Cover Page

MA Advertising
HOW AND WHY WILL ADVERTISING AGENCIES EVOLVE IN THE
FUTURE?
Jenna Hoyle
October 2010
TOP COPY

Title page

1
 Bucks New University
Faculty of Creativity and Culture
MA Advertising
HOW AND WHY WILL ADVERTISING AGENCIES EVOLVE IN THE
FUTURE?
Jenna Hoyle
Bill Schaaf
October 2010
Word count: 7,410
ADM02

Contents

2
Pg 4 Preface

Pg 5 Introduction

Pg 6-10 Section One

Will the future agency look to integrate or outsource?

Pg 11-15 Section Two

How and why will the agency-client relationship need to
evolve in the future?

Pg 16-20 Section Three

How and why will data become important for the future of
advertising agencies?

Pg 21 Conclusion

Pg 22 Picture Credits

Pg 23 Bibliography

Pg 24-34 Appendices
Pg 24-27: One
Pg 28-29: Two
Pg 30: Three
Pg 31-32: Four
Pg 33: Five

Pg 34-37 End Notes

Pg 38 Acknowledgements

Preface

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If you don’t like change, you’re going to like irrelevance even
less.

In February 2008 following Super Tuesday’s results, Barak Obama claimed

that ‘Change will not come if we wait for some other person or some other
time. We are the ones we’ve been waiting for. We are the change that we
seek’1

Advertising agencies are debating how they will have to fundamentally

change in order to ensure continued success. Yet change is a daunting
prospect. Change involves foresight, bravery and communication. What are
agencies waiting for?

As Obama suggests - we are the ones we have been waiting for and we are
the change that we seek. This industry has the intelligence, the creativity
and the foresight to realise that change is imminent, so why the reluctance?
Perhaps the recession is making agencies cautious2.

Change involves leaving room for experimentation, for failure and for
learning. The advertising industry may not always allow itself to experiment
with new ways of working. Learning develops from trying something different.

Failure should not be advocated. Yet to stop suffering from this ‘advanced
galloping panic’3 which is rife in the industry at present, it is necessary to let
go of the old model, and embrace experimentation.

In an uncertain world, where agencies are being ‘spun off in every direction’4
it is important for our industry to recognise what is upon us and act
accordingly. As Eric Shinsekii once said: “You may not like change, but you’re
going to like irrelevance even less”5

i
Chief of Staff for the American Army 1999-2003

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Introduction
Advertising agencies are set to change in the near future. There is a need to
contextualise where advertising agencies feature in today’s changing media
landscape. By understanding these changes, it is hoped that the advertising
agencies’ relevance in today’s society will become apparent.

To develop an understanding of change it has been necessary to consider a

wide range of research. To consider an abstract topic using primary research
methodology necessitates developing this essay based on observations and
findings with insights from some of the leading voices in advertising. Where
opinions outweigh fact it will be necessary to talk to those who work for
agencies but also to clients. Correlations will also be sought within relevant
blogs and supporting articles.

Advertising agencies are facing an inflection point; a time in the life of the
business where the fundamentals are about to change. This is due to a
number of shifts that have occurred which are beginning to shake the
foundations of the business. As consumers sit in the driving seat of media,
how will agencies manage brand communication? Will clients look to focus
more on developing service ecologies in an age where narrowcasting is key?
What does this mean for traditional media? Will agencies look to integrate in
a bid to control the fragmentation of media or will their success lie in
outsourcing and using the consumer as a vehicle for communication? The
huge push for brand advocacy in favour of brand management may also be
relevant. Do advertising agencies find themselves in a world where
increasingly, clients are demanding more business solutions and less
advertising? And if this is the case, how and why will client-agency
relationships need to evolve? Owning and selling data may become of
increasing importance.

This essay looks into three areas which will strive to answer the above
questions. They have been grouped into looking at how and why the agency
model needs to change, how and why the client-agency relationship needs to
evolve and how agencies of the future may need to focus on data to underpin
their future communication strategies.

To this end, the research indicates a complex and changing environment.

5
SECTION ONE
Will the future agency look to integrate or outsource?

This section concentrates on how and why advertising agencies in the future
will develop internally. It seeks to discuss how and why agencies may chose
to look toward a more integrated future. Is the future going to be filled with
conglomerate agencies which will control their output in-house? What are the
benefits and disadvantages of integration? Or comparatively, will they seek a
future which allows them to be less production focused? There is an
argument which suggests that agencies may seek to move towards becoming
smaller and more specialised companies who outsource production and seek
inspiration from crowd sourcing. Throughout this section I have gathered
research which discusses these themes in a bid to find an answer.

Will agencies become integrated?

Integration within advertising systematically permits all media channels to be

conjoined. A campaign that communicates its message beyond television or
digital can therefore achieve this under one roof. By combining digital,
television, print, social media and data analysis, agencies which are
integrated are able to produce focused campaigns on a cross-channel basis.6
These campaigns can be applied to many different platforms and can reach a
larger and more diverse audience. In order to successfully integrate one
must cross-channel plan. Consequently cross communication becomes
essential.7

By having an integrated agency, where there is no outsourcing of any kind, a

campaign can be constantly focused on a strategic plan. This achieves a
consistent approach with regard to the consumer and all which this entails to
connect with them in a congestion of brand culture. Joseph Jaffe suggests
that the process of integration is similar to the ‘justice league of America’ in
that ‘each superhero has his or her own specialization, special powers and, of
course, weaknesses. Operating individually their effectiveness is limited, but
combined are pretty damn tough to beat.’8

By having an integrated agency, there is a constant flow of cross-channel

communication, where agencies are able to adapt and quickly produce
relevant communication tools based on a strong understanding of where the
consumer lives on and offline9. Each medium has a defined role to play amid
a large group of communications. By integrating, agencies can decide and
manage that media to underpin a strategic thought. The art of integration
requires and involves full and thorough objectivity. It starts with a business
problem and offers up a solution which uses a cycle of interlinked touch
points, grouped together with three main agency strengths; structure,
culture and people.10

6
However there is a danger that fully integrated format agencies may rely on
their in-house production to achieve a successful campaign for their clients.
At its core, a campaign has no predetermined medium or format. By having
everything in-house, the cross-channel planners will formulate a strategy
based on what the agency can achieve, as opposed to looking outwards; to
new and fresh approaches in communication. It is a worry that integrated
agencies may risk perceiving little need for change, may have no room for
experimentation, and no time for failure. As Ben Malbon of BBH London says
in his article, ‘Where does the agency end and the crowd begin?’
Creative agencies need to move towards becoming permeable organizations.
Those in networks need to be reconfigured as networked organizations
versus simply organizations within networks. Creative business must be able
to draw on not just the talent within the building, but the many skills and
areas of expertise that lie beyond those walls. And they need to be able to
draw on this external resource. Like, immediately.’11

Integrated agencies are tending to move towards becoming indistinguishable.

