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Contents

Foreword

Introduction

l. How to fi ll i n t he DO Brie f , se cti o n by sec t ioD

2. Exa mp les o f go od DO Briefs, an d rcasons why they're g ood

3·

Tnspi ra tion, 24-ho u r Brie fs, a RedWorks Brie f and the ac tu al briefin g

App en di x: Ex a mplc s o f g ooel DO Briefs from

O gilvy P ublic Rela ti ons W orld wid e, O gilvyAc ti o n an d O g ilvyOne

5

7

I3

'2

35

45

Ogih'Y & MaLher COfe Creative Bricr: New Idea Generation -Direction DO BAIEF B r a

Ogih'Y &MaLher COfe Creative Bricr: New Idea Generation -Direction

Ogih'Y & MaLher COfe Creative Bricr: New Idea Generation -Direction DO BAIEF

DO BAIEF

Brand

Product

Job No.

Date

Task

Success Critena

E.g.,

new product launch , reposition !he brand, generate inquiries

How will this activity be measured and are these measunements in place?

Why 15 this briaf hare?

 

What's keeping the cl ien t awake at night? What's happening in the client's business that has prompted the need for communication? What is the big brilliant problem we can help to salve?

Who are we trylng to influence? Who is it we need to influence and how (if at all) do they currently think, feel and behave towards the brand/ category/ product area? Ask yourself what they are currently doing that we need to change. Think about any barriers that exist. Please bring these people to life in a way that will help the creative team get inside their heads, not just as general consumers but within the context of the specific challenge the brand faces . NB: The relevant points will set the scene; more in-depth info can be attached in the Inspiration section or saved lor the briefing.

What do wa want them to DO as a result o, tilis communication? When it says "do " it means DO. This is the actual change in behavior that will ultimately altecl the client's business- and help them sleep well at nigh!. A simplistic answer like "buy mare X" is not enough-everyone in the business is doing tha!. Be specific rather than general. You'lI need to have explored who you need to influence, what they are currently doing, and how we need to change it befare you can express this fully.

How do we expect communications to work towards achieving this?

 

How are the communications actually going to DO that? Will they shock, engage, make things more relevant , entice people to trial , create a unified voice far the brand, change the way people feel abQut when and where they should consume the product and so get them to consume it mare olten? How will our communications reward people for

the time they spend with them?

 

What are we trying to convey?

What is the care thought that will drive the creative solution? Think about whether this should be a big a killer fact, a promise, a straight message, or just a plain and simple big idea- it depends on the task at hand .

 

What wlll help people to KNOW thls? What will help people to FEEL th 51

What makes this competitive, relevant to the target and

What are the care values ar personality 01 the brand we need

true? NB: Additional product detail can be attached as to stay true to? Are we questioning ar directing? Are we

an addendum to the core brief.

 

being inclusive ar exclusive? Are we talking conspiratarially with people ar are we distant and autharitative? What do we imagine the tone 01 the communication lo be?

Mandatorias

Channels

Supporting Materials

 

What are the immutable "must haves " Where and whet1 will we reach people List any additional technical specs,

ar "must nots" for this task? E.g., avoid

in the most receptive state of mind?

copy briels, or product details

attacking competition or using slapstick (Please expand as needed.) supporting this brief.

 

humor, ensure culturally sensitive references, leature the product, etc.

 

Account Dinector

Planning Director

Cneative Director

Creative Development Time

Final Review Date

Clien! Presentallon Date

Final Deadline

Production Budget

3:P10Mdl0

3:P10Mdl0
3:P10Mdl0
3:P10Mdl0
Perva jve Creat i v ity. Jt's what Ogilvy aims ro r. We w a
Perva jve Creat i v ity. Jt's what Ogilvy aims ro r. We w a

Perva jve Creat i v ity. Jt's what Ogilvy aims ro r. We w a nt LO b e the n etwo r k that

doc

Lhe bes t, the freshe t an d Lhe hotte t c rea tivc work in th e world.

Tha t's why I' m deligh ted by lh i re newed focus on th

ve ry start

f rh e creative

process-

t he creal ive

b r ie f.

Everyone who wriles

a crea tive br ief ha

the

pp

rt u n ity to ma k

a d i fferenc .

You remembcr the o ld computer acron y m GlGO? "Ga rb age lo, Garb gc O u t ."

It's like thal with b riers.

Every creallve team ha' h orror stor ies o f receivi ng lous y brie fs. D ul! , va gue

confu ing, though tle

fr esh

Wh at chance do they have of producing

esn't hrief th m properly?

sparkli ng,

reative work if th e accou nl t a m d

Bu t every crea l iv e lea m a l o re membe r. th ose b ri f

igniled their imag inations. Brie fs that o pen d up ne w possibil ities. Erief tha t inspi red and enthused.

lhal made a di ff'eí o ce. Briefs that

11 1at's what Perva ive Crea ivity mcans here . Writing a briefhas to be a creat i fe ac t in it elr. 1b a t will O'ive crcative team s lheir be st cha nce of produc ing g reat wo rk.

The be tter

the brief, th

hette r thc work.

 

Our Tw in

Peak

traleg y- tbe

trategy of

producing the mos t creative work in

lhe world a

wd ! as t he mo

t

effectiv e - sLarts he re. With great briefs.

The DO Erier n l form is h e re

to help y u . It asks the lo ug h queslions you need

to answe r in orde r to wr ite greal b r ief . PI as ' this short book.

t ud y a nd a pp ly l he lcsson s in

Thank you, and good luck.

r to wr ite greal b r ief . PI as ' this short book. t
WHY JS TIllS CUIDE HERE? Preside n tJohn F. Ke nn dy w an te

WHY JS TIllS CUIDE HERE?

Preside n tJohn F. Ke nn dy w an te d to

He said , "We choose to go t

not

e ll the idea oflanding aman on the Moon.

the Moon in this de acle and do the other things,

becau e the y a re ea sy, bu l beca use they are hard ."

The DO Brief is ha rd. Mo st cr ali ve briefs ask familiar questions. lhe DO Brief a ks ough new questi ons. This guide explai ns why. It will he!p you answer those q uestio ns b tte r.

WHAT ' S

EW

BO

T THE DO BRIEF?

1. It begins with a question about the client's business issue.

N

t aD awareness is su ,o r an image issu e,

or a positioning issue, but a business issue.

U

nles s our crea tive wo rk help

clrive th e

d i ent's business, it will pass like a ship

in the night. All clients want profitable growth. H

w can we help?

To help solv

the clie nt's business issue, we need a commerci al idea -a n idea

that uses Og ilvy's cre ativity to address th .r bus in ss issue.

2. It asks what communic ations must goet consumers to do.

H w must consumer behavior change-not just awareness or perceptions, but

behavior? For in ta nce, a cha ri ty ad might rai se your awareness. It might even

move you to tea rs. Bu t unless you p ut your hand in your pocket to donate money,

it failed.

l It asks how communications will change behavior.

AH campaigns exi sl to get somebody to do something, but they wo rk in different ways. Sorne persu ade, giving rational informa tio n about a product benefit. Otb e rs m ake lhe bran d fam o us . S ti l1 o t hers strengthen em oti onal engagement. There a re many o ther possibilities. We need to be clear ab ut which communications

fiode! appli e' in th is si tuation .

4. It asks what we n eed

to convey.

U nlike mos t c reative

to dr iv a logical, factu al proposit io n into con su mc rs' minds. Often the most

effec tive ca mp aig ns create an emotional impression of the brand. Conveying inform atíon can be effective, but conveying feelings can be more effective.

briefing for ms, il d oes no t assume the solution is always

5. It is channel-neutral and global.

Previously, Ogilvy & Mather Advertising, Og ilvyOne, Ogilvy Public Relations Worldwide and O gilvyAction each had different briefing forms. The DO Brief enco u rages in tegration among strategists of all disciplines because it is the shared plat for m for a11 ac tivity. It is also used in all regions. Al! of us mu st use the same too1 in tn is global ized w rld .

WHY DOES IT ASK THESE QUESTIONS?

l. To improve br iefing quality.

FiIling in the DO Brief ought to make your brain hurt. It demands clarity, focus and consistency as wdl as creative stimulation. lhe harder you work at the briefing form, the better the briefing will be.

2. To help clients huy original work.

It is easier for our marketing clients to seIl seen-it-before creative work within their own companies. Helping them buy fresh, truly original work is part of the planner's job, perhaps the most important parto Stanley Pollitt, one of the fathers of account planning, said something crucial about the planner's role that seems to have been forgotten: "lhe rationale of creative work after it has been developed will become much more important than the initial creative brief."

