. This Allows Strongbow to take the overall number one spot for Cider sales all year round. Magners is currently only seen as a Summer drink. Objective To take the leading position of cider sales in the UK. Strategy By creating a new product and campaign, for the winter season. It should be as different and innovative as ‘Magners on ice’ and stand out in a pub full of pint drinkers. It should be an alternative to the typically cold lager in a season where hot drinks are the most refreshing. Insight Hot ‘Spiced’ Cider is already drunk all over the country, but not commercially. Idea “Mulled Magners” - the winter alternative to “Magners on Ice” Rationale Pimms has run a very similar product with the reintroduction of the No. 3 cup, a brandy based version of Pimms. Pimms spent £2m on marketing and it has been a success. However it has not truly become a success due to its lack of in pub drinking. Magners knows that to start a drinking trend, you need to stand out in a pub. Mulled Magners will be entirely targeted at pub drinking. By creating a trend of the new han- dled pint glass, you create a clearly visibly distinctive product differentiation. Tone of Voice Warm and relaxed Richard Galt 2009
  4. 4. Magners Target Market Young professionals with busy, sociable lifestyles. They have as many friend sof the op- posite sex as the same sex as them. They like sport and music and anything that they are able to experience with friends. Campaign 1. Release the typical Magners Pack shots in the winter season in the normal places, e.g. taking over tube stations with wall-to-wall orchards, however with the addition of oven gloves next to steaming hot pints. 2. Branded oven gloves are given out with every mulled pint in pubs, so con- sumers can drink the hot glass. 3. The new and branded pint glass with a handle is released a week later. People will try the oven glove “as a laugh” and so try the product, but the handled glass then allows them to repeatedly drink the product and therefore can move into habit if the product is enjoyed. The handle devises a clearly distinctive and mimicable trend that like ‘on ice’ can spread through pubs all over the UK. 4. In pub advertising with the invention of the seasonal Magners fridge. In sum- mer it is cold and in winter it is hot. This enables the trend to spread in the places that most people drink and talk about drinking. 5. Winter Sports promotions, placing stalls selling hot Magners with gloves in the colour of sports teams at games allows both merchandising to spread the trend and targets people when they will most want a hot drink and also when such a brand innovation is at its most visible to the public and particularly its target market. References Pimm’s No. 3 cup Richard Galt 2009
  5. 5. The British peoples’ digital gallery
  6. 6. Tate Modern Background “For the community of art lovers, and the wider public beyond, Tate Modern stands as a testament to the reality of that museums are no longer just repositories for artefacts; they are sites of experience, education and enjoyment, where the mind is engaged as much as the eye.” Jon Snow Problem The Tate Modern plans an extension to the current building, that will be a vast 11 storey glass pyramid, next to the current building. They are ready to start, but have so far raised only a third of the needed £215m. They have been granted 5 years to raise the capital, unlike the usual 3, due to current economic climate. Objective To raise funds for and generate communal engagement in the expansion project. Strategy By creating a fundraising venture that keeps Tate Modern as a digital forerunner and THE institute for the people by engaging nationwide participation. Insight Everyone thinks they are a photographer. Everyone can be with modern camera phones. Idea ‘’ Rationale This makes the Tate Modern the art forum of and for the masses. The Internet forum for anyone to upload, view, discuss and rate photgraphs. Competitions can be run and prizes given, sponsored by new cameras, phones or galleries wanting promotion. It becomes a platform for anyone to exhibit their work, for all to see. It could become the most up to date representation of British society, for us and the world to see. Richard Galt 2009