Differentiation could come through trying to unlock the secrets of cross-
channel planning. However, this tactic may be thought to be flawed. In
suggesting a mass media, cross-channel campaign to future clients,
integrated agencies could be perceived to be offering solutions which are too
subjective and empty. By becoming integrated, all agencies are in danger of
offering exactly the same thing to clients. They need to identify how they can
differentiate themselves from rival agencies when they are offering the same
subjective solutions to a business problem. To sell themselves as an
integrated agency, and concentrating on the cross-channel aspect of the
campaign, agencies risk not being conducive to a content-driven campaign.
Perhaps the only way to solve these problems for future agencies is by
looking beyond, away from incestuous fighting and ad producing towards a
communication technique that is not just about speaking correctly but also
about being heard correctly. At the 2010 Cannes Lions Festival, one
campaign showed that agencies can do exactly that. Gatorade Replay12 by
TBWA won the Grand Prix award in both the Public Relations and Promotional
categories by creating a piece of communication which was more than
advertising. The business problem was simple; reintroduce men over thirty
who do not exercise as regularly as they did in their youth to the sports drink.
Underpinning the campaign was a mission to change the statistic that 7 out
of 10 adults do not exercise regularly. This multi-faceted campaign
challenged two rival American school football teams to a rematch, fifteen
years after a 7-7 draw. The lead up to the match was watched online through
webisodes13 and a televised documentary which tracked the progress of the
teams getting back into shape for the game. Web content included exercise
tips and a Facebook application encouraged people to reunite with their old
school sports teams. All fifteen thousand tickets to the game sold out in
ninety minutes as a result of unprecedented media coverage.14 This
insightful problem solving was engaging, emotive and executed in relevant
media. More importantly, this campaign is underpinned by TBWA’s ethos,
‘Brands that truly outperform the market do so by breaking the conventions
of their market and plotting alternative paths to growth. We call this
Disruption.’15

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Nevertheless this advertising agency model may be flawed since it focuses
very heavily on generating short-term, dramatic ideas as opposed to selling
over a long period. Gatorade Replay generated a 63% sales increase in the
local area16, but only during the campaign. Yet what happens when the media
coverage stops and the public moves on to something else? Suddenly the
brand loses its audience. Advertising agencies are agents for clients who
approach them with a problem needing to be solved using communication.17
At the heart of a client’s objective is selling. At the heart of an agency
objective is fame. These opposing agendas mean that the communication
produced by huge corporations may not be achieving the desired results for
both client and agency. The opposite of this type of integrated agency
considers revenue generation and works hand in hand with the client to solve
a business solution. The fund holding clients demand more, for less. Larger
integrated agencies offer bigger, integrated, but subjective solutions, when
clients simply need direction in an age of confusion and concern.18

Are smaller strategically focused agencies the way forward?

Perhaps the shape of future agencies will take the form of much smaller
companies, whose main objective will be to focus solely on solving a business
problem, quickly, using brand guardians. An example is The Scarlett Mark.19
They focus on thinking about revenue-generation, but still have a background
and understanding in the new media landscape. By outsourcing the
production, these brand guardians keep the costs down. By outsourcing all
other skill sets, the result is focus, no wastage and an opportunity to explore
all avenues. Such small agencies could be responsible for producing
consumer strategy and ideas which may then be applied to a number of
communication avenues. The smaller outsourcing agencies therefore may not
be preoccupied with whether or not to have a Twitter feed, or if the campaign
idea lends itself more to television rather than to online. By not having in-
house production, smaller more client-focused agencies may not be tied to
one form of media, giving them specialisation to maintain constant focus on
the consumer and to connect with them.

Creative businesses continue to experiment with new models of creative

collaboration and explore different ways of maintaining a creative arsenal
comprising the highest quality of individuals and partners.20 However,
through the recessional budget cuts it seems inevitable that something which
was once contained within an agency will relocate outside the formal confines
of the business in order to save money and produce a fresh approach. As A.G.
Lafleyii says, ‘No company, no matter how large or how global can innovate
fast enough or big enough by itself. Collaboration, externally with consumers
and customers, suppliers and business partners and internally across
business and organization boundaries, is crucial’21

Perhaps creative agencies in the future need to move towards being

permeable organisations.

ii
C.E.O of Procter and Gamble

8
Will future agencies rely on crowd sourcing?

According to Ogilvy’s digital labs, crowd sourcing relates to ‘outsourcing

tasks that are traditionally performed by employees to a group of people or
community through an “open call.” It is using the collective intelligence of
many to either find the best solution to a problem or help perform tasks that
would be overwhelming for a handful of people. A perfect example of crowd
sourcing comes from the source of this definition, Wikipedia. Thousands of
volunteers collaborated to produce over 14 million articles – and turned the
encyclopaedia market on its head in the process.’22

Large and small agencies from a variety of industries (Advertising PR and

digital) are looking to do things differently. In 2009 Agency Nil took a bold
stand with their ‘will work for all it’s worth’ manifesto.23 They only work for
clients on a freelance basis, being paid as a result of the money the client
makes and not at a flat fee. Recently Victors & Spoils boldly launched itself
as ‘the world’s first creative (ad) agency built on crowd sourcing principles.’24
Could this model be the future for agencies? An example of an agency and
brand which used crowd sourcing to promote their campaign was AMV BBDO
working for Doritos. In 2008, their brief for the agency was to encourage
people to interact with the brand in a way they had never done before, and
the campaign, You Make It, We Play It25 was born. Aware that their target
audience was used to controlling their own media input, AMV BBDO asked the
public to create a 30 second advert for Doritos and post it to a purpose-
designed YouTube site. The public was not only able to make films for
Doritos but they also interacted with the brand by voting to select the winner.
The winning advert was shown on television for two weeks and projected the
successful winning filmmaker to immediate stardom. The campaign had over
one thousand entries. Speaking to Tom White, a planner for Walkers at AMV
BBDO London, I asked him about the success of the campaign: “We offered
everyone and anyone the chance to make an advert. We tapped into the
“success driven culture” and recognised that people are ‘show-offs...This
strategy of letting the people speak allowed for the public to become part of
Doritos identity.”26 Similarly in North America during 2009, Doritos let their
brand’s identity loose again by asking the public to make an advert to be
screened at the Super Bowl.27 Interestingly the winning film had to be remade
by AMV BBDO to a higher specification. Consequently not only do the public
still feel part of the Doritos image, but the agency was able to input
professional quality into the final result. The campaign strategy changed
from a “push, pull, push” campaign, to a “push, pull, push, pull” one as Figure
1 demonstrates.

