• 5th July 12

  Posted by Mel Exon

  Posted in Cannes, Events

  Last month Google asked me along to their Creative Sandbox in Cannes to give a ‘lightning talk’ about ‘something I was particularly interested in’. Luckily, they gave me just 15 minutes to speak or we would have been there all day in the baking heat.. Thank you to everyone who came along and asked lots of questions afterwards – here, for what it’s worth, is a record of what got discussed.

  

  I’d like to talk about 2-3 things here, loosely connected by a theme around how and why we should keep contributing to, using and building the open web:

  1. The Guardian, the UK newspaper (a client of BBH London) and their ‘open journalism’ positioning.
  2. A project we’re developing at BBH Labs called Robotify.me.
  3. A postscript on how we like to work here and what “open and constant learning” means in practice.

  But first, some brief scene-setting: we’re all familiar with the debate that has raged and continues to do so about the open web – but why should we care? Read full post

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  Tags:

  Alan Rusbridger, Ben Malbon, Google Creative Sandbox, Jason Gonsalves, open web, robotify.me, the guardian
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• A Lesson in Covering Up

  2nd July 12

  Posted by Jeremy Ettinghausen

  Posted in online video

  Authors: Claire Coady, Social Media Manager and Simon Robertson, Strategist, BBH London

  Want to find out how to get a great look under even the most trying of conditions? Let YouTube celebrity and makeup artist Lauren Luke show you how in this helpful tutorial:

  

  If that wasn’t quite what you were expecting, you’ll know what Lauren’s many followers and their friends will be experiencing over the coming days, as a result of our partnership with Lauren and domestic abuse charity Refuge.  It’s a very different approach for a charity, but it’s one that we think is vital to help them adapt to a very different type of audience, and a different type of public conversation.

  The world is noisy. Everyone has something to say. But there are some things people just don’t want to talk about. And in a media landscape catering to our individual needs, people don’t have to talk or hear about things they don’t want to.

  People don’t want to talk about domestic abuse.

  MORE THAN JUST AN AWARENESS ISSUE

  When society doesn’t talk about the big important problems, particularly the ones that may cause fear or discomfort, a vacuum of knowledge inevitably forms, quickly filled with misinformation.

  People think that everyone “gets” what domestic abuse is. They’re wrong. Research shows that more than half of teenage girls aged 13-18 have experienced sexual violence at the hands of a partner – and considered it normal. 40% of teenage girls would consider giving a boyfriend a second chance if he hit them. A third believe that cheating justifies the use of violence.

  By not loudly and continuously reinforcing that domestic abuse is a problem, society sends a message that it isn’t serious.  By ignoring the issue, it is normalised, and creates a generation of  potential victims.

  In a very real sense, silence kills. Two women in the UK die at the hands of an abusive partner or ex-partner every week. Talking saves lives.

  That’s why Refuge’s call to action is “speak up, save a life”.  But speaking to teenage girls requires a different type of speaking up: one tailored to a fragmented media landscape, a group focussed on entertainment rather than weightier issues, and a subject that discourages discussion.

  A CASE FOR SUBVERSION

  A traditional disruptive approach wasn’t going to work. But we knew our audience wouldn’t come to use through choice. Our response has been to create a piece of communication directly tailored to the way that teen girls consume and communicate information. That encourages them to become part of the conversation on their terms. Not disruption of their experience, so much as a subversion of it.

  We knew we’d have to sneak our message into an existing channel that our audience were already interested in in a way that created maximum impact. Considering the role of subversion of expectation in viral spread – viral activity often takes the form of practical joking – we realised that the more that we could increase that sense of contrast between expectation and content, the higher the likelihood of spread.

  And we wanted to make sharing and commentary the call to action, because sharing is how teens conduct public debate.  It allows them to make a stand without exposing their own opinions and be part of something with a low risk of emotional or social damage. Viral behaviour is their version of the town square, the salon or the pub.

  SERIOUSLY UNFUNNY

  In effect, we were creating a practical joke with a purpose that couldn’t have been more serious: shocking people out of their complacency around domestic abuse, and allowing them to take a stand against it on their terms.

  What we needed to do was find a Trojan horse who would carry our message to young women. That was where Lauren Luke came in.

