Toronto creative agency Zulu Alpha Kilo has just launched a really cool project for it’s newest client Harley-Davidson. Instead of doing a campaign that only lasts for a few weeks, they created an immersive brand experience for Harley-Davidson that will last into the fall.

Harley-Davidson is known for making motorcycles but now they’re becoming known for making something else: Coffee.

The brand has launched 1903: A Harley-Davidson Café®. The full-service coffee shop serves as an ode to the brand’s rich history. ‘1903’ being the year the legendary manufacturer was founded. The connection between motorcycles and coffee dates back to 1960s café racer culture. When groups of riders would get together and race simple, stripped down motorcycles from one café to another.

Inside the café, every inch of its design pays homage to Harley’s heritage of old world craftsmanship and quality while maintaining a modern asthetic. Adorning the space are collections of archival photography, tools, restored classic bikes, as well as new bikes that visitors are welcome to hop on for a photo op. Or to get a closer look at a motorcycle they’re interested in purchasing without having to leave the downtown core. Currently, dealerships only exist outside the city, making it difficult for a younger, urban consumer to experience the brand.

1903 was promoted through social media as well as a series of wild postings that were hung in the surrounding neighbourhood. The posters were printed with a specially crafted ink made from the actual coffee served inside the café, giving them the texture and scent of real coffee.
1903: A Harley-Davidson Café® is open now through to the end of September.

Creative Credits:
Agency: Zulu Alpha Kilo
Client (Company): Harley-Davidson Canada
Chief Creative Officer: Zak Mroueh
Executive Creative Director: Allen Oke
Art Director/ACD: Noel Fenn
Writer/ACD: Andrew Caie
Design Director: Ryan Booth
Social: Curtis Denomme, George Ault, Joel Felker
Clients: Anoop Prakash, Jo Figueiredo, Karen Mayberry, Vesa Mikkola, Marco Di Giantomasso, Jayden Rioux, Catherine O’Brien, Daniel Kerr
Studio Artists: Greg Hepinstall, Brandon Dyson, Ashleigh O’Brien, Andrew Martin, Amanda Braun
Agency Producers: Kari Macknight Dearborn, Laura Dubcovsky, Pam Portsmouth
Account Team: Kerry McKibbin, Maya Adler
Strategy: Heidi Philip, Jamie Cuthbertson, Sam Kamiel (Social)
Photographer: Michael Headford, Jason Baker, Goldmond Fong, Laura Friedmann, Patrick Nichols, Dan Lim
Sound Recording: Ian Reynolds
Media Agency: Jan Kelley
Media Team: Stephanie Spinney
PR Agency: Weber Shandwick
PR Team: Melissa Graham, Sophie Shin, Dana Frank
Event Company: Construction and fabrication provided by The Mint Agency
Construction, Interior design and Fabrication: The Mint Agency Mint Project Management: Andrew Gayle, Jennifer Landgen, Jon Davine
Mint Interior Design: Adam Elijah
Lead Fabricator: Humberto Garcia
Coffee Ink Producer: Toronto Ink Company / Jason Logan



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K2 Intelligence’s report on media transparency exposed pervasive issues relating to media buys and rebates. Now, it’s time for marketers to take action. The steps in this presentation provide a starting point for achieving media transparency.

Mercedes has teamed up with Antoni, the lead European agency for the car division of Mercedes-Benz, to launch the latest model of the C-Class Family, the C-Class Cabriolet.

In the inaugural campaign for Mercedes agency, Anorak Films’ director, Sebastian Strasser, and EP, Christoph Petzenhauser, pulled together a world-class team of filmmakers to realise the creative idea. DoP Rodrigo Prieto (Wolf of Wall Street, Brokeback Mountain and Babel), Academy award-winning costume designer, Mark Bridges, and renowned production designer, K. K. Barrett (Her, Lost in Translation and Being John Malkovich), made up part of a formidable team.

The film is visually intriguing, seeing the imagination of a young boy come to life in delicate beauty. As he grows up, we see him gradually lose the freedom and dreams of his formative years. Passing through adolescence into the doldrums of adult life, the vivid wonderment of his childhood is lost to the roles and responsibilities of being a grown up.

