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THEBUSINESSCASEFORCREATIVITY.TOMROACH
THISPRESENTATIONSHOULDN’T
BENECESSARY.
“Leadingbrandsandagencieshaveknownfor
manyyearsthatmorecreativeworkdelivers
betterresultsthan‘safe’andrational
advertising.Whathasbeenexcitinginrecent
timesistoseetheemergingproofofthis,the
hardevidencethatcreativeworkismore
memorable, moreeffectiveandbetterableto
driveoverallbusinessperformance.”
Source: Keith Weed, Foreword to ‘The Case for Creativity’, James Hurman.
BUTMANYMORENEEDTOKNOW.
PLEASESTEALTHESESLIDES.
1.ACRISISINCREATIVITY?
2.THECASEFORCREATIVITY
WHATDOWEMEANBY
‘CREATIVE’?
NOVEL,NON-OBVIOUS,USEFUL.
Source: US Patent Office patenting criteria
“GOODIDEASARENON-OBVIOUS,
NON-TRIVIALCOMBINATIONS”
Source: Faris Yakob
“Makeitdifferent.Makeitsimple.Makeitmoveme.”
Source: BBH CCO, Ian Heartfield
1.ACRISISINCREATIVITY?
TRENDSWORKINGAGAINSTCREATIVEEFFECTIVENESS
Source: Les Binet and Peter Field, Media in Focus, Marketing Effectiveness in the Digital Era, The IPA.
LONG-TERMDECLINEIN%WHOAGREE“IENJOY
TVADSASMUCHASTHEPROGRAMMES”
Source: TGI 1984-2018
0.0
5.0
10.0
15.0
20.0
25.0
30.0
35.0
1984
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
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2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
% of all UK adults who agree
ADBLOCKING–ASYMPTOMOFADECLINEIN
CREATIVITY?
Source: Doc Searls blog http://blogs.harvard.edu/doc/2019/03/23/2billion/
One massive and very likely over-estimate puts
ad blocking at 2 billion worldwide.
A 2017 PageFair report says 615 million devices
now use adblock and 11% of the global internet
population is blocking ads on the web.
Now GlobalWebIndex say 47% of people
globally sometimes block ads.
49% of people who block ads say they do it
because there are too many ads, 47% say it’s
because ads are annoying or irrelevant, 44%
say it’s because ads are too intrusive.
RISINGSEALEVELS
INTHESEAOFSAMENESS.
Thinkbox 'the case for creativity'
Thinkbox 'the case for creativity'
Thinkbox 'the case for creativity'
Thinkbox 'the case for creativity'
Thinkbox 'the case for creativity'
THECASEFORCREATIVITY
CREATIVECOMPANIESPERFORMBETTER
Companies scoring in the top quartile of McKinsey’s
Award Creativity Score* performed better than peer
firms on three key measures:
• 67% had above-average organic revenue growth.
• 70% had above-average total return to shareholders
• 74% had above-average net enterprise value
*ACS weighted 3 factors – number of Cannes Lions, breadth of categories, consistency over time.
Source: McKinsey ‘Creativity’s bottom line – how winning companies turn creativity into business value and growth’
CREATIVECOMPANIESOUT-PERFORMTHE
S&P500
Source: ‘The Case for Creativity’, James Hurman.
Cannes Advertisers of the Year 1999-2015 out-performed
the S&P 500 by a factor of 3.5.
1999-2015 Cannes AOTY’s stock market performance
averaged +26.1% vs the S&P 500 average growth of
+7.5%.
Since 1999 every Cannes Lions Creative Marketer of the
Year company has won during a period of record
performance.
DISRUPTION&DIFFERENCE
INCREASEBRANDVALUE
Over a three-year period from 2015-2017
brands that were perceived to be both
highly disruptive and different increased
in brand value by 28%, whereas brands
that were perceived as both low in
disruption and differentiation declined
by -5% in an analysis by Kantar Millward
Brown.
Source: Kantar Millward Brown, BrandZ, 2017.
ADSTHATMAKEBRANDSSEEMDIFFERENT
AREMORELIKELYTODRIVESALES
The top 1/3 ads for 'make the brand
seem really different’ in Kantar’s Link
database achieve +90% vs the bottom
1/3 on Kantar’s measure of an ad’s
likelihood to drive short-term sales
(STSL).
Source: Kantar analysis of the Link Database. Short-term Sales Likelihood (STSL) is a measure that is strongly predictive of sales shares increases
CREATIVEISTHELARGESTCONTRIBUTOR
TOTHESALESUPLIFTFROMADVERTISING
Source: Nielsen, ‘When it comes to advertising effectiveness what is key’, a study based on nearly 500 FMCG campaigns that ran in 2016 and first-quarter 2017 on all major media
platforms: linear and addressable television, online digital and video, mobile, magazines and radio.