  
  

  Lauren’s relationship with her audience is paramount; every content decision and direction she makes is with her subscribers in mind. Her enthusiasm for the cause and participation in shocking her fans is, in short, the kind of unstinting bravery needed to tackle domestic violence as a subject.

  The film itself has been deliberately designed to maximise the shock of the contrast between the context and content: particularly Lauren’s chirpy demeanour contrasting with her appearance. But this wasn’t about forcing a scripted film into a social channel. We provided a general framework and direction for Lauren and allowed her the space and time to make the film her own: a challenge she rose to brilliantly.

  We then wanted to make sure the content was framed in a way that maximised the stunt aspect: the copy that appears alongside the film wherever it is shared is intended to draw people in without ever giving an indication of the content.

  Finally, our call to action is the most simple and natural one that our audience know:  share. And by sharing, speak out.

  Credits

  Copywriter: Jack Smedley

  Art Director: George Hackforth

  Art Director: Stephen Noble

  Film directed by: Wesley Hawes and Gary McCreadie

  Creative Director: Pablo Marques

  Strategists: Claire Coady & Simon Robertson

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  #dontcoveritup, lauren luke, refuge
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• Wind-tunnel UX and Branded Design

  26th June 12

  Posted by Jeremy Ettinghausen

  Posted in Brands, UX

  Authors: Neil Barrie, Zag Strategy Director & Stephen Wake, Zag Head of Design

  Great brands have long understood that providing customers with enjoyable, differentiated user experiences is critical to winning their loyalty. Walk in to a Waitrose supermarket or Kohl’s store and there’s no comparison to a Tesco or a kmart from the layout of aisles, to the attitude of the staff to the products they do and don’t stock.

  ‘Screen’ UX offers brands a whole range of new opportunities to really deliver on their promises and strengthen their customer relationships. But too often this is a missed opportunity, we end up with experiences that are good but not great. They work, they conform to best practice rules & standards but if you take away the logo they are indistinguishable from each other.

  Wind tunnel web design?

  

  Images via www.lovemoney.com, www.moneystrands.com, www.mint.com, www.mybillq.com www.lloydstsb.com, www.yodlee.com,

  The screen shots above are from a recent Zag audit of the Personal Finance Manager (PFM) market but the point applies to plenty of other categories.  Jim Carroll has spoken passionately here about the Wind Tunnel Marketing but are we also in danger of entering the age of Wind Tunnel Web/UI design?

  We believe that the most effective way to avoid this situation is to put brand at the heart of UX, to use it as the north star to guide the myriad of interactions and touchpoints that brands create for their customers.

  Of course this is easy to say, much harder to do. Here are 6 ingredients that we find help foster a successful fusion of brand and UX, based on projects we’ve worked on and projects we wish we’d worked on. It’s certainly not comprehensive, more intended as a conversation starter – we’d really like to hear about other ingredients that people find useful here.

  #1 A proper understanding of your audience

  This is obvious but too often people pay lip service to this area. You really need to know the needs, interactions and emotions that colour their experience of your brand and your category. And even more importantly is to have genuine empathy for them as PEOPLE not consumer/users. He’s not a 25-44 year old ABC1, he’s a proud dad who works to hard and reads to his kids too quickly on Thursday nights so he can go out with the boys and so on...

  #2 A proper understanding of your brand’s purpose

  Again obvious. But again too often this is more about platitudes than purpose. For this to work you need to have really asked the tough questions of the brand in question. Why is it really there? What is its role really?

  

  Nike’s purpose is one of the best I’ve seen for this sort of thing. It’s inspirational, it’s directional and it’s very very stretching. Nike will never complete this mission but they are creating a lot of amazing products while they’re trying. The CEO Mark Parker was instrumental in pushing this mission through eleven years ago. It’s hard to see the previous one (‘to be the number sports & fitness company in the world’) being much use as a guiding principle for UX…

  #3 Appreciate that the rules of branding have changed

  When we say ‘brand’ we don’t mean a didactic set of messages, rules and templates to roll out over every touch-point. We mean a coherent set of guiding principles to help designers make the right decisions about what to say and what to do. Adaptable rather than monolithic. Otherwise the whole exercise will do more harm than good.