9
 Figure 1
Figure 1 illustrates the ‘Push, Pull, Push, Pull’ campaign strategy
It demonstrates that AMV BBDO
1. Pushed the idea on to the consumer through direct marketing
2. Pulled in the interest of the public
3. Pushed the campaign further through social media
4. Pulled these consumer-produced results back to Doritos

Consequently Doritos relinquished creative control for this campaign by

allowing consumers to make adverts, only to seize control back and remake
them to a higher specification.28 This example of a strategy which has crowd
sourced in order to capture consumers, cleverly manipulated the results in
order to suit their brand image.
Is crowd sourcing a gimmick or the shape of things to come?

Could the agency of the future look to crowd sourcing its creativity to the
consumer and guarantee interaction with the brand? A joke letter sent to all
advertising and marketing agencies released in August 2010 suggests it will
not. It tells the story of a consumer who becomes frustrated at being asked to
participate in creative executions for campaigns.29 James Murphy at the small
integrated agency Adam & Eve wrote recently “The popularity of user-
generated content has plummeted over the past year or so, with almost 64%
of web users saying [that] they now have little interest in it.” 30 If the agency
of the future is going to use crowd sourcing to better comprehend the
consumer and to encourage engagement with the brand, there has to be
more to the incentive than simply winning a chance to be on television.
People are superior to advertising. Communications are not just competing
with each other to be noticed. They are also competing against life. A client

10
cannot simply assume that their consumers will want to engage with their
brand without offering value to their consumer’s lives.

If future agencies hope to interact with the consumers and their brands in an
innovative way, they must provide content that is beneficial but not fickle
which uses clever creativity supported by detailed analysis.

Having conducted research from a number of sources, it is clear to note that

there are both positive and negative aspects to both integration and
outsourcing. Integration offers an agency fluidity through media and allows
them to maintain creative control throughout. Campaigns can therefore be
forged in a more time efficient way, which could be seen to be a positive
thing for clients. Integration allows for big ideas which look beyond a simple
communication task. Agencies can own every aspect of the campaign and
make sure that their strategy is consistent throughout all platforms. However,
research has indicated that another option for the future of agencies might
be to look to a more permeable business model. This would seek to find the
best possible solutions to a strategy which is underpinned with a fundamental
desire to increase revenue for the client. I have identified that smaller
agencies will not be overly concerned about media and will have a large
number of media avenues to take.
Could agencies seek to be a mixture of the two in the future where they are
both outward and inwardly facing? Whatever the case, it seems apparent
from this section that both options demand a decisive and fundamental shift
from the agency model at present.

SECTION TWO
How and why will the client-agency relationship need to evolve
in the future?

The future of the advertising agency model is changing which inevitably

means that the future of the client-agency relationship will have to change
alongside it. With more clients wanting to let their brands loose within the
social media sphere but unwilling to relinquish control, this section focuses on
how agencies of the future might look to manage those brands in an

11
increasingly consumer-focused arena. What will agencies of the future look to
offer those clients who are discovering faster, more cost effective means to
communicate a brand message, using social media? Will the agency model
seek to offer a more specialised service for their clients or will the
relationship need to develop to become more collaborative in order to
produce the best communication possible? This section seeks to answer
these questions through the research I have undertaken and draws
conclusions accordingly.

Why will the client-agency relationship need to evolve for the future
success of the agency?

As the recession has deepened, budgets have declined. The successful

agency of the future needs to be able to adjust the entire business model in
order to recognize and profit from this massive and long-lasting change. As
Thomas O'Guinn, Chris Allen, Richard J. Semenik mention in their book ‘Advertising
and Integrated Brand Promotion’ ‘an agency should never be shocked to
learn that clients expect results from their investment in advertising’31 It
would seem that a critical adjustment for agencies may be to understand that
the supply of big ideas is soaring and that clients may not be willing to pay
excessive figures simply for a Eureka moment. Perhaps what clients are
really looking for is an agency that is willing to meet them openly and
contribute to the sales and conversion processes that their company so
desperately needs in this time of economic uncertainty.

In the next five years clients will need the help of agencies to ensure that
their organisation is dynamic enough to allow good work to happen. There
are already agency-client relationships such as Apple and TBWA Media Arts
Lab which are established to develop in this constantly changing media
landscape.32 These two companies have come together and it is difficult to
differentiate where the client ends and the agency begins. This is the essence
of teamwork. As Steve Jobs noted, ‘Creating great advertising like creating
great products is a team effort.’33
In the future the goal for agencies may be to help clients become more
interconnected and quicker in response both to consumers and culture.
Clients themselves need to be better adapted for change. Agencies are
desperate to utilise the variety of new media platforms currently available.
Without the client understanding what they are or why they will work,
commercial communication is certain to remain stagnant.

Will agencies move towards Social Media and Online Brand

Management?

If you look over time... it is very clear that social media is carving out mind
share over traditional media. Online Media is very clearly... taking a great
deal of share over traditional media.34

There is no doubt that social media is a force with which to be reckoned.35

More clients are demanding that advertising agencies solve business
problems and not simply give them traditional broadcast advertising. The

12
future of commercial communication must be engaging and content driven.
Advertising needs to communicate to consumers in a way that will encourage
brand advocacy online. Clients often feel more and more as though their
brands are taking on a non-managed role within the blog/Twitter/Facebook
sphere,36 which future advertising agencies could choose to manage.
Consequently this blurs the lines between PR companies and advertising
agencies. Clients are realising that unless they speak in a language which
consumers can understand they will find that they are only talking to
themselves. Public Relations has always appeared more cost-effective than
traditional advertising, so many PR firms may have survived economic
downturns whilst advertising agencies have intrinsically experienced more
severe losses. By utilising social media as a way to solve business problems,
consumers will certainly feel more willing to listen to a piece of commercial
communication, knowing that their opinion is valid.

Increasingly, agencies are learning that there is now simply no room to

expound about a brand if the products or services they provide do not live up
to consumer expectations. In this age of social media, communications have
to be real, honest and consumer-centric.37 If agencies choose to base a
brand’s communication on somewhat over zealous claims about product
benefits, they should be continually aware that consumers are able to
uncover any falsehoods and publish their findings at any time which, as the
next example demonstrates, can be detrimental to the brand’s image.