What is a "rationale of creative work"? It is a narrative that explains how the work wiIl sell more. It involves four steps:

i) Review the brand's sales and position in the market to id entify a business opportunity.

ii) Identify the key consumer segment for that opportunity.

iii) Analyze consumer behavior and attitudes in terms of the defined

business opportunity.

iv) Articulate the role of communications in bringing about the desired

behavioral change. lhese reftect the first four questions on the DO Brief. Answer them properly

and you are well on the way to selling the work as strategically right.

3. To j u dge creative work.

Creative work should be judged against strategy. Unless you happen to be in the target market, it doesn't matter whether you personaIly like, say, the look of the lead actor or the music track. lhe question is whether the work will get the sales job done.

If you and the client agree on the communications strategy-by going through the Ogilvy Fusion™ process and the DO Brief together-it will be easier to judge whether the work will be effective with its target audience.

and the DO Brief together-it will be easier to judge whether the work will be effective

9

Wl1ERE DO

IT FIT ¡NTO O

lLVY FU, 101

?

Ogi lvy Fu ion i Ogilvy's new operati ng syste m. It p urpos

is to provide a way

or our disc iplines to wo rk more cIo d y toget he r an d produce deep ly integ ra ted

360 Deg ree campa ign .

There a re two versions: Ogilvy Fu ion (d sig ne d LO b e comple ted in 48 hou r

o r

co mplex market ing progra ms). They share the sa me fi e-stage proces s:

a similarly shor t ti me) an

d Og ilvy FusionPró f\ l (designed fo r ]oDITer and more

d Og ilvy FusionPró f\ l (designed fo r ]oDITer and more 4 SOLUTION 111ere are
4 SOLUTION
4
SOLUTION

111ere are thrce Ogilvy Fusion

tages before rhe DO Brief.

Business Arnbition is first. 111is asks the cssen tial qu stions to help art ic ulare the

di ent's busines s iss uc OY oppo r t u nü y. It men h lp s define t h e

communication

goals.

marketing and

Customer ExjJerien ce identifies barr ie r

an d dr ivers to purchas e

(he consumerjo urney. It a l O comm unications at each step.

cove rs t he de sired cons u mer r

at

ach

tep of

po n e to ou r

Architectu re ide n t ifi es the

at each step.

ro l

s

ror commun ica t ions a nd b asie cha n nel cho ices

Thc So/ution ín spired by the

a nat u ra l pro gre ssi o n fro ro

DO Brief is the fo u rth stage . It fo llo ws as

lhe previ o u s Ogil vy Fu sion stage s. I n esse nce ,

gilvy Fusio n is a statem cn t of our strategy, an d the DO Brie f is the one-p age

su m mary a nd

creative insp iration -it is \" here the ru bbej"m eets

the road.

Yo u ma y need

su b -br iefs fOf p artic

u lar co rn m un ic at io ns task s or c h a n nels in

ve ry elabo ra te, co mp lex ca m pai gns . Use the DO Br ie f format fOf these

Th c fift h stage is Effectivenes.r, the Business Am bit ion we

which identi fie s key success metrics based with .

loo .

on

ENTS

C olin Mit chell and

Gavin Ma c d on ald, a n d Ca ther i n e Mo us tou o f Ogilvy As ia P aci fi

Job n Sh aw w ro te ke y sec ti o ns. Paul Mathe so n,

c made

many help ful cornrnents and su ppJjed exa mp les; they were a]so key me mbcrs

of l he team that de vis ed , te s te d an d t ra i_n e d t h e D O B r ie f

The Inspiration section carne from Sarah Ncwman's tenu re as H ead of Plann ing

in tb e fi rst p la ce.

in Ogil vy Lon do n. M any tha rU<s to them.

JI

Ncwman's tenu re as H ead of Plann ing in tb e fi rst p la
Ncwman's tenu re as H ead of Plann ing in tb e fi rst p la
Ncwman's tenu re as H ead of Plann ing in tb e fi rst p la

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Don ' t begi n with t h e brief. Alway begin w iLh a
Don ' t begi n with t h e brief. Alway begin w iLh a

Don ' t begi n with t h e brief. Alway begin w iLh a trat e o-y. 111e DO BTief sh uld b e th e o ne-page su mmary of the strateg y and indicate how it hOllld be imp lement d , a step towa rd a creaLive ol ution.

Ogi1vy & 11athcr

or' Crcílliv

n

r. New 1d

a Gen

ratio n - Direc . on

The ti le says it all. Use thi briefi ng form l O g ene rale a new erea ti e id a.

Sometimes

R

you do n't n ed a ne w ereative id a- for in tanee , ro r

an adap ta tion throu gh

dWorks. There is an examp le o f a RedWork

b riefi ng f, rm in Chapter

.

Brand

Produc t

Job No.

Da te

Task

Suc c ess Cri terla

E.g. , new PfoduCt launch, rep osit io n

lh e brand , generat e inquines

HOI/J will this activi ty be measured and are these measurements in place ?

Mo t o f lhe n Xl boxes are self-explana to ry, but please no te the rda tion hip be tween

fue Ta sk and lh

measur

Ir !he task is to generale inq uiries, wo ul d yo u mea s ure suecess by ha ng s in bra nd image or personali ty ? Again , p robably noL Make SUTe yo ur lhin king is jo ined up.

s lhe ca mp ign gen rate d? Probably noto

SlIccess C riteri . Ir the t sk is to repositio n the bra nd, wo uI d yo u

success by rhe nu mbe r o f inqu iri

lt really htlp

e r atives when you are cl ear a bolll how suecess will be j u dge d . O ne kind

o f ca mpaign wi Il g enera te in qui ries, whi1e anoth

r ki nd wilJ reposi tion th e b ran d .

Let th m know

fro m the beginni ng wha l i

req ui r d. Do n't send

them clown bl ind alleys.

Why Is thls brlaf here? What 's keeping the client awake at nigh!? What's hap pening in the client 's business tha! has prompt ed the need lor communication ? Whal is I he big brillianl problem we can help lo solve?

O g ilvy's effec tive ness ioi tiat ive starts right here, with a n arti c ula tion of the cIi e n t's

b usi nes profitab l

issue o r oppo r tunity in th e creal iv

g ri ef. 1he c1ient's o bjeetive is always

gro wth , bUl how is that lO b e ach ieve d?

Sometimes th ere is m is u nd ' rsta n ding abou t wh at eo u nt s as a b usiness issue.

Are sales or marke t share Aat or dec1 in ing? That's a bu siness issue. Is a competito r outpac in g 1I, io the ma rket? l11at's a business issue. We need w rds like " al s,"

" marke t share," "reven ue" or "profitability" in thi

scction, not "b ra nd image"

or "awareness." 1h e O g il vy Fusion pro cc ss (Business Ambition) wi U help he re.

'4

Ir you are luck y, O g ilvy RED Consul ti ng or B u siness Accelcra.li on \ViII h ave done

so rne upstrca m an aly sis cha t wi n answe r this q uestion fo¡"yo u . Bu t

be

rnos t o ft en ¡eH

up ro you and you r tearo to fi nd an answer.

So rn e

does n ' t s h are thal info rma tion w i th

pol itcly and expIain how important it ¡s, the market ing director wouId spend a haJ f

hou r b r ie fi n g thc team on t h e business

accou n t tc a rn s will say a Lt h is point , "We d o o't kn o w a b out sales; rhe cl ient

us." B u t h a v e yo u asked? Perhaps if y0 11 ask

challenges facíng t h e brand.

Yo u ca n find ou t a tOl by yoursel f. For

instan ce, what do fin ancialjo u rnalis ts and

ind ustry b loggers say abo ut lhe cli en l's business?

magaz ines? Wha t do the comp any's own finan cial

What 's

reports and press statement

in tha t indu stry's trad c

y?

Does yo ur rn anaging director o r fi n a n cc director k n ow? Do

you know someone

who works in tha t in dus try? I t's al ways belter lO m akc an ed uca ted guess ab ou t t h e c1 ient's b u s iness iss u e l h a n ro hy noth i n g , because Lh en c1 ie n ts ca n COfrect any

misapprehens ions when rhey

review lhe brief.

It is es.fential that you try lo fi n d o u t wb at the b u siness issue ¡s. Cam p aigns

based on bu s iness o r behav ioral o bj ect ives a re more tha njour times as likely to be sales

th at are

eJJective as

campaigns based 00 a tti tude or awareness objcctivcs .' O g üvy

Fusion's

B usiness Ambition scction suggests the key q ucstioos tor you to answer.