The spot reaches its climax with the hero reclining the roof of his C-Class Cabriolet, looking up and seeing the paper birds from his childhood re-worked as giants of the sky. The protagonist speeds off into the distance, imagination restored once more.

Time Based Arts partnered with long-time collaborator, Sebastian Strasser, to help bring the journey to life, completing all of the VFX and grade work on the film. The team created a number of the visual elements, including the CG origami birds, inflatable dragon, the giant mother, puffer fish and 80’s 8bit karate game.

Mike Skrgatic. VFX Supervisor and co-owner at Time Based Arts, comments: “The project was another incredible opportunity for us to apply our art alongside some of the industry’s biggest hitters. Seb always surrounds himself with super talented makers, so it’s nice to be regarded in such good company. The crew rose to the challenge and once again produced some outstanding images throughout. With the addition of grading this year it’s rewarding to see a job of this scale go through Time Based Arts from start to finish. As a group we’re very happy with the influence we had on what is a beautifully crafted piece of work.”

Simone Grattarola, Head of Colour at Time Based Arts, comments: “The brief for the grade was to evoke a sense of warmth throughout the hero’s childhood, which then returns towards the end of the film to create a feeling of nostalgia as he drives off into the city, surrounded by the creatures he dreamt of when he was a child. In between these two harmonious periods, the grade took a darker turn through his adolescence and into life as a working adult, complementing the fast paced editing to demonstrate the monotony of ‘boring’ adult life.”



(adsbygoogle = window.adsbygoogle || []).push({}); Creative Credits:
Client: Mercedes
Creative Agency: Antoni
Creative Director: Andre Kemper
Production Company: Anorak Films
Director: Sebastian Strasser
DoP: Rodrigo Prieto
Executive Producer: Christoph Petzenhauser
Post-Production: Time Based Arts
VFX Supervisor: Mike Skrgatic
Colourist: Simone Grattarola
Lead Flame: Sheldon Gardner
Flame: Matt Jackson
Nuke: Josh Sutcliffe, Borja Abellan, Ralph Briscoe, Fernando Ferrer, Dave Clark
3D: Chris Wood, Dan Davie, David Lo, Ben Cantor, Sam Osbourne, Fed Vanone, James Mann,
Ariel Flores
Design/animation: Jess Gorrick
Producer: Tom Johnson
Offline Editor: Paul Hardcastle @ Trim

barrettSF (bSF) debuted a pair of animated spots on behalf of hotel search site goSeek.com, to comically demonstrate the difference between “Bad Cheap” and “Good Cheap.” In the world of cheap, there is both good and bad. Finding exactly what one wants, at the lowest possible price, is good cheap. Everything else is bad cheap.

Using repetition to reframe the value proposition, the spots showcase goSeek as the go-to site for the lowest hotel prices. In one spot, it’s easy to see why discount meat is “Bad Cheap” and discount hotels are “Good Cheap.” In another, a discount swing set that ultimately sends a young girl soaring is easily identifiable as “Bad Cheap,” while discount hotels are once again labeled as “Good Cheap.”

“goSeek is a challenger brand with a very real point of difference, in a category where smart advertising can make a massive impact,” said Jamie Barrett, Executive Creative Director at barrettSF. “We’re incredibly excited to help the goSeek team take the brand to the next level.”

The 15-second executions are currently airing on Facebook and YouTube as pre-roll, and other extensions may roll out at a later date. In addition, bSF also created display ads and stills for the site. Matt Vescovo is the campaign’s animator, whose no-frills Instructoart images have been published in books, displayed in galleries and turned into MTV promos.

Clem Bason, CEO of goSeek remarked, “It’s extraordinarily difficult to stand out in the online travel category given that amount of ad spend by established players. But these spots stand out in a field of sameness, and we’re confident they’ll capture the attention of the value-conscious traveler, who truly is seeking out “Good Cheap” for their next trip.”

Bason, formerly the President of Hotwire.com, launched goSeek in early 2015. The company, which helps visitors save 20% or more on their hotel stay, differentiates itself by surfacing hidden hotel deals that are often difficult – if not impossible – for most travelers to find.