  #4 Run a collaborative multi-discipline process

  

  Every project has a different set of skillsets but one thing we’ve found always leads to better results is to keep it open and collaborative from the outset. So we make sure our graphic/digital designers are challenging (or even writing!) the business/brand strategy on any project from a very early stage. This helps avoiding the platitude/purpose issue touched upon early. If the brand strategy isn’t speaking to the people charged with bringing it to life then it’s probably pointless.

  If you’ve got the above ingredients in place then you should be in a really good place to try and achieve something special, to make the brand thinking tangible and improve it:

  #5 Create signature interactions

  Flipboard is there to be beaten as an example of brand and UX.  A clear vision to be a ‘Social Magazine’ that fuses the beauty and ease of the print magazine experience with the power of social media. The signature interaction of the gentle ‘flip’ movement. And it’s in the name!

  

  Wonga’s ‘money sliders’ are another powerful example. They exemplify ‘straight talking money’ and a more down to earth approach to finance every time you to interact with them.

  #6 Surprise people (in a useful way)

  Everyone knows the situation. You’ve finally reached the end of a critical project phase. You are sending the authoritative, definitive email to all the stakeholders to wrap everything up, accompanied by the pdf of the amazing work…and then you send the email without the attachment and have to send another going “ahem’ here’s the attachment”. Except when I [Steve] was in the process of executing this understandable error Gmail stopped me.

  

  You can be sure that anyone who’s experienced that bit of help will tell a lot of people and be more loyal to the brand in the future.

  To us this is the benchmark in terms of moments of surprise and delight. Here is a brand using ‘screen’ UX to build relationships with their customers in as powerful a way as Waitrose are using their store experiences.

  What are the equivalent moments for the brands you work on?

  If you enjoyed this post then we should acknowledge the influence of inestimable @adamtvpowers, BBH London’s Head of UX.

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  branding, UX, ZAG
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• Going for Gold

  19th June 12

  Posted by Mel Exon

  Posted in creativity, Events

  Author: Ross Berthinussen, Strategy Director, BBH London

  At 11 o’clock this morning, we premiered the launch ad for our new Olympic campaign for British Airways on Facebook. At 7.35pm GMT this evening, it will be broadcast to the UK, just before kick off in England’s critical, final group game in the Euros.

  The campaign is a rallying cry for Britain to stay at home during the London 2012 Olympic and Paralympic Games to support the national team. Just this once, when its country needs it most, when the Olympic Games comes to London, Britain’s national airline is telling Britain not to fly.

  Even with its tongue in cheek tone, it’s a bold move. I thought I’d share some of the thinking behind the campaign and some things we’ve learned along the way.

  

  Be confident

  We’ve had a turbulent journey with BA over the last six and a half years. We’ve been with them through the PR disaster of T5, fog, volcanic ash, the recession and industrial disputes. But right now, confidence is high. They have new leadership, they’re financially solid after the merger with American and they’re reinvesting in the customer.

  Our communication has had a job to do to help restore this confidence – to rebuild pride inside the organisation and the emotional connection the nation has with its flag carrier.

  In September last year, the airline recommitted to “To Fly. To Serve”, a motto that has lived in the organisation for over fifty years, with a campaign that celebrated the people who live their lives by this ethos. We followed this fast with a campaign in February that heroed the BA team who were ready to welcome the world to London for the Olympics.

  Our body language over this time has been critical. To instil confidence we had to act with confidence. We bought big TV spots, press insertions and outdoor sites. We had the confidence to lighten up. We featured an orangutan and racing baggage in our ads. This summer billboards across London will rally Britain, “Don’t Fly. Support Team GB”.

  

  

  Build in reward

  We hope people are going to lean into this idea: we’ve got a series of high profile TV spots this week to build conversation; with the British Olympic Association’s backing we’ve persuaded members of Team GB and Paralympics GB to share the ad – so a lot of people will hear about it first from the athletes; and hopefully the nature of the idea will spark interest and debate.

  So we wanted to build reward in for those who want to get a bit closer.

  We’ve created a customisable version of the TV ad online in which you can enter your postcode and, using the Google Streetview API, watch a version of the film with the plane taking a detour down your street. To premiere the ad this morning, BA’s facebook community were asked to first enter their postcode to receive a personalised version of the film.

  We’ve made a documentary with Michael Johnson, Sir Clive Woodward, Denise Williams and Shelly Woods, that explores the difference it makes for sports people to compete on home soil with a nation behind them.