Olhers mi gh l say, "Crear ives don'

t need to

know lhis ." B u t th ey do, and

th cy 've asked

fo r it be fo re. O g ilvy 's most sen ior crealives aske d us nol to sh ie1d them from business

rcalities in b ri efi ngs .

Who are we tJying te Innuence?

W ho is il we need lo inlluence and how (il al a ll) do Ihey cu rrentl y think , leel and behave to wards the brand/calegoryl producl area? Ask yo ursell what they are currently doing Ihal we need to change . Think aboul any barriers that exist. Please bring these peop le to 1,Ie in a way that wíll help Ihe creative team gel inside their heads, nol just as general consumers but wilhin Ihe conlexl 01 th e specilic cha l le nge the brand laces. NB : The releva nI poinls will set Ihe scene; more in·depth inlo c.an be atlached in the In sp iration seclion or saved lor Ihe briefing .

The p erfcct answer

i) a q uan tit a tive

to this qu eslion wo ul d ín clude:

dc scri p tion o f lhe ta rgel

a udience, incl uding tbeir buyi ng be h avior

in relation to the business ¡ssue ¡dentified in the preccding section , and ii) a q uali ta tive dcscrip tio n that bring s lhem alive as peop le to creatives.

Herc 's a g real exa mp le fro m a n Axe bri ef:

He thinks about lOomen a loto A lot lotoB ut not drearnil1g ofrmnance,

can 't stop thinking about sex lOitlz extraOldinarily lOelcoming women. ret in Ihe real wor/d) women

he getJ

lo go thar and)ou're f},7Laranteed he won't be able to Jpeak the language lOhen he does. Deep down he wishes he couldjust be lúms e!faround gir/s, that it lOasn't so complicated) that he didn 't have to tr) so hatd.

are a complete0! differenl countl)i -úS .wrnelOhere hes never heen, it l1UlJ' be a while bifóre

he\' (l dirty bo) lO/lO

This is wher

-----

-

we include the target's perceptions of the brand-its image, positioning

or personality, etc. Don't put that in the business issue section.

etc. Don't put that in the business issue section. What do we want Ihem to 00

What do we want Ihem to 00 as a result of thls communica1lon?

When it says "do" it means DO. This is the actual change in behavior that will ultimately affect the client's business- and help them sleep well at night. A simplistic answer like "buy more X" is not enough-everyone in the business is doing that. Be specific rather than general. You'll need to have explored who you need to influence, what they are currently doing, and how we need to change it belore you can express this lully.

we need to change it belore you can express this lully. As the brief says, "do"

As the brief says, "do" means "DO." What change in consumer behavior will grow the client's sales?

NEVER write "Buy more X." That's unhelpful and spineless.

Think through how an individual might respond to the campaign. What does that person do now and what behavior do we want instead? Specific, concrete actions ("Fit window locks") are much more helpful to the creatives than platitudes ("Be vigilant"). Provide a narrative of the individual behavior change you want.

Sorne good DOs that brought the tasks alive to creatives include:

• When the insurance man from X comes round, don't slam the door in his face; invite him in for a chat.

• Reach past the ordinary tea on the shelf and get specialty tea X instead.

• Get your mortgage sorted with X bifOre you look for your new house.

• Instead of passing by X shop as you have done every weekend for the last five years, stop and go inside.

• Drool over the page and divert the taxi to X instead.

The DO must always flow sea mIes sI y from the business issue and consumer target identified earlier in the brief.

issue and consumer target identified earlier in the brief. How do we expect communications lo wortc

How do we expect communications lo wortc lowards achieving this? How are the communications actually going to DO that? Will they shock, engage, make things more relevant, entice people to trial, create a unified voice lar the brand, change the way people leel about when and where they should consume the product and so get them to consume it more afien? How will our communications reward people lar the time they spend with them?

Unless we specify in advance how the communications are expected to work, we don't know the issue in full, we haven't examined the problem hard enough, we don't know the audience well enough and we haven't established the strategy soundly enough.

16

1l1e brief asks for a commUnlcations Olodd for the ad. What is a "cornmunications modd"? Thcre are trucc kinds:

l. Models of comrn1l1úcalions in Keneral

It used lO be lhought that all communicalions work lhe same way. Sorne clienls and rcsearchcrs still think that. Typical "universal" models include:

AIDA: Attention, intereSl, desire, acrion. STARCH: Sec, read, remember, act upon , AGMAR: Awareness, comprehension, conV1ction, action. AlETA: Awareness. intcrcs[, evaluation, Irial, adoption.

1l1cse communications modds are old- for instance, Al DA dates [rom lhe ,880s. They assume a) consumers arcpa'isive and ernpty-headed, and b) commurucatÍon

move cOllsumers through

before tbey buy anything. Neither of thesc assumplions i5 credible Loday.

a linear sequence oC conseious, diserete mental event

Communicatjons models like thcse fundamentally mjsunderstand lhe way our

minds, and campaigns, aetually work . lbey don'L

psychology or ín -market cffcc tiveness. So why do they still survivc? Bccause lhey're

plausible, not because they're right. Thcy're converuenl checklists ror prelest research and Lracking sludies.

reOeclleamings in ncW'oscicnce,

But this can create a big problem far uso Creative ideas may appear to htil in rescarch. In reality, lhe problem may not be me creativc idea but lhe cornmunications model that underlics the research methodology. Howevcr, rebriefing the crcalives beca use ran imaginary problem wastes money and diminishes creativc mOJ-alc. You may need a conversation wiLh the client and rescarch agency about how l/¡ is jJarticular crzmpaigll should be pretcstcd and tracked.

2. Mode1s ofs ome cllmp airtns

A more sophisticated approach

different ways. 'TIlrce of lhe most widely used sels of communications models are:

allows lhaL d iffe rent campaigns may work in

Ha ll 0' Partners:

Sales Response- Pcople register a buying opporlunity thal fits lheir plan Persuasion- People t.ake oul a piece of information.

Involvement- People get involved in the adverLising.

Salience- People register

lhe ad as

standing oul in its sector. Q

'1lall . M ike (oC I-Jall & P a ntll,-",) : " U, ing At.lvt' rli sing

C'lln pa igns."

Marc h '9.9 2

: " U, ing At.lvt' rli sing C'lln pa igns." Marc h '9.9 2 Di rrne

Di rrne nl RDTarch

for Díff¡-rrnt

17

Millward Brown: Irnmediate Challenge- Pcople lak away " new new " abou t th produc
Millward Brown: Irnmediate Challenge- Pcople lak away " new new " abou t th produc

Millward Brown:

Irnmediate Challenge- Pcople lak away " new new " abou t th produc t thal create an immediate desire to buy ir. In terest/Status- Peop!c's memories of advertisement make rhem more likely lO buy brand X.

Enhancement- Me mories of advert isi ng daims and ¡maO'es are converted

ciuring experi oce of lhe pro d ucl iota abo u t the bl nd. '

IPA:

EmotionalInvolvement- Peop e re 1grealere m pa thy for tite brand becau. e

of rhe emouon created by the ad, o r i likabil ity.

Fame- People taLk more aboul lh

waves in its category. Information - People take away a piece of in fom1a tion about the brand, its u ers or t hei r w rl ci . Persuasion - People are con vince d by rarional argument that bra ndX is supe rior.

Reinforcement- People are remindcd to keep on doing what th yal ready

bran d an d its adv rti i ng, see it as making

do (I oya lty ca mpaigns) .1

There are effectiveness re ult Emo tionaI Involverncnt) a r

on ly for lhis last se l. E rn otlve st rat gies (Fame and more Jikely lObe sale' cffective lhan rational ·trategies

(Pe rsuas j o an d Information ) . Rein forcernen l ca mpaigns a re lh e least effeclivc :

Effi'ctiveoes

%

ucce

rate

Fame

p.