(adsbygoogle = window.adsbygoogle || []).push({}); Creative Credits:
Advertising Agency: barrettSF, San Francisco,
Executive Creative Director – Jamie Barrett
Executive Creative Director – Pete Harvey
Art Director – Byron Wages
Senior Copywriter – Jake Reilly
Executive Producer – Frank Brooks
Producer – Charlotte Dugoni
Account Manager – Emily Brody
Account Director – Emily Nolan
Sound – One Union Recording
Animator- Matt Vescovo

What do you need to do to not only survive but thrive as an entrepreneur? A defined niche audience is key, but not enough. Products and services that solve a problem or fill a need are essential, but not enough. Marketing is critical, but not enough. What else does it…

Can Pokémon GO Drive Growth For Brands?

Unless you have young children, you probably hadn’t heard from Pokémon for a while, but that all changed with the buzz surrounding Pokémon GO, a mobile game that uses GPS to engage fans to play the game out in the real world.

In an astonishing fact, Pokémon GO has been downloaded more times in one week than the very popular relationship app Tinder has been in the past 4 years and according to some sources, it could surpass Twitter in terms of its daily active users!

Avid Pokémon GO players uncovered that a McDonald’s logo was hidden in the app data and hours later the Pokémon Company confirmed that there would be a branded tie in with the quick service restaurant (QSR). Some small businesses had already been capitalizing on the global game craze with fun signs or promotions, but this announcement marks the game’s first foray into official brand partnerships.

How does getting the attention of these Pokémon crazed smartphone wielders benefit McDonald’s?

Physical Availability  

Early details seem to indicate that all McDonald’s locations in at least one country, rumored to be Japan, will be turned into “PokéStops” or “Pokémon Gyms”, which means players will follow their GPS and congregate at these locations to engage in certain geographically tied in game activities.

In How Brands Grow, Byron Sharpe describes how physical availability drives brand growth. Simply put, brands that are more readily available, are more likely to fulfill consumer need states. When it comes to QSRs, brands can increase their physical availability by increasing the number and accessibility of their locations. Providing more reasons to visit their stores or locations creates new consumer entry points.

In this case, the game itself will drive traffic to these locations by making them desirable destinations for anyone playing. Given that these consumers will have likely been walking around for hours glued to their phones while playing, the Golden Arch labelled “PokéStop” are likely to trigger and satisfy hunger and thirst need states. It will be interesting to see how the potential washroom lineups impact paying, yet non-playing consumers.

A relatable example from Byron Sharpe’s book is how Sainsbury’s in the U.K. demonstrated sales growth over its competitors during the busy Christmas period of 2010 by simply purchasing 12,000 tons of salt and ensuring that their parking lots were always free of snow, making their retail locations more desirable and accessible.

The Halo Effect

In simple terms, the halo effect is the tendency for an impression created in one area or by one brand to influence opinion in another area or for another brand. McDonald’s has had a long standing partnership with Nintendo, previously supporting the company’s DS and 3DS systems with Wi-Fi enabled beacons and having strong brand ties with the Pokémon franchise through promotions and Happy Meal toys.

By highlighting this partnership, the positive associations consumers have towards Pokémon GO create a mental halo that McDonald’s can position itself to take advantage of. The partnership may also dial up new associations that further strengthen equity in the brand.

Brand Growth

McDonald’s is making a bet that this partnership will drive significant traffic and positive associations for the brand. Time will tell whether the game continues to garner the attention that it has so far , but in any event, we applaud McDonald’s for trying new things to build physical availability by making its retail sites more desirable and accessible. It is also a smart brand move to drive additional associations through the halo effect with the excitement surrounding Pokémon GO. If interest in the game and the overall popularity of Pokémon continues to grow, imagine the impact this partnership could have, especially if McDonald’s chooses to leverage its 30,000 global locations.

The Blake Project Can Help: Accelerate Brand Growth Through Powerful Emotional Connections

Branding Strategy Insider is a service of The Blake Project: A strategic brand consultancy specializing in Brand Research, Brand Strategy, Brand Licensing and Brand Education

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Building A Cult Status Brand Without The Basics

Last week on Branding Strategy Insider we explored How the Fox News brand reached cult status and we looked at how this media giant did several crucial things right to become the most profitable cable news outlet on Television.