In 2008 United Airline’s communication ‘create[d] an artistic interpretation of

the emotions travelers feel when flying United’s new international service.’38
The slogan, ‘it’s time to fly’ made a distinct emotional connection with the
consumer and the airline, indicating that its service is personal, luxurious and
comfortable. These extravagant animations are the work of the agency Barrie
D'Rozario Murphy and could have been the reason why musician Dave Carroll
bought his ticket with the airline in the same year. However, having been
appalled at United’s treatment of his three thousand dollar guitar, Carroll
made and uploaded a song onto YouTube called ‘United Breaks Guitars’ on 6 th
July 2009. This film urges viewers to avoid the airline completely.39 To date,
the video has been watched by almost nine and a half million people
worldwide, prompting over twenty five thousand comments such as ‘Typical
of United. Similar to my experiences. No wonder they are so far down the list
in customer satisfaction.’40 This type of public customer complaint gives the
consumer a new freedom and power which completely undermines the
original communication. Unless advertising agencies are equipped with the
appropriate customer service tools to deal with such bad press, there may be
little need for agencies at all. After all, consumers are more likely to listen to
an individual’s review than an over researched advertising campaign.iii

iii
Although social media may seem like a rich platform to discuss your Brand, it is interesting
to note that Edelman’s 2010 trust barometer showed that only 25% of the public trust their
friends and peers online which is down from 45% in 2009.
(http://www.edelman.co.uk/trustbarometer/)

13
By providing consumers with attention and effort, advertising agencies could
face a future of twenty four seven interactivity. Agencies of the future may
find that this type of online brand management is unfeasible. Perhaps it will
not be the role of the advertising agency to be the voice of the brand. Instead
the future role of the agency may lie in researching and understanding the
brand’s audience in order to inform their client so that action can be taken. In
this way advertising agencies could become the voice of the consumer.

Whilst Public Relations Companies have been an alternative to traditional

advertising in the past, many advertising agencies are resorting to offer the
same services as PR firms. By using the internet to provide more positive
brand experiences for customers through proactive help, special customer
care and real time problem solving, advertising agencies of the future will still
have the opportunity to be at the forefront of consumer/brand interaction.
Many PR agencies are now integrating traditional advertising and interactive
marketing services.41 Advertising agencies may evolve along similar lines.

As we begin to see an upturn in the economy, PR firms seem to be in a better

position to capitalize on increased market spending than the traditional
advertising agencies. The rise of the social media influence has only further
increased the need for sophisticated PR support, capable of managing media
relationships across a far wider range of outlets than ever before. Consumers
are now not an audience for media, they are the media themselves. This was
demonstrated in a 2009 campaign which cleverly manipulated social media in
order to communicate a brand message. It was called Ikea Facebook
Showroom.42 By utilising the existing mechanics of Facebook, and recognising
consumers online behaviour, the campaign turned the engaged consumer
into the media themselves. By ‘tagging’ themselves in pictures of Ikea
showrooms to win the items, the consumers affiliated themselves directly
with the brand and advertised the campaign publically to their personal
online community. This increased the scope for the communication, without
costing the brand anything. Perhaps advertising agencies of the future will
move towards using the active online consumer to their advantage.

Will agencies chose to work more closely with their clients?

Historically the agency’s role was to convince the client that they could keep
their image innovative through great creative and execution as demonstrated
in Figure 2.

It seems that clients are now realising that there are faster, more cost
effective ways to market their brand to the consumer which blurs the lines
between what agencies and clients are capable of achieving independently
(See Figure 3).

Mel Exon writing for BBH Labs blog says ‘clients pay for the things they
cannot do themselves’.43

If clients are now able to look in-house for creative solutions to business
problems, then perhaps the agencies of the future will need to be more

14
involved and interactive regarding commerce to retain the respect of their
clients. Alternatively, it could be said that unless advertising agencies are
able to provide services and expertise which the client cannot do themselves,
the future of the agency model may no longer exist.

Figure 2
This Venn diagram demonstrates that historically, clients would bring commerce to the
agency-client relationship. Separately agencies offered their creative, production and media
departments, whilst overlapping with the client through strategy and evaluation.

Figure 3
This Venn diagram visualises how both client and agency are merging skill sets

Most clients want to pay less for a job today than they would have
commissioned five years ago. Huge pressure is placed on agencies to
perform and the stakes are high for both sides. Relationships between client
and agency which allow for change as culture and climate evolve will be the
most successful. This only applies if the two come together and
communicate more freely and effectively. As Mark Guisti from Leo Burnett

15
says ‘Clients need an agency with a wide-angle lens...that can answer the
broadest business problem and be able to manipulate and decipher the right
executions.’ 44

Distrust between agency and client is the result of an archaic system which
will need to evolve in the next five years if it is to avoid stagnation. Clients
use the same research to quantify new campaign ideas with insufficient time
resulting in similar outcomes. This not only frustrates the creativity within the
agency but also underwhelms the client who is constantly power point
promised more for their money by their agency. Only constant, open
communication can clarify the client and the agency’s expectations and
perspectives regarding each other.

Clients need to offer a clearly defined objective for the type of

communication which they wish to create. This needs to be flexible in order
to allow for an environment of experimentation. Ultimately, clients need to be
prepared to pay for failure, in order to achieve future success. However, Tom
O’Guinn mentions that agencies can only tolerate a certain amount of failure
and ‘if a campaign [doesn’t] work, the client will want to understand why and
will...expect better results next time.’45
Richard Edelmaniv summarises “We shouldn't stay in our little boxes of
execution. ... We have to be brave enough to take that risk."46

As Keir Mather said in an interview at BBH London, ‘This industry is built on

relationships’47 Flexibility within the agency-client relationship needs to be
championed in our economic and consumer-led environment. The
relationships which build on flexibility have greater opportunity for success.
Agencies of the future will need to be focused on creating brand value, will
need to embrace and use data and analytics to elevate work and will need to
be collaborative. The opportunity for client-agency relationship improvement
focuses on improving price, performance and value, which will require some
innovative shifts in the way agencies and clients currently communicate.
Paul Price, Global President of Omnicom Group’s Rapp comments that
"Efficient and effective creative solutions are more likely to come from
marketers and agencies who work together seamlessly. Great creativity
starts with great teamwork founded on mutual understanding and open
minds."48

The main points to conclude in this section seem to lie within making sure
that both client and agency are clear in their objectives. There must be
openness and flexibility from both sides. Both client and agency should not
underestimate the consumer, both in what they can achieve by using them to
their advantage, and in understanding the power their voices have online in a
social media environment. Advertising agencies may need to look towards
offering clients something which they cannot do themselves. This may lie in
focusing on creating service ecologies and ideas to generate value both to
the business and the consumer. Communication is becoming a tool to
measure the success of a brand and in the future, there needs to be a

iv
Global CEO of Edelman

16
detailed understanding of its value in a media landscape where consumer is
king.

SECTION THREE
How and why will data become important for the future of
advertising agencies?

This section seeks to uncover the importance of owning and managing data
for future agencies.

Why do agencies need to champion data analysis?