Emotionallnvolvement

68

Pcrsuasion

61

Information

Reinforcement

J3

You necd to w rk ou t in advance wb ich of lhese com municat i ns models is mo ' t

likel y l O brin g abo u t

lhe br ief. Thi wi ll b e ba >d on your un d erstan d ing f tbe consume r nd the k ind of beh avi ral cha nge you are looking foroEven hough em tive campaign have a rugher success rate in gene ral, pe rsuasive or in form a Live camp ai g ns m ight be better in a partic ular case.

the be havioral

hange described in the previous sec tio n o f

3- Model of this !Jart icu lar campaign

Rathe r lhan u ing a stand ard, off-lhe- h clf inAu nc

between Lhe campaign , nd Lhe pu rcha e. Ogilvy Fu -ion will help you here, with tbe Ogilvy Comm unicati ns BlueprintT\' exercises.

model, think lhrough th

ljnk

fM ill ward B row n , as s u mma TÍz c d b y P ru e. T C'rry: "A n A II -E mbra c in g Ih cory o f Ho w A d ver tis i ng Vlor ks, " Ad m ap ,

Fcbrua ry

1998

'B inct,

S; a nd Ficld , Pele r: "M arke ting in the Erd of

ccou ntabi lity," WARC,

r8

To give an examplc o[ think:ing [hrough Lhe purchase process, a brand o[ rruitjuice

was bought by moLhers and drunk by

ask for any particular brand in this sector. An imponant role for the campaign was to get motbcrs to bdjeve their kids would love il even Ihough tliey didll't actively aSÁJor it.

Rcsearch"'showed kids were unlikely to

Thi communications modeJ is clear in tbis diagrdIIl:

ExampIc ofbespoke communications modd

/

Advert isin g

Child impact " The on e for m e"

%

/ Advert isin g Child impact " The on e for m e" % Mother thinks

Mother thinks ch il d w iU llke

%

Mot her purc ha ses

The DO Brief version of th is mighl say someLhing like, "We m:ed moms to

this is Dot only high-qualiLy juice, but also will be a trca t for Lheir "kids. lhe trouble

is lhal kids don'l ever ask for it by name

popu lar with their kids ir they never ask ror it? By making a campaign their kids

lave. 1l1e

brand is popu lar with lhcm too. "

bcljev

H ow can we get moms to bdievc it is

lhal thc

popuLarity with kids wiU lcad mothers to

Wllh a com m unica tions modcl c1early in mind, il is much easier to design pretesl and trdckil1g research appropriale to this particular campaign .

"S n urce: K ia·Ora

hi s lOI'y, A n l<lfl)' Buck.1PA Ef re c lí venc!\5 A wa rdl>. 19RR

. "S n urce: K ia·Ora hi s lOI'y, A n l<lfl)' Buck.1PA Ef re c

19

Whal are we lJying to eonvey? Wh at is the eo re I houg hl

Whal are we lJying to eonvey?

Wh at is the eo re I houg hl t ha t wl ll drive lhe ereati ve so lution? Th in k about w hether this should be a b ig ideaL : a kill er

fae t, a prom ise , a straigh t message , or

just a pl ai n and simp le b ig idea-it dep end s on t he tas k at hand .

Th i

is the mo

t prc

S U f· ·

ed

ce tion of the b rief. It is whal creatives look at firsl.

Ir

is how th e brief as a whole will main ly be judged .

lt i

oC' lhe b rie f.

n eve r easy 10 wrile, bu t it is ea s ier ir you have worked hard o

n l he earl i r ections

gui cl e you r choice o r

the Ic-i nd of thin g t h communicat íons mu t eo n vey. Ir yo u nee 1 g n erate ¡ nqujries,

you wiH probably use a pe r ua ion infl ue n e mode l, and ro r thal you wou ld wam te

convey fac tual in fo rm ati n . Ir y u nced to rep o sition the b rand, you will p rob ably

111 de: ¡re d behavioral change and commun ications mode! w il!

a n emOl ivc the brand.

use

in fluenee mo d el, and for lhatyou wo u l e! want to conv y f c.üngs abouL

There

are so rn e

great "Conveys

in the follmv1 n

hapler.

What will help people to KNOW thls?

What ma kes this eo mpetiti ve , re levan t to th e target and

true? NB: Addit iona l p ro d uc t del ail can be a ttached as

an ad dendum lo the eore brief. being Inclusive or exc lusive? Are we talki ng conspiratorially wi th people or are we distant and authoritative? What do we

What wíll help people lo

Uds?

What are the core values or persanality of the brand we need t o sl ay true to? Are we q ues tioni ng o r d irec ti ng? Are we

imag in e the

tone o f Ihe comm un ication to b e?

I n 01 0

cal led "Support for che Propos iti n," which tends

to lead toward ratio n aJ, fae t -based c1 ai m s . Sut we n w kn ow i n format ion is only one

Ravar o f e ffec t ivc ea m p igns , a o e! us u a ll y no t thc m sl e ITec1Íve. So lh e DO Brief g ive s

t briefs th i

s

cti

n wou ld b

knowledge andIeelings egual

ta.Lus.

I f you wa n t to con vey fact u al info rm ation, yo u wO lll d g iv e m o r e e m p ha is l, lhe Knowledge b ox. If yo u want to convey a fc el ing, you would write more in Lhe Fcc1ings box. You don' t h ave to fil l bo th b oxes each ti me .

Be very selec ti ve a bo u l wha t

D wha t yo u hav e wr itt en r a I1y suppo r l lhe "Convey," and is it meaning f lll ,

yo u wrü e in e ith e r

Avoi d cl ichés an d

p la titude

appropriate and imagi nat ive? Or

u n t team? 'TI1cn

the die n t or aec

is i l thcre

for other reason - for in stance, lo appea e

lhe brie f will eon fuse lhe erea li e .

20

Mandatorles

What are the immutable " must haves" or " mu st not s" for this t ask? E. g., avoid attacklng c ompetition or usi ng slaps ti ck humo r. ensure cu lt urally sen si t ive

references, l eatu re the product , etc.

Channels

Where and when will we reach people

in th e most

receptive state 01 mind ?

(Pl ease exp and as needed.)

Supportlng MElterlals

List any additiona! technical specs, c op y briefs , or product deta ils support ing this b riel .

Accoun\

Planntng

Creative Dlrector

Creatlve DBvoJopment Ti me

Final Ae\iIf1w Dale

CUent PresentalJ on Da10

Final Ooadline

Product lon

B udget

Finally, we come to lhe practical stuff that creativcs need to know before they actual1y begin worki ng on someth ing_

Mandalories res tr ict creative freedo m, so , as lhe brie f says , only include the "immu ta bles." 1l1at i.llclud es the thi ngs th a t will get the ad out o f hand as unbuya blc. C reat ivcs m ust be in rorm ed o f these "m ust nots" im mcdjately, befare Lhey Slart work, or yo u may waste their time on mutes that will never see the li ght o f da)'.

lhe ChanneIs box wi U summarize the O g-ilvy Comm unications Bluepri nt fro m Fusion.

For b riefs wit h man y delai led req ui reme ms - ofte n direct, briefs-att ach a separate p age to the DO Brief.

d igital or retail act ivatíon

1l1e briefMUST be si gned by the aCCOUl1t, plan n ing a nd crea tive directors b efore

it e n te.t·c; t he crea ti ve d eparLment. C real ives are absol u tdy right to refuse to work

on DO Bri cfs wilh o ut all t h.ree sig n a t ures.

1l1C remaining boxes are sclf-explanatory.

A FINAL NOTE

A

DO

B ri ef m us t be lo g; ica l, connected, j oined up. Goo d brie fs le ll

a story,

wi

th. a

be gi nn ing, a mi d dlc a nd an end.

Th

e success criteria mus t fit lhe task. The target audicnce mus t fit the bus iness issu e.

Th

e dcsi red change in beha vior must fi t the infl uence model . And so on wil h the

olhcr sect10ns .

Always remember Dav id Ogilvy's advi ce: "What

campaigns, wiLh the spark to ignitc sales and lhe staying power lO build enduring brands." Read through your brie f one last üme criücall y before you pass it to tbe creatives. Has it g OL Lhar spark? Has i l got staying power?

mos t clien1.s wa nt [rom

LI S is greal

2I

it to tbe creatives. Has it g OL Lhar spark? Has i l got staying power?
it to tbe creatives. Has it g OL Lhar spark? Has i l got staying power?

üeJO

pOOB00'Sjd!lH

Ál.{M

dl,Ádl.{lpOOB

ü e JO pOOB 00 'Sjd!lH Ál.{M dl,Ádl.{l pOOB
I. h angri -La Ilolels pilCh creativc D Brier: Ogih-y & ¡vbthcr eore ,r "alivl:
I. h angri -La Ilolels pilCh creativc D Brier: Ogih-y & ¡vbthcr eore ,r "alivl:

I. h angri -La Ilolels pilCh creativc D

Brier:

I. h angri -La Ilolels pilCh creativc D Brier: Ogih-y & ¡vbthcr eore ,r "alivl: Bnd

Ogih-y & ¡vbthcr eore

,r "alivl: Bnd : N 'w fde a Generalion - Di rect io n

Ogih-y & ¡vbthcr eore ,r "alivl: Bnd : N 'w fde a Generalion - Di rect

DO BRIEF

Brand

ProduCI

Job No.