This week we examine how another brand achieved the same feat but in a surprisingly different way; without the power of compelling creative, paid media or even a dedicated website for its flagship brand.

Remember we define cult status as a place beyond brand loyalty and even brand advocacy. A place of brand insistence where there are no substitutes. Where the notion of a substitute is flatly rejected.

Sriracha has taken its place as one of the cult status brands.

The first thing you need to know is that “Sriracha” is actually the generic term for a type of hot sauce, not a trademarked brand name. It originates from the coastal town of Si Racha (hence the name), in eastern Thailand. Immigrant David Tran, who sold his concoction in used Gerber baby food jars in Vietnam, brought his love and his recipe for Sriracha to the US, selling it out of the back of his car in 1980. Today, Huy Fong Foods (Tran’s company named after the ship that brought him to the US) is a multi-million dollar food phenomenon, even catching the attention of film documentary producers in Hollywood and industry opinion makers like Bon Apetite.

Aside from the simple fact that brand cultists crave Sriracha and put it on almost everything, what is the secret sauce behind this not so secret sauce brand? Among the many factors that are necessary ingredients in building a food brand like Sriracha (taste, quality control, recipe versatility, etc.), the brand excels where thousands of hot sauce labels, whether local, regional or national, never reach. We’ve identified five areas that marketers will find noteworthy:

1. The Anti-Brand Brand

This is perhaps its greatest anti-marketing, marketing asset. The irony is that in a world that loves brands, Sriracha sauce resonates because it doesn’t follow the expected marketing template of other packaged goods brands with the use of advertising. In fact, Huy Fong Foods is quite proud of that. It has no marketing department. No sales force. Even in the hot sauce category this is considered a risky and inhibiting move for any number of reasons: limiting share growth, non-support of distribution, inviting competitors, etc. But remember, cult brands can do things others cannot.

2. The Beautiful Ugly Package

There are so many Vietnamese logographs on the bottle that one writer observed, it could be a 101-level course in the language. The rooster rendering is crude. The packaging is functional but hardly P&G standards. And yet, who would ever change it? The utilitarian green cap is even spoken of with great affection by food critics. It’s not the quality of the graphic design that makes the brand rather its consistent, unwavering use, that makes the design meaningful…and a thing of beauty to the brand cult.

3. A Great Humble Story

Great brands have great stories about their beginnings, their climb to success and their subsequent fame. Sriracha has all the ingredients for a great story as well as a great hot sauce. The storyline goes something like: Immigrant leaves war-torn communist country for America with a recipe for hot sauce in his pocket and a dream in his heart to bring flavor to a nation of blandness. Founder David Tran is the brand, the story is real, and the passion is as authentic as the bottle.

4. Mass Appeal, One On One

While Sriracha sauce is used as an ingredient by several major restaurant chains in their recipes and sauces, the brand is enjoyed most as an individual food enhancer by individuals, and thanks to Amazon, they can be enjoying it anywhere. Driving this mass brand appeal, one customer at a time, is Sriracha’s embrace of social media—a strategy that both reinforces and stimulates the growth of the brand cult without the commercial stigma of TV spots and billboards. While the brand boasts that “it sells itself” and that its growth is by word of mouth, it gets a little help online. For example, the brand’s Facebook page is sophisticated in content and management with over 280,000 followers. There you’ll find incentives, recipe book offers and announcements from the “Rooster Room” plant gift shop and annual Chile Grinding Event tours.

5. The Coolest In Hot

Craft beers, electronics, cars and jewelry are a few of the categories where brands thrive on the “cool factor”…that heightened sense of self-image by the use or association with a particular brand. The sum total of its anti-brand approach, unsophisticated packaging, storied beginning, and consumer engagement are just a few of the many factors that contribute to its “coolness,” while its flavor profile is anything but, of course. Being cool and desirable is the first step in developing a brand cult following, as Sriracha sauce so ably demonstrates.