  

  The ad itself has scenes that reward multiple viewing – like the old lady onboard who checks the time on her watch as she passes Big Ben.

  And we might have made a short film that suggests there might have actually been a plane driving through Richmond Park – whilst making a nod to the Fenton viral.

  

  Do vs. say

  We obsess a lot at BBH about getting to different kinds of ideas. Asking what can we do, rather than what can we say, seemed a good place to start here. The creative brief for this idea was, “what can we do to show our support for Team GB?”

  Have a point of view, start a conversation

  We got to the idea of telling Britain not to fly early. It became grounded when we listened to an ex Olympian talk about the concept of the home advantage. This gave the brand a point of view on the Games and the guts of our campaign. All our activity invites you to join in with #homeadvantage.

  

  Get everyone onboard

  There are over 40,000 people working at BA. There was a chance that they might not like us telling people not to fly. We needed them to understand that this was the ultimate expression of our support for Team GB, that it would help build the brand and that people wouldn’t take us too literally. So BA have been running a huge internal programme to get them onside and share the thinking behind the campaign.

  Think tactically

  We’re telling people not to fly but we still need to sell flights. Whilst we can’t be seen to promote travel over the Games we can offer money off flights and holidays to get away afterwards – this idea actually came from our client in the meeting when we first shared the idea.

  Be generous (and dodge the tornado)

  You have two fears developing a campaign as an Olympic sponsor. One, that you will appear cynical, simply piggybacking on the event for your own gain. Two, that you will be swept up in the tornado of other sponsors (and hi-jackers) vying for people’s attention and time. Brands trying to claim that they are also faster, higher, stronger. Or showcasing athletes using their products.

  This campaign builds on a series of things BA have been doing over the last few years to support Team GB and Paralympics GB, including flying the team and its equipment around the world, which has built credibility in this space. We hope that this Olympics, by zagging when everyone zigs, by having the courage to admit that the fortune of the British team is more important than buying our product, we will not only dodge the tornado but be seen as genuinely contributing to the performance of the British Team.

  Thank yous

  We couldn’t have got here without a brilliant relationship with a very brave client, a talented BBH team and the support of a tight team of agency and production partners including Zenith Optimedia, IMG, Cake, 12th Floor, Partizan, Framestore, Stitch, Angell Sound, Black Sheep Music, Google and Paul Zak at Burnham Niker.

  (And, it goes without saying, if you’re British and reading this, please consider staying at home and supporting Team GB and Paralympics GB during the Games. Your support could be the difference between silver and gold).

  1 Comment

  Tags:

  british airways, Olympics, Ross Berthinussen
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• Dance Lessons

  15th June 12

  Posted by Mel Exon

  Posted in culture, strategy

  Author: Jim Carroll, Chairman, BBH London

  

  Asphodel Meadows, choreographed by Liam Scarlett

  I attended a talk by the top Royal Ballet choreographer and dancer, Liam Scarlett. He is only 26, but he has already choreographed two exceptional ballets for the main stage at Covent Garden. And he still finds time to dance in the company.

  Scarlett was discussing how he approached creating his 2011 work, Asphodel Meadows, around a particular piece of music, Poulenc’s Double Piano Concerto. One could be intimidated, he said, by the scale and complexity of the Concerto. Where to start? How to break into the task? Whereas with narrative ballet there is a natural sequencing to follow, with an abstract work there is no obvious entry point. He explained that his own process was first to identify the ‘epicentre’ of the music, its emotional core. He knew that if he could just design the pas de deux around a particular romantic passage in the second movement, everything else would follow. Having got to the emotional heart of the music, he could work outwards to the rest of the piece.

  I am often in meetings nowadays when a Client demands an idea that is media neutral, that extends across every channel, region, product and form of engagement. All the colours, in all the sizes.  Such a panoramic demand can be rather intimidating. And I have found that telling the Creative Department we need to cover the walls with ideas is not entirely helpful.