Dale

Ho\els & Resorts

Ho\els & Resorts

'"4/2009

Tas!<

Success Cnlarla

350 Deg.w GlobaJ Campalgn Id

• SIe.aling share In these . lhe

dltllault attd compe llllva I lnI"'I lar holels.

 

• Assessed b y IncteaseO In qulries 10 i!XllIlíng halem and Inle resl lor nev; launches. • Talkablhty and PR generdhon

 

Why 19 tttís briel here") We are in the eye 01 \he w o rsl g lobal recession since I he Ice Age . The rlo tellndustry is alrea dy blld ly affected, partl cularly as lis key target , bus iness

 

trave lers, are faced WIIh redlJced blldgets ttJe worfd over. There are d top p ing occu p ancy ral es and i ncreased pro m etlollS an d a priee war loom tng w hile more and more harels are b ui l L In Ih e mldSt 01 aU I hls, lt1e Shang ri - La is also lau n dl i ng a r ucmbe r cf new hotels In mator US an d Eurc pean des ti natl o n s and is seel<ing le attra c t more bUSlf1eSS. II has lo. In lact , we hava estimated thal Its ho!els rou nd the wc rld wln need 10 more stays per nighl to remaln

laval in tenns 0120 0 9 vs. 200 8 reV9f1ue. To achleve i expan sion objectives an d nda t/1e storm of th e recess io n , S hang ri - La needs to

laKe

a num b er

01 eeUons . IaClica l and straleglC . AI'lII 0 1a1J, It neecls an idea to wra p all these actío ns In , an idea th a! de fi nes II In a un i ue . ng an d o w nable

 

way. We be l iave this i dea i s li l e extraordinary St'tangn- La surroundin -hospnaJlty tIlat comes lrom \ha hearl.

q ua l lty

0 1 110 Sp i tali ty , hosp i la ilty l ha l goes we!J beyond si mp ly

Impeccable serv i e e In lux urfo us

Whal does thlS mean?

Whi la olher ftve-star hotels (bolh Inlemational and Asían) treal hospitaJ il y lik e hardware - somelh ing l o be aeq UlreO and pollshed 10 sterlle pertectlo n-

 

the Shangri - La sees

1\ as

Ilvll1g , Ilw d Inl8faction between human be ings. conducted w ith heartfell since!'lty.

Thus . Other l iv -star h te ls rea c h tllelr stafl

consistenUy Impeccable service, bu! \he Shangr!-La advoca!es sponlaneity and an individual approach. The>¡l belleve !ha! cookl&-cutler lakeness has nothing to do with respecti ng \ha g uest. Othar five-s lar halets mighl lreal Ihelr g ueslS Ilke ki ngs to be ind ulged , bul l he Shangri -La belleves in treatinq !hem "ka h uman belngs lo be v al uad other five-sta r halels belle"e lhal a g o od haleller is mad e bUI Ihe Shan n - La behaves lhal a goad

Ilo teller

is born - bom

wllh!he ablhty te empa\hiza and app<eciate \he n eds

01o thers an

to rea lly caro and respond Iro m l he hearl. " Everyttung m

t

come from!he heart," lhay leach young recrurts.

The briel hBre is to help Shangrl-La ac hieve ils objectlves by making Shangn -La 's dlstmCl brand 0 1hospitalit'} lamous the wotld over, hence m aking Shangri -La every premlum lravele r 's must- stay hotel.

 

Who 8111 _ trying lo Inlluence?

Premium business t ravelers who expect li l e highes t leve ls 0 1 serv iee an d c omfo rl fro m I he ho tels I hey stay In

wh o Ilmi less and

 

Increasing chOice 01 exce ll e n t h o te l

cha i

". w ho are o lten Hyal t and Slarwood d leh ar ds b eca1JSe t ha y h old 10y al tY prog rams w itil ben e li ts that

are "unshakable ." Thay spend e g o od d eaJ al Iheir Ilfe o n Ihe ro ad . li Ving out of sultcases a n d on slale

alrtine food . They arrive

nd leave alo ne.

They are ma l everywha re by pSlnled-on sm llés an d gene r ic greellngs be c s u se aU In I h e hos il l il y in du stry k no w fhelr m one t a ry v al ue an d

 

I r e at lhem IIke kl ng s. Yel In Ihelr goloen cages thay leal dissatisfacti on and th ey m ay ev e n suspec t fhal w h t 15 misslng

In alllh es e t emp les

01

luxury

is genu lne huma n i ty end interac tlons

fr o m t he Ile arl, n

o l Ihe how - to bo o k .

 

An d hsre

[¡es the

d l ffereoee . S hangn-La w i\h i ts

be tía l in antl prac tica 0 1 tru a Asian h os pltallty - Ihe hu ma n wa y a l t reatl ng c ust o m er s- wa rm s

 

your Mearl. leads your seu l and neller lelS yo u feel like a s lranger in !he s t rangest of plaoes . Doesn'l \hIS make a d lffarenc e w hen you are b ac k

In !he tour wal ls 01 a hotel room for \he ten t h time In a m o nltl?

What do w n1 tIlem lO DO 85 a re:;ult 01 thlb communtcation? Recognize Ihece's Vital humanlty m lsslng l rom Iheir hotel expariences t o dale and reso lve to stay In Shangrl-La nexl time.

 

$peclfic;aJly.

IhIS means Instead of booklng on

autoplloi . thay InS lru Cl Iheir bo o ker t o book t h

Shang ri - La

 

time.

How do we e"pect communlcatlons lo

orlo. 10Wilrds achlevlng Ihis7

We are hare 10 change Ihe debate from luxury one-upmanship and mindless poln! colle l ion lo one that recognires whal's really important-

 

the

Quall y of lhe e x p e ri e nce In a ho tel.

What are we trying lo convey? Hos p ;l ality fra m t he heart .

What wllI I

Ip peoplo to KNQW Ihls7

Wilat wlll help peopl

10 FEEL thl$?

Staft recru ilment- \I1ey will

90 ou t 01 lheir way (a.g. , rural China) lo flnd sta ff w ith Ihe rlg ht attrtude.

Id

eas

abou t h u m an ily, nol efficien c y. th a! are no! w ailpaper l ollo wing

Stafftraining - Ihe firsl Ihing Ihey do is to ask trainees

alter

by famTIy. Then thay relate leelings and pro tices

lo

lO

descnbe Iooking alter tarnlly or being looked Iook ln g alter gues ts . "Everythmg must come

Id eas

Ind u s tr y codeso Ide a s Ill a l m ake

 

!rom

/he roart." Training on Ihe Shangri- La way-sincenly. resp ee!.

Sl ncerity is key. Thls means b ehavior needs 10 be sponlaneo us and

courtesy. helplulness, 11unnllfty insd nctiv e , not pmscrlbed. S t aft

I ham la ugh or m ake them cry -

th at do n ' t lea v e t hem

m d l ffare n t.

are lrusted and empowered t o make a d ifference on !heir ovm reading end aecord ing lo thelr c ulture .

 

This IS o bserved and cu lt lvated da ily by G Ms. "If JS l he care t ha! bnngs a person back. "

 

M¡¡lnd tortes

Channela 360 Degree. But fi rst:

 

Supporting Mate

15

 

Make It easy l o book o ff Ihe page/scréen. Adap t a tiQrJS for European and As ian

Gues t

ton es, Sh an gri-La

la nguages. Retl e c r lo c abo ns Asian herltage . Template lor

(current C HI spa

and new) and t"¡o tel s <lnd resortS . Refl ec t and F&8 .

Pri nt (prass & posl e rs) . CRM, Di gi tal

C o re Values Video , trai ning

Vi d e o andlo r transe ipts

 

Aceount Director

Planntng Director

Creallva Director

 

Creallve

Davelopmen Time

Fij')31Rav[ew Dal e

ellenl Plesentallon Date

Flnal Deadltne

Productlon 8 udgat

 

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2. lTibiki

r alivc DO Brief:

 

Ogi l"y & ¡ f a Lher Con:

'r -aove Bricf' Ncw Tde:

Ge nerar ion - O ireuion

f a L h e r C o n : 'r -aove Bricf' Ncw Tde: Ge

DO BRIEF

Brand

PredIJe!

Job

O.

Date

 

Sunlory

Hl bik l

s U TNAXazoOOC 0 1 N

9/1 6/200 8

Task

Success enterla

 
 

Rebranc:llng

Business Target: Ann ual Sales 6 .5 bllllon JYP +

7 tllUlon JYP

in 5 yea,s)

 

Why is lh S brief here?