Today, 36 years after David Tran started his brand in LA’s Chinatown, it can been seen dressing burgers in ballparks…In Atlanta or elsewhere, carried on their persons by the cult of Sriracha consumers far and wide. All while breaking the rules and building a hot brand.

As you aim for cult brand status, sometimes the best path is to take the one less traveled. In Sriracha’s case, that applies to a lot of things as we’ve seen. So ask yourself:

  • Am I relying too much on a traditional marketing strategy and tactics to build my brand?
  • Is the media that I use truly reflective of my brand?
  • Is my packaging reflective of my brand? Does it reveal the authentic nature and essence of my brand?
  • Does my brand have a story and am I telling it?
  • Where does my audience most want to engage?
  • Where are there growth opportunities by doing the opposite of the competition?

The Blake Project Can Help: The Brand Storytelling Workshop

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Marketing automation. Real-time analytics. Chat bots.  New technologies like these have created some tremendous capabilities in marketing, customer service, and the customer experience. But as I was reminded by several posts this past month, we must not become so enamored with technology-enabled service that we forget our first love must be our customers. We shouldn’t rely on technology over common sense. Here are a few points that I read about the importance of using technology to enhance, not replace, service.technology-enabled service

In When It Comes To Customer Experience, Consistency Is As Important As Innovation, John Sills writes about the need to always deliver on basic customer needs before engineering some new experience dimension.

Companies are always trying to work out what The Next Big thing is…[but] they miss the things that don’t change. The constant threads that run through life. The things that people really care about, whether they know it or not… These threads exist in every industry. Airlines – get me there safely and on time. Restaurants – give me food that tastes good. Banks – keep my money safe and secure. Utilities – keep my lights on and water running. These are all industries that have played around endlessly with how to deliver their products & services to customers, with some brilliant innovations. But ultimately, unless those core needs are met, everything else is insignificant…Obsessively monitoring Twitter and overweighting the opinion of the outraged and techno-dazzled can cause companies to miss or forget about the consistent, necessary, and often unexciting threads that form the backbone of their offering.

Micah Solomon describes some of his recent customer service experiences in Stupid Touchpoints Are Worse Than No Touchpoints In Customer Service And Customer Experience.  He relayed one particularly frustrating scenario in which technology-enable service that was supposed to delight him ended up doing the exact opposite. “Just as I got to my room, a text on my phone offering to help me, directly, with any needs I had. (‘My name is Rosa [not her actual name]; please just text me if you need anything at all and it will be my pleasure to take care of it for you, Mr. Solomon.’) When, in fact, I did need something, and pronto (I had left my iPad in the room and was texting from the cab en route to the airport), I took my texty friend Rosa up on the offer, texting ‘her’ to find out if they had found my device. Did Rosa text back ‘Absolutely, let me check?’ Nope. She texted back, and I quote, ‘You need to call Security.’

Disney is an example of a company using technology the right way. Evan Carroll writes about the Disney Operational Command Center in Real-Time Response: Creating Customer Experience Magic.  “Technicians there are watching wait times at every Magic Kingdom attraction and deploying various tactics to alleviate congestion in real-time…[If they are alerted about increased the wait time at the Pirates of the Caribbean ride], they might respond by alerting managers to launch more boats. Another option involves dispatching Captain Jack Sparrow or Goofy or one of their pals to the queue to entertain people as they wait…By monitoring and responding in real time, Disney can manage wait times and provide a less congested experience for customers. Waiting is a fact of life at any theme park. However Disney’s monitoring and responsiveness enables them to keep guests happy by maximizing capacity, directing flow through the park, and providing entertainment in those moments when waiting is inevitable.

Zach Heller provides a good takeaway. In Marketing Myths – Automation is Always Better, he writes, “The human touch is still important to most customers. People don’t buy from emails, they don’t buy from websites, they don’t buy from machines. People buy from people. Not in every case, but in some cases…In our rush to automate everything, it can be tempting to ignore the devil’s advocate who we see as afraid of change. But I’m here to tell you that there are some things that should not be automated. The companies that find the right balance of automation and human touch will win out.” [emphasis mine]

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