Historically brands and their agencies began the advertising process by

creating the brand message they wanted to promote. This is described as the
‘push-pull principle’.49 Using this principle, the brand could push out the ideal
message of a product into the market place and pull in consumers,
convincing them to buy into a brand because they had been told, possibly
quite cynically by the advertiser what to think and how to respond to it. By
identifying desirable target customers, agencies made adverts targeted at a
general consumer ideal. They ran focus groups and asked small numbers of
people if they liked these adverts and then waited with fingers crossed and
baited breath hoping that the advertising campaign would work. Huge
amounts of money were spent producing these adverts based on a maybe.
During the Nineteenth Century, Lord Leverhulmev is famously quoted as
saying, “I know that half of my advertising budget is wasted, but I don’t know
which half.”50 Production and distribution decisions were based on long term
forecasts and clearly became unable to meet changing demand patterns.51

Over the past ten years, consumer-lead digital channels such as Facebook,
YouTube and forums have revolutionised this process. These sites have
allowed brands and agencies to begin to understand the needs and habits of
consumers through data and assess how their products and campaigns could
fit these needs. Micheal Rebelo from Saatchi and Saatchi stated in a recent
article ‘Data analysts are becoming as commonplace as media buyers’ within
new agency models and there is good reason to believe why this may be.52

Data can track the progress of business sales

Several criteria indicate that future advertising agencies may adapt in this
way. For example, advertising agencies now command larger budgets from
clients. Any campaign online, using cheap methods of communication
(Facebook, Twitter, forums etc) will consequently allow greater scope for

v
Founder of Lever Brothers, now Unilever

17
spending budgets on visibility, meaning that agencies can now quantify their
spending by seeing real-time results using data. Therefore, agencies will
have more flexibility and access to better creativity. Data allows a campaign
to be more cost effective, whilst still maintaining a level of interest for the
consumer.

Data enables narrowcasting

Sites which encourage a dialogue between consumer and brand allow

advertisers to identify what information customers need to ensure they
complete the purchase. Such fragments of information which individual
consumers need before they are willing to make a purchase can now be
revealed through digital channels. Social media platforms such as blogs,
forums and Facebook allow agencies to identify what people are requesting
and talking about. Knowledge of customers’ needs informs the strategy of the
marketing campaign. Data from these digital channels can also reveal new
business opportunities.vi These consumer-led websites are not simply another
broadcast media. They are, in essence, live research.

Commercial communication is becoming more relevant to the individual and

the strongest brands are focused on developing service ecologies by reaching
people where they are and talking to them at grass-roots level. Viewing a
Facebook page such as one by Dare for Sony Ericsson53 shows that the brand
is immediately able to communicate directly with the consumer and develop
a dialogue where both brand and buyer have equal say. By using this
research, Dare is able to structure campaigns and competitions based on
these conversations, building a brand based on what consumers genuinely
want, not what clients think they want having conducted traditional methods
of research.

However by utilising sites such as Facebook to gain insights into consumer’s

buying habits, perhaps it is just as cynical as the old ‘push-pull’ principle. The
notion of bought media versus earned media is relevant here54. In the past,
advertising belonged in bought media such as television time slots or
billboards, being there as a direct result of purchase. However, an earned
media site such as Facebook which is free for everyone requires advertisers
to involve themselves in a discussion and provide content – a reason to be
there. Agencies will gain the best data insights from open discussions using
sites like Facebook as a medium for discussion.55
The best way to do this may be in the form of creating purpose built
entertainment for the consumer to interact with on and offline, otherwise
known as Advertiser Funded Content. As Jake Dearlove indicated, ‘JWT
Entertainment has been set up to create TV and web content for clients.
Obviously this totally changes an agency’s role, pushing us into the area of
big media. Doing the job Endemol would do, but offering a strategic
understanding of our brands to the mix.’ 56
It could be suggested therefore that the best way to find out more about
brands consumers be through creating purpose-built content such as JWT’s
Little Bundle of Laughs campaign created for Huggies in 201057
vi
(See ‘Data Provides invaluable business insights, pg 18)

18
Data allows agencies to own the conversation as well as the creative

Through real time data analysis and the amazing ability to digitally track
where consumers live online, clients may be asking for agencies of the future
to harness this data and create online brand communities and branded
utilities. Agencies in the next five years may have to start considering owning
the conversation, not simply the creative. Digital is putting the consumer in
charge which means that agencies need to become more expert at brand
interaction, not just brand messages. As Pete Blackshaw has said, ‘consumer
service is the new media department’58

Social media gives brands a portal into the lives of their consumers. As Jake
Dearlove mentioned in a recent e-mail: ‘[at JWT] we’re trying to get our
clients to move content to social networking sites: the general mantra is
going to consumers where they already play, rather than trying to drag them
to a pointless dot com.’ 59 By analysing online behaviour and monitoring what
consumers say about a brand, advertising agencies in the future could have a
wealth of information to inform their communication strategies. Using data
analysis, brands are able to identify their advocates online by ceding
communication content to platforms that this minority will see. Analysing
where they live online allows for the brand to use the public to tell their
friends and peers, as illustrated in Figure 4. Therefore the role for future
agencies may lie in identifying these consumers through owning data.
Brands realised that this method of peer to peer communication was more
reliable than traditional methods of advertising a product. By identifying the
correct people, brands could also stretch a small budget by encouraging
earned media.

19
 Figure 4
This demonstrates the effect brands could have if they correctly targeted brand advocates
online using data.

Data provides invaluable business insights

In 2008 Starbucks launched ‘My Starbucks Idea’. This website allows

customers to share their opinions and ideas about how to improve the brand,
by posting suggestions on to the site. The website is based on four stages;
Share, Vote, Discuss, See.60 By sharing their ideas, from coffee flavours to
shop music, consumers can vote for their favourites, discuss them online and
then the winning ideas are implemented in the real world. This was,
according to Jeremiah Owyangvii of Forrester Research, ‘the start of social
computing'61 since consumers had a direct say about how the brand grows.

Encouraging discussions about a brand online encourages an untapped

resource of data to analyse the consumer. Take for example these
Conceptual Maps from My Starbucks Idea in Figure 5 and Figure 6.

vii
Partner of Customer Strategy at Altimeter Group.

20
Figure 5
This conceptual map demonstrates the key overall themes that consumers on My Starbucks
Idea are mentioning.
This data can help to fuel targeted communication strategies to improve the brand in the
future.

Figure 6
By encouraging discussions about a brand online, agencies of the future will have a wealth of
detailed insights
as illustrated in this conceptual map.

Months after the launch of the website, there were thousands of idea entries
which have provided valuable insights into what the consumers want from
Starbucks. These conceptual maps identify the subjects which are most
important to the consumer which is crucial for the brand’s future
communication. Using this system, brands are able to identify in detail what

21
their consumers are discussing online. Figure 6 illustrates the conceptual
map’s detail from My Starbucks Idea.

Through social media, the customer is more able to respond to the market
directly which would have been impossible ten years ago. The delivery of
these responses is direct and instantaneous. Advertising agencies of the
future will have to be attuned intrinsically to digital platforms. Through the
fragmentation and addressability of media and audiences via digital
channels, agencies will need to understand where consumers are in order to
approach their campaigns as effectively as possible. This can be achieved by
owning and selling data to their clients.