 

The whisky category and Hibiki are suffering .Young pecp le aren't d rinking it. Its formal and hierarclli cal drinking occasions

are disappearin g . And for all associated wlth il. A nd eve n

bUI th e th o ug h

very loy 1, there's liltle emot io nal eng a ement and c ertainly very lillle pleasure

it's th e wo rld 's best b lended w hisky, very few peo ple

und ersl and the superiority of premiu m alcohol overall.

of

the b lend over a ne- note

pun gent

malts . More b road ly spea k ing, this ap p li es to the w o rld

As t he leading bran d in the

Sun tory

w hi sky portfo lio , Hi iki needs t o c hange I his.

 

We need to brlng Hi b ikl bac k lo life; il needs to liv e in th e modern world. We need lo position it as contemporary, with so meth ing uni q ue and c ompelling to say and enga e with.

Who are w

Ing to Influence?

Ma le , 3 5 - 40 , prem ium whisk y drin kers (i ncludin g Hib iki) , p l u s d rinkers

01 other premium alcohols.

 

H

e's a man w ho's h ungry

For expe ri ences a nd looks to g et t he mo S! fr om

life a nd w hat It has to offer. He lives li fe dynamicall y

and appreci ates dra m a.

com p le xi t y,

rarity , and ne w ness. He searc hes fo r in sp iratio n in today's ag e, he 's focused on

w

hat's ofi he hig hest q ua lity, and he

always wa nt s so rnethin g auth enti c. He loves to

go t o the best places , not lor show

a

nd status but because interest ing thin gs happ en in them . M ixi ng w it h oth er peo p le is at t he top 01 his agenda becau5e

tt

's

abou m eeting ex c íting new

peop le and encoun tering new w o rlds .

 

He d rl nks what he oo nsi de(s to be th e b est

the best and most

intere st in g c hoice

he

nd m ost inte resting alcohol. He needs to und erstand that Hibik i is by far m ake.

c o uld

What do we want them to DO as a result of thls communlcatlon?

 

To acti vely ch oose Hibl í and t o und erstan d w hy th ey' ve

d one so , To do so versu s other prerni um w hisky choices ,

a

nd to do so at tim es when ot her prem iu m alcohols m ay also b e considered.

 

How do we expect communicatlons lo work towards achieving this?

We wi ll

Ik

abo ul b le nd ed w hi s ky (and our s uperi o r b len d) in a new

w ay, a way th at is ric h, evocative and emotionally

co

mpe llin g in the sto ry it t ell s abou t Hibiki (and by asso c iatio n the Hlb iki dnnker).

 

For c urrent Hibiki

dri nkers, t hl s wi ll re info rce w hy they al read y ehoose Hibiki. For Ihose drin ing other p remi um al cohal s,

it

wlll make it very d ifficult not to

try Hibiki.

 

What are we trylng to conv y?

 

Hibiki: Make Lite More Co m plex.

What will help

people to KNOW this?

 

What will help peopte to FEEL thls?

 

A

master blend

of carefull y selected

malt and grain 17 years .

"Mak e Life M ore Complex " is no t just about whisky-

whiskies . m at ured for a

m ini m um of

it rep res en t s a b igger ideal. When we look at life ,

Bring ing

ma ny different

c harac ter s

together to make one

w e reali ze t hat

exp erien c es achieve so much more than anyo ne else. "Make Life Mo re Complex" should remind our l arget 01this.

people who lead li ves with varied

very

d ee p ON E

is w hat mak es us special.

 

Th

is

p rocess is

where the dram a hap pens: bring d

iffere n!

Intim ate . bea ut ifu l, ch ari srn ati c, in sp iring , premium .

c

haracters together and someth ing new wi ll be b orn.

Mandatorias

 

Channels

Supporting Materíals

O

fl ly Hib ik i und erst an d s lhat w hen

we b ri ng d iffere nt

 

people. th ings and experiences t ogether, something dramatic happens, as our name Hibi ki (resonating) implies .

Accollr1t

Director

Ptannm

Director

CrealJve Director

Creatlve

Oevelopment TIme

Anal Revlew Da.ta

CUanl PresentaUon Da te

Final Deadllne

Production BlIdge!

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3. Dove cr eat ive DO Brie f: O g i l v y &

3. Dove cr eat ive DO Brie f:

O gi l vy & l a lh e r Ce

O g i l v y & • l a l h e r C e

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n e ra

ti

n- Din:c t i n

ti n- Din:c t i n DOBRIEF

DOBRIEF

   

Brand

PrOduct

 

Job No.

Date

 

Dllm age Therap y sh ampoos

na con

dlooners

7/16/200 9

Task

Succe ss

Cnt ria

 

Get wo m en to 9 1ve DOIle' s ne w s hal'llpo o s and

• Is )ur

adVern sing a W OW? IHow mueh free p,c:¡ d o >. 1I gMera te ? Ale co nsurnet'S an ct lile índus l ry l alkm g ilOOU I sI?)

 

Does It bUlld

the Do ve bmnd? lDoes II slren glheo lhe co re

idea tllal D o ve l ,el,Os WOI en leel g rea l abou r them seJves?)

 

co

nd . tío ner s " '90 .

• D oes 1I p rompt women

give Do' , 's ne w .; hanlpoos and

co nch t ion ers a 9o ? (000$ / 1 rel3in

CUI /'E n/ Do v e [ iSefS Dnd

enc oorage o lllen . omen lo sWl lch brands ?¡

 

Why IS this brIal here? Dove's hair scientists have spent yea rs developing a wo rl d-class, patented, superi o r hai r r.epalr technolog y. It is belng launched as

 

ne w ra nge 01 shampoos an d conditioners called Dove Damage The r apy. It 's a b r ill iant so l u tion t o a p r oblem the vast ma j ority 01 women don' t th i n k they have. Crea t ing t he ne ed is difficul t beca use no woman wa n t s someone pointlng a finge r at her and

a

calling her " damag ed

."

It 's in sul ti ng. 'Nhy would she lis ten?

 

The point o f t his bnef is to turn the issue of damage on its head , making damaged hai r something 'Nomen ac tivel y choose to confront ,

 

rathe r lIlan 50 /n ething

they deny o r shy away from.

 

.

Who are we trylng lo Influence?

 

Women who

don '1 think of their hair as damaged . Th ey

woul d p robabiy desc,-ibe the lr hai r as pretty no rmal: somet imes il behaves

 

it self an d o ther times it's dry. or has sp li t ends , or is a rnass 01 fnzz thal's a nightmare lo styt'e. Bu t that's no rma l; il doesn't mean thei r hair is damaged and it does n' t rn ean they need a special. tI)erapeutic repa lf system. Wnen t hey hea r "damaged hair," t lley think of extremely fran led hair that has been co lored , cooked. c rimped and co iffed to a crísp-certainly not their own. That's why thay shun exisl ing damageJrepair variants.

Whal do W8 want them lo DO as a result of this communrcabon?

 

We want

th

m to p o sit ive ly

embrace

the notion 01 damaged hai r. When peop le ask them thell hair type. th ey shou ld reply "dam aged "

 

-confiden t ly and Witll a twi nkle in their ey , They should place the ir Dove Damage Therapy bottles in pl ain view in the lr bathrooms as

badges of hono r and hope that guest s notice them. They should use Da mage Therapy every time they fee ! like their haír could use

a

litt

le TLC (e.9. , the morní ng afte r a big nlght out; at the end of a ha rd wee k; after the beach ; after wo rkíng ou t any ti me theír hair feels

 

du ll and lifeless). They should join onllne commun ities and forums wi th hand les Irke Stressed Tresses and leave suppor!lve messages for other women w it h damaged ha ir. They shou ld put bumpe r stic k er s on theí r bashed-up ca rs t hat say things like " ll's not Just my ha ll that needs repai ring."

   

How do wa expect communlcatlons lo work lowards achlevlng thls?

 

Cornrnu nicat ion s 'Nill democratize damaged ha ir by revelling in the lac! th at it's a slrnple tact o f Ilfe for 80% 01 women . They WIII not

 

work by lecluring or hec to ri ng, w hich

is the category no rm. Nor w ill they attempt to induce anxie t y. Instead. comrnunication s will be

upbeat and celebratory: hair darnage is par! of being a wom an, par! 01 the Dove sls t erhood.

 

WhBt are we tfying lo convey? DAMAGED HAI R: BRIN G IT ON ! Because damaging your hair is a sign tha t you are liVing life to the fullest.,

 
 

Whal wlll help people lo KNOW lhls?