Good creative was found to be the most important
element in a study by Nielsen of 500 FMCG from
2016-17, responsible for 47% of the sales uplift.
When the quality of creative was strong—sales lift
was higher. Conversely weak quality creative
resulted in weak overall sales lift, and media was
responsible for more of the sales lift.
CREATIVEEXECUTIONISTHEMOST
IMPORTANTLEVERINADPROFITABILITY
Creative execution is, after market and
brand size, the 2nd most important driver
of advertising profitability, on average
multiplying profitability by a factor of 12
according to Data2Decisions.
Source: Paul Dyson, Admap, Sept 2014, The Top 10 Drivers of Advertising Profitability
Emotional campaigns are almost 2x as likely to achieve top-box profit performance as rational campaigns,
and over 2x as efficient at driving market share growth per 10 pts of excess SOV.
Source: Les Binet & Peter Field, ‘The Long & The Short of it’, The IPA.
EMOTIONALCREATIVEISMOREPROFITABLE
Creatively-awarded campaigns are 11x as efficient as at driving market share growth as non-awarded campaigns, and highly awarded
campaigns are around 16x as efficient. This means they drive market share growth 11-16x more strongly per point of excess SOV.
Source: Les Binet & Peter Field, ‘The Long & The Short of it’, The IPA.
CREATIVELY-AWARDEDCAMPAIGNSAREMUCH
MOREEFFICIENTATDRIVINGSHAREGROWTH
Campaigns designed to drive fame
out-perform others on all other
business metrics: sales, market
share, penetration, loyalty,
profitability and especially,
reducing price sensitivity.
Source: Les Binet & Peter Field, ‘The Long & The Short of it’, The IPA.
FAME-DRIVINGCREATIVEOUT-PERFORMSTHE
RESTACROSSALLBUSINESSMETRICS
MORECREATIVEADTECHNIQUESAREMORE
MEMORABLE
Analysis of 200 ads tested by Neuro
Insight, using the brain scanning
technique SST, showed that creative
techniques that evoked intense
emotions such as the use of humour
and featuring fantasy/surreal
scenarios, were more likely to be
liked and enjoyed and to trigger
long-term memory encoding than
price-led or purely informative ads.
And it suggested ads where a
product was ‘showcased’ rather than
‘sold’ elicited 17% higher brain
response.
Source: Thinkbox ‘Creative Drivers of Effectiveness’ 2016
CREATIVEADSLOGANS
AREMOREMEMORABLE
Research into the Von Restorff effect in
creative advertising found that highly
distinctive ad slogans are much more
likely to be recalled, but only if they’re
judged to be high quality and not if
they’re substandard.
Source: Pick, D. F., Sweeney, J., & Clay, J. A. (1991). Creative advertising and the von Restorff effect. Psychological Reports, 69(3), 923-926
CREATIVETHATEVOKESINTENSEEMOTIONSIS
MUCHMORELIKELYTOBESHARED
Source: Make ‘em laugh, make ‘em cry: Understanding Which Emotions Drive Video Sharing on Facebook, The Ehrenberg-Bass institute, Oct 2011
A study by the Ehrenberg-Bass Institute
exploring which emotions drive the most
video sharing on Facebook, showed that
intense (‘high arousal’) positive emotions
lead to much more sharing than less
strong (‘low arousal’) positive emotions or
negative emotions.
Videos that cause hilarity, inspiration,
astonishment or exhilaration are much
more likely to be shared than others.
The better Audi ads perform on
Audi’s distinctiveness index (ie ‘this
ad makes the brand seem really
different’), the greater the % of Audi
sales that are driven by advertising.
Source: Kantar Media Millward Brown Audi Advertising Distinctiveness Index (How strongly do you agree or disagree that the ad makes you think this brand is really different
from others?) Marketshare Econometrics: share of total volume sales that are media driven (indexed to 2015 levels for confidentiality)
DISTINCTIVEADSTHATMAKEAUDI‘SEEM
REALLYDIFFERENT’SELLMORECARS
CREATIVITYBRINGS…
ATTENTION.SURPRISE.ENGAGEMENT.
ENJOYMENT.REACTION.EMOTION.
LIKEABILITY.MEMORY.DIFFERENCE.
FAME.TALKABILITY.SHAREABILITY.
ACTION.SALES.PROFIT.
OUROBJECTIVEIS
EFFECTIVENESS. OUR
STRATEGY,CREATIVITY.

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Thinkbox 'the case for creativity'