Open discussions online rely heavily on agencies and brands thinking about
new ways of producing content for these types of sites in order to engage the
public in a more trusted, ‘real’ way. Advertising is becoming increasingly
response-driven.62 Facebook particularly enables consumers to interact with
advertising as never before and Google’s ‘insights for search’ provides key
insights into what the public responds to. 63 These insights into what is
working (or not) provide near real-time feedback to inform a campaign
strategy. This forms a continuous loop for the optimization of every part of
the advertising cycle. In this way, digital is not just becoming a bolt-on to
general advertising. It is fundamental for agencies to realise the importance
of data in this consumer driven world. It could be said that in order to
produce successful campaigns in the future, agencies will have to underpin
their strategy departments with data in order to give themselves greater
expert knowledge of the consumers themselves and the brands they
manage.

At present advertising as a concept may be flawed. It interrupts what people

need to engage with. Perhaps agencies may flourish as data providers. The
consumer is in control as never before. The digital age permits agencies to be
in tune with the behavioural changes of those consumers. The web has made
constructing our identity through niche communities more visible and
rewarding. Thus the future of commercial communication seems to lie in the
intrusion of culture, in creating a conversation and moving from broadcast to
narrowcast communication using digital platforms. Rory Sutherlandviii says,
‘Hundreds of agencies have developed models for how advertising works.
What’s needed now is for agencies to base their business on how people
work.’64 Agencies of the future need to expand their digital technologies and
their interactions with the brand online, by owning the interaction between
brand and consumer in order to generate effective, and long lasting
commercial communication. Smart agencies are encouraging rather than
fighting the massive growth of these enormous online communities.65
Understanding and managing this online data may very well be the key to the
future success of commercial communication.

viii
President of the Institute of Practitioners in Advertising

22
Conclusion

How and why advertising agencies will evolve in the next five years is a
complex and fascinating subject. The definition of what once constituted an
‘agency’ is evolving rapidly in new and interesting ways. Through data
analysis, crowd sourcing and PR to Integrated consumer-facing campaigns,
the future is decidedly bright yet in need of appropriate interpretation.

There are huge possibilities for positive change within advertising, when
room is left for experimentation and adaptation. Agencies must be prepared
to fail and acknowledge their mistakes in order to move forward and gain the
best possible results for the input of time. Clients and agencies need to work
together as a more cohesive force, with a clear and simple objective.
Agencies need to remember that they are working in the age of the
consumer, and if they should fail to acknowledge the power of online
communities, they may risk undermining the whole industry. Creativity will
still be key and will keep agencies at the forefront of the advertising
business. It remains very important to create lasting discussions with the
people who develop communications for the consumer.

Change is exciting; it is encouraging and all encompassing. To stop

questioning ourselves as an industry would lead us along a road to ultimate
failure.

Through the research carried out in this essay, I have identified that there is
no single way of telling a story with communication. Agencies in the future
cannot be focused on whether the answer lies in A or B, but should instead
realise that it may lie in any number of possibilities which can only be
achieved through specialist knowledge of the consumer (data analysis) and in
the brands themselves.

The topic of how and why advertising agencies will evolve in the next five
years is both complex and interchangeable with many subjective outcomes.
Agencies will adapt and then consequently evolve once they are able to listen
to both the client and the consumer effectively. Only then can the industry
hope to achieve the ground breaking communication of which it is truly
capable.

23
Picture Credits

Figure 1 Pg. 9. Diagram visualizing The Doritos ‘Push Pull Push Pull’
principle.
Source: Author. 2010

Figure 2 Pg. 14. Venn Diagram visualising old client-agency relationship.

Source: Exon, M. (2010) Agency, does your client need you?. Available:
http://bbh-labs.com/agency-does-your-client-need-you

Figure 3 Pg. 14. Venn Diagram visualising future client-agency relationship

structure.
Source: Exon, M. (2010) Agency, does your client need you?. Available:
http://bbh-labs.com/agency-does-your-client-need-you

Figure 4 Pg. 18. Diagram visualizing effect of targeted brand advocates

online
Source: Author. 2010

Figure 5 Pg 19. Conceptual Map demonstrating conversation themes on My

Starbucks Idea
Source: Author Unknown. My Starbucks Idea – What Starbucks Customers
Really Want.
Available:http://customerinsightblog.wordpress.com/2008/10/14/my-
starbucks-idea-what-starbucks-customers-really-want/. (2008).

Figure 6 Pg 19 Conceptual Map in more detail

Source: Author Unknown. My Starbucks Idea – What Starbucks Customers
Really Want.
Available:http://customerinsightblog.wordpress.com/2008/10/14/my-
starbucks-idea-what-starbucks-customers-really-want/. (2008).

24
Bibliography

Books

1. Howe, J (2008). Crowdsourcing: Why the power of the crowd is driving

the future of business.. New York: Random House Inc.
2. Bickerton, C. Hall, M. (2002). Agency thinking about what makes good
and great advertising. London: Institute of Practitioners in Advertising.
3. Surowiecki, J (2005). The wisdom of the crowds. New York: Anchor
Books.
4. Anderson, C (2008). The Longer Long Tail. New York: Hyperion Books.
5. Shirky, C (2008). Here comes everybody. New York: Penguin Books.

Site Visits

28th July 2010 Mother London

5th July 2010 DARE
12th July 2010 AMV BBDO London
19th July 2010 Leo Burnett London
26th July 2010 BBH London

Interviews conducted
See Appendices (Pgs 24-34)

Websites Visited
See End Notes (Pgs 35-37)

25
 APPENDIX 1
MARTIN RUNNICLES LECTURE
28 JANUARY 2010
Bucks New University
‘The Four Waves of Advertising.’

How has advertising changed?

Digital devices are getting smaller.

Increasingly, it is a mobile world.
Point to point turns Peer to Peer.
Advertising used to be distant and arrogant, now it is up close and personal.
Lord Leverhulme, founder of Unilever said:
“They are consumers aren’t they? Why don’t they bloody well consume?”
It is because they are people, not consumers.

Branding used to try to control everyone. Andy Nairn, planning director at the
London-based advertising agency Miles Calcraft Briginshaw Duffy said of this
strategy:
“It’s a controlling paradigm in an uncontrollable world. We now exist in a
constantly evolving experiment.”

50’s -60’s
• Dawn age of commercial TV
• Physical competitive product advantage
• Public information films, not ads from the Central Office of Information.
• Introduction of the VW Snowplough, 1966, DDB, which planted an idea,
with no symbolism.
• The ads had a sense of information, they were product led, even
though there was not much detail about the actual product. It was
more about Branding than about a product.
• “THE PERSONALITY OF THE BRAND”

70’S-80’S
• Demonstrated little real product advantage
• There was a need for differentiation as new products were being
released as competition
• It was still key to communicate brand over product
• Campaigns with personality. Real life situations began to emerge as
series of ads were released to run a story over time.
• People were ‘white water rafting’ – reacting to the current
• Social modernity began to emerge in communications. Convenience,
women at work, no more ‘Katy Cooking with OXO’

26
 • Cadbury’s Smash ad, 1974
• Humour began to emerge. 1984 Won’t be like 1984 George Orwell spin
off for the Apple Mac launch.
• Individual empowerment versus mass produced products.