  I suspect that, following Scarlett’s lead, the key to cracking this kind of challenge is not to consider it in its totality or in the abstract. Ideas tend to be born in the specific. The key is to find the epicentre of the task, to find its emotional heart. Read full post

  1 Comment

  Tags:

  Jim Carroll, Lauren Cuthbertson, Liam Scarlett
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• Internet Trends of 2012

  1st June 12

  Posted by Griffin Farley

  Posted in data

  Every year we like to cover the Internet Trends and Stats presentation that Mary Meeker & Liang Wu from KPCB compile. It’s always great and this is no exception. These were some of the stats that we found interesting:

  • The global internet had 8% growth mostly from emerging markets
  • 29% of USA adults have a tablet or eReader
  • The average eCPM for desktop internet is $3.50 and $0.75 for mobile
  • Mobile surpassed Land Lines in 2002
  • Internet advertising revenue surpassed newspaper advertising revenue in 2010

  The report wraps up with a look at the U.S. Economic situation, which comes across as slightly more political than we have seen in the past.

  KPCB Internet Trends 2012

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• Commercial Karma

  21st May 12

  Posted by Mel Exon

  Posted in Brands, culture

  Author: Jim Carroll, Chairman, BBH London

  Memories light the corners of my mind
  Misty,water colored memories
  Of the way we were.
  ~ Barbra Streisand, The Way We Were

  

  Barbara Streisland, image: barbarastreislandpictures.com

  I attended the Damien Hirst show at the Tate Modern. Flies and fags, butterflies and bling, spin and spots, drugs and death… There. You don’t need to see it now.

  I walked away somewhat hollow. I felt a pang of guilt and recognition. Guilt because Hirst was in many ways the adman’s artist. Art that came with a nudge, a wink and a knowing punchline. Art as quick hit, shiny bright, paper thin. Recognition because, yes, that was Britain in the ’90s. Spin doctors and Spice Girls, boy bands and man bags, heroin chic and Shabba Ranks, lads and Loaded, puffas and Prozac, Wonderbra and Wonderwall, alcopops and Posh & Becks. Fool Britannia…. There was no god, no beauty, no other. Just money and death and irony. Things could only get worse…

  I’m not sure I blame Damien Hirst. I suspect he’s a very good artist. He was very effectively holding a mirror up to us and our values. Or lack of them. And I suspect each generation gets the art it deserves. Flies and fags was maybe all we were good for in the ’90s.

  Don’t you also think that we get the advertising we deserve? As an Agency, as a Client, as a culture ? When we hark back to a golden hued, bygone age of celestial communication, are we not condemning our own failure to create greatness now? When the disappointed Client fires the disappointing Agency, isn’t he or she shirking personal responsibility? When we rail against cruel fate and happenstance, when we bemoan the recession, or reach for the blame gun, shouldn’t we be looking in the mirror first?

  I believe in commercial karma. That, broadly speaking, in advertising as in life, we reap what we sow. That what goes around comes around. Not for some spiritual, counter cultural, gaia-type reason. But because, though it seems trite to say it, in the long run, smart, open minded Clients, working with intelligent, lateral Agencies, for honest, worthwhile brands, will make better, more effective work. And vice versa.

  I guess I have witnessed exceptions to this. The craven creative, the malevolent marketing director, the bullying business director have on occasion won the day. But overall in my experience fakes are found out, charlatans are shopped. Good prevails.

  Instant karma’s gonna get you
  Gonna knock you right on the head
  You better get yourself together
  Pretty soon you’re gonna be dead
  ~ John Lennon, Instant Karma

  

  John Lennon, image: backstageol.com

  Of course in the past one had to wait for hubris to be followed by inevitable nemesis. Nowadays the social web has created a kind of instant karma. Because the courtroom of public opinion is so immediate and all seeing. It shines an unforgiving,instantaneous light on the ill conceived and poorly executed. It likewise rewards the virtuous with currency and value.

  I had always believed that Corporate Social Responsibility was exactly that: a responsibility that a business owed to the communities it served. I wasn’t so enamoured of more fashionable phrases like social investment because I didn’t feel ethics needed commercial justification.  And I wasn’t convinced CSR had a role in marketing or brand.

  Now I have been persuaded that ethics are more than a responsibility. They are fundamental to a brand’s sustainability in a transparent, socialised world. Because increasingly consumers are unwilling to buy good products from bad people. Because in a world of commercial karma only the good Clients, good admen and good brands can win.

  3 Comments

  Tags:

  Damien Hirst, Jim Carroll, Karma
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• The Planner / Creative relationship: how does it work for you?