 

What wiO help people lo

FEEL thl ?

Darnaging you r hair is no rma l. There's noth i ng to be fearfu l 0 1' concerned abou t. Everyone does it. Blow-d rying, brushing, co loring and stra ightening all d arnage hair. Jus t living life damages hair.

Pan t ene's solu t ion wou ld be t o prey on women's insecurities

 

w it h fear-based comm un ications thal go

t o reveal U'le darnage that blow-d ryi ng and str alg htening cause. But Dove isn' t Pan tene. Dove is posl t ive and suppor!ive 01 women, not underlllining.

deep ins ide the hair shaft

 

Dove Damage

Therapy makes

IIght wo rk ot t he repair.

It's a patented technology that beats Pant ene and salon brands in labo ratory tests. It delive rs ta ngib le benelits:

 

Dove is abou t ordlnary women getting on with it, embracing Iheir

 

imperfections wi th

grace and humor.

 

• 2X

mo re

mo isture

 

Dove has a sense

of hurnor. It 's a twinkle in the

eye,

• 3X

• 6X

less íri zz

fewer spli t ends

• 10X mo re resilience against futu re darnage

 

a conspiratorial wink between girlfriend . 'Nomen don't need

lo take the communieat ions seriously or literally in order to engage with tile product.

 

Mandatorias

Chann 15

Shou ld feel IIke a breath 01 fresh ai r in the

360 Degre e plan

to follow, but an them ic be vital.

Supporting Materials For t one 01 voiee·. Boo t s' "Here Come t he Gi rls" TVC The Indigo Girls, "Closer to Fine"

uasi-scien tilic , pretend world of hai r care advertising . Fun , uPQeat and anthe mic,

q

1V!web spot wlll

Account

Drrect or

Plan nlng Di rect or

 

Creatlve D irec tor

 

Cr ea ti."

Develo pm en l TIme

R nal Raview Date

el enl Presentation Da te

Final Dead line

Prod ucti on Budget

 

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4, Acqua Panna creative DO Brid:   O li ' '1' ' <l Liv B
4, Acqua Panna creative DO Brid:   O li ' '1' ' <l Liv B

4, Acqua Panna creative DO Brid:

 
  O li ' '1' ' <l Liv B rit.J · I ew Idea Gcncralion -

O

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B rit.J · I ew Idea Gcncralion -

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00 BAIEF

Brand

Product

Job No.

Date

 

flcqua Panno

Glass bOItle

1/1A12009

 

Task

Success Crileria

Brand SIOfY

• Aest3warll eli,. "bullo n and Dusn

 

• Being OlSked lar 1"1 restaurants

Why 15 this briaf here?

 

seen b y t.he trade as th e sti ll- wate r sister to sparkli ng

Tradit ionally pushed by restaurants. Acqua Panna is largely San Pel legrin o . It has no dlsf inct Iden t lty that wo uld ensure

consumer p ull-t hraügh.

Growt h a f fil t ration systems

and economic frugality have led to a dramatic 50 % sales decline .

Who are we trylng to Influence?

 
 

achlever. Wel l educated. He owns his own business an d enjoy s the sop histicated. cult urad hi gh life.

Good restaurants, ni ce hotels.

cl u bs and a b r ead array 0 1 the arts c onsta n tl y prev i de sti m ulatio n . H e' JI order Sa n

P e Jl egri no

or a still wate r to accompany his tood and wine whe n asked. As wit h his on- the -go choic es , he has no co mpeJling

preference For

any brand 01 prem iu m stll l water. They al l quench

his th irst. but noo e o f

rea lly

ra je ct an imaga

Ihat he stnves for (in deed , French water for lhe g irls at the gym is decided ly too p in k).

 

In

charge at wark and In control in life, he sits on top of society's box. Dressed in Ozwald Boateng, he does Indeed rule his world.

What do we want them to DO as a result 01 thls cornmuOIcation?

 

Pass on the Ac qua Panna legend. Become

know ledgeable propon ents of

We need to sq ulre the cognoscen ti e n bot h t he g lving ami receiving sid es them to reveal Acqua Panna's secret mystical knowledge.

both Its unique hlstory and it s ro le wi th foo d . o f fine d tni ng restaurant t abl es, and enco urage

How do W8 expect cornmunications lo work towards achlevlng Ihís? Create a dramati c legend in a manner that lures and intrigues .

 

Get them to th ln k of it with the same kind of re verenc e th ey have lar their specia l spints or wln es. Challe nge many

of Ihe estab lished

category

rules -i ncl uding. specif ically, t he

ro le

o f th e wa t er- thro ug h the use 01 histo ry. a m asc u line

persona, and a sense ef serenity.

 

What are we trylng to convey1 Acq ua Panna bestows aston lshing power.

Whal will help people to KNOW ttllS?

What wíll help people to FEEL thls?

 

oewer e f the water to make tead taste better.

Creation of an int rigu ing legend.

Dellcate mineral balance + aston ishing nat urally flItered

purity frem

a

15 -year journey thro ugh the limestene ef the Tuscan

hill s.

Brand Persona lity: Powerful, Cultured, Mysterio us, Dangero us.

AstQn ish ing Dower of its heri age: sourced fram Villa Panna, the Med ic i

 

Tusean estate. Ruthless Med icl power and mfi uence

across Europ e

etween t he 13'" and 17' centuries : popes, rulers, mo narc hs. po li ti cs. Jealously guarded secret for over 400 years .

Mandatories Un less t here is good reaso n creatively to the contrary, we should leverage t he brand's packaging Ica ns.

Channels

Supporting Materials

Accounl

Direclor

 

Ptanníng Director

Creatlve Dtr13ctor

 

Creative Development Time

Rnal Revlew Date

Chent Presentalion Dale

Final Deadllne

ProductiOl1 Budget

Rnal Revlew Date Chent Presentalion Dale Final Deadllne P r o d u c t i

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WIIAT 1, KES TIIE t GOOn BRCE.S 1. They re creativel y sLimu latin<Y. Th

WIIAT

1, KES TIIE

t GOOn BRCE.S

1. They re creativel y sLimu latin<Y. Th >y're a l so clear and interna ll

trails), and lhey make

ens

.

y con s is t c J1t (no false

2 . They're ro

L

d in

r

al cl ien t business i sue :

. 111C hOlel market i in c1 i ne i n the T ce

s io n . Shangr i -La n eed

10

mo r

stay '

per n ight pcr hotel just lO keep rey nues lhe s me as la t y ar.

- What' 1 vely about "ro m ore s tays" i th at il makes advcrtisin g 's lask v iv id and r al for thc creatives. A i lilar calcu lation was made f: m ous i n arce nt Sainsbury's IFA EITectivenc paper.!i Sain bmy', commercialobj clive was lO

be

a u efu l inp u t inlO l h crea tivc proce . A i mpl uro howed il ac tua ll , me nt

cu tomen pend i ng EI,I 4 m re pe r vi it weeks x 3 years = E2.5 bi lli on) .

iner a'e 'ales by E2.5 billion over thrce ycars. 1 h is amou nt was LOO vast to

(E r.r 4 x I4 mi lli

n C U Sl

me rs x 52

- Thi calculation ''Lransformed the role for

communícatio n s: t

geuing shoppcrs

to spen do titile ext ra," which "unl ck d rile [ 2 .5 bil li n prob l e m so Lh at

creativ ity c uld be used to solve it. An un imaginably daunting was tran forrned into somethrng a tangible and approac ab! as it's po ' ible to

imagine." Can you

behavioral changes like thi on )'our brief:? Can )'o u solve huge pn>blcm with

,olution based on

translate b ig corporate objective

int

tan

ible

on umer

the behavior o Cindividuals? Creariv s wi ll love you for it.

• 'TIle wh i ky market i in dce ¡ne, and Hibiki i ded ining WiLh ¡lo Young pe pIe in particular aTe drinki ng le s. Based on current nends , Hibik i wi ll no t have a fu tu re a an ad v ertised brand. l1le importan of Lhe la k h elp insp ire crea t ives. They know that what úley d real61rnatters .

• Dovc ha' sp nt years developing a product that solve p roblcm people don't tllink they have. H w lhen can we launch il lI ccessfully?

• Acqua Panna ales a re clown by 50%.

3.

111ey bring lhe audi nce Lo l ife in a way tha t allows crea t ive

Lhem as peopl :

.1h business traveler ror Sh angri-La who "arrives and leaves a lone."