80’s-90’s
• Promoting human values
• Caring period – understanding people’s needs as individuals
• Bring in the notion of trust
• Analogies between human behaviour and trust “You can rely on us
when the rest of your life is failing” SOPHISTICATED PSYCOLOGICAL
THINKING.

Waves of brand communication:

1. My Product is better than the rest (50’s 60’s)
2. Campaigns and personality (70’s 80’s)
3. Brand values (What does the brand mean to you? Trust and responsible
consumers)
4. 21st Century – THE INTERNET

21st Century – “A generation used to being sold to”

• The dawn of the digital age
• From Clicks to Mortar
• Website advertising not only is it brand building, but also functional.
• “The job of the advertising is to facilitate use, not to tell people what
they should think about the brand” (NICK KENDALL)
• Find a simple idea – ‘a reductionist nugget’

Advertising does not have to be conventional advertising. IPOD HEADPHONE

STRATEGY
Create interest through mystery, thus being able to protect the brand’s own
ideas and creating publicity.

Ask questions. What are you seeking to do?

Is the message you are offering still relevant?
Keep your brands fresh.
Do you want to get someone to buy or promote?
Your strategy should always reflect/suit the mood of the time.
Could creatives turn into strategists? Thinkers rather than wristers. AKQA has
NO planners. Walt Disney was an ‘imaginer’.
Do Planners really understand the buying public? Through strategy we must
be able to understand how to reach the audience. The Strategy is the guiding
principle about how to get there. It involves policy and tactics. It should
communicate what we want people to take out of something.

The structure of advertising agencies

27
 • Advertising is no longer a led medium. GOOGLE is. It is all about
electronic word of mouth.
• Advertisers are really struggling to address the digital age.
• Are agencies really offering integration?
• Agencies have a vested interest in maintaining status quo.
• What do clients really want? No one is willing to relinquish control. A lot
of them don’t really know what they want.
• Are agencies hot shops or global networks?
Traditional agencies:
• Departmentalised
• Management lead
• Planning/research
• Media
• Creative
• Only for ADS

New agencies:
• Put planning first
• Create the communications required by consumer and client
• Client handling is central
• Cross media creative
• Media/service neutral
• What do you want your consumer to feel?

Is media integration a myth?

Creativity is reactionary. We must be able to work very quickly and without
interruption. Communication is engagement versus control.
Media is infinitely flexible.
It must match the message.
Companies still need to reach a larger audience
People are lazy in their consumption of media.
Older people can’t be bothered with iphones etc and young people don’t
want to be told how to access information.
Agencies must be able to find the platform that suits the person.
There are two fundamental differences in communication needs:
1, Tell me how much it costs
2, Tell me how long it will last
Digital simply confuses the issue... or are there now a lot of new
opportunities?
This new opportunity scope increases cost.
What is media integration?
The judicious use of media combinations and sequences to create a range of
touch points throughout your target consumer’s day. Integrate brands with
real life. That is the key.
Communications should be involved with activity with search at its heart. It
should have multiple channels, be relevant, useful and appear when and
where we need it.

Search terminology:

28
 • Placement listings – People pay to beat the top of the search list
• Paid Inclusion – Webpage owners pay to have theirs included in the
search
• Promoted content – Advertising advises content within a search engine
• S.E.O – Brands pay for their product to be included more in different
formats, on the same search.

In order to contextualise integration, let’s compare how individuals and big

companies decide which media to use.

Individuals’ needs
• Small scale media
• One to one
• Low cost
• Instantaneous
• Personal publishing
• Digital is ideal as the individual can literally carry around the
publishing house
(eg Facebook on mobile)

Which media?
Texting, IM, email, blogging, networking websites, classified ads, mobile
phones

Larger scale companies needs:

• Large scale
• Wide reach
• Efficient
• Progressive
• Dispersed

Which media?
TV advertising, Cinema ads, press ads, poster ads, direct mail, websites,
digital (email, mobile, apps)
When it comes to integration, how do you decide which media to chose?
With 3 questions:
1. What do you want to say?
2. Who is your target audience?
3. What is your budget?
The essentials are:
Decide the need for awareness. Consider the market. Research where your
target lives within their consumption of media.

29
 APPENDIX 2
INTERVIEW WITH KEIR MATHER
23 September 2010
BBH London

1. Q. What are your thoughts on the future of client/agency

relationships?
A. This business is built on relationships. Relationships are based on trust.
Trust between a client and an agency develops when the agency produces
great work. So, in order for great relationships to continue into the future, we
will have to maintain focus on producing great work.

2. Q. How do you plan to do this?

A. There has been a big change in the last ten years. Agencies used to have
to be well versed in TV and print which made it easy for clients to judge the
creative. Now with the fragmentation of media, consumers are everywhere,
which makes judging creative more challenging, particularly in a digital
space. We are hiring more specialised people to forge a path where digital is
not separate and where brand managers are well versed in digital. I believe
that clients will expect more from their C.M.O (Chief Marketing Officer) and
create a more digitally minded role; C.M.T.O (Chief Marketing and Technology
Officer) to keep on top of these new media channels. Agencies won’t teach
their clients how to do this. Clients will have to be more tech savvy but
ultimately, clients should look to agencies to be the experts.
I go back to what I said before, if there is a great relationship, of which there
are many here at BBH, clients trust us to produce great work, irrespective of
new media channels. If we think it will work, and we have proven that we
have their best interests at heart, clients will not cower away from new
media. I believe here at BBH, we are the green berets of advertising, and
where there are super smart people, there will be trusted relationships.

30
3. Q. Working for the AXE account, you will be aware of the Unilever
workshops, which bring agencies and clients together from an early
stage. Is this a successful way of working?
A. Working for AXE means that we as an agency get brought into the
development of a communication strategy really early, which is great for us.
Some agencies don’t want to work like that. Using these workshops, the
concept is defined from an early stage and the agency works with the client
to write a brief. We are in the communication business. There are lots of
management consultants who will help with business problems directly.
However, co-creation is something that all agencies aspire to, which these
workshops help achieve.

4. Q. What are your thoughts on integration?

A. By having an agency that is more integrated, we can protect our ideas.
That’s what creative directors want. If you own the idea, you win. However,
we don’t really want to do all the backstage stuff. At the end of the day,
production is just another way for agencies to make money.