  7. 7. Tate Modern Brand Benefit Tate would not onlly become synonymous with the forefront of art gallery crossing with technology, but they would also have the opportunity to generate large amounts of extra footfall. With nationwide school competitions running, far more schools would then visit to see their students work in one of the most exciting galleries in the world. Tate can help fund the new extension by tying in the promotion of TateTube to a cer- tain mobile phone company. For the phone company, the benefit is huge, to be linked with the forefront of art and technology. For Tate, a large sum of sponsorship along with brand image enhancement. Campaign Supply some of the best British artists with camera phones and commission new photos to be taken daily by them. The photos can then be showcased on large electronic interactive boards in front of the Tate Modern, on bus stops, even buses and on the London tube platforms or in carriages, pretty much anywhere. Innovative views of the country and British life can be seen by anyone, anywhere, next to the name of the gloriously democratic and accessible Tate Modern. Market Research ‘At Tate Modern, an average of 49% of visitors are 17-34’ (2.3 million a year!) An audience who create and spread media more than any other. An audience who, beacause of the internet, want more of an interactive dialogue with brands and art. An audience who interact with art, like in the turbine hall. Richard Galt 2009
  8. 8. ‘Free Range’ Cadburys Crème Eggs
  9. 9. Cadbury Creme Eggs Background Cadbury sales are currently very successful, despite the economic downturn. Argu- ably, peoples need for quick satisfaction is irrelevant of their financial status. This, or they are seeking a treat more often, when they are holding back in other areas. Objective To sell more Cadburys Crème Eggs in 2010 than in 2009. Strategy By launching a campaign that goes beyond the typical 16-24 year old target market. Insight Cadburys currently use battery chicken eggs to make 2% of every Crème Eggs. People don’t know this. Idea ‘Free Range’ Cadburys Crème Eggs! Rationale By creating ‘Free Range’ Crème Eggs, Cadbury would highlight the ethical practice of their product and brand, which has already been highlighted on the Internet. This will target large awareness to non-users and allow them to establish a deeper engage- ment with the brand through their own set of values. However, if the tone of voice remains similar to recent campaigns, then the core users will keep their strong brand loyalties. The term “Free Range” initiates large amounts of on-brand creative work to be produced. It is not going to alienate any of the core users, only expand infrequent users. By expanding the overall market they are also expanding their lead over their com- petitors Green&Blacks, M&S and Thornton’s. Tone of voice Playful and anarchic, but ethical Richard Galt 2009
  10. 10. Cadbury Creme Eggs Key Media Channel Strategies TV campaign, leading to online videos that draw attention to a fully interactive web- site, allowing social networking, downloadable games and showcasing UGC around the Cadbury Brand. Campaign 1. TV and Internet video campaign with ‘Free Range’ chocolate chickens producing ‘Free Range’ Cadburys Crème Eggs in a countryside chocolate chicken farm. 2. Then release on the same channels a video campaign of a plucked chocolate chicken with all the trimmings, going into an oven and melting slowly and sensually. 3. Next release fake ‘consumer’ YouTube ‘how to’ of warming up your Cadburys Crème Egg in the microwave. The video can show the perfect timing to get edible and show how if you go over the time it will ruin your microwave. But show ‘consumer’ eating it with a spoon in an eggcup - a fully mimicable marketing technique. 4. The website will include a forum for all users to uploads their ‘how do you eat yours’ methods of past Crème Egg advertising and anyone who uploads a non already found way of eating the eggs is given 1,000 free Cadburys Crème Eggs. This brings the old marketing into the prosumer world. 5. There is a strong online campaign that is ridiculing the change in size of Cadbury Crème Eggs between 08/09. If Cadbury were also to sell very large Easter egg type Cadbury Crème Eggs, with a small fondant filling and chocolate all over the outside that could then be dipped into the middle, they could play with the ac- cusation of reducing size in the campaign. Reference “Smokin’ Smarties” on YouTube “Microwaving a cream egg” on YouTube Augmented Reality - Richard Galt 2009
  11. 11. Cadbury Creme Eggs Cadburys Crème Chicks Finally run an “Augmented Reality” promotion. With the correct software installed, the Crème Egg will then break from the inside out and a chocolate chick will hatch that grows and then runs around your desk, laying mini Cadburys Crème Eggs, via the live video feed!! This can easily be used by anyone with a web cam or even a mobile phone. To do this one needs to download basic software from the website. This will generate large amounts of both press coverage and consumer conversations. By embracing the forefront of the digital media, Cadburys are continuing their current philosophy with moments of childish joy. Digital Chicks will be the first fully public integrated Augmented Reality campaign that will encapture all ages alike with the strongest interest from the 16-24 year old current target market. Reference Richard Galt 2009