• Th wh isky dl'inker Lor Hibi ki is not

is no t a "road warr ior"

a "savor the bes t trung

to rel

l

to

cliché bUl someone

i n !i f

"cl ich é

u t

someone wh o wants LO m ing le to rn et new peop le , ro hay newex p e ri e nce .

• Dove '" ha mpo bu yer wan t t have fu n.

• 'file Acqu Panna dri uker ' rule. lhe world" bUL th in k all b tt l d still water

are lh

samc.

" Roac h , Tom

; Maw ds ky, e m i g ; D or s')!c l , Ja ne: " S él in s hury 's- HOI' a n Id C<l n lp -d .\1 a k e Sainsb u ry 's e r 'a l Aga in , "

I PA E ffl'CllV e n

s Aw arcl s, 200S

C<l n lp -d .\1 a k e Sainsb u ry 's e r 'a l
4. Il is clca what we need !.he audicnce lO do as a resulL of

4. Il is clca

what we need !.he audicnce lO do as a resulL of seeing lhe campaign:

• Specify which hotel they want to sLay in instead of booking "on autopilot." 1hat's inLrigu ing for the crealives: "So nlost hotel bookings are made on autopilot? r didn'l know that."

• 'i\ctively choose" H ib iki over 01 he r premi u nl drinks . 1 h at mcans n Ol joining lhe crowd, not o rdering lhe same dr ink as othe! people . lt means standing out and

asser t.i ng your individuality.

Cheerful1y reply "Damagedl" when asked what theÍT hair rype is, and display lhe bOltle in plain view io lhe bathroom as a "badge or honor."

• Become Acqua Panna's proponent.

5. 1he Convey contains a stcp towards lhe creative solut ion:

• "IIospitahty from me heart" leads towards an emotivdy engaging plaLform.

• "Make life

• "Damaged haü shows you ardiving life lo lhe fullest" lcads towards a campaign aboul life and fun .

• "Bestows astonishi ng power" leads lowards aS lonishing Rena jssancc art and il

more complex" lcads towards a salient and involving campa ign .

P9wcrful patrons.

6. The Knows and Fcc1s support lhe Convey and lead towards the

crea ti ve solulion:

. 1 h e Sh angri-La campaig n "m ight make people laugh or cry, b ul

feeling indifferent."

nol leave them

• TI1e IIibiki cam pai gn is nOl j usl aboul the whisky itselfbut also about lead ing

a varied , interesL ing tife.

TI'le Dovc campaign is nOL base d on rearor guilt, but on cnjoy i ng Jife.

• TI1e waler is sourced from th e Medió Tuscao cstale a nd associated witb legenclary figures.

cnjoy i ng Jife. • • TI1e waler is sourced from th e Medió Tuscao cstale

13

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L 'SPIRATIO. Ogilvy & Matllt'r eore Crcaliv Use ¿his pagejo r anjlLhing thaL jlOU think
L 'SPIRATIO. Ogilvy & Matllt'r eore Crcaliv Use ¿his pagejo r anjlLhing thaL jlOU think

L 'SPIRATIO.

Ogilvy & Matllt'r eore Crcaliv

Use ¿his pagejo r anjlLhing thaL jlOU think could give creati ve people inspiration in solving th e brief vis ual a.l we!! as verbal.

BricE New I d ea Generation - 1m ¡.ra tio n

For example: !illks to relevan! material on the web, books, m"Lides, movie 14érences,

music, art, TV, celebrities, adv ertising, any material

tiza t

a "rant')ou l¡,ave wriUen, tlwught sta rt ers, pú ces o/ whichfleslzes ouL the target audience, 07" allything else

co ufd Ize!p.

The firsl

pag e is optiona\. Its role is to

pag

of the DO Bric f ensUTes r 1 vanee to t he el ien t's b usine s. The econd

timulatc [re h exec ulion .

Creat ive peopl

usually ask [or two thin gs fro m a

ricf: directi

n and in. piratíon .

111

y are l i ke1y Lo want directioo a

th

y

ta Tt work on a projec t , but as l h y t ry l o

'olve it they may be looking for inspira tion.

Th

requirements for d irec tio n and io p iralion are d irreren t. D irection oe ds to

b

. clcar and logica\. It m sl be followed. O n the other hand, iospiration can be

in

tu it ive, touchy-feely and vi ual. Il d oes nOl a1J need t

be followed; it

ao be

used o r di card d accordi ng to wh ethcr it is h lprul.

What you put in the Insp iratjon section is very much up to you. It i yOllr chan e

to think of the mos exciting and intere

.ng exa mpl > " a nd sti mw i tha t bri ng the

ntral thought

of!.he brief to lif¡ . !t's aIs

an opportu n ity lO make your brief

sta nd ou t in rela ti on to the othe r bri efs

dcpartment, to get your b rie f lO bo u t o u t "Work o n me !"

th at are fl oati ng afound t he crea ti ve

The 1nspiration

Choos ing a few g ood pieces of stimuli yo u bclie ve in i more val uab le than a huge

quan t ity of stu ff. Yo u might u e song , painlin s, v ideo, mov ie ,websites, a n d

other pieces of comm un icat ion , or yo ur owo thoughts. You In p ira tion sect ion a coupl f vi ual sl ides whe re the l in ks (Yes, Pow rPoint can be used creatively.)

sec tio n should look like an entic ing chocolate box of tirnul a t i n.

co u ld even make tbe op n aUlo maricaUy.

Sorne examples of thi ngs that co u ld help:

• Exa mples of olhcr bTa nd s chal lenges, a nd o f su ccess

• Competit ive communica tions to iIlus trate thc con ventions of the category,

(gIo ball y) [h a t h ave attempted si mllarj para ll el an d [ai lure.

\-vith ideas about how to

sidestepj overcome thcm.

• 1hings that takc us ¡ntO the world oC" the target aud ience- in actuality and

vi su al1y an d vcrba lly, in clud in g smelJ, taste, a nd atmosp here. Bri ng th ci r

hopes and fears to Jife.

• So urces o[ in formation and en terta i nment th at inspire th e tal-g et audience,

su ch as l he web , novel s, a rl, etc.

• Examplcs of h ow peopIe interac t v"ith the categoryjth e b ran d. Wha t the y

say ab out them online, how

they feat ure in popu la r culture.

• What would lhe plan ner ad look like? Fancy w rilin g an in sp ira tjo nal poem o r a 5ho r t r ant? (I t may Il a t bs; a s h um ilia t in g as yo u th ink.)

Here are cxamp les o f good Insp iratio n scc tions:

ant? (I t may Il a t bs; a s h um ilia t in g

37

I. Ford Fíe ta Pan o f Lh Tnspirauon crion compared the rel a unch

I. Ford Fíe ta

Pan o f Lh Tnspirauon crion compared the rel a unch o f (he Ford Fiesta wjth Tarantino's reseue ofJohn Travolta 1 car > r and the launch of th icon ie iMac. Th e ve n tual work- part ofwbat wa d escri ed y the sen ior rd o f E u rope client as "our mosr su cessfullauncb ever"- had something of the confidenr mood of lh ' iMac launch. It was nol encumb red with product messages ab ut tbe

Fiesta, but gave the

brand a

en e oC being a d

irable, fa hionab l

i o n :

Inspiration

John Travolta

ab ut tbe Fiesta, but gave the brand a en e oC being a d irable,

iMac

ab ut tbe Fiesta, but gave the brand a en e oC being a d irable,

Fanta

Th e team tha t developed Fanta's "Steal th So uod Sy stem" was able to create

life , an d refelTed specific ally to

a stjm ul us that brough t the sp ir it of Fanta to

the tech nology that form ed the basis of the h ighly awarded campaign:

Fant¡o inspl elleryore to Opl' " n""1 lffi,lqlnatlor,s¡ lo see that pla y exists every""!nere
Fant¡o inspl
elleryore to Opl' "
n""1
lffi,lqlnatlor,s¡ lo see that pla y exists every""!nere
and at any time,
and that ¡t 's easy to
spread and make contagious . ,. c; < "'atin
pandemir ,ot play
-=
au:iJ
_
if we Id' C''/\
_ ¡
,
t,v
,
--
-
---
----
played more.
Shame on lhe
Grown-ups:
Mosquito Teen
Repellent

Play is nol just an aclivity, FoJ.'y IS a

feelir¡g , al' 311,1I1(\e, a splnt that IIves

a feelir¡g , al' 311,1I1(\e, a splnt that IIves X Box: Jump In ¡nside us, Cadbury's

X Box: Jump In

¡nside us,

a splnt that IIves X Box: Jump In ¡nside us, Cadbury's believes the world would be