5. Q. Do you see any changes to the way the agency model is shaped
in the future to better client/agency relationships?
A. Advertising now has a place in the board room. People are beginning to
realise that it adds value to brands. It is recognised, and it wasn’t before. This
means that the structure of the agency may shift to keep the client and
agency relationship tight, where the planner and creative work closely and
the account manager is their go-between, unlike now, where the account
manager and the planner work closely together to oversee the creative.

31
 APPENDIX 3
INTERVIEW WITH TOM WHITE
February 2010
AMV BBDO London

1. Q. Why did Doritos look to crowd source for it’s 2008 you make it
we play it campaign?
A. We wanted to let consumers into the brand. We wanted to tell a story to
get the press interested. We wanted to make Doritos more than a disposable
eating experience. The target audience was the defining aspect for this
campaign as we knew our audience was used to controlling their own
stimulus.

2. Q. Why did the campaign work so well for Doritos?

A. We offered everyone and anyone the chance to make an advert. We
tapped into the “success driven culture” and recognised that people are
show-offs which was our main insight. This strategy of letting the people
speak allowed for the public to become part of Doritos identity. It created a
great buzz which ultimately outlived the campaign – we’re talking about it
now! You have to encourage degrees of engagement and make the consumer
do something to keep energy for your brand, which this campaign definitely
did.

3. Q. Will crowd sourcing be a threat to the quality of ads in the

future?
A. No, I can’t imagine it will. The trick to effectively crowd source is you have
to make your consumer make the idea that you have just had. The

32
communication turns into about steering them in the right direction, which
means the agency will still have control over the output.

4. Q. So it won’t undermine or threaten creatives in the future?

A. No, I don’t believe it will.

5. Q. So how can you better this campaign? Will you be crowd

sourcing again since it was so successful the first time?
A. Yes, we are hoping to come back bigger and better next time. To get past
the low quality of the ads that have been submitted in the past campaign, we
are going to make it a bit more elitist this year, with fewer entries that will be
targeted specifically at creative people… maybe advertising students for
example, to ensure a higher quality of submission.

6. Q. Finally, what are your thoughts about crowd sourcing as a

concept?
As I said, it creates a buzz around a brand and it encourages
engagement. If you’re going to crowd source for ads it’s important to
identify your target and really trust that they would want to get
involved… I guess a lot of people wouldn’t want to. Ultimately, you
have to ask yourself; do we have the right to take time out of people’s
busy lives? You know, people don’t have much free time… ever really.
So we have to ask ourselves that if we’re going to crowd source, why
would they want to give some of that precious time up to participate in
our idea and communicate and interact with a brand? It has to be fun
and it has to be forged on a great insight, and idea.

APPENDIX 4
RUSSELL MARSH (RAPP) LECTURE
23rd July 2010
Bucks New University

In an ideal agency there should be three main elements: Client services,

Planning/strategy and Creative. Think beyond the normal. We should be
problem solvers.
The birth of the internet means huge speed and growth of media. There are
huge amounts of data.
There are approximately four billion active mobile users (out of 6 billion
people in the world)
19-24 year olds will access the internet through their phones rather than a
computer.
Brands are not what you say it is. Rather it is what GOOGLE says it is.
Mobile phones mean we can target individuals.
41% of consumers trust other online consumers more than brand advertising
(Blogs/forums) Therefore; brands have to be more honest.

33
Social targeting
If the message is engaging and relevant, they will spread the word.
They will only tell relevant people.

Facebook planned conversations

There should be people within agencies who are specially dedicated to work
simply on social networks to start conversations with the online community.

If

you understand data, you can find out where your consumers are.
Rapp consists of four parts

34
A campaign strategy should be based around S.E.O (Search Engine
Optimisation)
Advertising is MORE than a creative idea. It is based on
• Insight
• Data
• Word density
• Neuroscience (eye tracking etc)

Advertisers should be looking at gorilla awareness

Compare the Meerkat.com – Compare the market was able to buy
MEERKAT (a word which is cheaper than ‘Market’ to associate a generic word
with their brand.)
As you can see in the image below, the top two links on Google direct the
viewer to the insurance site, unlike typing in ‘Market’ which is over saturated.

The NSPCC used Spotify to encourage donations to their charity. They did not
simply place banners at the bottom of playlists. The banner recognised when
the consumer was playing a ‘low beat tune’ in order to target consumers
when they would be more responsive to more emotional advertising.

APPENDIX 5
Email interview JAKE DEARLOVE
SENIOR COPYWRITER JWT London
20 September 2010

35
‘I am aware of at least two big changes facing agencies, both of which JWT is
tackling head on.

The first is social networking. You won’t have to look far for articles and
wisdom on this: Web 2.0 is clearly a hot button. We’re trying to get our
clients to move content to social networking sites: the general mantra is
going to consumers where they already play, rather than trying to drag them
to a pointless dot com. Apps, pages and games can be used to engage and
educate.

I would also do some research on Apples new i-Ad platform.

It promises to revolutionize advertising and all the big agencies are hanging
to see how it works out and how much creative control they may have to
cede to the mighty Apple.

The second is AFC. Advertiser funded content. JWT Entertainment has been
set up to create TV and web content for clients. Obviously this totally
changes an agency’s role, pushing us into the area of big media. Doing the
job Endemol would do, but offering a strategic understanding of our brands to
the mix.

Have a look at the comedy even we created for Huggies. Google Huggies
Little Bundle of Laughs.

The general theme is that advertising is dead or dying. Or rather, advertising

that doesn’t create a value exchange is dead. In the days of the digital box,
bad ads will be instantly skipped. Some people won’t even watch the news or
weather anymore. They just skip to the good stuff.’

36
END NOTES

37
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2
Palmer, R. (2009). Advertising Agencies Are Hit By The Recession. Available:
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3
Henry, S. (2010). London's Next Model. Available:
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model.aspx. Last accessed 1st Sept 2010.
4
Singh, S. (2010). Pitch. Available: http://www.marketingweek.co.uk/in-depth-
analysis/pitch/3018231.article. Last accessed 17th Sept 2010.
5
'Redragtoabull'. (2003). "If you don't like change, you're going to like irrelevance even
less." (Discussion). Available: http://techrepublic.com.com/5208-6230-0.html?
forumID=6&threadID=166706&start=0. Last accessed 18th Sept 2010.
6
See Appendix 1, Pg 26. Section entitled ‘Is Media Integration a Myth?’
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Clifton, A. (2002). Media-neutral planning - what is it?. Available:
http://www.apg.org.uk/publications/medianeutralarticles/mnp2_cliftonanthony.cfm. Last
accessed 20th Sept 2010
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Acknowledgements

I would like to thank all those who gave up their valuable time to answer my research
questions and who gave me such great advice throughout the progress of my work. I
would also like to thank my Mum, Gill Hoyle for her tireless and continued support.

In Memory of David Douthwaite.