  8th May 12

  Posted by Griffin Farley

  Posted in collaboration, strategy

  Authors: Fran Hazeldine, Strategy Director and Pelle Sjoenell, Executive Creative Director at BBH LA

  

  In a couple of weeks time we’ll be speaking at the annual Planningness conference, which is coming to LA for the first time this year.

  We were originally asked to talk about how we work as a planner / creative duo at BBH LA. But rather than share a single, narrow perspective, we thought it might be interesting to take a broader look at the planner / creative relationship today.

  What do planners and creatives really value in one another? How can they best work together in a modern agency setup? Do similar or opposite styles attract? Does gender, nationality or experience make a difference? Has digital changed the relationship? Is it still a two-way dynamic or are planning and creative duties shared between more diverse teams?

  We’re hoping to answer some of these questions by asking planners and creatives from a variety of agency backgrounds to fill out a short survey. If you work in either role at any level, we’d love to get your input. Results will be shared here on the Labs blog and in our Planningness talk on May 18th.

  The aim is to gather some honest, practical learning about the planner / creative relationship, how it is changing and what we can do to improve it. Next up, the new business / finance relationship…

  You can find the results of the survey and our follow up post here.

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• ‘Everything we know, is wrong’

  3rd May 12

  Posted by Mel Exon

  Posted in Events, Rants

  

  How communication is consumed: West vs East, from "Everything we know, is wrong"

  BBH Asia Pacific Chairman, Charles Wigley, and Rob Campbell of W+K delivered their joint talk “Everything we know, is wrong” at The Asia Marketing Effectiveness Festival in Shanghai last week. Asked to be provocateurs, their talk (slideshare below) smartly tackles five flawed notions in one fell swoop: from ‘tv is dead’, ‘brand love’, ‘everyone wants to join in’, ‘pre-testing makes everything better’ and finally ‘London and New York know absolutely everything’. At Labs we particularly enjoyed the provocation of the last theme, which struck us as something not discussed nearly enough on these pages. If you’re someone with a client or simply a keen interest in Asia (so all of us, then..), then may we suggest – if you do nothing else – reading slides 64-81 of Chaz and Rob’s presentation below.

  
  
  

  As Chaz himself puts it:

  “We had what we knew would be a crowd pleaser in the East where we have both lived and worked for years, but may be less of one in the West. We’ll see. We firmly believe it anyway. Specifically we took on the notion that ‘West knows best‘. If you believe that culture significantly influences how people look at and interact with the world, then there is ample evidence that it causes Asian – more collectivist – consumers to interact differently towards brands and to read communications differently. Academia and our business are just at the start of understanding this one. But it’s going to be big. Read Richard Nisbett’s ‘The Geography of Thought’.”

  

  Chaz and Rob in action at AME 2012

  6 Comments

  Tags:

  AME, Chaz Wigley, Robert Campbell

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• The Barn NY internship program: open call for Summer 2012

  1st May 12

  Posted by Saneel Radia

  Posted in awesomeness, BBH

  

  BBH NY's Barn Opens for Summer 2012

  Author: Andy Ross, Account Manager, BBH NY

  As the Winter 2012 Barn session came to a close with interns presenting digital platforms directly to UNICEF clients, something dawned upon us – we need to get the next round of the Barn rolling.

  In short, the Barn is back. Please consider this your invite.

  It goes like this: Two teams of three resourceful, slightly sleep-deprived interns compete against one another on a brief that belongs solely to them. They’ll also work on live projects within the walls of BBH and score some direct interaction with and mentorship from folks in nearly every department here, including BBH Labs.

  The skills we’re looking for are varied, and none are mandatory – but guidelines might help. Do you know Final Cut Pro, PHP, C++?  Ever heard of Open Source? Are you hyper-organized? Do you have a penchant for human behavior studies or a highly developed sense of smell that you have leveraged into a successful truffle company? Bottom line: we want people who can get things done.

  Our role here is to empower you, not to ask you for coffee. That’s why previous Barn teams have managed to win everything from Lions to Pencils during their 10-week internship.

  So you have it, the Barn’s hiring criteria are as follows: We want people who are good and nice. Apply at BBHBarn.com and follow @bbhbarn.  Applications are due May 11th.  We start June 4th, 2012. We cry that it’s over August 10th.

  Good luck.

  8 Comments

  Tags:

  BBH Barn, BBH New York, hiring, internship, talent
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